Abbos Kiarostami - Abbas Kiarostami

"Kiarostami" bu erga yo'naltiradi. Familiya uchun qarang Kiarostami (familiya).

Abbos Kiarostami
عbاs کyاrsttimی
Kiarostami Boroujerdi (3)(Cropped).jpg
Kiarostami 2013 yilda
Tug'ilgan(1940-06-22)1940 yil 22-iyun
Tehron, Eron imperatorlik davlati
O'ldi2016 yil 4-iyul(2016-07-04) (76 yosh)
Parij, Frantsiya
Dafn etilgan joyTok Mazraeh qabristoni, Lavasan, Shemiranat, Eron
Olma materTehron universiteti
Kasb
  • Kinorejissyor
  • fotograf
  • ishlab chiqaruvchi
  • rassom
  • shoir
Faol yillar1962–2016
Taniqli ish
Uslub
Turmush o'rtoqlar
Parvin Amir-Gholi
​
​
(m. 1969; div 1982)​
[1]
Bolalar
Imzo
Abbas Kiarostami signature.svg

Abbos Kiarostami (Fors tili: عbاs کyاrsttimی‎ [ʔæbˌbɒːs kijɒːɾostæˈmi] (Ushbu ovoz haqidatinglang); 1940 yil 22 iyun - 2016 yil 4 iyul) Eron kinorejissyori, ssenariy muallifi, shoir, fotograf va film prodyuseri.[2][3][4] 1970 yildan beri faol kinorejissyor Kiarostami qirqdan ortiq filmlar, shu jumladan, filmlar ishlab chiqarishda qatnashgan shortilar va hujjatli filmlar. Kiarostami rejissyorligi uchun tanqidlarga sazovor bo'ldi Koker trilogiya (1987–1994), Rasmni yaqinlashtirib olish (1990), Shamol bizni olib ketadi (1999) va Gilosning ta'mi Bilan taqdirlangan (1997) Palma d'Or da O'sha yili Kann kinofestivali. Keyingi ishlarda, Sertifikatlangan nusxasi (2010) va Sevgan odam singari (2012), u birinchi marta Erondan tashqarida: Italiya va Yaponiyada navbati bilan suratga oldi. Uning filmlari Do'stning uyi qayerda?, Rasmni yaqinlashtirib olishva Shamol bizni olib ketadi 2018 yildagi tanqidchilarning so'rovnomasida 100 ta eng yaxshi xorijiy filmlar qatoridan joy oldi BBC Madaniyat.[5] Rasmni yaqinlashtirib olish mashhur o'n yillikdagi barcha zamonlarning 50 ta eng zo'r filmlaridan biri bo'lgan Sight & Sound 2012 yilda o'tkazilgan so'rovnoma.[6][7]

Kiarostami a sifatida juda ko'p ishlagan ssenariy muallifi, film muharriri, badiiy rahbar va ishlab chiqaruvchi va kredit nomlari va reklama materiallarini ishlab chiqqan. U shuningdek, shoir, fotograf, rassom, rassom va grafik dizayner. U kinoijodkorlar avlodining bir qismi edi Eronning yangi to'lqinlari, a Fors kinosi 1960-yillarning oxirlarida boshlangan va siyosiy va falsafiy masalalar bilan bog'liq she'riy dialog va allegorik hikoyalardan foydalanishni ta'kidlagan harakat.[8]

Kiarostami bolalarning qahramonlaridan, hujjatli uslubdagi rivoyat filmlaridan foydalanganligi uchun obro'ga ega edi,[9] qishloq qishloqlarida sodir bo'ladigan voqealar va statsionar o'rnatilgan kameralar yordamida mashinalar ichida ochiladigan suhbatlar uchun. U shuningdek, uning ishlatilishi bilan mashhur Fors she'riyati uning filmlarining dialogida, sarlavhalarida va mavzularida. Kiarostami filmlarida sezilarli darajada noaniqlik, soddalik va murakkablikning g'ayrioddiy aralashmasi va ko'pincha xayoliy va hujjatli elementlarning aralashmasi mavjud. O'zgarish va davomiylik tushunchalari, hayot va o'lim mavzularidan tashqari, Kiarostami asarlarida katta rol o'ynaydi.

Dastlabki hayoti va kelib chiqishi

Kiarostami rassomlik va grafika dizayni bilan shug'ullangan Tehron universiteti Tasviriy san'at kolleji.

Kiarostami yilda tug'ilgan Tehron. Uning birinchi badiiy tajribasi rassomlik edi, u o'spirinligidayoq davom etdi va 18 yoshida rasmlar tanlovida g'olib bo'lib, u uyda o'qish uchun jo'nab ketdi. Tehron universiteti Tasviriy san'at maktabi.[10] U rassomlik va grafik dizayn bilan shug'ullangan va yo'l harakati politsiyasi sifatida ishlashni qo'llab-quvvatlagan.[11]

Rassom, dizayner va illyustrator sifatida Kiarostami 1960-yillarda reklama bilan shug'ullangan va dizayn ishlarini olib borgan plakatlar va reklama roliklarini yaratish. 1962-1966 yillarda u Eron televideniesining 150 ga yaqin reklamasini suratga oldi. 1960-yillarning oxirida u filmlar uchun kredit nomlarini yaratishni boshladi (shu jumladan Geysar tomonidan Mas'ud Kimiai ) va bolalar kitoblarini illyustratsiya qilish.[10][12]

Kino karerasi

Shuningdek qarang: Abbos Kiarostami filmografiyasi

1970-yillar

1970 yilda Eronning yangi to'lqinlari bilan boshlandi Dariush Mehrjui film Gav, Kiarostami Tehronda Bolalar va yosh kattalar intellektual rivojlanish institutida (Kanun) filmlar yaratish bo'limini tashkil etishga yordam berdi. Uning debyuti va Kiarostamining birinchi filmi o'n ikki daqiqa edi Non va xiyobon (1970), a neo-realistik maktab o'quvchisining tajovuzkor it bilan to'qnashuvi haqida qisqa film. Tanafus vaqti Bo'lim nafaqat Eronning eng mashhur kinostudiyalaridan biriga aylandi, u nafaqat Kiarostami filmlarini, balki mashhur fors filmlarini ham suratga oldi. Yuguruvchi va Bashu, kichik musofir.[10]

1970-yillarda Kiarostami an individualistik film yaratish uslubi.[13] Birinchi filmini muhokama qilganda u shunday dedi:

Non va xiyobon bu mening kinoda birinchi tajribam edi va juda qiyinini aytishim kerak. Men juda yosh bola, it va professional bo'lmagan ekipaj bilan ishlashga majbur bo'ldim, faqat kinematografni ishg'ol qilar, doim shikoyat qilardi. Kino operatori, qaysidir ma'noda to'g'ri aytdi, chunki men unga odatlanib qolgan film yaratish konventsiyalariga rioya qilmadim.[14]

Keyingi Tajriba (1973), Kiarostami chiqdi Sayohatchi (Mossafer) 1974 yilda. Sayohatchi kichik Eron shahridan kelgan notinch va notinch bola Qassem Julayiy haqida hikoya qiladi. Uzoq Tehronda bo'lib o'tadigan futbol o'yiniga borishni niyat qilib, u do'stlari va qo'shnilarini pul yig'ish uchun aldab, o'yinga o'z vaqtida stadionga etib bordi, faqat taqdirning g'alati burmasi bilan uchrashdi. Bolaning o'z maqsadiga erishishga bo'lgan qat'iyatini hal qilishda, uning axloqsiz harakatlarining ta'siriga befarqligi bilan bir qatorda, film odamlarning xatti-harakatlari va yaxshi bilan yomonning muvozanatini o'rganib chiqdi. Bu Kiarostamining obro'sini yanada oshirdi realizm, Diegetik soddaligi va uslubiy murakkabligi, shuningdek, jismoniy va ma'naviy sayohatlarga bo'lgan qiziqishi.[15]

