NOURNEWS- Immediately after the moment of its birth, filmmaking was welcomed by open arms of its countless audiences. It didn't take long for this young industry and this innovative art to become the main hobby and leisure of citizens and all people, and as the seventh art, it narrowed the place of previous six arts. Today, Movie industry is the king of arts; A king which has adorned his crown with the jewels of the previous six arts. However, this art has now gone beyond the circle of art and has become an effective media and tool in the social, political and international fields.
It is well known that in India, there is a direct correlation between the amount of blood reserves in blood transfusion centers and the release of a new movie! It is said that when the poster of a new movie sits on the front of Indian cinemas, the masses of low-income or destitute citizens, eager to watch the silver screen, sell their blood for a figure similar to that of a cinema ticket. In accordance, the lines that form in front of the cinema is a continuation of the same line that was formed in front of the blood donation or sale centers. Indians are not the only ones in this world who have established a kinship between cinema and blood. The art-industry of cinema and filmmaking, immediately after the moment of its birth, it was welcomed by open arms of its countless audiences. It didn't take long for this young industry and this innovative art to become the main hobby and leisure of citizens and all people, and as the seventh art, it narrowed the place of previous six arts. Today, Movie industry is the king of arts; A king which has adorned his crown with the jewels of the previous six arts. However, this art has now gone beyond the circle of art and has become an effective media and tool in the social, political and international fields. Today's cinema is no longer confined and unique in the geography and geometry of culture, but it is considered as a component for estimating the authority of nations and the power of their ruling governments.
In Iran, it took only 5 years from the invention of cinema in 1895 to build the first movie theater in Tabriz, and this was in 1900. With this credit, cinema in Iran more or less has the same age as cinema in the world. In the 123 years that have passed since the arrival of the first cinematography in Iran, Iranians have never had to stand in queues for selling their blood to watch a movie in the cinema like Indians, but like the same eager people, they welcomed the seventh art and showed the same amazement and passion to it that they have always shown towards their brilliant historical arts, poetry, and calligraphy. From the very beginning, cinema in Iran occupied both the urban middle class and the urbanized lower classes. The movie industry arranged its subjects, its heroes, its concerns and its ideals in accordance with its audiences, and despite the fact that it was an art originated from the West, it became a popular and perhaps national art much earlier than anyone expected or guessed. The cinema and filmmaking industry soon became a stage to showcase Iran's cultural wealth; Something that is not specific to Iran and applies to all movie industries all around the world and cinema-owning countries in the world. This is a bulletproof fact regarding the past statements and claims that cinema has now gone beyond the realm of culture and has become a trans-artistic component. With cinema and in movie Theaters, it is possible to estimate the moods and mindset of the people of each country, to identify national dreams, collective ideals, public concerns and preoccupations, the degree of social cohesion and cooperation, the strength or weakness of national, patriotic and religious identity, the desire to strive or exercise, linguistic integrity and moral integrity of the people and many other determining factors in the life and survival of a nation-state. These indicators and many others can be seen in the movies and other components of a country's cinema.
Iran's cinema, whether in the days of global prosperity and progress or in the days of stagnation and lack of work, has always been a benchmark for measuring and estimating social needs and wants and hidden demands. In the war, it has worn war boots; In happiness, a red scarf of happiness is hung around the waist of its filmmaking industry; In national tragedies and bitterness such as chemical bombings and earthquakes, a black handkerchief is tied to the forehead; Iran’s filmmaking industry has created masterpieces for children and in honor of its children, and has preserved its heroes and famous people in well-made frames. For each of these branches and subjects, Iran’s movie industry has provided bright and proud examples that have led to people's vitality and happiness inside its borders and national pride abroad of Iran’s borders.
Along with these brilliant creations, unsatisfying and worthless works have also been produced that cannot be defended. The claim of absolute perfection is not acceptable for Iranian cinema and of course for any movie industry in the world. This art field, like any other field, has a potential and actual capacity for contamination, impurity, and suspicion. Inadequacies, negligence, and indifference can be found in it. Can greedy, profiteers and businessmen ignore this profitable field? But with all these ups and downs, cinema is still the global showcase of Iran’s identity and culture. Iranian blood and culture can be seen through this industry. Iran's cinema, especially with the occurrence of the Islamic revolution, took on a different life and appearance according to the almost absolute consensus of experts, and the quantity and quality content of its productions flourished and became one of the 10 dynamic cinema industries of the world. Now, the international community recognizes Iranian cinema with qualities such as moral decency, human dignity, spiritual tenderness, and social and historical responsibility. The result of the efforts of the cinematographers of Iran in competing with the unfettered cinema of other countries is something that can be considered one of the lighthouses of Iranian-Islamic culture in the turbulent ocean of the world.
Cinema is the second world of human beings; a world that is sometimes made in defiance of the first world and its bitterness and hardships. In critical historical moments, this art is the most appropriate shortcut for reaching common national dreams and unity; the most open window to view collective ideals and aspirations. Cinema, according to some philosophers, is the unoccupied place to reign in the empty space between reality and dream. Iranian cinematographers on a general scale and regardless of exceptions, whenever they have tried to build this second world, they have gifted people with vitality and social hope; And whenever they have been ineffective or failed in creating and drawing national and collective dreams and ideals, social vitality and hope have been lost. Still, if there is something made like masterpieces such as; “Through the Olive Trees” and “Where Is the Friend's House?”, “Hamoun” and “The Tenants”, “Snake's Fang” and “The feast”, “O Iran” and “Unruled Paper”, “From Karkheh to Rhein”, “The Glass Agency” and “The Last Supper”, “Hiva” and “M for Mother”, “When the Moon Was Full” and “Breath” and so on, the waiting line in front of movie theaters will be filled with movie lovers, and there will be a bigger and kinder embrace of cinema. It is not only India that has linked cinema with blood and turned it into its second world. In Iran, cinema can be the evangelist of hope and vitality and the promoter of prosperity and national solidarity and make the first world look similar to the second world.
NOURNEWS