عباس کیارستمی و درس هایی از سینما

by Mahmoud Reza Sani

What if you could take a Master Class from a Master of Cinema? In a new book, Mahmoud Reza Sani takes us inside such a class. He allows us to sit in on the beginning days of a workshop taught by critically-acclaimed and award-winning director Abbas Kiarostami (Taste of Cherry, Certified Copy, Like Someone in Love).


In February 2012, Abbas Kiarostami traveled to Spain to receive the Ibn-Arabi trophy for a lifetime of artistic achievements. It was decided at that time that he would hold a 10 day film maker workshop for 35 students who had traveled from all over the world in eager anticipation to attend this once in a lifetime event. We join Kiarostami in class as he converses with the students and author. We listen as Kiarostami reminisces about some of his past experiences and offers insight into his cinematic style. We learn as he advises the students on how to shape their stories and find their voice, not only in the world of film but also in their lives. The book also includes the foreword "Lessons of Refusal" written by famed French Screenwriter Jean-Claude Carriere (Discreet Charm of the Bourgeoisie, Belle du Jour)."

Genres: Nonfiction, Film

144 pages, Paperback

First published November 6, 2013

Reviews

[صان · Rating 5 out of 5]

چقدر کاربردی و دوست داشتنی و ناب!

هرکسی که یکم سینما دوس داشته باشه ازش لذت میبره! خیلی زیاد

[Mahour · Rating 4 out of 5]

فقط میتونم بگم خوندن این کتاب تجربه خیلی لذت بخشی بود:)

[Ferial Fattahi · Rating 4 out of 5]

Anything that brings you closer to this great man of our time it worth the time and effort. Abbas Kiarostami was not only a filmmaker, but also a philosopher and a remarkable thinker of the modern time. The world shall miss him and his activities a lot.

[Manon Jejcic · Rating 5 out of 5]

Geeft vertrouwen en goesting om een film te maken in 10 dagen. Met een Abbas in je achterhoofd of op je schouder.

[Mehdi Shamaghdari · Rating 5 out of 5]

چقدر حسرت خوردم هنگام خواندن این کتاب. پانزده سال پیش، وقتی کیارستمی می خواست دوره ی فیلمسازی خود را در موسسه کارنامه شروع کند، خود را با مترو از کرج رساندم به خیابان ظفر. حبیب رضایی مصاحبه می گرفت. با شور و شوق و اعتماد به نفس چند پاره کاغذ که بهشان فیلمنامه می گفتم و پاره ای دیگر، نقد از نفس افتاده ی گدار و چند عکس سیاه و سفید آماتوری که با یک دوربین کامپکت آنالوگ گرفته بودم را با خود همراه برده بودم. حبیب رضایی با آن چهره ی مهربانش پرسید: شما فیلم هم ساختید؟
یخ کردم. فیلم نساخته بودم. بلد نبودم بسازم. دوربین فیلمبرداری نداشتم.
-متاسفم اولویت انتخاب در این دوره با کسانی است که حد اقل یک فیلم ساخته باشند.
جالب اینجاست که حالا که پانزده سال از این ماجرا می گذرد من هنوز هم چیزی نساخته ام که جرات کنم و نامش را فیلم بگذارم!

پس این کتاب، کتاب خوبی است اگر اینقدر درد دل به همراه می آورد!

[Ruben Jespers · Rating 4 out of 5]

In één ruk uitgelezen, wauw!

Hij fascineerde me al ontzettend langs als maker, maar nu ook als leerkracht!
Dit omvat een van zijn vele workshops van tien dagen die hij heeft gegeven waarin hij mensen leert in filmtaal te denken en een film af te werken.

Zovele filmboeken die het medium volgens de industrie benaderen, weinigen die het doen zoals hij, vanuit die persoonlijke artistieke drijfveer om iets vast te leggen en te vertellen, sterk geworteld in de realiteit. Deze uitgave had helaas wel vele schrijffoutjes :/.

Op naar nog een van zijn werken te bekijken :).

[John · Rating 4 out of 5]

While the book could be better produced--it truly needs a copy editor, particularly with a writer whose first language I don't take to be English--the content from Kiarostami is enlightening. The book is a record of a ten day film workshop that Kiarostami taught in Spain. Divided into very short "chapters," Kiarostami's words receive some context from the compiler and attendee Sani. In general, though, Kiarostami either speaks in longer paragraphs or, most productively, in dialogues with students who are presenting their short-film ideas to him. In these latter exchanges, we get a real sense of how Kiarostami approaches a film, how he thinks a film. His comments are almost always illuminating, and by the end of the book, with around twenty or so separate exchanges on different film ideas, I really had a much improved sense of how Kiarostami sees. That insight was more than worth it, in my opinion.