abbas kiarostami

Abbas Kiarostami and Gilles Deleuze were unconventional figures, Kiarostami with his films and Deleuze in Film Studies. But both of them have one thing in common, and that is to return to the question of the essence of cinema. Kiarostami, especially in his three works, Birth of Light, Five, and 24 Frames, with techniques such as de-dramatization of random encounters and completely accidental disturbances, questions the common realism and the perception of the immediate recording of reality by the camera, and on the other hand, Deleuze with his ideas follows establishing a new ontology of film trying to find a new answer to the question of what is cinema. By putting forward the concepts, the movement- image and the time-image in relation to other concepts such as perception, action, affect and crystal, Deleuze draws a theoretical structure to show how a film works. According to Deleuze, the work of film analysis and film-thinking is to develop concepts that are related to cinema. According to him, every film has goals, and cinematic techniques such as framing, plan, and montage make sense in relation to these goals, but these techniques assume those goals and do not explain them. It is the goals that make the specific concepts that Deleuze is talking about. In the present research, an attempt has been made to examine some of these concepts in the face of three works by Abbas Kiarostami. At first glance, it may seem that the three mentioned films do nothing but reproduce the visible world; It means reality, and here nature is captured in a de-dramatized and de-personalized state without the intervention of humans or subject. But in Deleuze's approach to these films, it is made clear that they are not only not representing the visible, but are in the process of making visible. Because of the three films, The Birth of the Light, Five and 24 Frames, have been pushed to the limits of the essence of cinema, they reveal a perception of life.

The exploration of architectural space within the context of cinema allows for an examination of a place that extends beyond its mere physical factors, delving into its multifaceted social, cultural, philosophical, and psychological aspects. In the relationship between architecture and cinema, the emphasis shifts from the practical functions of architecture to the conceptual aspects of place and the interaction between the human (character) and his environment, thus uncovering the profound relationship between the art forms of architecture and cinema that transcends superficial aesthetic and physical evaluations. A crucial element within this study is the analysis of the relationship between characters, as users of place, and the narrative setting of the film with the place. This analysis can test the various dimensions and qualities of place as they relate to the content of the film, the character's reactions, and his sensory experiences, ultimately conclude meaning implications of place through the reading of the subject of the film and the relationship between the subject (character) and the place. Within this framework, the research seeks to delve into the meaning of place in "Taste of Cherry" by Abbas Kiarostami, with a focus on narrative content of the film and central character. The central inquiry is how the meaning implications of place is manifested in this particular case study. In response to this question, It is assumed that the meaning implications of place in "Taste of Cherry" is intrinsically linked to the film's narrative and the character's internal musings, reflection of his relationship with existence and mortality, and serving a dual purpose in illustrating the character's leaning towards either an embrace of life or a detachment from it. Considering the focus of the inquiry, which emphasizes the significance of delving into the character's internal reflections and his experiential engagement with the space and place constructs within the film, the research must delve into the subject of space and place through interpretive-hermeneutic methodologies. Within this framework, Martin Heidegger's phenomenological discourse emerges as a fitting paradigm, as it aligns with the research's thematic interest in the character's space and place experiences and his introspective relationship between his environment and surroundings. Furthermore, the philosophical concepts Heidegger espouses resonate with the contents of Abbas Kiarostami's "Taste of Cherry", a film that grapples with the contemplations of life, existence, and the counterpoint of death and nothingness. The current investigation adopts a qualitative approach, employing phenomenological methodology. In light of the research hypothesis, the meaningful factors of place are posited as dependent variables, while the interplay between the characteristics of place and the narrative content, as well as the character's situation, are deemed independent variables. These variables will be scrutinized in the case study analysis to substantiate the direct relationship between the physical, environmental, functional, and narrative factors- encompassing both verbal and non-verbal character interactions with place in "Taste of Cherry" and the meanings they convey. The compilation of research findings was derived from an examination of relevant literature, a meticulous viewing of the case study sample, and a review of written or audio-recorded interviews with the director about the subject of the research. The result of the research indicates that a direct and profound correlation between the physical factors (form, composition, materials, components and architectural elements of the place), environmental factors (landscape, site, ambient sound, color, light, objects), functional factors (type and use of the place and the activities performed in it), and narrative factors (character's behaviors and interactions with place) of the locations scrutinized in "Taste of Cherry" and the inherent meaning of these places within the film. These factors reflection the character's internal musings and the film's overarching narrative. On one hand, they can manifest the character's disengagement from life and the diminishment of the world's value and purpose in his eyes. Conversely, they can provoke a reconsideration of the impulse towards self-annihilation, fostering a shift in perspective that accepts a return to life, imbues the world with personal meaning, and encourages a connection with the environment and others. In this way, it can be said that the features of the locations in the "Taste of Cherry" are significantly related to the dual content of the work, contributing to representation the struggle between life and death.

