#hamoun

[whileiamdying]

An Iranian Director Finds His Way Past A Double Censorship

By Philip Shenon Aug. 15, 1990

''Hamoun'' is not a typical Iranian film.

A well-to-do Teheran painter, apparently having an affair with her most important patron, tells her Western-educated psychiatrist that she wants a divorce and complains bitterly about the Iranian Government's treatment of women. Her despondent husband, accused of beating his wife, seeks comfort from his grandmother, and both agree that religion is a fraud.

''Hamoun'' (''The Desert'' in ancient Persian) includes an unusual glimpse of the dark side of Islamic fundamentalism in Iran and deals with issues like adultery, the value of psychiatry and the oppression of women by the Iranian Government. At one point the painter yells out, ''Why don't women have rights in this country?''

And yet, despite what would seem to be the sort of film making that would infuriate Iranian Government censors, ''Hamoun'' is not only being widely shown in Teheran, but it has also emerged as one of the year's most popular films and the winner of six Iranian movie awards.

More than any other recent Iranian film, ''Hamoun'' and its director, Dariush Mehrjui, are demonstrating how far Iranian cinema has come since this nation's Islamic revolution in 1979 and how far it still has to go.

''Compared with Western film makers, we don't have that much freedom,'' said the Teheran-born and American-educated director. But, he added, pulling an American cigarette from a package that can be bought on almost any street corner here, ''I don't think you could have made this film three or four years ago.''

In a nation that appears to revel in the contradictions created when ancient Islamic law is applied to life in the final years of the 20th century, the Iranian film industry presents one of the most astonishing contradictions of all.

The sorts of fundamental questions about social policy, government and religion that might be considered treasonous if raised by any other group of Iranians sometimes find their way onto film.

At the same time, the Islamic censors continue to impose an exacting set of rules about what can and cannot be shown on screen, particularly when it comes to the depiction of Islamic women.

For example, women are never allowed to sing on screen, their hair must always be covered, even when they are supposed to be asleep in bed, and men must never touch them. The censorship code ''can be a great hindrance,'' Mr. Mehrjui said somberly. ''It's too severe.''

Pushing the Limits

Fifty to 60 films are made in Iran each year, and many are the sort of mindless action pictures found anywhere in the world.

But directors like Mr. Mehrjui (pronounced mare-joo-WEE) are pushing the limits of Iranian cinema and getting away with things that would not have been permitted even before the revolution.

Among Mr. Mehrjui's contemporaries is Mohsen Makhmalbaf, whose popular film ''The Bicycle Run'' was seen by critics as an attack on the inequities between rich and poor that the Government tolerates. That the film was supposedly set in Afghanistan may have been Mr. Makhmalbaf's concession to the Iranian censors.

On first impression, Mr. Mehrjui is Hollywood brought to Persia. He is a relaxed, self-deprecating man whose den, with its Scandinavian-style blond wood furniture and its white walls lined with English-language books on the artistry of American films, would fit into a Southern California villa as easily as it does into his airy home in a fashionable neighborhood of northern Teheran.

Fighting for Their Craft

But the similarity between Mr. Mehrjui and the Hollywood directors ends there; Mr. Mehrjui, 50 years old, and his Iranian colleagues have had to fight for their craft in ways that Hollywood directors never have.

During more than 20 years of movie making, Mr. Mehrjui's career has been plagued by censorship, first under the Shah, whose exhibition board preferred syrupy melodramas and refused to show how poor people lived, and now under the Islamic theocrats.

His first major film, ''The Cow'' in 1968, was banned for a year because it dared to portray the gloomy life of a small impoverished Iranian village. Years later, Ayatollah Ruhollah Khomeini singled the film out for praise after seeing it on television.

In 1973 Mr. Mehrjui made what is perhaps his most acclaimed film, ''The Cycle,'' but it was not shown in Iran until nearly four years later.

''The censors saw it and they had a fit,'' Mr. Mehrjui said of the film, which used the buying and selling of human plasma at a blood bank as a way of depicting urban corruption in Iran.

In and Out of Iran

Not only was the film banned, but so too was Mr. Mehrjui, who was prohibited by the Shah's Government from making feature films in Iran.

