Documentary Aesthetics and International Communication of Iranian Films from the Perspective of the Third Cinema

Abstract

The Iranian film represented by The White Balloon includes a series of elements such as colonialism, class, race, sex and gender in the third cinema. Religious culture makes Iranian films not only contain humanitarian concerns, but also become the representative of ideology. The description of women’s survival dilemma and the displacement of Hazara reflects the complexity of the social environment. Under strict censorship, Iranian directors cast their eyes on the lives of children at the bottom. Long shots, single-line narrative logic, circle narrative structure and open ending constitute an important part of the documentary aesthetics of Iranian films. As the representative of the third cinema, the Iranian film is facing various difficulties in reality, breaking through in the context of globalization, and providing a development road of combining nationality with the world and individuality with localization for other countries’ films.