By Pierre Gilly
Nget annat land framställs som ett större scorching mot fred och demokrati än Iran. I rapporteringen om landet handlar det nästan alltid om kärnvapen, diktatur eller fundamentalism. males är Iran verkligen ett så stort sizzling, eller finns det ideologiska och ekonomiska motiv bakom mediebilden?
Bombdiplomati är en bok om konsten att skapa en fiende. Frilansjournalisten Pierre Gilly har intervjuat historiker, islamologer och medieforskare som målar upp en skrämmande bild av världen efter 2001.
Med hjälp av psykologisk krigföring och tjänstvilliga medier har united states lyckats konstruera en hotbild där Iran framstår som urtypen för en skurkstat. Om kriget mot terrorismen är en politisk slogan är Iran dess affischnamn.
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Extra resources for Bombdiplomati
Likewise, a film is the result of the filmmaker’s inspiration. However, if one entirely immerses oneself in God, then God will inspire his works and appear in them. ” 23 Authorship is thus immersive, always already collective, not individualistic. Because of its philosophical and mystical underpinnings, some consider Avini’s films to constitute a “cinema of illumination” (Madadpur 2005/1384). An episode of Avini’s documentary war series Chronicle of Victory, entitled “Oshlu” (1987, directed by Avini), demonstrates such immersive sacred subjectivity and collective identity that are conducive to martyrdom.
Regular unit members were a cameraman- director-interviewer, an assistant cameraman, a soundman, and, in later years, a still photographer. The stills that unit photographers took were incorporated into the resulting documentaries, adding aesthetic punctuation to moving images. Often the editor was someone not involved in filming. The marks of television news reportage—hand microphones, news questions by in-frame reporters—were minimized, as were news-camera moves like zoom-ins. The idea was for the cameraman to become one with the subject, as part of the politics and poetics of a collective, sacred subjectivity.
It is likely that the creation of these two professional entities bolstered the documentary field and increased publication of books on the documentary. 5 Local, regional, national, and international documentary festivals occurred not only in Tehran but also in other places, including on Kish Island. The technological revolution of the early twenty-first century enabled a vital documentary cinema, as well as a new generation of young cinephiles. The ready availability of inexpensive but high-quality production and editing equipment, such as Hi8 and digital cameras, and sophisticated desktop and laptop editing software both enhanced the quality of the films and encouraged bolder formal and thematic approaches to the documentary.