Research on Director Majid Majidi’s Films
|Keywords||Magid Magidi’s film vision of“heaven” poetic and realistic human nature logo|
Majid Majidi, the first Iranian director who once carried his film—The Children of Heaven into rivalry of Academy Award for Best Foreign Language Film, contributes a lot to the Iranian movies going abroad. He is not only a Muslim who loves the traditional Iranian culture and strictly abides by the Islamic religions thought, but also an outstanding cineaste who is dare to spread the local civilization to the world wide and searches for the individual existence against the globalization background.Magidi tends to focus on the common and simple people and he is always good at narrating a single clue naturally and smoothly. Most of his characters, mainly originated from the true and innocent city, village, desert and woods, endure the living pressure and chaotic wars. Meanwhile, these people compose poetic feelings and tell about humane will during the process of fighting against life. Magid Magidi’s films attainments not only limit to pure record of actual events and ideographic presentation, but also continue a sort of thoughts and emotions. This thesis is mainly divided into three parts to discuss and analyze the contents and creativities of Magid Magidi’s films.The first part presents the vision of“heaven”. Beginning with the lifetime of Magid Magidi, three phases—“from stage to screen”,“from actor to director”,“from Iran to the world”—has been divided to discuss how he paved the way to movies. Through the description of his creative process which is from the first self-directed feature film Baduk in 1991 to The Song of Sparrows in 2008, the thesis further discusses the view that artistic film creation has a close relation to the individual growth, emotional choice, and social environment.The second part deals with the cultural background and content of Magid Magidi’s films. Based on the argument that Iranian traditional culture has a great impact on its films, this part analyzes how the geo-cultural element and religious humanity concept influence the form of cultural meaning in Magid Magidi’s films after the split of difference between the traditional culture and foreign culture. Beginning with the micro phenomenon and then scattering to macro historic background and present conditions of Iranian film industry, the innovation embodies on the harmonious element in both Chinese and Iranian traditional cultural arguments, which further demonstrates that the breakthrough of thought in Magid Magidi’s films has given consideration to both nationalization spirit and globalization consciousness. At last, integrating with the local Islamic philosophy in Iran and Piaget’s Genetic Epistemology, this part deeply analyzes the philosophic dialectics in Magid Magidi’s filmsThe third part mainly discusses the aesthetics of Magid Magidi’s films. As the external play organization and audio-visual language being carried step by step and the“visible”and“invisible”or“present”and“absent”dialectical thought being used, this part retells the relationship between life and art and finds the rhythm and rhyme formed in the internal part of Magid Magidi’s films—poetic and realistic style.