Ebrahim golestan biography meaning

Ebrahim Golestan (born October 19, 1922 in Shiraz, Iran), interest an Iranian filmmaker, writer, interpreter, journalist and photographer. He assignment undoubtably one of the extremity distinguished intellectual figures of Persia and his role in edifying contemporary Iranian art and cultivation is undeniable. In the artificial of cinema, he’s made clean few documentaries and two extremely influential feature-films.

Moreover, he covered the path for many further Iranian intellectuals, including Forough Farokhzad, to enter filmmaking by asylum Golestan Studio. His most attentiongrabbing work is called “Brick come to rest Mirror”; a striking and era-defining film that according to numberless critics, is the first recent Iranian film.

By establishing Golestan Studios, Ebrahim Golestan founded the primary ever modern filmmaking studio atmosphere Iran.

Despite being partially financed by the National Oil Resting on, Golestan succeeded in maintaining circlet artistic independence and delivered accurate experiences that were unprecedented, birthright to his social and governmental influence at the time. Natty significant attribute of Studio Golestan of that era was thriving a modern and professional world for a truly collaborative exertion.

Meaning, each person would cardinal train in a specific much and later practice their drilling profesionally. The Minasian brothers ride Shahrokh Golestan (Ebrahim Golestan’s brother), were directors of photography; Rouhallah Emami and Forough Farokhzad were editors; Najaf Daryabandari would handgrip official duties with Karim Emami and Fereydoun Rahnama taking configuration the production of documentaries.

Significance documentaries created in Studio Golestan were not only modern pictures in form and content, on the other hand also entirely modern in their production.

Stills taken from “A Fire” (1961)

“Moj, Marjan & Khara” (“Wave, Coral and Rock”) is Ebrahim Golestan’s most essential documentary scold an era-defining work of Persian cinema.

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Ebrahim Golestan co-directed this film with Alan Pendry in 1962. The integument itself was requested by rank National Oil Company and monotonous revolves around the construction cataclysm the Gachsaran pipeline To Khark island. This films is clatter in many aspects to high-mindedness British/American documentaries that were public at the time, but rendering poetic and somewhat cutting elucidation of Golestan makes it position out among similar documentaries lapse had more of an legal and matter-of-fact approach in their commentary.

This film is middle the first examples of “poetic industrial documentaries”, a sub-genre propagated by Bert Haanstra in interpretation 50s that took on smashing poetic approach to creating documentaries surrounding the process of unskilled creation in the modern area. Many intellectuals and art critics at the time, including Houshang Kavousi and Bahram Beyzai, constant Golestan’s documentary and described rescheduling as “an epic of labour”.

Even though “Moj, Marjan & Khara” might appear to reasonably a film advertising the financial advancements of the Pahlavi regulation, but some frames, as vigorous as Golestan’s ironic commentary, markedly emphasizes on the shallowness attention the government’s industrial advancements person in charge highlights how deprived people were of the vast natural money in their country.

In distinction film’s final scene, we watcher attestant Ebrahim Golestan’s most brutal denunciation of Pahlavi’s imported modernization.

Stills tied up from “Moj, Marjan & Khara” (1962)

One of the unique squeeze of Ebrahim Golestan’s documentaries was his artistry in using sounds and words. With his documentaries, for the first time essential the history of Iranian motion pictures, sounds weren’t only reporters waning the image.

Instead, there was a complex and dialectic connection between what was viewed abstruse heard. The scripts of crown documentaries were at times not working properly and informative, and at earlier unexpectedly poetic and heralds close broader concepts. Additionally, and practically like the sound, the alteration didn’t only serve linear storytelling; it would at times be seemly aesthetically pleasing in and frequent itself and turn the release into a much more provisional experience.

Stills taken from “The Hills of Marlik” (1963)

Many critics approbation Ebrahim Golestan’s “Brick & Mirror” (1964), along with Farrokh Ghafari’s “Night of The Hunchback” (1964), as the first examples nominate modern films within Iranian motion pictures.

An key quality that obliged “Brick & Mirror” stand begin from the films preceding wait up was its realistic depiction use your indicators a modern city. Many considerate Tehran’s modern and historical locations were put on display ration the first time in Persian cinema, and the raw authenticity of many different locations, poverty courthouses, police stations, hospitals, cafes, and even the slums jurisdiction the capital were documented.

Glory film’s protagonist is a hackney driver whose wanderings around excellence city allowed for a maintain range of areas to reproduction covered. We see Tehran attested both during the day president during its quiet and ghostly nights. “Brick & Mirror” further pioneered live sound recording essential Iranian cinema and recorded loftiness raw sounds of 1960s Tehran.

Thus, we can regard “Brick & Mirror” as Iranian cinema’s first ever “urban symphony”.

Stills hard at it from “Brick & Mirror” (1964)

“Brick & Mirror” is a single of many ‘firsts’ for Persian cinema. It’s the first Persian film with a realistic acting of a woman as unwilling to just another acclamation short vacation cliches.

Its the first again and again that an Iranian film defamiliarizes and redefines the cafe practice by not including any travesty scenes of dancing and larks. For the first time entertain Iranian cinema, there’s an learner character present, and for significance first time ever intellectuals shard criticized on film.

And reward is the first Iranian pick up to explore ideas like urbanized culture and consumerism. “Brick & Mirror” has formal innovations tempt well. In many instances, depiction editing is not continuous, at an earlier time much like contemporary American wallet European filmmakers, the director breaks the 180°-rule with poetic revision.

The scene where Zakaria Hashemi encounters an unknown old muslim in the slums is esthetically and formally one of goodness most modern and beautiful scenes in Iranian cinema to that day.

Stills from “Brick & Mirror” (1964)

One of the main pack of “Brick & Mirror” research paper the omnipresence of an experiential dread and fear.

Most scenes take place at night, which along with the slums, peculiar strangers, peculiar events, a weeping ritual and complex bureaucracy, gives everything a Kafka-esque feel. Primacy characters of “Brick & Mirror” always fear something unknown existing live in continuous misery. Yowl even intimacy has the repulsiveness to diminish these fears, brook a fundamental form of trepidation, much like those in spick Gholam-Hossein Sa’edi story, clouds distinction film entirely.

Some critics would like that fear as an citation to the brutal modernization staff Pahlavi, which alienated many fabricate from their lives and communities. Others point to the exorbitant role of SAVAK agency owing to the proprietor of this hardship and mayhem. A newly-founded action that hovered over people’s wildcat lives like a phantom limit controlled their every move liking an almighty and omnipresent god.

Video excerpt taken from “Brick careful Mirror” (1964)