Abbas Kiarostami Research Articles

From ritual to performance: Ta'zieh in Iran today

Abstract As a practice and experience, ta'zieh lies at the crossroads between ritual and performance, collective lament and recollection, literature, and folklore. Focusing on the experience of the spectator, this paper discusses ta'zieh's liminal status and diverse functions in Iran today. This study is based on observations gathered during fieldwork in the fall of 2017 in Tehran (Grand Bazaar), Isfahan (Falāvarjān), and Kashan (Nushābād). By way of comparison, we further reflect on a video installation by Abbas Kiarostami presented at the Centre Georges Pompidou in Paris in 2003, which challenges common assumptions about the aesthetic and religious effectiveness of ta'zieh. The contrast allows us to elucidate how, by renovating ancient narrative forms, contemporary Iranian performing arts partake in the shaping of individual affects as well as communal emotions.

Soft Epiphanies: The Multilayered Narratives in Abbas Kiarostami's Film Close-Up (1990)

Abstract As part of the collective endeavor to explore the modalities and challenges of the narrative in the Persianate world, this article reconsiders Abbas Kiarostami's Close-Up (1990), a film characterized by a special cinematographic feature. While accounting for what appears to be a story of swindling and identity theft, Kiarostami keeps the viewer in a state of uncertainty about the nature of what he sees, blurring the boundaries between documentary and fiction, truth and lie, through particular narrative and cinematographic choices. Previous scholarship has focused mainly on the aesthetic implications of the staging and its effects on the viewer. The present study proposes a different type of analysis by discussing specific narrative devices from the perspective of cultural anthropology, with particular attention to the recurrence of the zāher/bāten paradigm, suggested as a cipher by Kiarostami himself early on in the film. The examination of the discursive and aesthetic mobilization of these notions brings to light a subtle game of back-and-forth between the desire to disclose deeper meanings and the will to preserve ambiguity and intimacy, allowing for “soft epiphanies” to arise.

Image and Word

Abstract The rapport between religion and film is not only historical but also ontological. The Abrahamic faiths specifically (Islam, Christianity, and Judaism) and the audio-visual medium of cinema share a complex affiliation with reference to two of their foundational elements: image and word. Building on the constitutive kernels of the Abrahamic religion of Islam (image and word), this paper will locate and define its formal manifestations in cinema; in other words, the way in which the conception of image and word at Islam marks film form. This endeavor will be sustained by calling upon some distinctive film cases of the so-called New Iranian Cinema. In particular, Offside (2006) and This Is Not a Film (2011) by Jafar Panahi, and Close-up (1990) by Abbas Kiarostami, as well as other films, will be utilized for analysis in order to delineate the qualities of the claimed religious film form in question. These films are selected as they foreground and thus play out the dialectic of image and word, their absence and their presence.

Abbas Kiarostami, Global Art Cinema and the Material Imagination of Earth

Abstract This article examines the multiform appearance of elemental earth in the 1990s films of Iranian director Abbas Kiarostami, including Life and Nothing More, Through the Olive Trees, Taste of Cherry, and The Wind Will Carry Us. Its aim is to consider the elemental aspects of global art cinema, arguing that art cinema treats elements intermedially. Art cinema’s alliance with the elemental has been comparatively overlooked given its associations with the cosmopolitan sites of global modernity, but this essay asserts that modernism is as much geophysical as geopolitical. I read Kiarostami’s films as staging encounters between human action and elemental agency; they set their characters in agonistic relation to the seismic movements and obdurate resistance of the earth. Drawing on elemental philosophy, this article demonstrates that the existential questions regarding life and death in Kiarostami’s filmmaking are oriented toward the earth (as ground, stone, and dust).

