Archiv für den Tag 6. Juli 2014

Persian Gulf War: A Prelude | Images of a Conflict 1990-1991 – جنگ خلیج پارس

Saddam Hussein vs. The Coalition: Behind the Military Strategies is volume three of the four-volume set titled Persian Gulf: Images of a Conflict, which chronicles Operation Desert Storm. This documentary series offers a news account of the first war in history to be broadcast live. This program of the series provides an in-depth look at Saddam Hussein’s military tactics and why he failed in his conquest of the oil-rich nation of Kuwait. Volume one, Prelude to War, features a Diane Sawyer interview with Hussein and focuses on the early days of the Iraqi invasion of Kuwait. Volume two, The Allies Strike, provides graphic coverage of the war from Saudi Arabia, Baghdad, and other key Middle East locations. In the final tape of the collection, A Conversation with General Schwarzkopf, journalist Barbara Walters conducts a penetrating interview with the commander of the United States Central Command, Norman Schwarzkopf. Schwarzkopf was in charge of Allied forces in the Persian Gulf conflict and is credited with defeating Hussein. The collection of news reports and interviews provides a unique and comprehensive record of Operation Desert Storm.
مستندی از شبکه ای.بی.سی درباره جنگ خلیج پارس
– عراق – کویت – ایالات متحده آمریکا – خلیج فارس – ناو
Perzische Golfoorlog – Persiske Golfkrigen – Persischen Golfkrieg – La Guerra del Golfo Pérsico – Persianlahden sota – Guerre du Golfe Persique – Perzsa Öbölháború – حرب الخليج الفارسی – Война в Персидском заливе – Kuwaitkriget – Persiska Gulfkriget

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ARTE|FREISPIELEN IM IRAN – Ein Wandertheater

Die Schauspielertruppe um Regisseur Hamed hat sich mittlerweile von Teheran auf den Weg gemacht Richtung Westiran. Unter freiem Himmel strömen die Kinder zusammen, um das Märchen vom bösen König Ejdehak zu erleben. Der Sage nach unterdrückte er im alten Persien grausam sein Volk, bis die tapfere Faranak die Menschen befreite.

Die Schauspielertruppe um Regisseur Hamed hat sich mittlerweile von Teheran auf den Weg Richtung Westiran gemacht. In den abgelegenen Ortschaften werden sie mit ihrem bunt bemalten Lastwagen von den Schulklassen begeistert empfangen. Unter freiem Himmel strömen die Kinder zusammen, um das Märchen vom bösen König Ejdehak zu erleben. Der Sage nach unterdrückte er im alten Persien grausam sein Volk, bis die tapfere Faranak und ihr Sohn Fereydoun die Menschen vom Despoten befreiten.

Mit ihren bunten Masken, der Musik und den Kostümen sind die fremden Besucher auf jedem Dorfplatz eine Attraktion. Mitra, Hamed, Sina und Shirin wissen aber auch, dass sie während der gesamten Reise unter staatlicher Beobachtung stehen. Denn für Theateraufführungen im Iran gelten strenge Regeln. Und die Schauspieler können nur vermuten, wer der Spitzel ist. Doch das ist nicht die einzige Schwierigkeit, der sie sich stellen müssen.

Diese Folgen der Freispielen im Iran sind derzeit verfügbar, sie können sie auch direkt im Webbrowser öffnen:

HUFF| Atomverhandlungen: Iran setzt auf Spiel mit der Zeit

Die Atomverhandlungen mit der Teheraner Führung, die derzeit im Rahmen eines Übergangsabkommens zwischen den P5+1 und dem iranischen Regime geführt werden, sind ein Dauerbrenner. Nicht erst seit dem vor fünf Monaten ausgehandeltem Deal zwischen den westlichen Großmächten und dem Iran sitzt man an den Verhandlungstischen. Die schier endlos scheinende Bedrohung der Welt durch einen Staat islamistischer Extremisten mit Atombomben geht nun schon seit über einem Jahrzehnt und seit der Zeit des iranischen Präsidenten Chatami. Der damalige Chefunterhändler des Iran ist heute mittlerweile iranischer Präsident. Hassan Rohani leitete bereits 2003 eine Verhandlungsrunde zwischen Frankreich, Großbritannien und Deutschland mit dem Iran, die damals schon als großer Durchbruch im Westen gefeiert wurde.