1975 yilda Kiarostami ikkita qisqa metrajli filmni suratga oldi Men ham qila olaman va Bitta muammo uchun ikkita echim. 1976 yil boshida u ozod bo'ldi Ranglar, keyin ellik to'rt daqiqalik film To'y kostyumi, to'y uchun kostyum tufayli to'qnashgan uch o'spirin haqidagi voqea.[16][17]

1977 yilda Kiarostami

Kiarostamining birinchi badiiy filmi 112 daqiqalik film edi Hisobot (1977). Bu a hayoti atrofida aylandi soliq yig'uvchi pora olishda ayblangan; o'z joniga qasd qilish uning mavzularidan biri edi. 1979 yilda u prodyuserlik qildi va rejissyorlik qildi Birinchi ish, ikkinchi ish.[iqtibos kerak ]

1980-yillar

1980-yillarning boshlarida Kiarostami bir nechta qisqa metrajli filmlar, shu jumladan Tish og'rig'i (1980), Tartibli yoki tartibsiz (1981) va Xor (1982). 1983 yilda u boshqargan Yurtdoshim. Bu uning ozod qilinishigacha emas edi Do'stning uyi qayerda? u Erondan tashqarida tan olinishni boshladi.[iqtibos kerak ]Ushbu filmlar uning keyingi suratlariga asos yaratdi.

Filmda vijdonli sakkiz yoshli o'quvchining do'stini maktabdan haydab yubormaslik uchun qo'shni qishloqdagi do'stining daftarini qaytarib berishga intilishi haqida oddiy hikoya qilinadi. Eron qishloq aholisining an'anaviy e'tiqodlari tasvirlangan. Film Eron qishloq manzarasidan she'riy tarzda foydalanganligi va Kiarostami ijodining har ikkala muhim elementi bo'lgan realligi bilan ajralib turdi. Kiarostami filmni bola nuqtai nazaridan yaratdi.[18][19]

Do'stning uyi qayerda?, Va hayot davom etmoqda (1992) (shuningdek ma'lum Hayot va boshqa hech narsa yo'q) va Zaytun daraxtlari orqali (1994) tanqidchilar tomonidan Koker trilogiyasi, chunki uchta filmda ham qishloq Koker shimoliy Eronda. Shuningdek, filmlar 1990 yil Manjil-Rudbar zilzilasi, unda 40 ming kishi vafot etdi. Kiarostami filmlarni bog'lash uchun hayot, o'lim, o'zgarish va davomiylik mavzularidan foydalanadi. Trilogiya 1990-yillarda Frantsiyada va boshqa G'arbiy Evropa mamlakatlarida muvaffaqiyatli bo'lgan Gollandiya, Shvetsiya, Germaniya va Finlyandiya.[20] Ammo Kiarostami uchta filmni trilogiya deb hisoblamagan. So'nggi ikkita unvon plyus deb taklif qildi Gilosning ta'mi (1997) hayotning qadrli bo'lishining umumiy mavzusini hisobga olgan holda trilogiyani o'z ichiga oladi.[21] 1987 yilda Kiarostami ssenariy muallifi bo'lgan Kalit, u tahrir qilgan, lekin boshqarmagan. 1989 yilda u ozod bo'ldi Uy ishi.[iqtibos kerak ]

1990-yillar

Kiarostami filmni boshqaradi

Kiarostamining o'n yillikdagi birinchi filmi bo'ldi Rasmni yaqinlashtirib olish (1990), unda kinorejissyorga taqlid qilgan odamning hayotiy sud jarayoni haqida hikoya qilinadi Mohsen Maxmalbaf, oilasini yangi filmida rol o'ynashiga ishontirish. Oila o'g'irlikni ushbu charade uchun sabab sifatida gumon qilmoqda, ammo o'zini taqlid qiluvchi Xusseyn Sabzian uning motivlari ancha murakkab bo'lganini ta'kidlamoqda. Qisman hujjatli va qismli sahnalashtirilgan film Sabzianning Maxmalbafning shaxsini tortib olish uchun axloqiy asoslarini tekshiradi, uning madaniy va badiiy qobiliyatini sezish qobiliyatiga shubha tug'diradi.[22][23] 42-o'rinda Britaniya kino instituti "s Barcha zamonlarning eng zo'r 50 ta filmi, Rasmni yaqinlashtirib olish kabi rejissyorlardan maqtovga sazovor bo'ldi Kventin Tarantino, Martin Skorseze, Verner Gertsog, Jan-Lyuk Godar va Nanni Moretti[24] va Evropa bo'ylab ozod qilindi.[25]

1992 yilda Kiarostami rejissyorlik qildi Hayot va boshqa hech narsa ..., tanqidchilar tomonidan filmning ikkinchi filmi sifatida qaraldi Koker trilogiyasi. Filmda ota va uning kichik o'g'li Tehrondan Kokerga 1990 yilgi zilzilada halok bo'lishidan qo'rqqan ikki yosh o'g'il bolani qidirib ketayotgani tasvirlangan. Ota va o'g'il vayron qilingan landshaft bo'ylab sayohat qilayotganda, zilziladan omon qolganlar bilan halokat sharoitida hayotlarini davom ettirishga majbur bo'lmoqdalar.[26][27][28]O'sha yili Kiarostami a Prix ​​Roberto Rossellini, filmni boshqarganligi uchun kariyerasidagi birinchi professional film mukofoti. So'nggi film Koker trilogiyasi edi Zaytun daraxtlari orqali (1994) dan boshlab periferik sahnani kengaytiradi Hayot va boshqa hech narsa yo'q markaziy dramaga.[29]Kabi tanqidchilar Adrian Martin filmlar yaratish uslubini Koker trilogiyasi landshaftdagi zig-zagging naqshlari va hayot va dunyo kuchlari geometriyasini bog'laydigan "diagramma" sifatida.[30][31] Zigzag yo'lining chaqmoqlari Hayot va boshqa hech narsa ... (1992) o'z navbatida tomoshabin oldingi filmni xotirasini yaratadi, Do'stning uyi qayerda? zilziladan oldin otilgan 1987 yildan. Bu ramziy ma'noda zilziladan keyingi qayta tiklash bilan bog'liq Zaytun daraxtlari orqali 1994 yilda. 1995 yilda, Miramax filmlari ozod qilindi Zaytun daraxtlari orqali AQSh teatrlarida.[iqtibos kerak ]

Keyin Kiarostami ssenariylarini yozdi Sayohat va Oq shar (1995), uning sobiq yordamchisi uchun Jafar Panaxi.[10] 1995-1996 yillarda u ishlab chiqarish bilan shug'ullangan Lumyer va Kompaniya, boshqa 40 ta rejissyor bilan hamkorlik.[iqtibos kerak ]

Kiarostami g'olib bo'ldi Palma d'Or (Oltin palma) mukofoti Kann kinofestivali uchun Gilosning ta'mi.[32] Bu o'z joniga qasd qilishga bel bog'lagan janob Badiiyning dramasi. Filmda axloq, o'z joniga qasd qilish harakatining qonuniyligi va rahm-shafqat ma'nosi kabi mavzular qatnashgan.[33]

