how iranian film developed through glocalization method.

1. GLOCALIZATION
IRANIAN FILM

2. HISTORY OF
IRANIAN FILM
How and when is Iranian Film is glocalized?

3. Early
Iranian
Cinema
FirstWave
Second
andThird
Wave

4. Mozaffar ad-Din Shah Qajar & Akkas Bashi
 1990: Mozaffar ad-Din Shah Qajar was lead into the cinematograph when he traveling to France with his chief photographer, Mirza
Ibrahim Khan Akkas Bashi.
 He was inspired and then ordered Akkas Bashi to buy purchase all equipment crucial for recording and put on view the motion
picture in his court.
 Akkas Bashi took his first images toward the flower-adorned carriages at Festival of Flowers in Belgium, even though its aim was
documenting the Shah’s visit to Europe. (those images become first footage as platform taken in the history of Iranian film)
Evolution of early Iranian film
 1903: Mirza Ibrahim Sahfbashi opened the first theaters.
 1930: A Russian-Armenian immigrant Ovanes Ohanian, who had studied at The School of Cinematic Art in Moscow opened first film
school. (started his first film school after arriving at Calcutta, India in 1924 but faced many difficulties so he moves to iran to start
film school in Tehran and created the first full-length Iranian silent film called Haji Agha and his second movie Abi va Rabi.)
 1927: Abdul-Hussein Sepanta, who travelling to India in 1927 also was inspired to make Persian language films, of which he ended
up making four.
 1925 to 1979: Pahlavi regime dominated over all aspects of culture, economy and give a harsh censorship of films from 1925 to
1979, the cinema had difficulty developing in a way that display its own culture.
Early Iranian Cinema

5. Glocalization of Iranian film
 Film Farsi (Iranian film that consist of Persian language film) got criticized by globally at first even though they start
to evolve because of:
 Has been put a label as “low-quality movies for audiences who were becoming addicted to such fare, losing any
taste or demand for anything different.”
 Film Farsi were criticized as copying the popular cinemas of Hollywood and India, and its common use of song and
dance routines.
 Pioneer of Iranian New Wave Cinema
 A short documentary film titled The House Is Black in 1963 made by Forough Farrokhzad.
 That film is a truly unique film since its determined to portray a life in a leper colony, put together with artistically
composed shots and her own poetry.
 Other films which is Farrokh Ghaffari’s The Night of the Hunchback (1964), Abrahim Golestan’s Mud-Brick and
Mirror (1965), and Ferydoon Rahnema’s Siavush in Persepolis are all considered to be pioneers in Iranian film as
well.

6. First Wave
 Started in 1969 and ended when beginning of Iranian revolution in 1979.
 The cinema did not portray the norms of life for Iranians or the artistic taste of the society
 Instead the films produced were original, artistic and political
 Example of film:
o Masoud Kimiai's Qeysar
o Darius Mehrjui’s The Cow (1969)
o Nasser Taghvai’s Peace in the Presence of Others (1969/1972)
o Bahram Beyzai's Downpour
o Sohrab Shahid Saless’s “A Simple Event” (1973)
o “Still Life” (1974)

7. The pioneers of the Iranian New Wave
Made novelty art films with highly political and philosophical tones and poetic language.
The New Wave in Iranian films happens because of these factors;
 due to the intellectual and political movements of the time.
 A romantic climate was developing after the 19 August 1953 coup in the sphere of arts.
 A socially committed literature took shape in the 1950s and reached a peak in the 1960s, which many consider
the golden era of contemporary Persian literature.
Dariush
Mehrjui
Masoud Kimiai Nasser Taqvai Ebrahim
Golestan
Sohrab
Shaheed
Salles
Bahram Beyzai Parviz Kimiavi

8. Shared a few elements in European art films (especially in Italian Neorealism).
However, Rose Issa (2004) stated in her article 'Real Fictions' that:
 Iranian films have a remarkable distinctively Iranian cinematic language "that champions the poetry in everyday life
and the ordinary person by blurring the boundaries between fiction and reality, feature film with documentary."
 European cinema directors inspired to take as an example with Iranian unique approach style, citing Michael
Winterbottom's award-winning In This World (2002) as an honor to contemporary Iranian cinema.
 "This new, humanistic aesthetic language, determined by the film-makers’ individual and national identity, rather
than the forces of globalism, has a strong creative dialogue not only on homeground but with audiences around
the world."
 Rich in poetry and painterly images.
How Iranian films glocalized their film