Doors, Windows and the Notebook of Solidarity

The widespread acknowledgement of Kiarostami as a global auteur provides us with a background against which to reconsider one of his most local films as well as one of the most important representations of children in Iranian cinema. When interpreting Where Is the Friend’s House?, many critics and scholars see metaphysical references in the simple act of a child attempting to overcome obstacles put in his way by adults. But any mystical reading of the film runs the risk of closing off consideration of Kiarostami’s endeavour to offer a cognitive map of a crucial moment in Iranian history. This study aims to rethink the film, focusing on Kiarostami’s depiction of social conflicts through an exploration of quotidian spaces and a portrayal of simple objects such as doors, windows and homework notebooks. Abbas Kiarostami, in creating such a microcosmic space, was following great Iranian thinkers and poets such as Hafez in expressing his contestation of the dominant ideologies of post-1979 Iran.

Deconstruction of Language and Expression in Kiarostami’s Cinema A case study on “Shirin”

This article aims to study the significant language and expression methods of Abbas Kiarostami’s cinema by analyzing the context and structure of a movie titled Shirin, focusing on its narrative and internal elements in a deconstructive manner .The movie is a masterpiece in which life’s passion is intermingled with death, nothingness, and despair. Analyzing the movie Shirin is an attempt to rediscover human nature and its relation with the truth beneath life. Through deconstruction, we can comprehend the narrative as an anti-narrative, actors turn into non-actors, the audience becomes the active actor, and the director can be identified as the sole and primary creator of the picture. A criticism of the structure of the cinema from within itself is taken into consideration in this feature. The current paper seeks to find the answer to the following questions: How are language and expression achieved in Shirin movie? How is the content of this movie conveyed to the audience, and how is the viewer’s position explained within the process of perception and understanding of the film? This article is conducted with a descriptive-analytical method to improve the understanding of art-house cinema. Drawing on the opinions of Jacques Derrida, the results indicate that the film Shirin while presenting both the passion and suffering of love in a fluid, dynamic and deconstructive process focuses on many characters of Nizami’s including Shirin along with their personal and inner stories. The movie’s content conveys a new perspective by modifying and deconstructing dual confrontations in form and content and reveals the distinguishing aspects of the cinema audience in a position of creating meaning while transforming the perception of the viewer and his role in the cinematic discourse