Kiarostami boshqargan Shamol bizni olib ketadi 1999 yilda Juri mukofotiga sazovor bo'lgan (Silver Lion) Venetsiya xalqaro kinofestivali. Filmda qishloq va shahar qarashlari qarama-qarshi bo'lgan mehnat qadr-qimmati, begona odamning masofadan turib yashash joyi orqali gender tengligi va taraqqiyotning afzalliklari mavzulariga murojaat qilish. Kurdcha qishloq.[20] Filmning g'ayrioddiy xususiyati shundaki, ko'pgina belgilar eshitiladi, ammo ko'rilmaydi; filmda kamida o'n uchdan o'n to'rttagacha gapiradigan belgilar hech qachon ko'rinmaydi.[34]

2000-yillar

2000 yilda, da San-Frantsisko kinofestivali taqdirlash marosimi, Kiarostami taqdirlandi Akira Kurosava Rejissyorlikdagi umrbod yutuqlari uchun mukofot, ammo uni faxriy eronlik aktyorga berish bilan barchani hayratga soldi Behruz Vossoughi Eron kinematografiyasiga qo'shgan hissasi uchun.[35][36]

2001 yilda Kiarostami va uning yordamchisi Seyfolloh Samadian sayohat qildilar Kampala, Uganda Birlashgan Millatlar Tashkilotining iltimosiga binoan Xalqaro qishloq xo'jaligini rivojlantirish jamg'armasi, Uganda etimlariga yordam beradigan dasturlar to'g'risida hujjatli film suratga olish. U o'n kun turdi va qildi ABC Afrika. Sayohat dastlab filmni suratga olishga tayyorgarlik sifatida olib borilishi kerak edi, ammo Kiarostami u erda olingan video lavhalardan butun filmni tahrir qildi.[37] Ugandada etimlarning ko'pligi ota-onalarning o'limidan kelib chiqqan OITS epidemiyasi.[iqtibos kerak ]

Taym-aut; turib qolish; tanaffus muharriri va Milliy kino teatri bosh dasturchi Geoff Endryu filmga murojaat qilib shunday dedi: "Uning avvalgi to'rtta xususiyati singari, bu filmda ham o'lim haqida emas, o'lim bilan o'lim haqida gap boradi: ular qanday bog'langanligi va ularning simbiyotiklariga nisbatan qanday munosabatda bo'lishimiz mumkin muqarrarlik. "[38]

Keyingi yili Kiarostami rejissyorlik qildi O'n, film yaratishning g'ayrioddiy usulini ochib berish va ko'plab ssenariylar konventsiyalaridan voz kechish.[34] Kiarostami Eronning ijtimoiy-siyosiy manzarasiga e'tibor qaratdi. Tasvirlar bir ayolning ko'zlari bilan ko'rinadi, u bir necha kun davomida Tehron ko'chalarida haydab yurgan. Uning safari turli xil yo'lovchilar bilan o'nta suhbatdan iborat bo'lib, ular singlisi, avtostopli fohisha va jilvalangan kelin va talabchan yosh o'g'lini o'z ichiga oladi. Ushbu film suratga olish uslubi bir qator tanqidchilar tomonidan yuqori baholandi.[iqtibos kerak ]

A. O. Skott yilda The New York Times Kiarostami, "so'nggi o'n yillikda, ehtimol xalqaro miqyosda hayratga tushgan eronlik kinorejissyor bo'lishdan tashqari, shuningdek, dunyo avtomobilsozlik kino ustalari qatoriga kiradi ... U avtomobilni aks ettirish, kuzatish va, avvalambor, gaplashadigan joy deb tushunadi . "[39]

2003 yilda Kiarostami rejissyorlik qildi Besh, hech qanday dialog yoki xarakteristikaga ega bo'lmagan she'riy xususiyat. Bu tabiatning beshta uzoq tortishishidan iborat bo'lib, ular qo'lda ushlab turilgan, bir martalik ketma-ketlikdir DV qirg'oqlari bo'ylab kamera Kaspiy dengizi. Garchi filmda aniq bir voqea chizig'i etishmasa ham, Geoff Endryu film "shunchaki chiroyli rasmlardan ko'proq" ekanligini ta'kidlaydi. U qo'shimcha qiladi: "Tartibga solishgan holda, ular ajralish va yolg'izlikdan jamoatga, harakatdan dam olishga, sukutga yaqin ovoz va qo'shiqqa, yorug'lik zulmatga va yana nurga qaytadigan harakatlanuvchi mavhum yoki hissiy rivoyat yoyini o'z ichiga oladi. , qayta tug'ilish va yangilanish notasi bilan tugaydi. "U tasvirning aniq soddaligi orqasida yashiringan badiiylik darajasini qayd etdi.[40]

Kiarostami ishlab chiqargan 10 da o'n (2004), u o'tgan filmlari joylarida harakatlanayotganda kino yaratish bo'yicha o'nta darsni baham ko'radigan jurnal hujjatli filmi. Film raqamli videokamerada avtomobil ichiga o'rnatilgan statsionar kamera bilan suratga olingan bo'lib, uni eslatib turadi Gilosning ta'mi va O'n. 2005 va 2006 yillarda u boshqargan Kiarostami yo'llari, 32 daqiqalik hujjatli film, manzara qudratini aks ettiruvchi, oq-qora fotosuratlarni she'riy kuzatuvlar bilan birlashtirgan,[41] siyosiy mavzu bilan musiqani jalb qilish. Shuningdek, 2005 yilda Kiarostami markaziy bo'limga o'z hissasini qo'shdi Chiptalar, a portmanteau filmi Italiya bo'ylab sayohat qilgan poezdga o'rnatilgan. Boshqa segmentlar tomonidan boshqarilgan Ken Loach va Ermanno Olmi.[iqtibos kerak ]

2008 yilda Kiarostami ushbu xususiyatni boshqargan Shirin, unda ko'plab taniqli eronlik aktrisalar va frantsuz aktrisalarining yaqin rasmlari mavjud Juliette Binoche qisman mifologik asosda suratga olingan filmni tomosha qilayotganda Fors tili ning romantik ertagi Xosrov va Shirin, ayollarning fidoyiligi mavzulari bilan.[42][43] Film "tasvir, ovoz va ayol tomoshabinlari o'rtasidagi munosabatlarni majburiy o'rganish" deb ta'riflangan.[41]

O'sha yozda u boshqargan Volfgang Amadeus Motsart opera Così fan tutte tomonidan olib borilgan Kristof Russet da D'Aix-en-Provence festivali bilan yulduzcha Uilyam Shimell. Ammo keyingi yilgi chiqishlari Ingliz milliy operasi chet elga chiqish uchun ruxsat rad etilganligi sababli yo'naltirish mumkin emas edi.[44]

2010 yil

2015 yilda Kiarostami

Sertifikatlangan nusxasi (2010), yana Juliette Binoche ishtirok etgan, Toskana shahrida suratga olingan va Kiarostamining Erondan tashqarida suratga olingan va ishlab chiqarilgan birinchi filmi bo'lgan.[41] Britaniyalik erkak va frantsuz ayolining to'qnashuvi haqida hikoya, bu tanlov uchun kiritilgan Palma d'Or ichida 2010 yil Kann kinofestivali. Piter Bredshu ning The Guardian filmni "qiziq g'alati narsa" deb ta'riflagan va "Sertifikatlangan nusxasi bu Juliette Binoche tomonidan yaxshi niyat bilan ishlangan, ammo qat'iylik bilan hiyla-nayrang, o'ylab topilgan va ko'pincha oddiygina g'alati - eng o'ziga xos turdagi kambag'allarning turmushi.[45] U film "shubhasiz Kiarostami kompozitsiya texnikasining namunasi, garchi u muvaffaqiyatli namunasi bo'lmasa ham" degan xulosaga keldi.[45] Rojer Ebert ammo, filmni maqtab, "Kiarostami o'zining ekrandagi bo'shliqlarini yaratishda juda ajoyib" ekanligini ta'kidladi.[46] Binoche g'olib bo'ldi Eng yaxshi aktrisa mukofoti Kannda filmdagi ijrosi uchun. Kiarostamining so'nggi filmi, Sevgan odam singari, Yaponiyada suratga olingan va suratga olingan, tanqidchilar tomonidan asosan ijobiy sharhlar olingan.