In Shirin (2008), Abbas Kiarostami places several of Iran’s female cinema stars in the position of spectators and records their reactions to a hypothetical film through predominantly close-up shots. Kiarostami transforms these distinctive faces into objects of aesthetic contemplation and artistic reflection through his approach. This descriptive-analytic study, draws on the discussions of Tom Gunning and Giuliana Bruno regarding the significance of physiognomy in early cinema, and then examines the invocation of this aesthetics in Shirin. The research asserts that by positioning the film star as the audience of an imaginary film, and giving Shirin’s audience the opportunity to reveal her personality by means of reading her face, the film demystifies the status of the cinematic star. However, this relationship doesn’t remain one-sided, since both the mere fact that these close-ups, portray not the ordinary viewers but the film stars, as well as the recollection of cinematic memories associated with the films and characters they have shaped, once again ascends these stars to the status of myths. Moreover, the depiction of individuals who possess a high skill in adopting roles and masks, complicates the audience’s confidence in interpreting and penetrating their visual space, both in this instance and in the cinematic memories that are conjured. The interplay Kiarostami orchestrates between the viewer and these stars, alongside revealing and dismantling their previous relationships, compels the viewer to construct Shirin in their mind through a montage of fragmented moments encountered in this museum-like space and the collective-individual cinematic memories evoked. This mental film becomes a personal and distinct history of Iranian cinema, underscoring the importance and the impossibility of excluding Iran’s female cinema stars.

George Lukács, a great Marxist critic and theorist, proposed reflection theory as one of the philosophical approaches in the 20th century. This theory can be placed under the sociology of cinema; Because cinema, as a medium that has succeeded in gaining a solid base among people, in addition to artistic aspects, it can reflect currents of thought, class, culture and society’s problems like a mirror. The main text of this representation is cinema, which is one of the most effective media tools in today’s world. Literature and painting are not the only places where history is utilized, it is also utilized in cinema. Kiarostami’s popularity increased after his death, making him one of the most popular filmmakers. It’s possible that one reason was his profound perception of the issues around him and his reflection of society during his time. The appearance of his films was all simple and did not have any special complexity or narrative, but what was noticed in this research is the reflection of the society in his documentary. In the current research, the reflection of an important event such as the Islamic Revolution of 1357 in Iran in the documentary film “First Case, Second Case” by Abbas Kiarostami has been examined in a case-by-case manner. Also, the purpose of selecting this film from Kiarostami’s works, considering that it has been banned for thirty years, is the possibility of reconstructing the narrative of the film in any period of history.

Understanding the concepts behind works of art is not always the same. Concepts change with cultural changes. In photographs, like any other work of art, there are signs that convey truths to the public in symbolic language, taken from the culture of its creator. In such a context, myth as a kind of historical discourse, in addition to verbal and written methods; Appears in non-verbal media such as photography, cinema, drama and adver- tising. Following this emergence, mythological critique and analysis have shown the abil ity to explore the world described and to explain the function of human types in re-reading the mythical attitudes embedded in the artists's conscience. Critics of this method seek to show where and how early models and history of human life are contained in the text. in the process of analyzing the works, they first discover the hidden and obvious codes and symbols in the structure of the work and then, through psychological analysis of the symbols and following the historical contexts of their formation, connect these implicit meanings with the primordial model in Describe the human collective psyche. In this arti- cle, using the model of Northrop Fry's mythical critique, by reviewing Kiarostami's photo- graphs in the "Snow White" collection, we decipher the monotonous narrative that in her works is considered as a turning point and the central myth of the text. The results of the research show that by using nature in photography frames and repeatedly recording the element of the tree in different frames, the artist tells an ontological narrative of human life in adaptation to nature and plays a fundamental role. It emphasizes the process of contemporary human self-knowledge. It is as if the trunks of a tree surrounded by snow indicate a person's impatience and restlessness in leaving such a life, and his desire to escape death, to turn to life, and to find a path between the two.