Taʿziyeh Close-Up: A Conversation with Moslem Nadalizadeh

Described by Peter J. Chelkowski as “the sole form of serious drama to have developed in the world of Islam,” taʿziyeh is a performance form comprising elegiac, devotional performances in commemoration of the martyrdom of Husain ibn ‘Ali ibn Abi Talib (626–680 CE), the grandson of the Prophet Muhammad and the third Imam of Shiʿi Muslims.1 The revered Imam confronted the much larger army of Caliph Yazid ibn Mu’awiya ibn Abi Sufyan on the desert plain of Karbala—south of modern Baghdad—where Husain and his followers bravely fought and became martyrs in 680 CE. According to tradition, the lamentation rituals for the Karbala martyrs were immediately performed by the Imam’s surviving family and supporters. Though performed differently in various localities today, the mourning rituals, known as Muharram, have developed into major communal events in Iran and other regions with large Shiʿi populations, where members of a village, a local neighborhood, or a guild will participate in the ceremonies. Also known as shabih-khwani (simulation recitation), taʿziyeh is a distinct dramatic tradition, including a range of episodes that recount the battle of Karbala, and generally performed within the rituals and ceremonies of the lunar months known as Muharram and Safar. As part of a body of devotional Muharram rituals, taʿziyeh is at its most elaborate during the first ten days of Muharram, but can be staged throughout the year to replay the various stories related to Karbala. This general description of taʿziyeh, however, does not reflect the lived experience of those who participate in the ceremonies, which are capable of producing shifts in consciousness that are conducive to devotional expression. Such a shift involves ways in which the audience immerses in the immediacy of the Karbala tragedy, affectively and perceptually, and this immersion makes declaring one’s allegiance and devotion to the martyred saint possible. To invoke the late Iranian film director Abbas Kiarostami, taʿziyeh is a “living ritual”—a public event that has both experiential and semantic significance at the communal level.Taʿziyeh varies in performance across regions. In Iran it mostly appears in dramatic episodes that reenact the tragedy of Karbala. In Lebanon and the western Persian Gulf, the performances are known as shabih (simulation) and mostly comprise battle reenactments rather than poetic narratives. In South Asia and the Caribbean, taʿziya (note the difference in spelling) refers to model recreations of Husain’s mausoleum and other relevant structures.The following interview discusses Iranian taʿziyeh from the perspective of Dr. Moslem Nadalizadeh, a taʿziyeh performer and a leading scholar of the tradition.2 Nadalizadeh is an associate professor and the director of the Department of Persian Language at Ahlul Bayt International University in Tehran, Iran. I’ve always found the expression “the theater became a truth” as paradigmatic of the experience of the taʿziyeh audience. The “audience” does not see “theater” performed on a distant stage but feels an affinity with the performers who, through oral and other forms of performance narratives, not only depict but also mourn the inner message of Karbala. The “audience” therefore enacts the truth through his or her their experience of mourning. In your latest publication, you seem to echo this perspective. You write, “We should bear in mind that taʿziyeh is performance, but not theater.”10 Certain forms of theater and taʿziyeh, I would however argue, share similar emotive modes of action toward a yet-to-be-realized social reality. The theatrical traditions that advance ways of performing and seeing performances as lived experiences aim at producing changes in consciousness conducive to transformative actions. This is mostly evident, for example, in the Theater of Cruelty, in which the focus is less on staging performance and more on the audience whose sensibility should undergo an experience of shock for the purpose of awaking a subconscious depth in everyday life. In his Theater and Its Double [1938], Antonin Artaud famously argued for an intimacy between actor and audience in a “magic exorcism” that brings together gestures, sounds, language, movements, and expressions to rethink reason into a new visceral force of life, a new vitality in an attempt toward human emancipation. Both Jerzy Grotwoski and Peter Brook admired taʿziyeh for this very reason: the capacity to refashion the world by fusing the audience with the performer, and in the process to create a visceral theater of lived expression. Taʿziyeh embodies a ritualization practice that is less about the kind of transgression that Artaud wanted and more about social solidarity. Do you agree? Also, in the specific case of the audience, do you see a fundamental difference between taʿziyeh and theater?

압바스 키아로스타미의〈클로즈업〉과 영화적 (재)구성의 시학

Abbas Kiarostami’s Close-up (1990), which was made into a film an event actually happened, shows a unique production aspect: rather than professional actors, the parties involved in the event directly re-enact the past event in their own words and actions, where the event actually took place. The court scenes in this case are also captured on camera. Therefore, in this film, the event, characters, backgrounds, lines, and actions are all authentic. However, a close look at the way these materials are dealt with reveals that they are the product of elaborate construction, especially in the first sequence, the arrest scene in the middle of the movie, and the last sequence. Therefore, Close-up provides a good opportunity to see, beyond the simple dichotomy of fiction and documentary, what the poetics of a film that respects reality can be. In Close-up, when presenting events that occur simultaneously with film production, such as a trial scene, Kiarostami adds devices to prevent the spectator from not forgetting that these are anyway mediated by the film, by showing the shooting equipments or the staff working on the shooting, or by manipulating the sound. On the other hand, when reconstituting past events, he places moments where nothing happens without being immersed in the development of the story, just staring at an empty spray can for a long time the very moment where a dramatic event takes place. In short, in Close-up, starting from the deepest part of reality, the effort to present real images and real voices as much as possible, is revealed without any omissions or rewrites, but at the same time, these efforts appear delicately combined with rigorous mental construction work, which always requires the active participation of the spectator.