Kiarostamining so'nggi filmi 24 ramkalar vafotidan keyin 2017 yilda chiqarilgan. An eksperimental film Kiarostamining 24 ta suratiga asoslanib, 24 ramkalar juda ijobiy tanqidiy qabuldan zavqlandi, a Rotten Pomidor ball 92%.[47]

Film festivali ishi

Kiarostami ko'plab film festivallarida hakamlar hay'ati a'zosi bo'lgan, eng muhimi Kann kinofestivali yilda 1993, 2002 va 2005. U shuningdek, prezident edi Kamera d'Or Kann kinofestivali hakamlar hay'ati 2005 yil. U kinofondatsiya va qisqa metrajli filmlar bo'limlari prezidenti sifatida e'lon qilindi. 2014 yil Kann kinofestivali.[48]

Boshqa vakillar tarkibiga quyidagilar kiradi Venetsiya kinofestivali 1985 yilda, Lokarno xalqaro kinofestivali 1990 yilda, San-Sebastian xalqaro kinofestivali 1996 yilda, San-Paulu xalqaro kinofestivali 2004 yilda, 2007 yilda Capalbio kinofestivali (u hakamlar hay'ati prezidenti bo'lgan) va Küstendorf kino va musiqa festivali 2011 yilda.[49][50][51] Shuningdek, u Evropaning ko'plab boshqa festivallarida, shu jumladan, muntazam ravishda chiqish qildi Estoril kinofestivali Portugaliyada.[iqtibos kerak ]

Kino uslubi

Asosiy maqola: Abbos Kiarostamining kinematik uslubi

Individualizm

Garchi Kiarostami bilan taqqoslangan bo'lsa ham Satyajit Rey, Vittorio De Sica, Erik Rohmer va Jak Tati, uning filmlari o'ziga xos uslubni namoyish etadi, ko'pincha o'z ixtirosining texnikasidan foydalanadi.[10]

Filmni suratga olish paytida Non va xiyobon 1970 yilda Kiarostami tajribali bilan katta farqlarga ega edi operator bolani va hujum qiladigan itni qanday filmga olish haqida. Kinorejissyor bolakayning alohida kadrlari yaqinlashishini xohlar ekan, a Rasmni yaqinlashtirib olish uyiga kirib, eshikni yopayotganda qo'lini, so'ngra itni otib tashlaganida, Kiarostami, agar uchta sahnani umuman olish mumkin bo'lsa, bu vaziyatga nisbatan keskinlikni yaratishda yanada chuqurroq ta'sir qiladi deb o'ylardi. Kiarostami sahnadan to'liq qoniqmaguncha, bitta otishni o'rganish qirq kun davom etdi. Keyinchalik Kiarostami sahnalarning buzilishi buzilishiga olib kelishi mumkinligi haqida izoh berdi ritm va filmning tarkibi mazmuni, sahnani bitta bo'lib oqishini afzal ko'radi.[14]

Boshqa rejissyorlardan farqli o'laroq, Kiarostami ekstravagant sahnalashtirishga qiziqish bildirmadi jang katta hajmdagi prodyuserlarda sahnalar yoki murakkab ta'qib qilish sahnalari, aksincha film muhitini o'ziga xos xususiyatlarga moslashtirishga urinish.[52] Kiarostami o'zining uslubiga Koker trilogiyasifilmning har biri o'rtasida umumiy mavzular va mavzularni bog'laydigan, o'z film materiallariga son-sanoqsiz havolalarni o'z ichiga olgan. Stiven Bransford, Kiarostami filmlarida boshqa rejissyorlarning ishlariga havolalar mavjud emas, balki o'zlari murojaat qiladigan tarzda yaratilgan deb ta'kidlamoqda. Bransfordning fikriga ko'ra, uning filmlari tez-tez davom etadigan dialektikaga aylanib, bir film avvalgi filmni aks ettirgan va qisman demistifikatsiya qilgan.[29]

U turli xil rejissyorlik uslublari va uslublaridan foydalangan holda yangi suratga olish usullari bilan tajriba o'tkazishda davom etdi. Bunga misol O'nKiarostami bo'lmagan harakatlanuvchi avtomashinada suratga olingan. U aktyorlarga nima qilish kerakligi to'g'risida takliflar berdi va kamerani joylashtirdi asboblar paneli Tehron atrofida aylanib yurganlarida ularni videoga oldi.[14][53] Kamera haddan tashqari yaqin tortishishlardan foydalanib, ularning kundalik ishlarida qatnashgan odamlarning yuzlarini suratga olishga ruxsat berildi. O'n direktorni deyarli yo'q qilish uchun raqamli kameralardan foydalangan tajriba edi. A tomon yangi yo'nalish raqamli mikro kinoteatr raqamli ishlab chiqarish bazasi bilan birlashtirilgan mikro byudjetli filmlarni yaratish amaliyoti sifatida tavsiflanadi.[54]

Kiarostami kinoteatrining ta'rifi boshqacha film. Jamshed Akrami kabi kino professorlarining so'zlariga ko'ra Uilyam Paterson universiteti, Kiarostami doimiy ravishda tomoshabinlarning faolligini oshirishga majbur qilib filmni qayta aniqlashga urindi. Keyingi yillarda u o'z filmlarida vaqtni asta-sekin qisqartirdi. Akrami, bu filmni jamoaviy ishdan, badiiy ifodaning yanada toza, asosiy shakliga tushiradi deb o'ylaydi.[52]

Badiiy va badiiy adabiyot

Kiarostami bilan intervyu Habib Bavi [fa ] 2013 yilda

Kiarostami filmlarida sezilarli darajada noaniqlik, soddalik va murakkablikning g'ayrioddiy aralashmasi va ko'pincha xayoliy va hujjatli elementlarning aralashmasi mavjud (hujjat ). Kiarostami ta'kidlagan: "Biz yolg'ondan boshqa hech qachon haqiqatga yaqinlasha olmaymiz".[10][55]

Kiarostami kinoteatrida badiiy va badiiy adabiyot o'rtasidagi chegara sezilarli darajada kamayadi.[56] Frantsuz faylasufi Jan-Lyuk Nensi, Kiarostami haqida yozish va xususan Hayot va boshqa hech narsa ..., uning filmlari na badiiy, na juda hujjatli ekanligini ta'kidladi. Hayot va boshqa hech narsa ..., deya ta'kidlaydi u, na vakillik, na reportaj, balki aksincha "dalil":

Hammasi hisobot berishga o'xshamaydi, lekin hamma narsa ta'kidlaydi (indique à l'évidence) bu hujjatli filmning fantastikasi (aslida Kiarostami filmni zilziladan bir necha oy o'tgach suratga olgan) va u "fantastika" haqidagi hujjat ekanligi: haqiqiy bo'lmagan narsani tasavvur qilish ma'nosida emas, balki juda aniq va texnikaning aniq ma'nosi san'at tasvirlarni qurish. Har safar har biri o'z dunyosini ochadigan va unda o'zidan oldinroq bo'lgan tasvir uchun (s'y précède) oldindan belgilanmagan (donnée toute faite) (tushlar, xayolparastlar yoki yomon filmlar kabi): ixtiro qilish, kesish va tahrirlash kerak. Shunday qilib dalil, agar shunday bo'lsa, agar bir kun kelib men sodir bo'lsam qarash kuniga o'n marta tepadan-pastga yurgan ko'chamda bir zumda yangisini quraman dalil mening ko'cham.[57]