This article tries to deal with the relationship between image and reality. Cinematic reality is a special, continuous and dialectical connection that, due to its nature, is consistent with human experiences on the one hand, and on the other hand, it can involve the human thoughts. In this sense, the image must be superficial which destroys any necessary relationship between a specific form and a specific mental content. This is a philosophical approach to cinema. According to Jacques Rancière, cinema has always been a favorable field for examining philosophical approaches. Rancière recognizes moving images as a factor that, due to their nature, involve the audience in a kind of association and thinking process. According to him, cinema is the only art that is complete with the audience. In the cinema, a double situation arises in which the viewer is involved in the passivity of the image that is represented and also affected by the image as the agent of liberating his imagination. According to Rancière, this double situation takes the spectator out of the passive state and brings him into an active and dynamic stream so that he can feel and act at the same time as s/he watches. This dynamic of the image considers cinema as a collective and shared writing, where the viewer has a share in creating something that is exclusive, collective and shared at the same time, but allows the viewer to participate in this shared thing in their own way. In this article, the aesthetic procedure of such a heterogeneous process is examined and its boundaries with the cinematic frame are also considered. For this purpose, the film "The Wind Will Carry Us” by Abbas Kiarostami has been selected as a study example. The main question is how the image is able to establish, in an aesthetic format, a permanent and coherent dialectic and at the same time heterogeneous and opposite between the idea and the form, in such a way that it does not exactly contain the idea nor completely negates it; rather, it should be the basis of an endless and constructive process. Among the works of Abbas Kiarostami, the film "The Wind Will Take Us" is able to represent such a process more than his other works. In this film, two symbolic functions (the order of images) and organic functions (the flow of life), connect the two realms of ideas and meaning in the cinematic image in such a way that the image goes out of its usual function, and releases the power that is the origin of fluidity and flow. It is pure life. As a result of this link, the images make their impact not from reality, but from moments that have been able to establish a relationship between thinking and perception that reveals a contradictory and dual situation and shows the pattern of methods that cause the collapse of previous and certain structures by re-establishing a link between human and social existence.

The relation between film and philosophy is one of the relations that has always been considered by film theorists and philosophers. In other words, the film's ability in displaying philosophical concepts and philosophical thinking through films is one of the most significant case studies in this field. Martin Heidegger can be considered as the greatest philosopher of the twentieth century. His interest in art and its usage to indicate concepts such as Existence, makes Heidegger a distinguished figure among his contemporaries. But his thoughts about death and non-being versus existence are very interesting and worthy of attention. Heidegger considers death to be one of the most important abilities of Dasein and believes that it is only with death that Dasein can think of itself as a whole. Abbas Kiarostami is one of the directors who has received diverse readings on his movies and each of them has demonstrated the richness of his works more than before. Death is one of the concepts that apears in Kiarostami's most important works. It can be clearly seen in movies such as Koker Trilogy and Taste of Cherry. Kiarostami's different outlook and point of view, unique use of stylistic and thematic elements, the way of narrating the story and the way in which characters confront death have led this concept to go beyond its apparent meaning in his movies.This research by examining the most important and fundamental elements of understanding the concept of death in Heidegger's philosophy, namely Dasein, anxiety or fear-consciousness, fall and authenticity, death and the meaning of life in Abbas Kiarostami's cinema, indicates that all the elements related to death in Heidegger's philosophy can be traced in Kiarostami’s exemplary movies, Taste of Cherry and The Wind Will Carry Us; and a reading of Kiarostami's works through Heidegger's philosophy can be offered. In other words, the concept of death in Kiarostami's works is completely applicable to the concepts of Heidegger's philosophy. Taste of Cherry depicts the movement towards death and the diret encounter with it through the character; on the other hand, in The Wind will Carry Us, all the elements related to death in Heidegger’s philosophy appear gradually through the progress of the plot.