Modern Time: Abbas Kiarostami's Immersions, from Sponsored Documentary to Slow Cinema

Modern Time: Abbas Kiarostami's Immersions, from Sponsored Documentary to Slow Cinema

A Game on Time: The Witness and the Temporality of the Digital Image

This essay addresses the temporality of digital images through a reading of the 2016 puzzle game The Witness. Fusing Paul Ricoeur’s definition of narratives as “games with time” and Alexander Galloway’s description of the computer as “remediating the very conditions of being itself,” I describe The Witness as a game on time. The methodical pace it ties its player to, along with the environmental awareness it elicits, creates, rather than simply representing, relations of time that bespeak the accelerated, non-human temporality—the “protentions” (Yuk Hui)—of digital objects and environments. Taking the game’s embedding of a ten-minute sequence from director Andrei Tarkovsky’s film Nostalghia (1983) within its gameplay as a cue, I develop these ideas in relationship to both the phenomenology of time and the cinema of the “time image,” in particular the work of Abbas Kiarostami. For game designer Jonathan Blow, as for Kiarostami, the digital image is a fundamentally new form of temporal experience that requires new kinds of environmental awareness and care (Sorge).

Investigation of Narrative Structures with Semiotic Approach: Night Exercise Screenplay

Semohcs is a scientific approach semiotics that examines the types of signs, the factors present in the process of production and exchange and their interpretation, which began with a lecture by the famous linguist Ferdinand de Saussure at the University of Geneva.Narrative is a technique that is manifested in different forms in literary texts in the form of narrative structures. Its nature or realm is in the world of text. Narrative, despite its ability, needs to be present in the heart of narration, so it borrows from signs. This article examines the narrative of Abbas Kiarostami’s Night Exercise Scenario and the narrative structure of the story and the differences in its narrative style and visual presentation. The use of signs in Kiarostami’s works is seen visually in the form of landscapes and visual structures, and even the use of music and names of characters. Accordingly, in this research, in a new way and with a different attitude, the difference in the visual method of the narration has been considered.

Childhood and nature in the Iranian post-war film Willow and Wind (Talebi 1999)

Mohammad-Ali Talebi’s forgotten masterpiece Beed-o Baad (Willow and Wind) () is an Iranian children film written by Abbas Kiarostami, that pays tribute to the children of the post-war generation. As in other children’s films of the period, the young hero has a mission, which he stubbornly pursues. Set in a village in Northern Iran, the story follows the boy’s efforts to repair a broken glass during very stormy weather. This article will examine the visual motives of Willow and Wind (a boy climbing a hill, single trees, wind, rain) paying particular attention to the interaction with nature. The tree and the wind alluded to in the title underline the struggle and determination of Iranian children. In line with the children’s films produced by the Center for the Intellectual Development of Children and Young Adults (CIDCYA, aka Kanoon), it applauds the willpower of a generation with enormous responsibilities, while placing his protagonist as a role model for audiences of all ages. However, by rejecting the happy ending, the film opposes the predominant narrative model of Iranian educational films of the 1980s and 1990s while criticizing adults’ treatment of boys in post-revolutionary Iran. In this moral tale, Talebi stresses the dignity and resourcefulness of rural Iran but condemns the solitude of children, and the distance between the worlds of adults and children setting a precedent for future Iranian children’s films.

Asian Children's Literature and Film in a Global Age ed. by Bernard Wilson and Sharmani Patricia Gabriel