He went into exile, packing up and returning to California. When it became apparent that the Shah was falling, Mr. Mehrjui returned to Teheran only to be frustrated again.

His first feature film after returning home, ''The School We Went To,'' in 1980, was financed by a Government education ministry. But after initial screenings, it was banned, perhaps because censors saw a similarity between a central figure in the film - a tyrannical high school principal - and the Islamic clerics who had taken control of the new Government.

''I realized it was the same old story,'' Mr. Mehrjui said. ''Nothing had changed. It is a characteristic of all revolutions: the domination of a single ideology that cannot stand criticism.''

Working With Censors

Despondent, Mr. Mehrjui went to France. Nearly four years later, homesick for Teheran. Mr. Mehrjui began hearing from friends in Iran who said the Government had become less hostile to film makers. He returned to Teheran once more.

What had happened during his exile, he said, was that young film makers had banded together to produce movies as a cooperative and ''to make sense of the chaos'' by working with the Government to determine the ground rules for what was - and what was not - going to be allowed in Iranian films.

The Government, he said, ''is very sensitive to anything they consider immoral: overt love, coquettishness, a showing off of women.''

Those restrictions have caused Mr. Mehrjui few problems, he said. ''I don't go for overt sexuality in my films,'' he said. At the same time the censors indicated they would permit films that touched on some of the themes that the Shah and his censors had disdained, including the plight of the poor and the horrors of war.

The Censors Change

Perhaps most important, the makeup of the Government's censorship boards changed, and some of the more dogmatic Islamic fundamentalists were replaced by officials who were younger, better educated and, at least by comparison with their predecessors, open-minded.

Iranian directors must face two Islamic censorship boards - one for scripts, one for the final film. Mr. Mehrjui, who writes his own scripts, said that because he has a strong sense of what the boards will permit, he has relatively few problems getting his movies onto the screen.

''It has become a close community'' between directors and the Government censors, he said. ''We now know unconsciously what's allowed and what's not allowed.''

That has not eliminated all gray areas, however, and Mr. Mehrjui said that in future films he hopes to push to see if the Islamic Government will allow the exploration of other subjects that were once taboo.

''The hottest issues would be a criticism of Iran in terms of the Iran-Iraq war or showing corruption in part of the Government'' or ''if we showed a mullah who wasn't a good mullah,'' he said. ''I don't know if the Government would tolerate it.''

But he wants to try anyway. Even ''Hamoun'' seems remarkable to many Teheran moviegoers this summer.

''Remember,'' Mr. Mehrjui said, ''just three years ago, you couldn't even show a musician in an Iranian film. And now you can.''

He laughed at the silliness of rules that once decreed that musicians seen on the screen were some sort of devil. For Mr. Mehrjui, the progress of his art may be slow and halting, but at least for now it is progress.

Special to The New York Times

[444namesplus]