9. Children of Heaven
(1997)
■ Synopsis
■ After a boy loses his sister's pair of shoes,
he goes on a series of adventures in order
to find them. When he can't, he tries a
new way to "win" a new pair.
MAJID MAJIDI
1959
Iranian family drama film

10. Lucas - International Festival
of Films for Children and
Young People
Newport International Film
Festival, Rhode Island 1998
Oulu International Children's
Film Festival 1997
Singapore International Film
Festival 1998
first Iranian film to earn an
Academy Award
nomination
Awards

11. Why it’s special?
neo-realism
Iranian sense of
realism
emphasizing the
symbolism
How it touch
people heart?
theme of
innocence and
humanity
• Strong bonding with
family
• Positive attitude
towards hard life
• Moral responsibility

12. ■ universal humanity
■ family issues are the same; financial
problems, desire for a better life, and
concern for each other
It suitable to people all over the world

13. Homerun is an
official remake of
the Iranian film,
"Children of
Heaven"
It is a
Singapore
film directed
by Jack Neo
Homerun (2013)
• What things touch people in world
• Children of Heaven is a contemporary Iranian film
about families, compassion, moral responsibilities
and issues of limited resources. This film, shot in
and around Tehran, follows the lives of two siblings
who are forced to share one pair of shoes after an
unfortunate accident. Not wanting to burden their
struggling parents, the children must work together
and find a solution to deal with this significant loss.
The film shows the inner strength we have when
faced with adversity.

14. THE
SALESMAN

15. • a 2016 drama film directed and written by Asghar Farhadi
• Competition in the 2016 Cannes Film Festival :
• won two awards—Best Screenplay for Farhadi and Best
Actor for Hosseini.
• won the Academy Award for Best Foreign Language Film.

16. Directed by Babak Anvari
Produced by  Emily Leo
 Oliver Roskill
 Lucan Toh
Written by Babak Anvari
Starring  Narges Rashidi
 Avin Manshadi
 Bobby Naderi
 Ray Haratian
 Arash Marandi
Music by Gavin Cullen
Cinematography Kit Fraser
Edited by Christopher Barwell
Production Company Wigwam Films
Release date  23 January 2016 (Sundance)
 30 September 2016(United
Kingdom)
 7 October 2016(United States)
Running time 84 minutes
Country  United Kingdom
 Jordan
 Qatar
Language Persian

17. Award and Nominated
Won
BAFTA Film
Award
Outstanding Debut by a British
Writer, Director or Producer
Babak Anvari
Emily Leo
LucanToh
Oliver Roskill
Nominated
BAFTA Film
Award
Outstanding British Film of the
Year
Babak Anvari
Emily Leo
LucanToh
Oliver Roskill
Nominated
Saturn Award
Best International Film
Best Actress
Narges Rashidi
Won
Best
Screenplay
Competition Feature Film
Awards
Babak Anvari
Won
Golden
Athena
Best Screenplay
Babak Anvari
Nominated
Golden
Athena
Best Picture
Babak Anvari

18. Won
BloodGuts UK Horror Award
Best Actress in an
International Film
Narges Rashidi (actor)
Nominated
BloodGuts UK Horror Award
Best International Film
Babak Anvari (director)
Won
British
Independent Film
Award
Best Supporting Actress
Avin Manshadi
Best Screenplay
Babak Anvari
Won
Douglas Hickox
Award
Babak Anvari
Nominated
British
Independent Film
Award
Best British Independent Film
Best Director
Babak Anvari
Best Actress
Narges Rashidi
Won
Bucheon
Choice Award
Jury's Choice for Feature Film
Babak Anvari
Won
Official Jury Prize
Best Film
Babak Anvari (director)
Best Actress
Narges Rashidi (actor)
Won
Jury Award
Best Actress - International Film
Narges Rashidi

19. GROUP MEMBER:
• NURUL NADHIRAH BINTI MOHAMMAD ZAIDI (D20151070285)
• QUEENIE WONGWENWEN (D20151070273)
• TAN CZEYONG (D20151070291)
• SHARIFAH BINTI ABDWAHID (D20151070272)
• TEO HONGYE (D20151070261)