Reviewed by: Asian Children's Literature and Film in a Global Age ed. by Bernard Wilson and Sharmani Patricia Gabriel Lucia Obi Translated by Nikola von Merveldt ASIAN CHILDREN'S LITERATURE AND FILM IN A GLOBAL AGE. Local, National, and Transnational Trajectories. Edited by Bernard Wilson and Sharmani Patricia Gabriel. Series: Asia-Pacific and Literature in English. Palgrave Macmillan / Springer Nature Singapore, 2020, 398 pages. ISBN: 978-981-15-2630-5 While postcolonial studies have long addressed the marginalization of non-Western literatures, the book market, which obeys the rules of global capitalism, still causes unequal circulation of children's literatures. There are more children's books on the Western market about Asia that perpetuate notions of "backwardness" and "exoti cism" than there are books from Asia itself that reflect the reality of contemporary Asian societies. Conversely, neocolonial practices, such as cultural appropriation and reinterpretation of "cultur ally authentic" non-Western sources, determine the flow of the commodity of "children's literature" from Asia. Research on Asian children's literature is also dominated by Western discourses and aesthetic concepts. It was high time for this book, whose authors present Asian children's literature and films as expressions of their specific cultures of origin, but also within the complex symbiosis of their local, national, transnational, global, and glocalized networks. The methodologically varied contributions cover diverse children's media from the Asian American diaspora, China, India, Indonesia, Iran, Japan, Malaysia, the Philippines, South Korea, Sri Lanka, and Taiwan. The concept of "children's literature" rooted in national contexts and transporting collective ideological interests can certainly be observed in Asia. Even though "Asia" is not conceived here as a static, homogeneous entity, but rather as a heterogeneous space with many centers and peripheries, complex local cultures, and constant historical change in the wake of globalization, regional thematic emphases can be identified in the discussion of children's literatures. The book is organized to reflect this. The first chapter deals with East Asian literature from Taiwan, China, South Korea, and Japan, which focuses on changes in family structures and a redefinition of gender roles. Andrea Mei-Ying Wu looks at transnational cultural dynamics and the local appropriation of the term "child heart" (tongxin), which was adapted from romantic Western notions of childhood into Chinese literary theory and was influential in the development of Taiwanese children's literature in the postwar period. Xiangshu Fang and Lijun Bi reflect on the redefinition of the family shaped by Confucianism or nationalist political movements evident in Chinese children's books from 1978 to 2014. Three South Korean films presented by Sung-Ae Lee manifest similar social pressures through family structures. They are considered a metaphor for society as a whole, showing the negative consequences of nonconformity, but also the possibilities for change it can bring. A social transformation—a redefinition of family, away from heteronormative, monocultural, and patriarchal structures and binary gender roles—becomes more evident in contemporary Japanese children's literature presented by Yasuko Doi. Bernard Wilson sees in the Japanese anime version of Andersen's "Mermaid" a challenge to social norms with their social construction of gender. [End Page 97] The literature selections from South and West Asia, India, Sri Lanka, and Iran grouped together in the second chapter are presented by region, yet they focus on the globally significant children's literature theme of inequality and marginalization of young people due to their age, gender, ethnicity, or sexual orientation. Sonia Ghalian traces concepts of childhood in Hindi films since the 1950s that reveal fundamental changes in Indian society. Suchismita Banerjee explores the question of representation of queer lifestyles in Indian heteronormative society through the new phenomenon of LGBTQIA+ literature for children and young adults. Neluka Silva addresses the demonization of alterity along ethnic and ideological lines in Sri Lankan society through two popular children's novels by author Prashani Rambukwella. Amir Ali Nojoumian and Amir Hadi Nojoumian analyze the aesthetic approach to the representation of childhood and child protagonists in films by Iranian director Abbas Kiarostami. The third section of the book, with contributions on Malaysia, Indonesia, and the Philippines, focuses on apparently completely different Southeast Asian literatures that draw on local oral traditions or...