The relationship between the West and the non-West has always changed and been redefined. Indeed, for a dual movement to take shape, a non-Westernized discourse must first be formed. These filmmakers first recognize the dominant Western discourse and then decide not to follow it. Then they look for non-Western filmmaking techniques to employ. Non-Western voices are now heard loud and clear in the practical and theoretical realms of film, and they make a difference in the world. To discover these sounds, one must examine each one individually, from an equal position, and within their own cultural context.In Iranian cinema, successful examples of cinema De-Westernizing can be found. Abbas Kiarostami's cinema, by relying on the ancient roots of Iranian culture, has been able to distance itself from the current Western trend and transcend national boundaries. Kiarostami's distinguishing feature from other directors is his exclusive style of filmmaking. A method for observing and studying many "Iranian" components. His emphatic references to the homeland and the motherland's reflection in his works confirm that he aimed to create a local, indigenous, and national style of filmmaking; conscious and thoughtful methods.This study attempts to examine the progression of Abbas Kiarostami's filmmaking using the montage method in order to identify the characteristics that give his films a national identity. It also attempts to answer questions such as: What are the technical, structural, and content components of Abbas Kiarostami's works from the point of view of De-Westernizing? What are the similarities between Kiarostami's films and Ta'ziyeh's? This research demonstrates that Abbas Kiarostami used Ta'ziyeh's techniques such as non-actors, communication with the active audience, improvisation, and the director's presence on stage.

The Impressionists developed one of the most innovative movements in the history of Western art. Their revolutionary ideas about light and color, expression, realism, the aim of painting, and the artist's role laid the foundations of modern art. Although ridiculed at first by the art establishment in Europe, Impressionism became one of the most celebrated and popular art styles. Artists such as Monet, Manet, Pissarro, and Renoir have achieved enduring acclaim. Unlike the earlier Realists, Impressionists focused more on how light impacted the landscape at a particular time rather than creating a faithful representation of a static scene. Their techniques, subjects, and color palettes would conflict with accepted parameters for art during their era, necessitating a break from the restrictive control of institutions such as LAcadrmie des Beaux-Arts, which had traditionally set the standards in the Paris art world. Developing in Paris in the 1860s, its influence spread throughout Europe and eventually the United States. Its originators were artists who rejected the official, government-sanctioned exhibitions or salons, consequently shunned by powerful academic art institutions. In turning away from the fine finish and detail to which most artists of their day aspired, the Impressionists aimed to capture the momentary, sensory effect of a scene - the impression objects made on the eye in a fleeting instant. Many Impressionist artists moved from the studio to the streets and countryside, painting en Plein air to achieve this effect. As a multifaceted art, cinema is dependent on arts such as literature, music, and the visual arts, especially painting. The image, the most crucial element of cinema, owes much to the visual arts. French Impressionism is arguably the movement that initially academically inspired film criticism. The movement explored non-linear editing, innovative lighting, and attempts to portray dream sequences and fantasies, and other ingenious methods to tell a story from a protagonist's point of view. Although these conventions are well-known to filmgoers today, this common knowledge is thanks to innovative frameworks created with movements such as French Impressionism. Abel Gance even introduced using widescreen to enhance the cinematic experience for his 1927 film, Napoléon. The movement was somewhat inspired by the increasing dominance of American cinema released in France after World War I. These American releases would usually have mainstream appeal and, therefore, conventional storytelling for that period. This explains why filmmakers such as Louis Delluc, Jean Epstein, Abel Gance, and Marcel L'Herbier decided to challenge these conventions using undeniably French techniques, despite never officially forming a collective to change the status quo. Marcel