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Irani film

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Along with China , Iran has been lauded as one of the best exporters of cinema in the s. Many film critics from around the world have praised Iranian cinema as one of the world's most important artistic cinemas.

The earliest examples of visual representations in Iranian history may be traced back to the bas-reliefs in Persepolis c.

Bas relief is a method of sculpting which entails carving or etching away the surface of a flat piece of stone or metal.

Persepolis was the ritual center of the ancient kingdom of Achaemenids and "the figures at Persepolis remain bound by the rules of grammar and syntax of visual language.

Iranian visual arts may be said to have peaked about a thousand years later during the Sassanian reign. A bas-relief from this period in Taq Bostan western Iran depicts a complex hunting scene.

Similar works from the period have been found to articulate movements and actions in a highly sophisticated manner. It is even possible to see the progenitor of the cinema close-up: a wounded wild pig escaping from the hunting ground, [9] among these works of art.

After the conversion from Zoroastrianism to Islam ; Persian art continued its visual practices. Persian miniatures provide great examples of such continued attempts.

The deliberate lack of perspective in Persian miniature enabled the artist to have different plots and sub-plots within the same image space.

A very popular form of such art was Pardeh Khani. Another type of art in the same category was Naqqali. Popular dramatic performance arts in Iran, before the advent of cinema, include Marionette , Saye-bazi shadow plays , Rouhozi comical acts , and Ta'zieh.

Cinema was only five years old when it came to Persia at the beginning of the 20th century. He is said to have filmed the Shah's private and religious ceremonies, but no copies of such films exist today.

A few years after Akkas Bashi started photography, Khan Baba Motazedi , another pioneer in Iranian motion picture photography emerged.

He arranged the screening in the back of his antique shop. Consequently, his film theatre and photography studios were destroyed by the public. Soon after, other cinema theatres in Tehran closed down.

Movie theatres sprang up again in with the help of Ardeshir Khan, an Armenian-Iranian. Until the early s, there were little more than 15 theatres in Tehran and 11 in other provinces.

Within five years he managed to run the first session of the school under the name "Parvareshgahe Artistiye Cinema". In he made his second film titled Haji Agha.

Later that year, Abdolhossein Sepanta made the first Iranian sound film , entitled Lor Girl , which was released in in two Tehran cinemas, Mayak and Sepah.

The story of the film was based on a comparison between the state of security in Iran at the end of the Qajar dynasty and during Reza Shah period.

Sepanta would go on to direct movies such as Ferdowsi the life story of the most celebrated epic poet of Iran , Shirin and Farhad a classic Iranian love story , and Black Eyes the story of Nader Shah 's invasion of India.

The present day Iranian film industry owes much of its progress to two industrious personalities, Esmail Koushan and Farrokh Ghaffari.

By establishing the first National Iranian Film Society in at the Iran Bastan Museum and organizing the first Film Week during which English films were exhibited, Ghaffari laid the foundation for alternative and non-commercial films in Iran.

Early Persian directors like Abdolhossein Sepanta and Esmail Koushan took advantage of the richness of Persian literature and ancient Persian mythology.

In their work, they emphasized ethics and humanity. The majority of production focused on melodrama and thrillers. From till because of the world economic conditions and then the involvement in World War Two, the motion picture industry in Iran did not produce a single film, but the flow of foreign film to Iran did not stop.

In , Esmail Koushan, with the help of some of his colleagues, established Mitra Films , the first real film company in Tehran.

Through their persistence, local feature film production was born and survived. The movie that really boost the economy of Iranian cinema and initiated a new genre was Ganj-e Qarun Croesus Treasure , made in by Syamak Yasami.

In , Masoud Kimiai made Kaiser. With Kaiser Qeysar , Kimiai depicted the ethics and morals of the romanticized poor working class of the Ganj-e-Qarun genre through his main protagonist, the titular Qeysar.

But Kimiay's film generated another genre in Iranian popular cinema: the tragic action drama. With the screening of the films Shohare Ahoo Khanoom directed by Davoud Mollapour in , and Kaiser and The Cow , directed by Masoud Kimiai and Darius Mehrjui respectively in , alternative film established their status in the film industry.

By Iranian cinema entered into its mature stage. The College of Dramatic Arts, instituted in , produced its first graduates at the decade's beginning.

Many progressive film co-ops and associations came into existence and there were a few regular film festivals taking place in the country.

Attempts to organize a film festival that had begun in within the framework of the Golrizan Festival , bore fruits in the form of the Sepas Film Festival in The first Iranian film festival was held in with Kaiser , The Cow , and Shohare Ahoo Khanoom winning the first, second and third prize for the best pictures respectively.

From to the mid the Iranian film industry grew rapidly. Many studios were established as well as others that entered the Cycle of the film industry independently.

There were films produced during this period for By there were 72 movie theatres in Tehran and in other Provinces. Ebrahim Golestan in directed by films of interest Brick and Mirror Bahram Beyzai is the director of one of the ground-breaking films of the Iranian New wave, Ragbar Downpour.

