Kiarostami and the Aesthetics of Modern Persian Poetry
Bibliographic Data
| ID | 9978907 |
|---|---|
| Authors | Khatereh Sheibani (University of Alberta, corresponding author) |
| Year | 2006 |
| Volume | 39 |
| Issue | 4 |
| Pages | 509-537 |
| Publication date | 2006-11-13 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Iranian Studies (JOURNAL) |
| Journal identifiers | ISSN: 0021-0862 • E-ISSN: 1475-4819 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1080/00210860601005088 |
| OpenAlex | W2082515961 |
| Language | EN |
| Citations received | 4 |
Abbas Kiarostami's filmmaking draws on the aesthetics of modern Persian poetry, especially the poetry of Forough Farrokhzad and Sohrab Sepehri. In his films, Kiarostami, impacted by Sepehri and Farrokhzad's “de-politicized” poetry, “de-experiences” our perception of reality. Kiarostami aestheticizes everyday life by employing non-manipulative film stylistics. In films such as Through the Olive Trees and Where Is the Friend's House? he uses a minimalist approach by employing amateur actors and children, depth of field, and minimal camera work to enhance Sepehri's philosophy of novel outlook. Through a masterful intermingling of poetic discourse with his film sensibilities, Kiarostami has achieved a profoundly humanist approach to cinema. Kiarostami mixes the two genres of documentary and fiction to remind the audience of the artificiality of constructing a factual point. To attain this goal, he sometimes uses an ironical and witty cinematic language that is harshly self-critical and self-reflexive. Kiarostami is a poet/philosopher who “writes” his poetic films with camera
Aesthetics · Amateur · Art · Artificiality · Filmmaking · Humanism · Literature · Movie theater · Poetry · Reflexivity · Social science · Sociology · Cinema and Media Studies · History · Philosophy · Shakespeare, Adaptation, and Literary Criticism · South Asian Cinema and Culture
| Citations per year | 0.33 |
|---|---|
| Citation span | 2014 - 2025 (12) |
| Highly cited | No |