Aakal Abatimal Abirnva Abitaikh Abith Adebraz Aderin Aders Adiria Adjaya Aduhah Adwah Aezer Afiambra Afizoz Afrehk Afrider Aguden Aider Akira Akkah Akkalwa Aliman Alind Alkynaen Amedra Amehk Amelaz Amezztra Ampida Ansleyer Araly Ariaan Arikheria Ashazeffa Ataimal Atangen Atharru Athezan Aydraynka Azgoggal Azkarrus Azzak Bashan Bibel Bladyn Blaral Bleah Blerrok Bodaz Bodyah Bogograi Bomora Bragara Brosh Bruthol Camah Chnaim Chnamber Clahind Clazo Crenanaz Crikata Crookhers Dahivady Daida Damet Deephar Dekan Devara Dhora Diyaila Djamir Djantho Djunn Dohephoth Dolia Domah Doman Domeryn Domoal Dothet Drada Drajlagar Draku Dreale Dregah Drile Drinezzel Dubatera Dubrima Ducermo Duskoeda Duuld Dyzen Ebrah Ebrajing Eldeo Elmin Eratine Esnasab Exevekkaz Eyrulz Faands Fafiruzai Farfles Farrzt Fathard Fayyame Feris Fespiole Fiqaq Firzt Fiyya Flama Flazzleo Flefasha Forox Fostork Frizai Fullujawa Gahrighal Gatazhear Gaysisha Genda Ghaviolor Ghtmoamic Gibah Gifan Glagras Gloperikh Glukka Glyhiyais Goolagaz Gredrol Grera Gridaez Grione Grololsge Groth Guchcusa Gudeh Guraz Gwala Gykuu Hadivoch Haebriya Haeraz Halez Haliba Haminda Hamounned Hancievor Harizakyx Harut Harwon Heada Hikhard Hiram Hives Hivus Hixar Horidah Hrippif Hummaebro Huntha Hurayna Hutukh Hylan Ibarinsh Ibazurok Ibbii Ibreear Ighoor Ightemah Igurnasha Iliguiss Ilorven Inerwale Inevon Inger Irahraz Isringah Issina Issmedri Issurai Istor Istostor Izane Iziya Jahilaz Jooran Judolgolo Jynog Karda Kaysel Kenas Kessafrok Khebrinne Khefuth Khetaa Khetah Kheth Kight Kilag Kitheya Kkawsa Kmormbrai Kohar Kormorm Kotera Kupkiya Lagah Lernoki Lestelu Lizuna Loorg Lorimatan Luperd Lyroztra Mahirany Makha Maladyah Maler Malihadju Malugh Mancloper Maner Marden Masiler Maste Mesniyah Midaf Miracif Miraohzur Mirizak Moistomaz Moolo Motmad Munam Mundlezar Mysilah Mysistum Nadylah Nahlayr Nairaz Nathali Nazan Nazhara Neahedeer Nedra Nerbwd Nighe Nilam Nocros Noggaye Nogrok Nohan Nolayla Nomena Norima Nosablyn Nothivij Notho Noulgah Nulso Nunkythet Oblork Obtorha Onyient Oormhundi Oorna Orayzan Ornal Orvess Osumahah Ourne Oxblyah Phazkara Phing Phishagah Phiyah Piker Poistoros Pynan Qrata Rabask Ragren Raila Rands Refukari Relespind Renla Restinale Rielig Rikahl Rilool Rimstakiz Rinaimst Rstekupum Sabira Sabitless Sadij Sadivhed Safira Safiyya Sahaa Salher Salugs Sanus Sarda Sarizin Satan Scammah Scatalak Scati Scatoof Scatorler Scorge Scren Scubah Sedezel Semor Shaducewa Shaern Shahideon Shajlakif Shalght Shardand Shatmall Sheachah Shekatim Sherd Shockess Shyridia Sihad Sinds Skaak Skarrbwd Skerazu Skride Skrul Sohafara Sokso Sosun Sotaz Sovam Spina Spineve Squalimax Squar Stana Stemehor Stingmah Stoola Storus Suluzai Sumax Suuldan Suulluz Suumacham Suutty Tamaxu Tantrozan Tarki Tarrbwd Tatte Telgue Thalxor Tinai Torgor Torgri Toseemar Trruz Tukhsisan Tuleh Twina Twinger Twith Tykar Tyrufa Ukkrayzah Ulgon Unthoth Urealwakk Urrast Uthaja Valah Vanclah Varrun Velderus Vengora Vijar Vingen Vorgogda Vruza Wairachar Waten Winaikhes Windle Windor Winevann Winguiss Winshus Winteraa Wolaw Xalefurn Xamah Xissmal Xivik Xivlofass Xorent Xormeh Xvatar Xykez Xynha Yailalha Ykkra Zadunth Zakinas Zardhada Zariah Zarian Zebath Zeinedah Zeraz Zetala Zexat Zexill Zilah Zileg Zozur Zozzai Zuldian Zulsha Zuomar Zurlord Zylak Zymeeari Zymeebrev Zymet Zynaleras Zyzainaz Zzubahlah

[magteria]

HN REPUBLIC is a Design, construction, and DOB Expediting Company located in New York City founded by Hamoun Nik who has a Master of Science in Architectural Engineering. Which includes both Architectural design and knowledge about structure. Construction and modern technologies, with years of experience in Heavy construction, and Project management.