Jan-Lyuk Nensi uchun bu kino tushunchasi "dalil", hujjatli yoki tasavvur sifatida emas, balki Kiarostamining hayot-mamot bilan munosabati bilan bog'liq (qarang: Geoff Endryu tomonidan aytilgan so'z ABC Afrika, Yuqorida keltirilgan, Kiarostami filmlari o'lim haqida emas, balki o'lim bilan o'lim haqida):

Borliq hayot-mamotning beparvoligiga qarshi turadi, u mexanik "hayot" dan tashqarida yashaydi, u har doim o'z motami va o'z quvonchidir. Bu raqam, rasmga aylanadi. U tasvirlarda begonalashmaydi, lekin u erda taqdim etiladi: tasvirlar uning mavjudligining dalili, uni tasdiqlashning ob'ektivligi. Bu fikr - men uchun aynan shu filmning fikri [Hayot va boshqa hech narsa ...] - bu qiyin fikr, ehtimol, eng qiyinidir. Bu asta-sekin fikr, doimo yo'lda yurib, yo'lning o'zi o'ylanishga aylanadi. Aynan shu narsa tasvirlarni buzadi, shunda tasvirlar shu fikrga aylanadi, shunda ular ushbu fikrning daliliga aylanadi - va uni "ifodalash" uchun emas.[58]

Boshqacha qilib aytganda, hayotni va o'limni qarama-qarshi kuchlar sifatida namoyish etishdan tashqari, tabiatning har bir elementi bir-biri bilan chambarchas bog'liqligini tasvirlash uchun ko'proq ishlarni amalga oshirishni istab, Kiarostami tomoshabinga hujjatli hujjatlarni taqdim etishdan ko'proq narsani amalga oshiradigan kinoteatr yaratdi " dalillar ", ammo ikkalasi ham shunchaki san'at masalasi emas. Chunki "mavjudlik" oddiy hayotdan ko'proq narsani anglatadi, u proektsion xususiyatga ega bo'lib, u kamayib bo'lmaydigan xayoliy elementni o'z ichiga oladi, ammo bu "ko'proq" bo'lishida u o'lim bilan ifloslangan. Nensi, boshqacha qilib aytganda, Kiarostamining yolg'on gapirish - haqiqatga olib boradigan yo'l degan so'zlarini izohlashda maslahat beradi.[59][60]

Hayot va o'lim mavzulari

Kiarostami (chapda) 2010 yilda Estoril kinofestivalida

O'zgarish va davomiylik tushunchalari, hayot va o'lim mavzularidan tashqari, Kiarostami asarlarida katta rol o'ynaydi. In Koker trilogiyasi, bu mavzular markaziy rol o'ynaydi. Keyinchalik ko'rsatilgandek 1990 yil Manjil-Rudbar zilzilasi falokat, ular shuningdek, halokatni engish va unga qarshi turish uchun odamlarning chidamliligi kuchini anglatadi.[61]

Tiriklik uchun instinktiv tashnalikni anglatadigan Koker filmlaridan farqli o'laroq, Gilosning ta'mi hayotning nozikligini o'rganadi va uning qanchalik qadrli ekanligiga e'tibor beradi.[21]

O'lim ramzlari juda ko'p Shamol bizni olib ketadi, qabriston manzarasi, keksa ayolning o'tib ketishi yaqinligi va ajdodlar Farzod personaji tomonidan filmning boshida eslatib o'tilgan. Bunday qurilmalar tomoshabinni parametrlar narigi hayot va moddiy bo'lmagan mavjudot. Tomoshabindan ruhni nima tashkil etishi va o'limdan keyin unga nima bo'lishini ko'rib chiqish talab qilinadi. Filmni muhokama qilishda Kiarostami u savollarga javob berishdan ko'ra, uni ko'taradigan odam ekanligini aytdi.[62]

Ba'zi kinoshunoslar Kiarostamining film grammatikasidagi qorong'u sahnalarga nisbatan yorug'likning yig'ilishi, masalan Gilosning ta'mi va Shamol bizni olib ketadi, cheksiz imkoniyatlari bilan hayotning o'zaro mavjudligini va o'limni har qanday odamning hayotiy voqeasi sifatida taklif qiladi.[63]

Vizual va audio texnikasi

Kiarostami uslubi panoramali uzoq zarbalardan foydalanish bilan ajralib turadi, masalan, yopilish qatorlarida Hayot va boshqa hech narsa yo'q va Zaytun daraxtlari orqali, bu erda tomoshabinlar o'zlarining taqdirlari haqida fikr yuritishni rag'batlantirish uchun qasddan xarakterdan jismoniy ravishda uzoqlashadi. Gilosning ta'mi shu kabi otishmalar, shu jumladan o'z joniga qasd qilgan Badii mashinasining tepaliklar bo'ylab harakatlanishi, odatda u yo'lovchi bilan suhbatlashayotganda uzoqdan yuqoriga ko'tarilgan o'qlari bilan tinib qo'yilgan. Biroq, vizual masofani tejash usullari doimo oldingi o'rinda turadigan dialog oynasi yonma-yon turadi. Xususiy va jamoat maydonlarining birgalikda yashashi yoki landshaftlarning avtoulov oynalari orqali tez-tez ramkalashi singari, masofaning yaqinligi bilan birlashishi eng oddiy daqiqalarda shubha tug'diradigan usul sifatida qaralishi mumkin.[27]

Masofa va yaqinlik, tasvir va tovush o'rtasidagi bu bog'liqlik, to ochilish qatorida ham mavjud Shamol bizni olib ketadi. Maykl J. Anderson bunday a tematik ning ushbu markaziy kontseptsiyasini qo'llash mavjudliksiz mavjudlik, bunday texnikani qo'llash orqali va ko'pincha tomoshabin ko'rmaydigan va ba'zan eshitmaydigan belgilarga murojaat qilish orqali kosmosning tabiati va tushunchasiga bevosita ta'sir qiladi. geografik dunyo tasvirlangan ramka. Kiarostamining ovozdan foydalanishi va tasvir to'g'ridan-to'g'ri ko'rinadigan va / yoki eshitiladigan narsadan tashqari dunyoni taqdim etadi, bu Anderson zamonaviy telekommunikatsiya dunyosida vaqt va makonning o'zaro bog'liqligi va qisqarishini ta'kidlaydi.[62]

Kabi boshqa sharhlovchilar kino tanqidchisi Ben Zipperning fikriga ko'ra, Kiarostami peyzaj rassomi sifatida ishlaganligi uning bir qator filmlari davomida quruq tepaliklarning kompozitsion uzoq kadrlarida aniq ko'rinib turibdi, uning filmlari davomida uning qishloq landshaftlari qurilishiga bevosita ta'sir ko'rsatgan.[63]

She'riyat va tasviriylik

Ahmad Karimi-Hakkak, ning Merilend universiteti, Kiarostami kinematik uslubining bir jihati shundaki, u mohiyatini aks ettira oladi Fors she'riyati va uning filmlari manzarasida she'riy obrazlar yaratish. Kabi bir nechta filmlarida Do'stning uyi qayerda va Shamol bizni olib ketadi, mumtoz fors she'riyatining to'g'ridan-to'g'ri filmda keltirilgani, ular orasidagi badiiy aloqani va yaqin aloqani ta'kidlagan. Bu o'z navbatida o'tmish va hozirgi, uzluksizlik va o'zgarish o'rtasidagi bog'liqlikni aks ettiradi.[64]Qahramonlar asosan mumtoz fors shoiridan she'rlar aytishadi Omar Xayyom kabi zamonaviy fors shoirlari Sohrab Sepehri va Farohxod. Bitta sahna Shamol bizni olib ketadi bug'doy dalasidan oltindan zarb qilingan oltin ekinlari bor, u orqali doktor kinorejissyor hamrohligida o'z skuterini burama yo'lda ketmoqda. Boshqa dunyo bu dunyodan ko'ra yaxshiroq joy degan sharhga javoban Xayyomning ushbu she'rini o'qiydi:[63]

