Through the Eyes of A Stranger - Pieces

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Eyes of a Stranger. The Eyes of a Stranger. Eyes of a Stranger Second Sight. The Eyes of a Stranger Men of Cle-fd. This way you avoid any light getting into your shots and spoiling them. I loved dropping my film off, coming back the next day and picking up my prints, with all the uncertainty that went along with it.

Next time I tackle the matchbox, I know to use a lower speed film and adjust the shutter speed to less than two seconds a go. By: Helen Gilchrist, 7 minutes.

Eyes of a Stranger (song)

Female racing car drivers in the West Bank. Women of colour running for political office in the US. The first female Sharia judge. Award-winning director and cinematographer Amber Fares is interested in diverse stories that give volume to, and develop understanding of, lesser heard voices. Her feature-length directorial debut, 'Speed Sisters' , has played at over 70 film festivals around the world, picking up multiple audience and jury awards, and 'The Judge' , on which she was cinematographer and co-producer, has just won a Peabody Award the equivalent of the Pulitzer Prize for broadcasting and documentaries.

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Thanks to her connections with one of our League of Strangers members, we carved out some time for quick chat from her home in Brooklyn Read More. By: Clare Howdle, 9 minutes. From contentment to happiness and back again, Eavesdrop gets philosophical. Certainly something to chew over Through the eye of a needle. In fact, she says, somewhat disparagingly, of the work made initially under the impetus of her renewed contact with Iran, that it has "that kind of naivety of an artist living abroad, returning and very sincerely wanting to understand".

Despite her reservations, it is too complex to be labelled as simply propagandist - something she has been wary of.

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It stands up very well and, justifiably, made a considerable impact, partly because no one else was doing anything like it. It consists of two series of photographs, Women Of Allah and Unveiling, in which the subject is often herself, wearing a black chador. It made sense to depict herself, because she had identified the female body as being central to the value system, the dominant ideology, of Iranian society.

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Her images combine individuality - her very definite self - the submissiveness and uniformity implied by the chador and militancy, manifested in the presence of guns - referring to the role of women in the revolution and in the Iran-Iraq War. But there is also Farsi poetry, beautifully inscribed on the flesh - and in one case the eyeballs - in the photographs. The feminist critic Farzaneh Milani identifies many of the texts as "exquisitely rebellious poetry by pioneering women poets". So, in effect, the images are striking articulations of woman's body in contemporary Islam.

A recurrent theme in interviews is Neshat's move from static photographic images to video and film. These are, necessarily, collaborative arts, and most of her work is collaborative. Also, it is made within a small, tight-knit community of like-minded talents, which includes the cinematographer Ghasem Ebrahimian, the actor Shoja Azari, the producer Hamid Fardjad and Deyhim, who composes the music for all of Neshat's films, with the exception of Passage, which is a collaboration with the composer Philip Glass.

Neshat makes it clear that she works very closely with these colleagues, and that they throw their energies into each others' projects. In one interview, she points out a simple truth: "the general public gets more absorbed in films than in any other form of art. I am afraid that visual art is a far more isolated and inaccessible world for the general public.

In their strictures they could well come across as didactic and inflexible - in line with popular conceptions of Islam, perhaps - but they do not. They do not because in narrative terms they are open structures; they are like, say, the interlocking patterns of Islamic ornamentation rather than a representational Western painting with a single perspective.

They have a curious symmetry and abstraction, so we can explore them from any angle and interpret them at will. As she puts it: "the narrative is non-literal, abstract and often quite ambiguous; the viewer must rely heavily on her or his own imagination to draw meanings.

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