L’Herbier, one of the chief filmmakers associated with the movement, admitted to an integrated theoretical stance: None of us – Germaine Dulac, Epstein, Delluc or myself – had the same aesthetic outlook. But we had a common interest, which was the investigation of that famous cinematic specificity. On this we agreed completely. In retrospect, the movement is widely known for prioritizing aesthetically beautiful images, in the same vein as Impressionist painters such as Pierre-Auguste Renoir, Édouard Manet, Claude Monet, Camille Pissarro and Edgar Degas. Visual elements as the basics and artistic alphabet are particularly important in forming graphic work in visual language. Cinema needs visual elements to form an image. The combination of visual features based on visual language leads to creating a cinematic vision. This accompaniment in the film frame, like a painting, conveys the adequate energy of the image to the viewer. Given the close relationship between cinema and painting, the present study intends to analyze and compare the role of light in Impressionists and Kiarostami's films in two fields of painting and cinema. To do this research, several Kiarostami's appointments that were consistent with the research goal were selected and studied as a statistical population. His first artistic experience was painting. He continued into his late teens, winning a painting competition at the age of 18 shortly before leaving home to study at the University of Tehran, School of Fine Arts. He majored in painting and graphic design and supported his studies by working as a traffic policeman. As a painter, designer, and illustrator, Kiarostami worked in advertising in the 1960s, designing posters and creating commercials. In the late 1960s, he began creating credit titles for films (including Geyser by Masoud Kimiai) and illustrating children's books. Abbas Kiarostami was one of those filmmakers who tried to base the visual texture and form of his work on a personal system and ignore the old and shared traditions and forms of storytelling. In his films, human, poetic, and philosophical concepts have been conveyed through cinematic tools such as the lighting in the heart of simple stories. In Kiarostami’s cinema narration is omitted by the omission of the director. He, in his recent works mentioned above, uses the “self-reflection” element much more than before. Besides trying to the Cinema as a media and the work being released, he tries to omit the director as well. In other words, he considers the audience as the chief creator of the work, without the work is not complete. By borrowing the element of “reaction” from drama, he bases he cinema on “reaction”. This is done in its most unusual way in his movie Shirin. One of the essential commonalities between painting and cinema, is the issue of lighting. Cinema is a painting with light. Lighting in cinema can be examined from two perspectives: the light that shines from the projector to the screen and causes images. The other is the exposure and lighting in film scenes to see the cinematic image and convey meanings and concepts. Some of Abbas Kiarostami's most important cinematic works have been made due to his style outside the urban space, i.e., in meadows, villages, mountains, roads, and the embrace of nature in general like The Koker trilogy: Where Is the Friend's Home? Life, and Nothing More... and Through the Olive Trees. but Taste of Cherry film, has an urban theme and narrates an urban human being who wants to die, a large part of the film takes place outside the city. The wind will carry us, which some critics consider being a poetic and philosophical work. Like many of Kiarostami's films, it narrates Kiarostami's most critical human concerns and his most prominent themes. Kiarostami directed The Wind Will Carry Us in 1999, which won the Grand Jury Prize (Silver Lion) at the Venice International Film Festival. The film contrasted rural and urban views on the dignity of labor, addressing themes of gender equality and the benefits of progress, utilizing a stranger's sojourn in a remote Kurdish village. An unusual feature of the movie is that many characters are heard but not seen; at least thirteen to fourteen speaking characters have never been seen. Researches show that the role of light in Kiarostami's work is in line with the Impressionists' goals in their work, and in some cases, may coincide (The Wind Will Carry Us). Finally, light can serve the artist and her thinking as an independent and controllable element. Determining the amount of light reflection can provide a new kind of style to the artist and offer new concepts in visual arts.