We have a dedicated interior and 3d visualization team in our company, which provides services for our clients internationally

[spacetimewithstuartgary]

A Dry Lake Hamun Means More Dust Storms Persistent drought and upstream water withdrawals have put Lake Hamun (also spelled Hamoun) in a precarious position in recent decades. Amidst great year-to-year variability, the seasonal lake and wetlands in the Sistan Basin of eastern Iran and southern Afghanistan have been shrinking over time. The change has reduced vegetation cover and exposed silt and dust that has turned the area into a major source of dust storms. While dust storms are most common in the summer, they happen year-round as long as the lake is dry and the winds are strong. That was the case on January 12, 2023, when the Visible Infrared Imaging Radiometer Suite (VIIRS) on the NOAA-20 satellite captured this image of dust streaming from the dry lake bed. The dust began blowing on January 11 and subsided by January 13. When the lakebed is dry—as has been the case for long stretches in 2001, 2002, 2004, 2018, 2021, and 2022—the volume of airborne dust increases by 40 percent, according to a team of researchers based in Iran. The series of maps below show dust spreading toward the south over Pakistan, India, and the Arabian Sea during six-hour intervals on January 12. The data used to generate the maps came from NASA’s Goddard Earth Observing System (GEOS) modeling system, which assimilates data from a variety of satellite, aircraft, and ground-based observing systems. This is just one dust storm in one location, but the cumulative effect of the world’s dust storms can have significant effects on Earth’s atmosphere. A research team led by University of California, Los Angeles (UCLA) scientists announced in January 2023 that airborne dust has likely increased by 55 percent on a global scale since pre-industrial times, largely due to increases in dust storms in Asia and North Africa. They based their conclusions on ice core data, satellite observations, and several global weather and atmospheric transport models. Airborne dust can affect Earth’s climate—generally causing cooling—by scattering sunlight and altering certain types of clouds. The UCLA-led team calculated that the increase in airborne dust has likely masked roughly 8 percent of the warming caused by greenhouse gases since the preindustrial era—something that some current global climate models and projections do not account for. “Our findings imply that greenhouses gases alone could cause even more climate warming than models currently predict,” UCLA atmospheric physicist Jasper Kok said in a statement. “This is of tremendous importance because better predictions can inform better decisions of how to mitigate or adapt to climate change.” However, Kok and his colleagues also underscore that uncertainties remain in the calculations they used to determine the climate effects of atmospheric dust. Future research should focus on “constraining dust optical properties through in situ and remote sensing observations,” they noted in their study. One source of data they expect will be especially useful for doing that is an imaging spectrometer currently in orbit on the International Space Station. The Earth Surface Mineral Dust Source Investigation (EMIT) mission is collecting data on the color and composition of Earth’s surface in major dust-producing regions. The data will be used to create a more accurate map of surface mineralogy in arid, windswept areas that researchers will use to refine climate models. NASA Earth Observatory images by Joshua Stevens, using VIIRS data from NASA EOSDIS LANCE, GIBS/Worldview, and the Joint Polar Satellite System (JPSS) and GEOS-5 data from the Global Modeling and Assimilation Office at NASA GSFC. Story by Adam Voiland.

[gaetaniu]

Un lago Hamun asciutto significa più tempeste di polvere

12 gennaio 2023. La persistente siccità e i prelievi d’acqua a monte hanno messo il lago Hamun (scritto anche Hamoun) in una posizione precaria negli ultimi decenni. In un contesto di grande variabilità da un anno all’altro, il lago stagionale e le zone umide del bacino del Sistan, nell’Iran orientale e nell’Afghanistan meridionale, si sono ridotti nel tempo. Questo cambiamento ha ridotto la…

[culturesofresistancefilms]

We’re excited to see the release of a new documentary by talented Iranian filmmaker Mohammad Ehsani!

In 2019, widespread flash flooding in Iran affected 26 of the country’s 31 provinces. Some northern provinces received as much as 70 percent of their annual rainfall in a single day. Several large dams overflowed and many villages evacuated. These floods are the subject of “The Water Will Take Us,” the latest documentary film from Mohammad Ehsani. The film is a look at how years of mismanagement, poor spatial planning, and climate change are impacting civil society in Iran.

