The emergence of a vibrant and creative film industry in Iran in the wake of the Islamic Revolution of 1979 is one of the most singular developments in the international film scenario in recent years. Carving out a niche for themselves, movies from Iran have widely been watched and discussed. Neorealism, a cinematic movement which brought about sweeping changes in world movie history is observed to have had a strong influence on the post-revolutionary Iranian cinema. This study attempts to outline the inter linking features of Italian and Iranian neorealisms by understanding the peculiar aspects of the movements and by analyzing Abbas Kiarostami’s ‘Where Is My Friend’s House’ for the neorealist elements.
Table of Contents
NEOREALIST REVIVAL IN IRANIAN CINEMA
CHAPTER-I
UNDERSTANDING THE IRANIAN CINEMA
CHAPTER-2
ITALIAN AND IRANIAN NEOREALISMS: READING THE PARALLELS
CHAPTER-3
TRACING OUT NEOREALISM IN ABBAS KIAROSTAMI’S WHERE IS MY FRIEND’S HOUSE
Mis-en-scene Analysis
Research Objectives and Themes
This dissertation examines the revival of neorealist aesthetics within post-revolutionary Iranian cinema, specifically investigating how Iranian filmmakers have adapted the techniques and philosophical underpinnings of classical Italian Neorealism to navigate local censorship and cultural constraints while addressing socio-political realities.
- The historical evolution and current status of Iranian cinema.
- Comparative analysis of Italian and Iranian neorealist movements.
- Technical and thematic study of Abbas Kiarostami’s filmmaking style.
- The impact of state censorship on the development of unique cinematic genres.
- The portrayal of ordinary life and the agency of children in Iranian films.
Excerpt from the Book
1. Setting and Props:
Settings form an important element of filmmaking as they are not merely backdrops to action but themselves charged with significance. Quoting Andrew Dix from Beginning Film Studies: “Cinematic settings vary in scale from the interplanetary distances of sci-fi to the coffin that The Bride briefly occupies in Quentin Tarantino’s Kill Bill: Vol.2 (2004). In opulence they stretch from Roman palaces of epics to the hellish lavatory that Renton visits in Trainspotting (1996).” (13) Apart from serving to specify the geographical coordinates, socio economic station and occupation of film protagonists, settings may also work to symbolize their psychological conditions.
For Where Is My Friend’s House? Kiarostami uses the same principal method of filming on location across Iran. His decision to use a digital camera allows Kiarostami to film whatever and whenever he wants. The film’s location is mostly set in the shabby classroom of the under developed school, a poverty stricken household, barren hilly terrains and the ghettoes where houses are separated by mud walls. This setting clearly proclaims the poverty and penury of the Iranian people. Without any shots from studios, the film could bring forth lucid reflections on the life of the common man which is essentially a neorealist element.
Summary of Chapters
NEOREALIST REVIVAL IN IRANIAN CINEMA: This introduction outlines the emergence of Iranian cinema as a distinct global genre and establishes the research focus on its neorealist influences.
CHAPTER-I: This chapter covers the history of Iranian cinema, detailing its evolution through political shifts and the impact of the 1979 revolution on film production.
CHAPTER-2: This chapter provides a comparative study between Italian and Iranian neorealisms, highlighting common themes like the focus on the working class and the use of non-professional actors.
CHAPTER-3: This chapter analyzes Abbas Kiarostami’s film Where Is My Friend’s House? to illustrate the application of neorealist techniques in a specific Iranian context.
Keywords
Neorealism, Iranian Cinema, Abbas Kiarostami, Italian Neorealism, Post-revolutionary, Mis-en-scene, Censorship, Filmmaking, Non-professional actors, Socio-cultural, Avant-garde, Cultural identity, Cinematic strategy, Narrative agency, Realism.
Frequently Asked Questions
What is the primary focus of this research paper?
The paper explores the aesthetic and thematic links between classical Italian Neorealism and the post-revolutionary Iranian cinema, specifically looking at how the latter adapted these traditions.
What are the key thematic areas covered?
The work discusses historical cinema evolution, the impact of political and religious censorship, the use of child protagonists, and the development of a unique Iranian filmic style.
What is the central research question?
The research investigates how Iranian filmmakers successfully adopted neorealist principles to create a distinct national cinema style within the constraints of strict state regulations.
Which methodology is employed in this study?
The study utilizes film analysis, specifically focusing on mis-en-scene (setting, acting, costumes, lighting, and sound) to trace neorealist elements in Kiarostami’s work.
What is discussed in the main body of the work?
The main body covers the history of Iranian film, the parallels between the Italian and Iranian movements, and a detailed breakdown of technical aspects in Kiarostami’s Where Is My Friend’s House?
Which keywords best characterize this work?
Key terms include Neorealism, Iranian Cinema, Abbas Kiarostami, Censorship, Mis-en-scene, and Post-revolutionary.
How did Iranian filmmakers adapt to censorship rules after 1979?
Filmmakers utilized creative techniques, such as focusing on children as protagonists, to bypass restrictions on adult interactions and violence while still conveying complex social commentary.
What makes Kiarostami's approach to filmmaking unique according to the text?
Kiarostami blends a poetic style with documentary techniques, using digital cameras to capture reality and diegetic sound to create a "cinematic grammar" that remains compliant with censorship while exploring social issues.
- Citation du texte
- Mohammed Ismail (Auteur), 2015, Neorealist Revival in Iranian Cinema. Neorealist elements in Abbas Kiarostami’s "Where Is My Friend’s House?", Munich, GRIN Verlag, https://www.grin.com/document/412410
