Majid Majidi, one of the distinguished names of new Iranian cinema started as an actor in amateur theatre groups and got roles in films after the Islamic revolution. His debut as a director and screenwriter) was with Baduk 1991), a feature film that was presented at the Directors' Fortnight
of Cannes Film Festival 1992, which also won him several national awards. His second film, Pedar The Father) (1996) received the Jury Award of San Sebastian Film Festival. He won the Grand Prix of the Americas of the Montreal World Film Festival three times in five years. The first was with
Bacheha-ye aseman (Children Of Heaven) in 1997; the second was with Rang-e-Khoda (The Color of Paradise) in 1999, and the third, in 2001, with Baran, which shared the top prize with Torzok (Abandoned) by Hungarian Arpad Sopsits. Having won several awards at its own country as well, Baran has
become one of the most successful films of the year, having gained a special meaning after the September 11 events in New York.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.