Ular va'da berishadi soatlar jannatda
Ammo men sharobni yaxshiroq deb aytgan bo'lardim
Va'dalar uchun sovg'ani oling
Do'mbira uzoqdan ohangdor jaranglaydi

Biroq, she'riyat bilan bog'liq bo'lgan estetik element vaqt o'tmishidan ancha uzoqqa borgan va bu misollar ko'rsatgandan ko'ra nozikroq ishlatilgan. Matnni filmga moslashtirish masalalaridan tashqari, Kiarostami ko'pincha fors she'riyatida mumtoz va zamonaviy she'rlarda tasvirni yaratishning o'ziga xos uslublariga ingl. Bu aniq falsafiy pozitsiyani, ya'ni she'riyat va filmning ontologik birligini belgilashga olib keladi.[64]

Ta'kidlanishicha, Kiarostamining Sohrab Sepehri va Forough Farroxzad she'rlarini o'zlashtirishi ijodiy xizmatlari matnni o'zgartirish sohasini kengaytiradi. Moslashuv yangi matndan oldingi o'zgarishni anglatadi. Sima Daad Vashington universiteti Kiarostamining moslashuvi nazariy moslashuv doirasiga kirib, uning chegaralarini matnlararo potentsialdan transgenerial potentsialgacha kengaytirish orqali erishadi.[65]

Ma'naviyat

Kiarostami filmlarida ko'pincha ruh va narigi dunyo kabi nomoddiy tushunchalar aks ettirilgan. Biroq, ba'zida ruhiy tushunchaning o'zi vositaga zid keladigan ko'rinadi. Ba'zi kino nazariyotchilari buni ta'kidladilar Shamol bizni olib ketadi film yaratuvchisi muloqot qilishi mumkin bo'lgan shablonni taqdim etadi metafizik haqiqat. Kadrning chegaralari, bo'shliqning boshqasi bilan tasvirlanmagan boshqa narsaning moddiy ko'rinishi, jismonan bu dunyo va undan tashqarida mavjud bo'lishi mumkin bo'lgan munosabatlar o'rtasidagi metafora bo'lib qoladi. Bo'shliqlarini cheklash orqali mise en scène, Kiarostami san'at maydonini kengaytiradi.[62]

Kiarostamining "murakkab" ovozli obrazlari va falsafiy yondashuvi "sirli" kinorejissyorlar bilan tez-tez taqqoslashga sabab bo'ldi. Andrey Tarkovskiy va Robert Bresson. G'arbning muhim madaniy farqlarni e'tirof etgan holda, Kiarostami haqidagi tanqidiy yozishlarining aksariyati uni xuddi shunday qattiqqo'llik, "ma'naviy" she'riyat va axloqiy sadoqat tufayli uni Eronga o'xshash rejissyorlarning tengdoshi deb biladi.[66] Ba'zilar Kiarostami filmlaridagi ba'zi tasvirlar bilan taqqoslashni taqqoslaydilar So'fiy tushunchalar.[67]

Devid Sterritt va ispan kino professori Alberto Elena singari ingliz tilidagi yozuvchilarning aksariyati Kiarostami filmlarini ma'naviy deb talqin qilsa, boshqa tanqidchilar, shu jumladan Devid Uolsh va Xemish Ford o'zining filmlaridagi ta'sirini pastroq deb baholamagan.[21][66][67]

She'riyat, san'at va fotografiya

O'rnatish san'ati Abbos Kiarostami tomonidan

Kiarostami bilan birga Jan Kokto, Satyajit Rey, Derek Jarman va Alejandro Jodorovskiy, o'zini she'r kabi boshqa janrlarda namoyon etgan kinorejissyor edi, dizaynlarni o'rnatish, rasm yoki fotosurat. Ular dunyoni talqin qilishlarini va bizning bandligimiz va o'zligimizni anglashlarini ifoda etdilar.[68]

Kiarostami taniqli fotograf va shoir edi. Ikki tilli uning 200 dan ortiq she'rlari to'plami, Shamol bilan yurish, tomonidan nashr etilgan Garvard universiteti matbuoti. Uning fotografik ishi o'z ichiga oladi Nomsiz fotosuratlar, 1978 yildan 2003 yilgacha tug'ilgan shahri Tehronda olingan, asosan qor manzaralari aks etgan o'ttizdan ortiq fotosuratlar to'plami. 1999 yilda u o'zining she'rlari to'plamini ham nashr etdi.[10][69] Kiarostami ham Motsartning operasini yaratgan, Così fan tutte premyerasi bo'lib o'tgan Eks-En-Provans da ijro etilishidan oldin 2003 yilda Ingliz milliy operasi 2004 yilda Londonda.[41]

Rikkardo Zipoli, dan Venetsiyaning Ca 'Foscari universiteti, Kiarostami she'rlari va uning filmlari o'rtasidagi munosabatlar va o'zaro bog'liqlikni o'rgangan. Tahlil natijalari Kiarostamining "noaniq haqiqat" ga munosabati uning she'rlari va filmlarida qanday o'xshashligini ochib beradi.[70]Kiarostami she'riyati forsiy rassom-shoirning keyingi tabiat she'rlarini eslatadi, Sohrab Sepehri. Boshqa tomondan, falsafiy haqiqatlarni muhokama qilishni talab qilmasdan, she'riy ovozning hukmsiz ohangini va she'rning tuzilishini qisqacha kinoya qilish - shaxs olmoshlari, ergash so'zlarning yo'qligi yoki sifatlarga nisbatan ko'proq ishonish - shuningdek o'z ichiga olgan qatorlar kigo (き ご 季 語, "mavsum so'zi") bu she'riyatning katta qismini beradi a haikuesque xarakterli.[68]

Kiarostamining uchta jildli asl she'ri, shuningdek, klassik va zamonaviy fors shoirlaridan, shu jumladan, uning tanlovlari Nima, Hofiz, Rumiy va Saadi, 2015 yilda ingliz tiliga tarjima qilingan va ikki tilda nashr etilgan (Fors tili / Inglizcha) nashrlari Nyu-Yorkdagi Stick Place Books.

