Kiarostami’s Unfinished Cinema and its Postmodern Reflections | ||
| The International Journal of Humanities | ||
| Article 3, Volume 17, Issue 2, 2010, Pages 23-37 PDF (179.79 K) | ||
| Authors | ||
| Mohammad Jafar Yousefian Kenari* ; Mostafa Mokhtabad-Amrei | ||
| Faculty of Arts, Tarbiat Modares University | ||
| Abstract | ||
| Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. Some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and Individual minimalism. The main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. Furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. In this respect, Kiarostami’s unusual works are interpretable by Deleuze’ some neologism like affection-image. The films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. Despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. This paper attempts to present a new approach of reading Kiarostami as an increasing global interest. | ||
| Keywords | ||
| Kiarostami; Unfinished Cinema; Postmodernism; Critical Reading | ||
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