ЖАНР РОУД-МУВИ В ЗАПАДНЫХ ФИЛЬМАХ И КИНЕМАТОГРАФЕ МУСУЛЬМАНСКОГО ВОСТОКА

The article analyzes specific features of the Road Movie genre in a historical perspective on the example of the Western countries film production and Iran national cinematography. To that end the authors focus on genre and semantic variety of classical movies, a «proto-road-movie» and the Road Movies of nowadays. A comparative approach to the study of the genre formula provides for revealing the nuances in the stylistic techniques of directors and defining the national features of the semantic core of the Road Movie genre in both the Western movies (created in Europe and the USA) and in the films of the East (Iranian New Wave). While maintaining a number of aesthetic features that are similar in Western and Eastern Road Movies, one can nevertheless observe a significant difference in the way of representing the concept of the Path (the Road) by directors from the West and from Muslim countries. The article gives a detailed analysis of the Road concept in the context of Islamic cinema. Studying the symbolic of the Path and the Travel in Muslim tradition the authors refer to the norms of Sharia, Sufism and to the mode of the life traditions of the Middle Ages and our days. Special attention is paid to the movies of a well-known Iranian director Abbas Kiarostami. Working before and after the Islamic Revolution (1978–1979) he was the one of the founders of the New Iranian cinema.

O poder das molduras: a temporalidade da fotografia e a retratística na obra de Eça de Queirós

O presente artigo analisa a inclusão de pinturas e de fotografias em três romances de Eça de Queirós, designadamente O primo Basílio, Os Maias e A tragédia da Rua das Flores, como instantâneos narrativos que imortalizam momentos-chave em textos literários. A partir do “enquadramento” cinemático de 24 Frames, o último filme de Abbas Kiarostami, a minha análise foca o modo como a imagem de retratos pintados ou fotografias assumem significado para além daquilo que retratam, e também o modo como as respetivas narrativas permitem uma reconstituição daquilo que antecedeu a criação da imagem enquadrada e daquilo que se lhe segue.

Cinema e pesquisa em educação: sobre a arte de colecionar e narrar

O artigo discute possibilidades de articulação entre narrativas fílmicas e construções metodológicas na pesquisa em educação. A partir de obras de Alfred Hitchcock, Abbas Kiarostami e Agnès Varda, tecemos considerações sobre atitudes éticas e estéticas do pesquisador, com foco no registro e análise de cenas cotidianas, relacionadas a práticas escolares. Com o apoio em Walter Benjamin, Michel Foucault, Jeanne Marie Gagnebin e Alain Badiou, defendemos a necessidade da complexidade do olhar do pesquisador, atento à sua tarefa de colecionar imagens e ditos, a serem tratados poética e filosoficamente por meio da escrita. Apostamos nos movimentos lacunares e de incompletude, como potencializadores das práticas investigativas em educação.

The Eroticism of Landscape in Contemporary Contemplative Cinema

ABSTRACT This article questions how contemplative contemporary cinema “sexualize” the landscapes. Through the filmography of four directors, Abbas Kiarostami, Apichatpong Weerasethakul, Lars von Trier and Bruno Dumont, the relationships between nature and human body are highlighted. Furthermore, based on the “eroticism” notion developed by Georges Bataille, our study tries to emphasize how these relationships turn out to be synonymous with bliss but at the same time with terror.

Uma praia, uma pausa ou Da descrição no cinema de Abbas Kiarostami

O artigo versa sobre quatro filmes de Abbas Kiarostami no que compete à relação entre descrição e narração cinematográfica. Com o aporte da semiologia de Christian Metz e a crítica pós-estruturalista de Gilles Deleuze, identificamos algumas dinâmicas de significação que correm entre os procedimentos descritivos e narrativos. Pelo lado da semiologia, há uma profunda relação entre a pesquisa do cinema e a pesquisa da narrativa, relegando à descrição um papel menor. Pelo lado da taxonomia deleuzeana, narração e descrição coexistem de acordo com o funcionamento de cada regime de imagem. Em nossos esboços analíticos, o cinema de Kiarostami produz variações no interior de ambos os feixes teóricos.

