Life Is All That Matters: Vitalistic Dualism of Abbas Kiarostami
Abstract
Wiącek recalls the origin of interest in cinematograph and the beginnings and development of the cinema in Iran. She focuses on the New Wave of the 1960s and 1970s, whose representatives began to shoot films portraying contemporary Iran in opposition to mass film production exploiting the sentimental formula of love and betrayal. Wiącek presents Abbas Kiarostami, the new Wave director, and analyses his films Zire darahtan zeyton (1994) and Ta’m e guilass (1997). She reflects on to what extent widely accepted ethical norms shape the aesthetics of individual artists and in what way the artist, restricted by the norms, offers an own hierarchy of values, whether in the face of such a limited area of creation the director manages to avoid the risk of anachronisms or artificiality.
Keywords:
Abbas Kiarostami, Iranian cinema, ethicsReferences
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Authors
Elżbieta Wiącekkwartalnik.filmowy@ispan.pl
Jagiellonian University Poland
Doktorantka na wydziale filmoznawstwa Uniwersytetu Jagiellońskiego.
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Copyright (c) 2000 Elżbieta Wiącek
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