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Kerry warnt Iran vor der unnachgiebigen Haltung (EPA)

Seitdem gibt es nur zwei wirkliche Ergebnisse zu vermelden. Das erste Ergebnis ist, dass der Iran heute näher am Bau von Kernwaffen denn je ist, dass er mit Rußland und China, Pakistan und Nordkorea potente Lieferanten von Kernwaffentechnologie gefunden hat und dass alle Länder kaum noch auf Linie des Westens zu bringen sind, wie die letzte Sanktionsrunde gegen den Iran zeigte, die überhaupt nur mit Mühe auf die Beine gestellt und nun kaum noch zu halten ist.

Das zweite Ergebnis ist, dass das Leiden des iranischen Volkes um weitere 10 Jahre verlängert wurde. Die dauerhafte Legitimierung der Mullahs, das Abducken vor seinen Drohgebährden und vor allem äußerst fragwürdige Deals haben nicht nur den Iran an seinem Weg in die Freiheit gehindert. Zu den schmutzigen Deals gehörten unter anderem die Terrorlistung der gut organisierten iranischen oppositionellen Volksmodjahedin (MEK), und ein verordnetes Schweigen, dass immer größer wurde, je näher die Konflikte in den Dunstkreis der Mullahs rückten. Dies sah man mehr als deutlich bei den iranischen Volksaufständen 2009, wo sich zwar die Welt empörte, aber unisono westliche Regierungen entweder schwiegen oder lapidare Worte für eine der größten Aufstände des Mittleren Ostens und eines unbändigen Mutes abließen und es endete mit dem Schweigen gegenüber den Menschenrechtsverletzungen, die danach stattfanden und die bis heute an vielen Stellen noch anhalten. Unter Hassan Rohani wurden mindestens 800 Menschen hingerichtet, so viele Menschen hingerichtet, wie seit 20 Jahren nicht mehr, aber der Westen schweigt, weil es die Atomverhandlungen – wie immer – nicht gefährden will.

Vollständiger Artikel

Iran authorities unnerved as World Cup brings crowds to Tehran streets

An official ban and a defeat by Argentina in the final moments didn’t stop Iranians from celebrating.

Iranians celebrate in the streets of Tehran following Iran’s loss to Argentina in the final minutes of the match on June 21. Notwithstanding the presence of plainclothes militia and riot police, the celebrations remained peaceful. Al Jazeera America

Iran, Tehran, World Cup

Iranians cheer out of their car in traffic following the match. Al Jazeera America

Iran, Tehran, World Cup

Iranians of all ages and both genders gather in the street after the match. Al Jazeera America

Iran, Tehran, World Cup

Iranian authorities attempted to block mixed-gender cinema viewings of World Cup matches. Al Jazeera America

Iran, Tehran, World Cup

Despite the loss, Iranians were proud of their team’s performance during its second match. Al Jazeera America

Iran, Tehran, World Cup

The celebrations remained peaceful. Al Jazeera America

Iran, Tehran, World Cup

A television crew interviews a fan in Tehran. Al Jazeera America

Iran, Tehran, World Cup

Men and women in Tehran cheer at the conclusion of the match on June 21. Al Jazeera America

 

Iran may have lost to Argentina thanks to a Lionel Messi strike in the dying seconds of their World Cup match on Saturday, but that didn’t stop the Tehran street party that rattled the authorities. Large numbers of Iranians converged on the streets, dancing on overpasses, overrunning major thoroughfares, chanting and blaring music out of cars, in an outpouring of popular celebration that prompted the authorities to send plainclothes security agents on motorbikes through the crowds to disperse them. Riot police had locked down thoroughfares like Tehran’s busy Parkway intersection, but young people flooded into side streets to carry on their festivities, buoyed by the Iranian national soccer team’s strong showing against top-ranked Argentina.

Most neutral commentators concurred that the Iranian team had mounted a superb effort and had been unlucky to be denied at least a draw against the two-time World Cup champions. “This dignified loss means more to us than any win,” said one young man dancing with his friends on the street.

Despite the heavy police presence across the city, the unexpected outpouring for Team Melli — as the national soccer team is known — stayed strictly in the spirit of fun. Young peopled flew the Iranian flag from their motorbikes and chanted their thanks to individual players, but their commotion carried none of the political overtones of past public celebrations around the World Cup. Instead, most seemed content to have Team Melli project a new image of Iran to the world, that of a moderate, soccer-loving nation, progressive enough to have an endangered species, the Asian cheetah, on its team uniform. “The national team and their fans can both improve Iran’s reputation, and if the government cooperates and doesn’t crack down, that will boost people’s sense of hope,” said Ali, a 28-year-old event manager. “Iranians are more depressed today than any other time, so a little bit of happiness can make it better.”

