Document Type : Original Article
Authors
1
Department of art , Faculty of Art and Architecture , Islamic Azad University Science and Research Branch , Tehran, Iran
2
Construction, art and architecture of research and science Azad university
3
Ph.D. Candidate in Theater Studies, Department of Cinema and Theatre, Art University of Tehran, Tehran, Iran
10.30480/dam.2024.4998.1833
Abstract
The Analysis of Gilles Deleuze Key Concepts along with Abbas Kiarostami’s Films (Five, 24 Frames, The Birth of Light)
Abstract
Abbas Kiarostami and Gilles Deleuze were unconventional figures, Kiarostami with his films and Deleuze in Film-Studies. But both of them have one thing in common, and that is to return to the question of the essence of cinema. Kiarostami, especially in his three works, Birth of Light, Five, and 24 frames, with techniques such as de-dramatization of random encounters and completely accidental disturbances, questions the common realism and the perception of the immediate recording of reality by the camera, and on the other hand, Deleuze with his ideas follows Establishing a new ontology of film and trying to find a new answer to the question of what is cinema. By putting forward the concepts, the movement- image and the time-image in relation to other concepts such as perception, action, affect and crystal, Deleuze draws a theoretical structure to show how a film works. According to Deleuze, the work of film analysis and film-thinking is to develop concepts that are related to cinema. According to him, every film has goals, and cinematic techniques such as framing, plan, and montage make sense in relation to these goals, but these techniques assume those goals and do not explain them. It is the goals that make the specific concepts that Deleuze is talking about. In the present research, an attempt has been made to examine some of these concepts in the face of three works by Abbas Kiarostami. At first glance, it may seem that the three mentioned films do nothing but reproduce the visible world; It means reality, and here nature is captured in a de-dramatized and de-personalized state without the intervention of humans or subject. But in Deleuze's approach to these films, it makes clear that they are not only not representing the visible, but are in the process of making visible. Because of the three films, The Birth of the Light, Five and 24 frames, have been pushed to the limits of the essence of cinema, they reveal a perception of life.
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