Ehsani is an Iranian documentary filmmaker whose most recent work has centered around environmental subjects. His film Once Hamoun won the main prize of the Ecotop Environmental Film Festival in 2017. 

Check out the trailer for “The Water Will Take Us” here: 

[namefarsi]

معنی اسم هامون🌹 اسم پسر ایرانی با ه⁠ دوستانتان را زیر تصویر نامشان منشن @ کنید....⁠ نام‌ فارسی پسر ایرانی اصیل با حرف ه:⁠ https://NameFarsi.com/?p=1484⁠ اسم پسر ایرانی اصیل با حرف ه شروع شود⁠ .⁠ .⁠ .⁠ .⁠ .⁠ .⁠ .⁠ .⁠ #اسمپسر #اسم_پسر #اسم_فارسی #اسمپسر #فیلم_ایرانی #خسروشکیبایی #اسم #اسمخاص #سیستان #جغرافیا #دانستنیها #اسم_ایرانی_پسر #هامون⁠ #hamoun #hamoon #persianboysname (at یزد) https://www.instagram.com/p/B-aAj8Sg2mp/?igshid=k78ahy30dx78

[macla539ac]

I just wanted to get some recommendations. Watched Lion of the Desert because of you and truly loved it.

ok

Masumiyet 1997

Sátántangó 1994

Babe: Pig in the City 1998

the sword of doom 1966

83 hours 'til dawn 1990

Donzoko 1957

Execution in autumn 1972

The Texas Chainsaw Massacre 2

Ed tv 1999

The Temple of the Golden Pavillion 1976

ninth configuration 1980

gorky park 1983

Diabeł 1972

trauma 1993

Twin Town 1997

The Little Girl Who Lives Down the Lane 1976

Pari 1995

The Great Mongol/Mughal e Azam 1960

The Deserted Station 2002

Phantasm 1979

Gallipoli 1981

The Steel Helmet 1951

Fort Graveyard 1965

Marnie 1964

J'ai pas sommeil 1994

Duvara karşı 2004

Hamoun 1990

The Big Carnival 1951

Hatari 1962

[doublefeatureoftheday-blog]

Double Feature of the Day

A Separation (2011, Asghar Farhadi)

Hamoun (1990, Dariush Mehrjui)

This week I have decided that each day will showcase a film produced by, set in, or starring an individual from one of the countries affected by Trump Administration’s Muslim ban countries.

[whileiamdying]

Iranians Pay Tribute To Slain Director Mehrjui

By AFP - Agence France Presse October 18, 2023

Iranian cinema stars Wednesday joined crowds of mourners for the funeral procession in Tehran of director Dariush Mehrjui and his wife, who were killed in unexplained conditions.

Jafar Panahi, Massoud Kimiai, Mohammad Rasoulof and Bahman Farmanara were among the prominent filmmakers who gathered at the large Roudaki performance hall in central Tehran to pay a final tribute to Mehrjui.

The 83-year-old director, associated with the Iranian new wave of cinema, and his wife Vahideh Mohammadifar, a 54-year-old screenwriter, were stabbed and killed on Saturday at their home in Karaj, west of the Iranian capital.

Police have arrested 10 people as part of their investigation, the judiciary's Mizan Online website said Tuesday, without providing further details on any motives for the killings.

Earlier Wednesday Interior Minister Ahmad Vahidi said the police and the judiciary "are seriously pursuing this matter and have obtained some leads," according to Mizan.

He ruled out however any "link between the murder of Mehrjui and the serial assassinations" of dissident intellectuals in November 1998 committed by the country's secret service.

The 1998 crimes were attributed by the government to "uncontrolled elements" from the intelligence ministry, who were sentenced to prison terms of up to life.

Since Mehrjui's death, tributes have poured in to celebrate the works of the pioneer director, producer and screenwriter, who during his six-decade career was confronted by censorship both before and after the Islamic revolution of 1979.