Abstract“Abbas Kiarostami” is the best-known figure in Iranian cinema on the international stage and he has received numerous awards from prestigious festivals and film organizations throughout the world. As a leading and innovative filmmaker, Kiarostami, in his documentaries and feature films, specially produced in the 80s and 90s, seeks to show the commonalities and distinctions between the real and the fictional matter in cinema. His cinema has attained a distinguishable authorial style in the world by utilizing a new method of narration and defining a new approach in the film production cycle. Kiarostami through his work establishes that cinema can imperfectly record reality and fiction in a fusional and compositional atmosphere. Films such as “Close-up” and the “Koker trilogy”, “which includes where is the Friend’s Home”? Life and Nothing More, and Through the Olive Trees, are successful instances of Kiarostami’s conscious manipulation with the quasi-fictional narration in a documentary-like background.

The Eco cinema does not have a long life in the field of environmental criticism studies. In the same lifetime, there have been few sources, each of which has tried to come up with a definition, But in conclusion, it can be concluded that almost any film from wildlife documentaries to poetic fiction films that have used the ecosystem in their narrative expression can fit into this field. Iranian cinema is no exception to this definition. Therefore, in order to achieve a tangible analysis in this field, Henry Lefebvrechr('39')s views in the field of two rhythms of enviromental life have been expressed and then we have tried to find a connection between these two rhythms with aesthetic elements in a cinematic work to analyze cinematic works related to Provide the ecosystem. The present article refers to Henry Lefebvrechr('39')s theories about  everyday life and its relation to environmental conditions, which is based on the method of library information collection, qualitative method and descriptive-analytical nature, to answer the question that How does Sohrab Shahid Sales in the film »the Still Life«  and Abbas Kiarostamichr('39')s film film "The Wind Will Carry Us" create meaning from the contrast between the two rhythms desired by Lefebvre and highlight the environmental symbolic implications in this regard? It seems that in » TheStill Life « the ecological rhythm has become a kind of aesthetic rhythm, and in »The Wind Will Carry UsK, »ecosystem« has been found as a metaphor for the evolution of functional character. The result is that both films have proven the hypotheses and put the rhythm and socio-cultural way of life as a way to achieve an aesthetic look.

Laura Mulvey is a prominent figure in film theory from 1970s. Her work is particularly remarkable, though controversial, in regard to feminine appearance on the screen.Stasis is central to Laura Mulvey’s film theory. In her essay Visual pleasure and Narrative Cinema (1975), she criticized the role of patriarchy in Hollywood cinema. Mulvey suggested the theory of Patriarchal gaze based on Lacan’s Gaze Theory. She states that the presence of woman is an indispensable element of spectacle, yet her visual presence tends to work against the development of a story line, to freeze the flow of action in moments of erotic contemplation. In Death 24X a second: Stillness and the Moving Image (2006), she points out that now she is more interested in the way that those moments of spectacle were also moments of narrative halt, hinting at the stillness of the single celluloid frame. In fact with the advent of the digital cinema, the photographic base of cinema come to the fore. Mulvey tries to reformulate the idea of spectatorship through the perspective of time. She indicates that the everyday reality that video and digital media have opened up new ways of seeing old movies reveals up the significance of the dichotomy of stillness and movement. In fact, the use of new technologies results in the possibility of returning to and repeating a specific film fragment. Return and repetition necessarily involve interrupting the flow of film, delaying its progress, and, in the process, discovering the cinema’s complex relation to time. Mulvey is the first person to link Abbas Kiarostami’s Cinema to the Lacanian concept of the Real. She explains that Kiarostami’s unrepresented tragic earthquake is the same as the manner of the Real which is invisible, but has a significant presence. She argues that the tragic earthquake which destroyed the village is left intentionally unseen, unrepresented by Kiarostami in the following two films. The lack of any kind of re-enactment creates a situation where the actuality of the invisible yet traumatic is unquestionable- exactly in the same manner as Lacan describes the order of the always hidden Real that is behind or beneath any phenomenal appearance accessible to direct experience. In addition, representation of the gaze is considered the result of the style of a filmmaker who is best known as a self-reflexive filmmaker. This article discusses the Cinema of Abbas Kiarostami through a Psychoanalytic perspective based on the contradiction of stillness and movement in Mulvey’s film theory. The main issue to discuss is that how Mulvey considers the cinema of Kiarostami as delaying and immobile while his use of car and consequently movement is a persisting feature of his cinematic oeuvre. The result is that Kiarostami‘s cars respond to a relational conceptualization of space in mobility and breaks away from the conventions of representation in which space is considered fixed which carries specific and symbolic meanings. However, the sense of mobility emerged from a wandering car ends up to stillness through repetition and return that affect the spectator’s memory.

