Hassan Hosseini is an indicator of a generation of Iranian film critics and writers who are not indebted to the previous generations in any way. The fields in which Hassan worked and grew up were never considered serious. Horror cinema, popular Itali ...
Hassan Hosseini is an indicator of a generation of Iranian film critics and writers who are not indebted to the previous generations in any way. The fields in which Hassan worked and grew up were never considered serious. Horror cinema, popular Italian films, ... and Persian films, were neither seen seriously nor studied seriously in the cultural intellectual world of Iran. As a professional cinema lover, Hassan saw more movies than all his predecessors. including nine hundred and ninety-eight films out of the thousand and one "remaining" films from the collection of one thousand and two hundred films made in Iran from (1327 to 1357) and he tried to develop a theory for his approach to investigate his favorite fields. Hassan was and remains an exception in terms of combining cinema friendship with cinema studies, and unfortunately, it seems that he will remain an exception.
Hasan has been working in the field of written cinema for more than thirty years. He has published dozens of articles and reviews of three books (Taste of Fear, 2010, Made in Italy, 2010, and Small Culture of Horror, 2011) in various publications and a series of lectures on Persian films (in DVD format, 2012). In addition to this, he has made numerous appearances in television programs, roundtables, and formal and informal cinema classes, and all of this, contrary to the custom of the day, has been the use or the abuse of film-making enthusiasts, solely to teach cinema-friendliness and cinema studies. .
I can safely say that I am personally indebted to Hassan for paying more serious attention to the fields in which he (and only he) worked. The fact that he is one of the last generation of Hasan's borrowers cannot be considered a credit for him. But it can certainly be a source of pride for the previous generation, that one of the next generation (without having learned anything from them) can have many things to learn in his pocket. This is how cinema survives.
Behzad Rahimian
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