압바스 키아로스타미영화에서 허구와 실재의 경계 : 〈인정받은 복제품〉을 중심으로

압바스 키아로스타미(Abbas Kiarostami)영화의 독창성은 영화의 허구세계와 실재를 끊임없이 ‘상호이동’시키면서, 영화가 재현이 아니라 실재하는 것의 ‘운동’임을 밝힌 데 있다. 2010년 작 〈인정받은 복제품 Copie Conforme〉은 예술작품의 진품과 복제품과의 관계, 동일인물의 허구와 실재, 진짜와 가짜 등 전작들과 유사한 주제를 다룬다. 키아로스타미의 전작들은 영화제작현장과 영화의 허구세계를 상호이동하면서 현실의 움직이는 상황성과 현재성을 다루었다. 반면에, 〈인정받은 복제품〉은 허구세계 안에서 허구와 허구가 아닌 상황을 대비시키면서 지금 눈앞에 ‘현시되는 것’이 무엇인가를 사유하도록 한다. 두 주인공의 관계는 전반부에서는 작가와 독자로, 후반부에서는 부부관계로 설정되지만, 관계의 이중성은 작품내적 필연성이나 인과성에 근거하지 않고, 임의적, 가변적으로 설정된다. 키아로스타미는 이미지와 소리의 괴리, 언어와 실재의 괴리, 인물들의 이중적 관계의 괴리를 보여주면서 영화가 그려내는 허구적 세계에 대한 믿음에 균열을 발생시킨다. 연기하는 배우들의 세계에 대한 믿음과 허구인 픽션에 대한 관객의 믿음과의 괴리는 서사체계의 합리성과 논리성의 해체라고 할 수 있다. 그러나 이 해체는 재현에 기초한 서사체계의 해체를 의미하는 것이 아니다. 아리스토텔레스의 서사체계에 대한 재 고찰이다. 아리스토텔레스에 의해 정립된 서사는 실제로 일어난 사건이 아니라 일어날 수 있는 사건, 개연성(probability)이나 필연성(necessity)의 법칙에 따라 일어나리라 기대할 수 있는 사건을 다루는 것이다. 서사는 세계를 모방하거나 재현하는 것이 아니라 작가의 편에 서서 어떻게 ‘서사의 의미화작용을 창조’할 것인가를 의미한다. 키아로스타미는 아리스토텔레스 서사의 토대인 인과율을 부정하면서 작가의 입장에서 서사의 의미작용을 다시 만들어 내고 있다. 그는 인과율에 기초하지 않고 인물들의 상상에 의해 이뤄지는 미완성의 세계를 제시하면서 지속적으로 ‘틈’을 만들어 내고, 관객은 픽션의 허구에 대한 믿음보다는 의심을 가지고 그 틈을 채우도록 한다. 〈인정받은 복제품〉의 영화적 가치는 영화의 허구성에 관한 새로운 반성에 있다.

감독 Abbas Kiarostami 작품 속에 아동 의식에 대한 연구

이 연구는 Abbas Kiarostami를 대표로 이란 감독은 아동 의식의 영화를 위해 그의 영화 속에 인성의 진선미를 붙잡아 온 작품에 나타나는 영화 스타일은 순박하며 주로 일상생활 속에서 차츰 찾아보고 생명 의 철리를 체득한다. 소인물이 가장 순박한 행동과 인성 속에 있는 원시적인 선량을 통해 소란스러운 세 계 속에 조용함과 편안함을 느끼게 된다. 이런 아동 영화를 통해서 감독 Abbas Kiarostami가 우리에게 인 성의 진성미를 전달하려고 한다. 이란 영화의 대표주자인 Abbas Kiarostami는 당대 이란의 새 영화의 기 수로 꼽힌다. 그는 1987년 영화 어디가 내 친구의 집을 만들어 특유의 미학적 관념과 주제적 시각으로 국제 영화계의 주목을 끌면서 이란 영화를 국제적인 시야에 넣었다. 이 글은 Abbas Kiarostami 영화 속에 아동의식 분석과 영화가 보여주는 연출 스타일과 미학의 추구를 통해 중국 영화에 대한 귀감의 의미를 탐구한다.