Shaxsiy hayot

1969 yilda Kiarostami Parvin Amir-Goliga uylandi. Ularning Ahmad (1971 yilda tug'ilgan) va ikki o'g'li bor edi Bahman (1978). Ular 1982 yilda ajrashishdi.[iqtibos kerak ]

Kiarostami keyinchalik Eronda qolgan kam sonli rejissyorlardan biri edi 1979 yilgi inqilob, uning ko'plab tengdoshlari mamlakatni tark etganlarida. Uning fikricha, bu uning faoliyatidagi eng muhim qarorlardan biri bo'lgan. Uning Erondagi doimiy bazasi va milliy o'ziga xosligi uning kinorejissyorlik qobiliyatini mustahkamladi:

Tuproqqa ildiz otgan daraxtni olib, uni bir joydan ikkinchi joyga ko'chirsangiz, daraxt endi meva bermaydi. Va agar shunday bo'lsa, meva asl joyida bo'lgani kabi yaxshi bo'lmaydi. Bu tabiatning qoidasidir. O'ylaymanki, agar men o'z yurtimni tark etganimda, men daraxt bilan bir xil bo'lar edim.[71]

Kiarostami tez-tez qorong'u ko'zoynak yoki quyoshdan saqlaydigan ko'zoynak taqib yurar edi, chunki u talab qilgan edi nurga sezgirlik.[72]

Kasallik va o'lim

2016 yil mart oyida Kiarostami ichakdan qon ketishi sababli kasalxonaga yotqizilgan va komaga tushgani xabar qilingan[73] ikkita operatsiyadan so'ng. Manbalar, shu jumladan a Sog'liqni saqlash va tibbiy ta'lim vazirligi vakili, Kiarostami azob chekayotgani haqida xabar berdi oshqozon-ichak saratoni.[73][74] 2016 yil 3 aprelda Kiarostami tibbiy guruhining direktori Rza Paydar film yaratuvchisi saraton kasalligini rad etgan bayonot bilan chiqdi.[74] Biroq, iyun oxirida u Parijdagi kasalxonada davolanish uchun Eronni tark etdi,[75] u erda 2016 yil 4-iyulda vafot etdi.[76] O'limidan bir hafta oldin, Kiarostami qo'shilishga taklif qilingan edi Oskar mukofotlari Gollivudda uning xilma-xilligini oshirish bo'yicha harakatlar Oskar sudyalar.[77] Eronning Frantsiyadagi elchisi Ali Ahani Kiarostamining jasadi dafn qilinishi uchun Eronga o'tkazilishini aytdi Behesht-e Zahra qabriston.[78] Biroq, keyinchalik uning jasadi ko'milishi ma'lum qilindi Lavasan, shimoliy-sharqdan 40 km (25 milya) masofada joylashgan kurort shahri Tehron, uning irodasiga asoslanib, Parijdan Tehronga qaytarib yuborilgandan so'ng.[79] Uning jasadi Tehronga qaytarilgan Imom Xomeyni nomidagi xalqaro aeroport 2016 yil 8-iyul kuni ko'plab eronlik kinorejissyorlar, aktyorlar, aktrisalar va boshqa rassomlar Tehron aeroportida o'zlarining hurmat-ehtiromlarini ko'rish uchun edilar.[80]

Muhammad Shirvani, hamkasb kinorejissyor va yaqin do'stim, 2016 yil 8-iyun kuni Facebook-dagi devorida Kiarostamining so'zlarini keltirgan: "Men boshqa tura olishimga va boshqa rejissyorlik qilishimga ishonmayman. Ular [tibbiy guruh] uni [uning ovqat hazm qilish tizimini] yo'q qilishdi." After this comment, a campaign was set up by Iranians on both Twitter and Facebook to investigate the possibility of medical error during Kiarostami's procedure. However, Ahmad Kiarostami, his eldest son, denied any medical error in his father's treatment after Shirvani's comment and said that his father's health was no cause for alarm. After Kiarostami's death, Head of the Iranian Medical Council Dr. Alireza Zali sent a letter to his French counterpart, Patrick Bouet, urging him to send Kiarostami's medical file to Iran for further investigation.[81] Nine days after Kiarostami's death, on 13 July 2016, his family issued a formal complaint of medical maltreatment through Kiarostami's personal doctor. Dariush Mehrjui, famous Iranian cinema director also criticized the medical team that treated Kiarostami and demanded legal action.[iqtibos kerak ]

Reaksiyalar

People place candles and flowers in memorial of Kiarostami at Tehron "s Ferdows Garden (Cinema Museum)

Martin Skorseze said he was "deeply shocked and saddened" by the news.[82] Oscar-winning Iranian film-maker Asg'ar Farhodiy – who had been due to fly to Paris to visit his friend – said he was "very sad, in total shock". Mohsen Maxmalbaf echoed the sentiment, saying Iran's cinema owes its global reputation to his fellow director, but that this visibility did not translate into a greater visibility for his work in his homeland. "Kiarostami gave the Iranian cinema the international credibility that it has today," he told The Guardian. "But his films were unfortunately not seen as much in Iran. He changed the world's cinema; he freshened it and humanised it in contrast with Hollywood's rough version."[76] Persian mystic and poet Jalal al-Din Rumi 's 22nd niece Esin Celebi also expressed her condolences over the demise of Kiarostami in a separate message. Iran's representative office at the United Nations Educational, Scientific and Cultural Organization, YuNESKO also opened a memorial book for signature to honour Kiatostami.[83]

Eron prezidenti Hasan Ruhoniy said on Twitter that the director's "different and profound attitude towards life and his invitation to peace and friendship" would be a "lasting achievement."[84] Tashqi ishlar vaziri Mohammad-Javad Zarif also said Kiarostami's death was a loss for international cinema. In a statement, French President Fransua Olland praised the director for forging "close artistic ties and deep friendships" with France.

Media, such as The New York Times, CNN, The Guardian, Huffington Post, Mustaqil, Associated Press, Euronews va Le Monde also reacted to Kiarostami's death. The New York Times wrote: "Abbas Kiarostami, Acclaimed Iranian Filmmaker, Dies at 76"[85] va Piter Bredshu paid tribute to Kiarostami: "a sophisticated, self-possessed master of cinematic poetry"[86]

The crowd that had gathered for this service in Paris held a vigil by the Sena daryosi. They then allowed the Seine waves to take photos of Kiarostami that the crowd had left on the river floating. It was symbolic moment of saying goodbye to a film director that many Iranians have come to passionately appreciate.

Janoza

Kiarostami's grave at Lavasan

Artists, cultural authorities, government officials and the Iranian people gathered to say goodbye to Kiarostami on 10 July, in an emotional funeral, six days after his death in France. The ceremony was held at the Center for the Intellectual Education of Children, where he began his film-making career some 40 years before.[87] Attendees held banners with the titles of his movies and pictures of his most famous posters, as they praised the support Kiarostami contributed to culture, and particularly, to filmmaking in Iran. The ceremony was hosted by famous Iranian actor Parviz Parastooie, and included speeches by painter Aidin Aghdashlou and by also prize-winning film director Asg'ar Farhodiy, who stressed his professional abilities. He was later buried in a private ceremony in northern Tehran town, Lavasan.[88][89][90]

Qabul qilish va tanqid qilish

Kiarostami has received worldwide acclaim for his work from both audiences and critics, and, in 1999, he was voted the most important Iranian film director of the 1990s by two international critics' polls.[91] Four of his films were placed in the top six of Cinematheque Ontario's Best of the '90s poll.[92] He has gained recognition from film theorists, critics, as well as peers such as Jan-Lyuk Godar, Nanni Moretti (who made a short film about opening one of Kiarostami's films in his theater in Rome), Kris Marker va Ray Carney. Akira Kurosava said of Kiarostami's films: "Words cannot describe my feelings about them ... When Satyajit Rey passed on, I was very depressed. But after seeing Kiarostami's films, I thanked God for giving us just the right person to take his place."[10][93]Critically acclaimed directors such as Martin Skorseze have commented that "Kiarostami represents the highest level of artistry in the cinema."[94] The Austrian director Maykl Xanek has admired the work of Abbas Kiarostami as among the best of any living director.[95] 2006 yilda, The Guardian's panel of critics ranked Kiarostami as the best contemporary non-American film director.[96]

Kabi tanqidchilar Jonathan Rozenbaum have argued that "there's no getting around the fact that the movies of Abbas Kiarostami divide audiences—in this country, in his native Iran, and everywhere else they're shown."[27] Rosenbaum argues that disagreements and controversy over Kiarostami's movies have arisen from his style of film-making because what in Hollywood would count as essential narrative information is frequently missing from Kiarostami's films. Camera placement, likewise, often defies standard audience expectations: in the closing sequences of Life and Nothing More va Through the Olive Trees, the audience is forced to imagine the dialogue and circumstances of important scenes. Yilda Uy ishi va Rasmni yaqinlashtirib olish, parts of the soundtrack are masked or silenced. Critics have argued that the subtlety of Kiarostami's cinematic expression is largely resistant to critical analysis.[97]