Sohrab Shahid-Saless is auteur director who embodied his original style in his film Still Life. Abbas Kiarostami is now a well-known director of the s who directed one of the last films that screened before the revolution in , Gozaresh The Report.

In the early s, a New Iranian Cinema emerged cinema motefävet. However, following the Revolution in , a few filmmakers and actors went into exile as Khomeini altered the focus in features.

Between and , about features were released. In , the annual Fajr Film Festival financed films. The Farabi Cinema Foundation then stepped in to try and reassemble the disorganized cinema.

The following year, the government began to provide financial aid. This change in regime encouraged a whole new generation of filmmakers, which included female directors as well.

With this, the focus shifted to children overcoming obstacles: true stories, lyrical, mystical drama, real-life problems, documentary footage, etc.

Post-revolutionary Iranian cinema has been celebrated in many international forums and festivals for its distinct style, themes, authors, idea of nationhood, and cultural references.

Starting With Viva Kiarostami, who some critics regard as one of the few great directors in the history of cinema, [20] planted Iran firmly on the map of world cinema when he won the Palme d'Or at the Cannes Film Festival for Taste of Cherry in The continuous presence of Iranian films in prestigious international festivals such as the Cannes Film Festival , the Venice Film Festival , and the Berlin Film Festival attracted world attention to Iranian masterpieces.

In , six Iranian films, of six different styles, represented Iranian cinema at the Berlin Film Festival. Critics considered this a remarkable event in the history of Iranian cinema.

An important step was taken in when the Iranian government began to fund ethnic cinema. Since then Iranian Kurdistan has seen the rise of numerous filmmakers.

In particular, the film industry got momentum in Iranian Kurdistan and the region has seen the emergence of filmmakers such as Bahman Ghobadi , actually the entire Ghobadi family, Ali-Reza Rezai, Khosret Ressoul and many other younger filmmakers.

There is also movie-documentary production, often critical of the society in the name of the Islamic revolution ideal, like the films directed by Mohammedreza Eslamloo.

By the year the number of features produced in Iran rose to 87 from 28, which is the number of films that were produced in , after the fall of the Shah.

The most popular genres were melodramas and historical pageants which seldom went to festivals. In , the newly elected president, Mohammed Khatemi, would eventually come to play a role in helping filmmakers achieve a certain degree of artistic freedom.

Today, the Iranian box office is dominated by commercial Iranian films. Western films are occasionally shown in movie theaters.

Iranian art films are often not screened officially, and are viewable via unlicensed DVDs which are available. Some of these acclaimed films were screened in Iran and had box office success.

The internationally award-winning cinema of Iran is quite different from the domestically oriented films. The latter caters to an entirely different audience, which is largely under the age of This commercial Iranian cinema genre is largely unknown in the West, as the films are targeted at local audiences.

There are Three categories of this type of film:. For many years, the most visible face of Iranian commercial cinema was Mohammad Ali Fardin , who starred in a number of popular successful films.

In the more conservative social climate of Iran after the Iranian Revolution of , however, he came to be considered an embarrassment to Iranian national identity and his films — which depicted romance, alcohol, vulgarity, objectification of women, scantily-dressed men and women, nightclubs, and a vulgar lifestyle now condemned by the Islamic government — were banned.

Although this would effectively prevent Fardin from making films for the remainder of his life, the ban did little to diminish his broad popularity with Iranian moviegoers: His funeral in Tehran was attended by 20, mourners.

During the war years, crime thrillers such as Senator , The Eagles , Boycott , The Tenants , and Kani Manga occupied the first position on the sales charts.

Officially, the Iranian government disdains American cinema: in President Ahmadinejad's media adviser told the Fars news agency, "We believe that the American cinema system is devoid of all culture and art and is only used as a device.

Despite great pride in the country's more than year film history, Western cinema is enormously popular among Iran's young people, and practically every recent Hollywood film is available on CD, DVD, or video.

Iranian New Wave refers to a new movement in Iranian cinema. Darioush's two important early social documentaries But Problems Arose in , dealing with the cultural alienation of the Iranian youth, and Face 75 , a critical look at the westernization of the rural culture, which was a prizewinner at the Berlin Film Festival , were also contributing significantly to the establishment of the New Wave.

The Iranian viewer became discriminating, encouraging the new trend to prosper and develop. They made innovative art films with highly political and philosophical tones and poetic language.

Subsequent films of this type have become known as the New Iranian cinema to distinguish them from their earlier roots. The factors leading to the rise of the New Wave in Iran were, in part, due to the intellectual and political movements of the time.

A romantic climate was developing after the 19 August coup in the sphere of arts. Alongside this, a socially committed literature took shape in the s and reached a peak in the s, which may consider as the golden era of contemporary Persian literature.

