Pardeh-khani a conceptual model for Iranian national cinema / Majid Fadaei
This research has proposed Iran’s traditional art of Pardeh-khani as a suitable and applicable model for attaining a national cinema in this country; Pardeh-khani (pictorial storytelling) or Parde-dari is a kind of storytelling and minstrelsy with painted canvases that some scenes of epic, myth,...
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| Format: | Thesis |
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2014
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| Online Access: | http://studentsrepo.um.edu.my/4714/1/PARDEH%2DKHANI__A_CONCEPTUAL_MODEL_FOR_IRANIAN_ANATIONAL_CINEM.pdf http://studentsrepo.um.edu.my/4714/ |
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| Summary: | This research has proposed Iran’s traditional art of Pardeh-khani as a suitable and
applicable model for attaining a national cinema in this country; Pardeh-khani (pictorial
storytelling) or Parde-dari is a kind of storytelling and minstrelsy with painted canvases
that some scenes of epic, myth, moral and especially religious stories are painted on
them. Mixture of speech and image in Pardeh-khani cause this kind of storytelling in
the most popular and dramatic kind within Iran ancient arts. Pardeh-khani is very
similar to modern art of cinema which served an analogous function in the past. Iran’s
cinema, despite producing decorated works and eye-catching successes in global
festivals during its 110-years history (1900-2010), has not been able yet to gain its
actual position and status. It has failed to become a national cinema having a unique
identity. As a matter of fact, despite all cultural and artistic potentials and capabilities of
ancient Iran’s civilization and also presence of creative artists, Iran’s cinema has not
managed to possess a national style with an identity commensurate with culture and
identity of this civilization.
By investigating different dimensions of this art that enjoyed remarkable
popularity among Iranians along the history until a near past, this study attempts to
render a theoretical and practical framework for national cinema in Iran. |
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