Majid Majidi Iranian film director

This is particularly true with view to stereotypes and prejudice aimed at early(a)s, typically minorities, the uneducated, and the impoverished. In Iran, matters of religion and age of conflict with Afghanistan have served to sublimate Afghan refugees to the "undesirable" other in contrast to the "desirable" Iranian image that is viewed as desirable.

Majidi's films explore the impact on the poor, the lame, the feeble, and the ostracized due to race and religion. In so doing he provides a perspective that is based on his experiences as a struggling Iranian working to befriend his family survive after the death of his father. Majidi's films have won numerous prizes and attempt to make viewers reconsider the temperament of their perceptions and prejudices. As Majidi says of his film Baran, "It is a tale of affection, altruism, sacrifice, and hit the hay?a bang that knows no borders. Love can conquer all borders. Let's conceive of of a day when the world is ruled by passion, non war" (Baran 2). By possessing such an attitude, Majidi tries to break through the walls that come on us from perceiving others and the world in the "infinite" manner Blake argued was potential centuries ago. From prejudice to the unnecessary deaths of thousands of Afghanis, Majidi strives to poke a stick at our perceptions and prejudices in order to provide a new brain of others that is deeper and lends and often voiceless, marginalized population a voice. As Majidi

Mohammad is apprenticed to a blind carpenter to be able to build cabinets with his hands. This is not the right occupation for a child who chanceks intellect and communion with nature like Mohammad does to a high degree, but his father is anxious to rid himself of his son. It is at this point our heart truly goes out to Mohammad who feels like he is unwanted and abandoned at this point. It is only then that we see him mind his blind condition. Up to now he has been dying(predicate) to prove he can compete and succeed in a world of sight. His gifts of nature and intellect argon considerable. However, at this point the lack of love exhibited toward him by his father abruptly makes him feel bereft and negatively aware of the condition he typically overcomes in an admirable manner.

As he laments, "My teacher told me, ?God loves you blind people more than us, because you are blind.' just now I say if he loved us he would give us eyes to see" (Majidi 1999). Despite the promised land Mohammad has created for himself, one so plush and in union with nature that he is the envy of many individuals with sight who are in any case preoccupied with material existence to commune with nature, his feelings of being unloved because he is different overwhelm him.

In illustrating the story of the love between Latif and Rahmat, even without any words between them, Majidi has enabled us to see how negative perceptions of others causes us to label others in slipway that diminish our own humanity even if we think we are diminishing the humanity of others. Baran stands as the director's example that despite the boundaries of manmade withdraws, the force of love has the capacity to cross any boundary that is artificial. The unfitness of Latif and Rahmat to form a union despite their genuine love for one another is better than a happy shutdown for it underscores what we lose when we let such artificial perceptions rule our societies and lives.

start out: I'm concerned about his future.

Majidi, M (Director). Children
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