Features of New Wave Iranian film, in particular the works of legendary Abbas Kiarostami , can be classified as postmodern. Iranian New Wave films shared some characteristics with the European art films of the period, in particular Italian Neorealism.

However, in her article 'Real Fictions', Rose Issa argues that Iranian films have a distinctively Iranian cinematic language.

According to Dabashi, "the visual possibility of seeing the historical person as opposed to the eternal Qur'anic man on screen is arguably the single most important event allowing Iranians access to modernity.

Parallel to the Iranian New Wave, with its neorealist and minimalist art cinema, there exists a so-called "popular art cinema" in Iran.

Filmmakers who belong to this circle make films with a broader range of audience than the narrow spectrum of highly educated people who admire the New Wave, but believe that their movies are also artistically sound.

Filmmakers such as Nasser Taghvaee and Ali Hatami are the best examples of this cinematic movement some of these filmmakers also make new wave films e.

Mum's Guest by Darius Mehrjui. Following the rise of the Iranian New Wave, there are now record numbers of film school graduates in Iran and each year more than 20 new directors make their debut films, many of them women.

In the last two decades, there have been a higher percentage of women directors in Iran than in most countries in the West.

The success and hard work of the pioneering Rakhshan Bani-Etemad is an example that many women directors in Iran were following much before Samira Makhmalbaf made the headlines And the current Tahmineh Milani , Niki Karimi.

Besides women involved in screenwriting and filmmaking, numerous award-winning Iranian actresses with uniques styles and talents attract critic.

The first Iranian actress who won an award for acting in a major film festival was Mary Apick. The most notable Iranian actresses are:. Furthermore, women's resistance against the symbolic order in the society has been demonstrated in different movies such as The Little Rusty Brains by Houman Seyedi.

War cinema in Iran was born simultaneously with the beginning of Iran—Iraq War. However, it took many years until it found its way and identity by defining characteristics of Iranian war cinema.

Shows the most poematic view on the Iran Iraq war and still after years, is one of the leading films about this historical event from a humanistic aspect, although unlike other Iranian war cinema which are fully supported by the Iranian government this film was made with numerous difficulties.

In the past decades, the Iranian film industry has produced many war films. In the Iranian war film genre, war has often been portrayed as glorious and "holy", bringing out the good in the protagonist and pandering to nationalist sentiments with propagandistic messaging.

Tears of Cold and Duel were two films that have gone beyond the traditional view of war. Gilaneh directed by Rakhshan Bani-E'temad.

The Reward of Silence directed by Maziar Miri. Sizdah 59 directed by Saman Salur. Mardi shabih-e baran directed by Saeed Soheili.

Bashu, the Little Stranger directed by Bahram Beyzai. There exist some evidences suggesting that Ancient Iranians made animations. An animated piece on an earthen goblet made years ago was found in Burnt City in Sistan-Baluchistan province, southeastern Iran.

The artist has portrayed a goat that jumps toward a tree and eats its leaves. The first Tehran International Animation Festival was held in , four decades after the time the production of first animation films in Iran.

Apart from Iranian films, animations from 35 foreign countries participated in the festival. Although early attempts also existed, the Iranian children and youth cinema came of age with acclaimed director Mohammad Ali Talebi b.

He started his career in the s and achieved success beyond Iran with Bag of Rice and Willow and Wind , whose script was written by Abbas Kiarostami.

During the first half of the 20th century, France was the major destination for Iranian students who wished to study abroad. He also worked closely with Italian film director Roberto Rossellini on several film scripts during that period.

Youssef Ishaghpour is another example. However, the most important contribution to the French New Wave cinema is that of Serge Rezvani an Iranian poet born in Tehran in Farah Diba studied at the Beaux Arts and became the focus of attention and the French press was to see her as the new Persian Cinderella.

Iranian Robert Hossein son of legendary musician Aminollah Hossein started his acting career with his French Armenian friend Chahnour Varinag Aznavourian known as the famed crooner Charles Aznavour in the mid fifties essentially type cast as "Mr.

Tough Guy". In the seventies and eighties he was to play opposite Jean-Paul Belmondo in police thrillers like The Professional.

Hossein became known for being a talented theater director and his taste for popular historical vehicles involving large sets and numerous actors.

The film was entitled Plaisir D'Amour en Iran. The romantic film was shot on location in The Masjed Shah. Claude Pinoteau and Claude Lelouch on the other hand shot their documentary just after the Persepolis Celebrations in They decided to address the urban transformations and cultural emancipation that the country was subject to by the early seventies.

The latter is particularly known for her highly intellectual introspections in such plays like Art Sean Connery bought the film rights advised by his French wife.

Although Iranian composers usually have their own special style and music structure, they all share one thing: melodic, lively rhythms. That might be because they often begin with folkloric songs and shift to film music.

In the past few decades, a few composers have emerged in the Iranian cinema with highly appraised works. Film festivals have a rather long history in Iran that goes back to the s.

Although the festival never reached the level of Cannes and Venice, however, it managed to become well known as a class A festival.

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