{"id":3814,"date":"2023-07-30T12:30:31","date_gmt":"2023-07-30T09:00:31","guid":{"rendered":"https:\/\/dejavostudio.com\/?p=3814"},"modified":"2023-08-03T15:06:28","modified_gmt":"2023-08-03T11:36:28","slug":"the-firsts-of-iranian-cinema","status":"publish","type":"post","link":"https:\/\/dejavostudio.com\/en\/the-firsts-of-iranian-cinema\/","title":{"rendered":"The firsts of Iranian cinema"},"content":{"rendered":"

The first of Iranian cinema<\/span><\/h2>\n

The first Iranian cinematographer: Mirza Ebrahim Khan Bashi photographer (1279)
\nThe first Iranian cinema: Grand Cinema (1305)
\nThe first Iranian silent film: Abhi and Robi, Evans Oganians (1309)
\n\u2022\u00a0\u00a0 \u00a0The first Iranian talking film: Dokhtar Ler, Ardeshir Irani (1312)
\n\u2022\u00a0\u00a0 \u00a0The first Farsi dubbing film: The Runaway Girl, Ismail Kushan (1325)
\nThe first Iranian female director: Shahla Riahi, Marjan movie (1335)
\nThe first Iranian cinema magazine: monthly film magazine from (1361) until today<\/p>\n

The first talking movie<\/span><\/h3>\n

In 1312, the first Iranian talkie film called Dokhtar Lor was made by Ardeshir Irani in Mumbai. The reception of this film paved the way for the production of several other Iranian films. The change in the country’s political climate during the years 1315 to 1327 and the imposition of severe censorship and facing the Second World War caused the activity of the nascent Iranian cinema to stagnate. However, it should not be overlooked that until this period, cinema in Iran had not yet become public, and the use of the few cinemas in Tehran and big cities was almost exclusive to elites and certain strata of society. On the other hand, there was no special line of thought among the filmmakers, and except for Abdul Hossein Sapenta, who, due to his cultural characteristics, elements of ancient Iranian literature can be seen in his works, in the rest of the cases, the films made were mostly clumsy adaptations of foreign films.<\/p>\n

The twenties and thirties<\/span><\/h3>\n

In the years after 1322, filmmaking activities expanded due to the establishment of several film companies by a number of investors, as well as cinema becoming more popular among the people. But unfortunately, since in this expansion of attention to the income and profit from the production investment, it was faced with popular and contentless products, and these elements became part of the common tradition of filmmaking in this period. Ismail Koshan, Samuel Khachikian, Hoshang Kavousi, and Farrokh Ghaffari are the famous filmmakers of this period, among which Ismail Koshan played a major role in stabilizing the flow of Iranian popular commercial cinema known as Persian film.<\/p>\n

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\nThe forties and fifties: the new wave of Iranian cinema<\/span><\/h4>\n

Since 1344, Persian cinema experienced its peak, and a wave of “Ganj Qaroni” films hit Iranian cinemas. During the following years, this process was extended from excessive repetition to complete vulgarity, and in 1348, with the appearance of films such as Cow and Caesar, it made a fundamental change; A new trend was created, which was called the new wave of Iranian cinema. On the other hand, the establishment of the Center for Intellectual Development of Children and Adolescents in 1348 became a good opportunity for the formation of cultural cinema in Iran. UNESCO’s cooperation with this center as a distributor of children’s films in Iran, which was implemented by sending Nouruddin Zarinkalk to Belgium, had an important effect on the cultural level of the center. The cultural trend formed by leading cinematographers along with the creation of a center for intellectual development and also the reduction of public acceptance of entertainment elements such as violence, professional ignorance among the young and especially the educated stratum of the country were the factors that hand in hand created a new and constructive trend in They created Iranian cinema between 1950 and 1957.
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