In the wake of anthropocentric thinking of Descartes, human and the world surrounding him or her, divided into two separate component. Highlighting the optic phase of contemporary environment, this separation become more obvious. Lots of phenomenologists like Merleau-Ponty try removing this separation, he considers the body as a primary factor in defining space. A phenomenological approach to the cinematic experience focuses neither solely on the formal and narrative features of the film itself, nor solely on the Spectator’s psychic identification with characters or cognitive interpretation of the film. Instead, phenomenological film analysis approaches the film and the viewer as acting together, correlationally, along an axis that would itself constitute the object of study. Phenomenological approaches to film are useful in that, rather than strictly opposing approaches based on optical vision, distance, and ‘the gaze’, they complement existing theories. From a phenomenological perspective, it is the body with its expressive and perceptive qualities that constitutes the necessary condition for looking, identification, emotions, and pleasure. Film phenomenology has appeared again in two approaches after a long gap that has been set through beginning semiology in film studies, the first approach is relied on Husserl’s phenomenology and the second is relied on Merleau-Ponty’s phenomenology and his embodiment perception. We follow the second approach in this paper and focuse on Vivian Sobchak’s theories that is abstracted and relied on Merleau-Ponty’s phenomenology of perception. In Sobchak’s theory a film is experienced and understood for what it is: a visible and centered visual activity coming into being in significant relation to the objects, the world, and the others it intentionally takes up and expresses in embodied vision. Sobchack established his studies based on three model that helps us in figuring out the body of film. Our purpose in this paper is recognizing and analyzing the film body in Abbas Kiarostami’s cinema. This research has a qualitative approach and with the philosophical framework of phenomenology beside that, help of the research model abstracted from theoretical foundations tries to recognize and analyze film body and embodiment perception of it in Kiarostami’s cinema. On the whole, the research showed that the film body in Kiarostami’s cinema is so similar to human body in perceiving and expressing the surrounded environment. As Kiarostami’s ideology and theory in minimalizing and even eliminating any unnecessary objects from his films, he tries to eliminate any unnecessary objects in fusion of film and human body. As we have reached in the third model of Vivian Sobchak’s theories about film body, the camera and the hermeneutic opaque relation of human body is so essential in analyzing and recognizing film body. Our research shows that the third model is the best model for analyzing the film body in Kiarostami’s cinema. As we have pointed out the body of film in his cinema acts like the human body and the fusion of them is undeniable. The subjective angle of his camera and multi sensational space of his movies are vital component in fusion of film and human body.

This article, entitled “Semantic Implications of mise-en-scene in the Iranian Art Cinema”, deals with semantic implications in different aspects of mise-en-scene such as scenery, lighting, camera movement, and blocking. The main objectives of this article are, firstly, providing a better understanding of the semantic aspects of such techniques, and, secondly, providing a more through way to analyze Iranian art films. Beginning with problem statement, we argue that mise-en-scene, as an important aspect of creating meaning in (art) films, has not been fully analyzed by Iranian film critics. This fact, coupled with a manifest presence of mise-en-scene elements in the work of Iranian prominent filmmakers, clearly demonstrates the importance of this research. Bearing in mind that art films do not follow the popular stances, we discuss that this kind of cinema always puts forward questions about what goes on in any given society. In better words, art cinema is portrays the filmmaker's concerns and thoughts about the society s\he lives in. for example, Iranian filmmakers such as Ebrahim Golestan, Sohrab Shahid Sales, and Abbas Kiarostami, have deployed the film medium to reflect upon Iranian cultural and social atmosphere. Considering all this, the main question of this article is: what are the semantic implications of mise-en-scene in the Iranian art cinema, concerning scenery, lighting, camera movement, and blocking? At first some definitions of the term "mise-en-scene" are introduced, including some definitions provided by Brian Henderson and David Bordwell. The terms "semantic implication" and "art cinema" are also briefly discussed, taking upon Ernst Lindgern's and David Bordwell's definitions of the terms. Then, a discussion follows on the importance of the issue and on the necessity of research on the subject that would yield theorizing about Iranian cinema. In the first section of the article, the key terms of the research are also defined. In section two, different aspects of mise-en-scene are explained, and a brief background summary is presented regarding the history of mise-en-scene in cinema. Furthermore, some prominent previous research on the subject and the definition of the terms are discussed. Towards the end of the first section, semantic implications in the four main aspects of mise-en-scene – that is, scenery, lighting, camera movement, and blocking – are explained. The main body of the paper, however, deals with semantic implications of the four main aspects of mise-en-scene in a corpus of films made by three prominent Iranian filmmakers: Abbas Kiarostami, Sohrab Shahid Sales, and Ebrahim Golestan. These films include Brick and Mirror (Golestan), Still Life (Shahid Sales), And Life Goes On (Kiarostami), Where is the Friend's Home? (Kiarostami).For the purpose of clarification, many pictures, taken from the actual frames of the films, are included in the text. In the final section, the findings of the article are listed and further explained. Diversity of the semantic implications of mise-en-scene in Iranian art cinema, demonstrates the powerful usage of this cinematic device in the works of the selected Iranian filmmakers. Considering the limitations of this research, suggestions for further research are also made at the end of article.