It’s precisely that prospect of hopefulness, though, that some say led the Iranian regime to deliberately stanch public excitement in advance of the World Cup. Security authorities took the unprecedented step of banning the broadcast of matches in public cinemas and cafés, effectively barring Iranians from experiencing the matches as collective events.

In 2010 authorities had allowed crowds of men and women to watch the World Cup in cinemas across the country, just months after the country’s Green movement uprising. At that delicate time, some Iranian players wore green armbands on the field to show solidarity with protesters, and young people chanted political slogans in those packed cinemas in support of jailed opposition leaders.

But today, with the national mood one of malaise and little prospect of political unrest, the banning of public screenings seems to reflect Iranian hard-liners’ determination to undermine the government of President Hassan Rouhani. “The security forces are trying to disillusion the pro-Rouhani electorate,” said one political analyst who asked to remain anonymous because of his strong political connections inside Iran. “It makes it seem as though nothing has changed under him, that basic things like watching football are being rolled back.”

Slide show: Watching the World Cup in Tehran

Lies den Rest dieses Beitrags

Culture| An Iranian dissident returns home

Popular filmmaker Mohammad Rasoulof has returned to Tehran from exile. In an exclusive interview, he explains why.

by 

Iranian director Mohammad Rasoulof
Iranian director Mohammad Rasoulof shows his green scarf — a sign of support for the country’s opposition movement — in 2009.
Rafa Rivas / AFP / Getty Images

TEHRAN — Friends and family warned Mohammad Rasoulof not to return to Tehran. The award-winning director still had a prison sentence looming over his head after being arrested during a shoot in 2010, charged with threatening national security and making propaganda against Iran’s Islamic state.

Rasoulof’s friend and collaborator, the renowned director of “White Balloon,” Jafar Panahi, who was arrested at the same time, is still under house arrest. Further, Rasoulof had just released his most uncompromising film to date. “Manuscripts Don’t Burn” — which won the International Federation of Film Critics Award at Cannes and is currentlyscreening at New York’s Museum of Modern Art — is an undisguised criticism of Iran’s feared security services, and Rasoulof’s most overtly political work yet. Still, he ignored the advice and came home.

He arrived in Tehran in September 2013, a month after the inauguration of President Hassan Rouhani. The police confiscated his passport, but have otherwise left him alone so far. Rouhani has promised to bring change to Iran, and although that change is moving slowly, things are certainly different from when Rasoulof lived here four years ago.

“When I was arrested, I was saying the exact same things as Mr. Rouhani is saying now. I wonder why nobody arrests him,” Rasoulof says with a laugh.

The 42-year-old filmmaker shuffles around his backyard in a washed-out black sweatshirt, dragging his plastic slippers along the ground with every step. When he sits back in his chair at his small working table, shaded by a tree, he can enjoy something close to silence. This is the only interview he has agreed to since his return, but he does not seem nervous. Here, sheltered from the frantic noise of Iran’s capital, Rasoulof has room to breathe. And that is exactly what many Iranian artists hope to get under Rouhani’s government.

“Of course, one has to be very stupid to think that after Rouhani’s election, the entire Islamic Republic will change,” Rasoulof says. “The important thing is that we can help move things slowly in the right direction.”

In 2010, Mohammad Rasoulof was arrested on the set of the movie he was working on about the Green Movement protests the year before. Along with his collaborator, Jafar Panahi, he was sentenced to six years in prison (later reduced to one) and a 20-year ban on filmmaking.

The two are among Iran’s most prominent directors, having won prizes at festivals in Cannes and Berlin. But whereas Panahi’s arrest was met with international outrage in the form of protest speeches and empty jury chairs at film festivals, Rasoulof did not receive the same collegial support. He is, in a sense, the forgotten martyr of the same struggle.

But he wanted it that way. Whereas Panahi smuggled movies out of the country while under house arrest, Rasoulof kept a low profile. In Iran, sentences for political prisoners are often not carried out immediately, but continue to hover menacingly over their heads indefinitely. So while waiting to serve his sentence, Rasoulof decided to go with his wife and daughter to Germany.

Lies den Rest dieses Beitrags

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