The director was best known for his 1969 metaphorical drama "The Cow" as well as his 1990 dark comedy "Hamoun" showing 24 hours in the life of an intellectual tormented by divorce and psychological anxieties.

The couple was buried in the artists' section of the Behesht-e Zahra cemetery in southern Tehran, according to state news agency IRNA.

ap-pdm/jkb

[cysnews]

Malpa hnědá v táborské zoo je rozený hamoun!

Malpa hnědá v táborské zoo je rozený hamoun!

„Hamty-hamty, ať mám víc než tamty!” Málokterá věta se hodí na malpy hnědé v ZOO Tábor tak dobře jako ta úvodní. Tito drobní primáti jsou nesmírně chytří a při vyhledávání potravy až neuvěřitelně vytrvalí.

(more…)

[lataypodcast]

L’épisode est aussi disponible sur Apple Podcast • Spotify • Deezer

Dans cet épisode, la team essaye de décortiquer le conflit identitaire qu'oppose arabes et berbères. Ou se situe-t-on sur cette échelle ? Après avoir discuté de leur expérience personnelles, Amal a un réel héritage culture chleuh tandis que Zyad et Lyna ne s'identifient pas réellement comme berbès mais plutot comme marocains/algériens ou arabes et Sidox se trouve entre les deux. Entre clivage, culture amazigh, mythologie berbères et colonisation.

Revues des Études Berbères

CHOUF

Lyna : Identitées meurtrières - Amin Maalouf (livre)

Amal : Hamoun Amir (film)

Zyad : Mohamed Zouzaf (artiste)

Theophile : afromaghrebian (instagram)

Sidox : Tizi Ouzou - Idir (musique)

CREDITS

Générique : Raina Raï - Ya Zina

Chouf jingle: Koba La D - Freestyle Booska VI 

Tislatin Onzar - Makisalan ayol ino

[culturesofresistancefilms]

We’re excited to see the release of a new documentary by talented Iranian filmmaker Mohammad Ehsani!

In 2019, widespread flash flooding in Iran affected 26 of the country’s 31 provinces. Some northern provinces received as much as 70 percent of their annual rainfall in a single day. Several large dams overflowed and many villages evacuated. These floods are the subject of “The Water Will Take Us,” the latest documentary film from Mohammad Ehsani.

Ehsani is an Iranian documentary filmmaker whose most recent work has centered around environmental subjects. His film “Once Hamoun” won the main prize of the Ecotop Environmental Film Festival in 2017.

Check out the trailer for “The Water Will Take Us” here: https://vimeo.com/709801179

[namefarsi]

معنی اسم هامون🌹 اسم پسر اصیل ایرانی هامون دوستانتان را زیر تصویر نامشان منشن @ کنید.... اسم پسر با ه: www.Namefarsi.com/?p=1484 . اسم پسر ایرانی اصیل . . . . . . . . #اسم_پسر #اسم_فارسی #اسمجدید #اسمباه #هامون #hamoon #hamoun #esmepesar (at Sistan and Baluchestan Province) https://www.instagram.com/p/B6gPE3ggEvH/?igshid=1uz7mkp1j5y2s

[prazskytankista]

„Lže!“ Babiš se brání útoku z ODS. Toto sahá až k Merkelové. A vzkaz Fialovi

Babiš odmítá tvrzení europoslankyně za ODS Veroniky Vrecionové, že po německé kancléřce Angele Markelové vyžadoval „zkrocení“ předsedkyně rozpočtového výboru Evropského parlamentu Moniky Hohlmeierové, která byla spolu s dalšími europoslanci minulý týden v České republice, aby se zabývala údajným premiérovým střetem zájmů. Nyní ministerský předseda přechází do protiútoku. Od Vrecionové mezitím padají další ostrá slova směrem k šéfovi vlády. „Mnohokrát při lži chycený lhář, sprosťák a hamoun,“ zaznělo od europoslankyně s tím, že „není na výslechu StB“. source http://www.parlamentnilisty.cz/arena/monitor/-Lze-Babis-se-brani-utoku-z-ODS-Toto-saha-az-k-Merkelove-A-vzkaz-Fialovi-615944