The first black and white silent Iranian film was "Blue and Robbie" narrating funny adventures of two long and short men in different situations. The film was screened on May 12, 1930 at 2:00 pm in Mayak's cinema. Five hundred and sixty tomans was spent for this film and the producer benefited about seven thousand tomans.
Then, in 1933, the first Iranian sound film named "Lor daughter" was produced in Bombay. The film was black and white and narrated the story of a girl and son named Jafar and Golnar, who seek to destroy wickedness in an area after their love each other. It took seven months for the film to be screened in Mayak and Sepeh Cinema.
For the first time in the thirties, the first foreign film "escaping girl" was dubbed to Persian, and this path has been continued up to now. The dubbing in Iran's cinema has gone a long way and reached a high point along this path, as one of the strengths of Iran's cinema before and after the revolution was the dubbing of foreign films and its reversal to Persian language.
In the following years after 1943, filmmaking activities were expanded due to the establishment of several cinematic companies by a number of investors, as well as generalization of cinema among the people. However, unfortunately, since paying attention to the income and profits from investment on the one hand, and the political situation of the society after the August 28 coup, on the other hand, led to production of low-quality films changing to a tradition in this period.
By displaying the "Treasure of the Qaroon" in 1963, "Farsi Movies" cinema experienced its peak and a series of "Treasure of the Qaroon" films occupied Iranian cinemas. During the next few years, this trend was dragged into a complete banality, and in 1969, with the advent of films such as "Cow and Qaiser", a fundamental change was made, and a new wave was created, which was named the new wave of Iranian cinema.
Establishment of the Intellectual Development Center for Children and Adolescents in 1969 was a good opportunity for the formation of cultural cinema in Iran. The cultural flow formed by leading film makers, supported by the intellectual development center, as well as a decrease in the general acceptance of entertaining elements such as violence, sex, professional ignorance among the young strata and especially the educated peoples of the country, created a new and productive stream in Iran's cinema from 1971 to 1980. Sohrab Shahid Saleh, Bahram Beyzaie, Abbas Kiarostami, Khosrow Sinai, Dariush Mehrjuyi, Nasser taghvayi, Masoud Kimayaee, Ali Hatami, Amir Naderi, Bahman Farmanra, Parviz Kimayavi and ... were among the people who played a key role in this process and provided preliminary phases for Iranian cinema to take important steps in the coming years.
Iranian Cinema after the Revolution
After the Islamic Revolution, during 1979 to 1981, due to lack of established rules for filmmaking, Iranian cinema is almost in a state of dwelling and disorderly. After 1982, after formulating the rules of filmmaking, which was adjusted to the post-revolutionary conditions, elements of violence and sex were removed from Iranian cinema, and on the other hand, due to the confiscation of many cinemas and film production companies and supervision of government, cinema became less profitable. These factors, coupled with the qualitative evolution of the filmmakers of the fifties, have had a positive impact on the filmmaking process in Iran, which, due to limitations, innovative products were creared and acclaimed by global critics.
Sacred Defense Cinema
Sacred Defense Cinema is part of Iran's cinema films, which was born in Iran in 1981. Sacred Defense is a term used by Iranians about the Iran-Iraq war. Sacred Defense, or the 8 years of Sacred Defense, refers to a series of military, cultural, economic, and social activities carried out in Iran during the eight years of the Iran-Iraq War which maintained Iran's territorial integrity against Iraq.
Many filmmakers have experienced warfare and movies created in the context of the war, connect excitement and incident with the mystical situations and justice of the people in the war. Some of these films are Ninavah (Rasul Molla-Gulipour, 1984), the voice of the unseen (Saeed Hajimiri 1984), Flight at Night (Rasool Molla-gholipour 1985), Man and Arms (Mojtaba Raei, 1989), at the Sanctuary of Love (Kamal Tabrizi, 1991). On the other hand, the war brings more mobility through special effects, but the subject of the story and its end is quite clear. Films such as Balami to the beach (Rasool Molla-Golipour 1984), Kani Manga (Seyfollah Dad 1987), Eagles (Samuel Khachikian 1984), Ofogh (Rasul Moll-gholipour 1987), and Karkheh to Rhine (Ebrahim Hatami Kia, 1992) are examples of this success. Types of styles are in time of war.
Conceptual cinema is a cinema that focuses on the realities of human life, turning it into its internal affairs, which means that it involves "attributes to the nature of phenomena," from "the face to their meaning" "from" appearance to the inside "," From material to essence, "from" the body to the soul "and from" concrete to the abstract ". Conceptual cinema, of course, is not limited to "wisdom" and "sublime", but the "evil faces" and "obstacles to human excellence" are also the subject of this cinema. However, these dimensions are sufficiently considered to provide its sublime nature and do not destroy the "righteous meanings" in the shadow of "evil" and "sensual" meanings.
The Islamic revolution recognized cinema as a cultural category and essentially accepted it as a "message" priority. In the cinema of Iran, and with the above definition, there can be a lot of conceptual works. For example, "The Watchman" (Ebrahim Hatami Kia), which links the supernatural to the Divine Relief using religious notions. "Hamoon" (Dariush Mehrjui), the hero of the work, engaged in intellectual and psychological problems, in his mind, shimmers the real and the imagination worlds and moves in a melancholy world toward death and nothingness; this mess of material and superficial affairs in the hero's life finds a religious root. Films like "The Searcher" (Muhammad Mutevaselani and Esmail Khalaj) and "Delle namak" (Amir Ghavidel) also had a conceptual pattern, and "Mother" (Ali Hatami) is conceptual with that dreamy scene of journey to the past and integrating it with present.