Iranian film director Asg'ar Farhodiy speaking on Abbas Kiarostami's funeral, in Tehran, Iran

While Kiarostami has won significant acclaim in Europe for several of his films, the Iranian government has refused to permit the screening of his films, to which he responded "The government has decided not to show any of my films for the past 10 years... I think they don't understand my films and so prevent them being shown just in case there is a message they don't want to get out".[94]

Izidan 11 sentyabr hujumlari, Kiarostami was refused a viza ishtirok etish Nyu-York kinofestivali.[98][99] The festival director, Richard Peña, who had invited him said, "It's a terrible sign of what's happening in my country today that no one seems to realize or care about the kind of negative signal this sends out to the entire Musulmon olami ".[94] The Finnish film director Aki Kaurismäki boycotted the festival in protest.[100] Kiarostami had been invited by the Nyu-York kinofestivali, shu qatorda; shu bilan birga Ogayo universiteti va Garvard universiteti.[101]

2005 yilda, London kino maktabi organized a workshop as well as festival of Kiarostami's work, titled "Abbas Kiarostami: Visions of the Artist". Ben Gibson, Director of the London Film School, said, "Very few people have the creative and intellectual clarity to invent cinema from its most basic elements, from the ground up. We are very lucky to have the chance to see a master like Kiarostami thinking on his feet."[102] He was later made Honorary Associate.

2007 yilda Zamonaviy san'at muzeyi va MoMA PS1 coorganized a festival of the Kiarostami's work titled Abbas Kiarostami: Image Maker.[103]

Kiarostami and his cinematic style have been the subject of several books and three films, Opening Day of Close-Up (1996), directed by Nanni Moretti, Abbas Kiarostami: The Art of Living (2003), directed by Fergus Daly[iqtibos kerak ]va Abbas Kiarostami: A Report (2014), directed by Bahman Maghsoudlou.

Kiarostami was a member of the advisory board of World Cinema Foundation. Founded by the director Martin Scorsese, its goal is to find and reconstruct world cinema films that have been long neglected.[104][105]

Faxriy va mukofotlar

Asosiy maqola: List of awards won by Abbas Kiarostami

Kiarostami has won the admiration of audiences and critics worldwide and received at least seventy awards up to the year 2000.[106] Here are some representatives:

Books by Kiarostami

  • Havres : French translation by Tayebeh Hashemi and Jean-Restom Nasser, ÉRÈS (PO&PSY); Bilingual edition (3 June 2010) ISBN  978-2-7492-1223-4.
  • Abbos Kiarostami: Cahiers du Cinema Livres (24 October 1997) ISBN  2-86642-196-5.
  • Walking with the Wind (Voices and Visions in Film): English translation by Ahmad Karimi-Hakkak and Michael C. Beard, Harvard Film Archive; Bilingual edition (28 February 2002) ISBN  0-674-00844-8.
  • 10 (ten): Cahiers du Cinema Livres (5 September 2002) ISBN  2-86642-346-1.
  • With Nahal Tajadod and Jan-Klod Karrier Avec le vent: P.O.L. (5 May 2002) ISBN  2-86744-889-1.
  • Le vent nous emportera: Cahiers du Cinema Livres (5 September 2002) ISBN  2-86642-347-X.
  • La Lettre du Cinema: P.O.L. (12 December 1997) ISBN  2-86744-589-2.
  • Kiarostami, Abbas, A Wolf on Watch (Persian / English dual language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2015)
  • Kiarostami, Abbas, With the Wind (Persian / English dual language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2015)
  • Kiarostami, Abbas, Wind and Leaf (Persian / English dual language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2015)
  • Kiarostami, Abbas, Vino (poetry by Hafez) (Persian / English dual language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2015)
  • Kiarostami, Abbas, Ko'z yoshlar (poetry by Saadi) (Persian / English dual language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2015)
  • Kiarostami, Abbas, Suv (poetry by Nima) (Persian / English dual language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2015)
  • Kiarostami, Abbas, Yong'in (poetry by Rumi) (four volumes) (Persian / English dual language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2016)
  • Kiarostami, Abbas, Night: Poetry from the Contemporary Persian Canon (two volumes) (Persian / English Dual Language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2016)
  • Kiarostami, Abbas, Night: Poetry from the Classical Persian Canon (two volumes) (Persian / English Dual Language), English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2016)
  • Kiarostami, Abbas, In the Shadow of Trees: The Collected Poetry of Abbas Kiarostami, English Translation by Iman Tavassoly and Paul Cronin, Sticking Place Books (2016)
  • Kiarostami, Abbas, Lessons with Kiarostami (edited by Paul Cronin), Sticking Place Books (2015)
  • Mohammed Afkhami, Sussan Babaie, Venetia Porter, Natasha Morris. "Honar: The Afkhami Collection of Modern and Contemporary Iranian Art." Phaidon Press, 2017. ISBN  978-0-7148-7352-7.

Shuningdek qarang

Adabiyotlar

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Bibliografiya

  • Geoff Andrew, O'n (London: BFI Publishing, 2005).
  • Erice-Kiarostami. Xatlar, 2006, ISBN  84-96540-24-3, catalogue of an exhibition together with the Spanish filmmaker Víctor Erice
  • Alberto Elena, The Cinema of Abbas Kiarostami, Saqi Books 2005, ISBN  0-86356-594-8
  • Mehrnaz Saeed-Vafa, Jonathan Rosenbaum, Abbos Kiarostami (Contemporary Film Directors), University of Illinois Press 2003 (paperback), ISBN  0-252-07111-5
  • Julian Rice, Abbas Kiarostami's Cinema of Life, Rowman & Littlefield 2020, ISBN  978-1-5381-3700-0
  • Jan-Lyuk Nensi, The Evidence of Film – Abbas Kiarostami, Yves Gevaert, Belgium 2001, ISBN  2-930128-17-8
  • Jean-Claude Bernardet, Caminhos de Kiarostami, Melhoramentos; 1 edition (2004), ISBN  978-85-359-0571-7
  • Marco Dalla Gassa, Abbos Kiarostami, Publisher: Mani (2000) ISBN  978-88-8012-147-3
  • Youssef Ishaghpour, Le réel, face et pile: Le cinéma d'Abbas Kiarostami, Farrago (2000) ISBN  978-2-84490-063-0
  • Alberto Barbera and Elisa Resegotti (editors), Kiarostami, Electa (30 April 2004) ISBN  978-88-370-2390-4
  • Laurent Kretzschmar, "Is Cinema Renewing Itself?", Film-Philosophy. jild 6 no 15, July 2002.
  • Jonathan Rozenbaum, "Lessons from a Master," Chikago o'quvchisi, 14 June 1996
  • Tanya Shilina-Conte, "Abbas Kiarostami's 'Lessons of Darkness:’ Affect, Non-Representation, and Becoming-Imperceptible". Special Issue on "Abbas Kiarostami". Iran Namag, A Quarterly of Iranian Studies 2, no. 4 (Winter 2017/2018), University of Toronto, Canada
  • Silke von Berswordt-Wallrabe et al. (tahr.): Abbas Kiarostami. Images, Still and Moving, exh. mushuk. Situation Kunst Bochum, Museum Wiesbaden, Kunstsammlungen Chemnitz (Ostfildern: Hatje Cantz, 2012), ISBN  978-3-7757-3436-3

Tashqi havolalar