They want to legalize violence in cinema First, they write the document secretly, then they edit its mistakes?! Isn’t it strange?


But the main question is how such a document is issued in a hurry and in the last seconds of the change and transformation of the government, and the most important thing is that this is done without the slightest consultation with the people of cinema and the legal trade and cultural organizations involved in cinema, which are taking legal steps under the banner of the Islamic Republic. go through and operate, does it take place?

We had a conversation with Abolhasan Davoudi, a filmmaker and cinema expert, and asked his opinion about this document.
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Mr. Davoudi, if you agree, can you first explain what the national document is? What is the National Cinema Document supposed to do?

The National Document of Cinema is supposed to be the highest definition, guidelines and legal guidelines for the entire existence of a cultural/economic/industrial flow called Iranian cinema.

By whom is this document prepared?

Apparently, this document should be compiled through the participation of the country’s highest expert authorities, along with specialists and experts of the legal organizations and institutions of the cinema industry, and not only the employees of government institutions and paid experts of these institutions, and without the presence and opinion of the residents and those involved in this cinema, such an important document and To explain and issue a decisive document, this document should become the “Constitutional Law of Iranian Cinema.” And with respect for justice, be the ruler of all affairs, strategies, programs and all activities involved in cinema.

Considering the fact that it has been mentioned that this document has been prepared for the last 12 years, but the question here is that more than 40 years have passed since the history of Iranian cinema after the revolution, why has cinema not had a document in these 40 years? And more importantly, why does this document become official in the last days of the 13th government?

The people of cinema are wondering the same thing, of course, this urgency is not only related to cinema, they have prepared this document for music and theater as well, but the question is how, hastily and in the last seconds of the change and transformation of the government, such a document was issued. And the more important thing is that this is done without the slightest consultation with the people of cinema and legal trade and cultural organizations involved in cinema who have gone through legal procedures and operate under the banner of the Islamic Republic? This document does not have the slightest reference neither in the compilation nor in the text presented to these guilds.
31 guilds are formed and operating in the Cinema House, and none of them were involved in the preparation of this document, and only after the compilation and explanation of the document and with the follow-up of the Cinema House, the text is apparently only available to the board of directors of this house. This concealment in writing and editing the document and bypassing the mainstream of cinema and subjecting it to the opinions of government experts is very surprising and suspicious.

dIn other courses, there were discussions about the preparation of the document.

You see, the cinema document has been proposed in all periods as the need for a mother law and in order to give order to the cinema, and various activities have been carried out regarding it in the previous periods, but it has never achieved the desired result, because the conditions of the cinema It has always been about to change faster than the relevant authorities.

Of course, Mr. Davodi, in the past few days, after the protest of cinema people regarding the National Cinema Document, the Secretary of the Arts Council said that the document file is still open and this document has not been definitively registered.

Which common sense says that we should write and dictate a text once secretly and from our own point of view, and then when faced with the reaction, we want to edit its mistakes and correct the dictation? This is not a training class where the people of the cinema correct the wrong dictates of the statesmen. Apparently, this is a “national” document and not just a governmental one, so from the very beginning, we should invite the experts in the matter when writing our dictation to be in the process and monitor for a more accurate, up-to-date and fair compilation. In the currently presented text, it seems that some kind of political decision was involved in the preparation of this document, which caused the trade unions and intellectual and specialized consciousness within the cinema family to bypass and close the doors of accountability to them.

It seems that this resolution should be announced by the President of Iran, Doctor of Medicine.

Yes, the final decision rests with the president, but apparently there are hidden policies in the preparation of this document that can lead to its abuse in the long run. The election of all the candidates was formed through 8 questions, which Mr. Bizikian answered at the same time, and they clearly committed themselves to some points in the position of the future president. The editors of the document, if they had referred to the contents of the same questions of Khana Cinema and the answer given by Mr. Bizikian, they would have written the document in a different way. In my opinion, there are many provisions in this document that only have the limiting application of Iran’s pluralistic cinema, and taking and defining it in one A purely ideological format that can cause extreme limiting uses for the future periods of cinema.

Can you tell us a little about the points in the document? It seems that it is not in the interest of cinema people, and most of the points are negative and reprimands, such as the fact that the head of the cinema organization or the minister of guidance stops the production of the film whenever he sees fit, etc.

These points are not mentioned directly in this document, but recently, relying on some provisions of this document, the regulations for issuing film production and film screening licenses have been approved by the Cultural Council of the Revolution, which in a way has only fueled the view of the abandonment of filmmakers in the eyes of gentlemen! And these things that you said are mentioned in it, the point that is present in the current text of this document, which is very wrong and important, is that it has been forgotten, whether in the constitution or in other subordinate laws, this concept has been emphasized somewhere with the definition of the ministry. Farhan and Irshad cannot and should not assume the duties of other organizations. It cannot be the intelligence and security organization at the same time, and it cannot interfere in matters related to judicial affairs or make decisions on their behalf. The Ministry of Guidance cannot be a judge at all, but the provisions of this document and the regulations resulting from it have defined and specified all these steps, which are still being implemented in a more or less form, in the form of legal provisions.

Of course, Mr. Davoudi, if you remember, it was a few years ago that Asghar Farhadi was stopped from filming his film just because of his speech at the Cinema House celebration…

Yes, in these years, we have seen behaviors of some people in government and governance positions, which were very different and sometimes not legal, and it was just the extremism of some managers, which took place outside the provisions of the law, but now gentlemen are trying to turn these cases into law, because they know Outside the circle of the law, such interactions sometimes face problems and are not possible, so they want to define cinema and its laws so that anything done outside of their will is considered a crime.

Why do you think the Ministry of Culture and Guidance has turned to such negative behavior instead of supporting artists? However, it should be a helping arm for cinema and other branches of culture.

This case cannot be explained, the dimensions of the legality or not of such behaviors should be followed up. There has always been the question of whether the Ministry of Culture and Guidance should be responsible for punishing and intimidating artists or their friend, companion and advisor? Basically, one of the issues and problems that exist with this document is that some of its provisions allow negative and violent behavior in cinema and in front of artists, and the reason for the opposition of the cinematographic community is that it prevents the narrow-mindedness of harsh and negative attitudes. And take a purely ideological and political view in the cinema. We artists are aware of this and we know that we should not have any activity outside of the custom and the approved law, and we have proven this in legal compliance, but men are very inclined to bury their heads under the snow like Quebec and not pay attention to this issue at all. This is while a major part of Iranian cinema has taken a different path in the past years, forced and in the face of unconventional approaches, and practically this has become uncontrollable, and the gentlemen themselves are aware of this fact that their strict policies have not been able to prevent this expansion. because it is no longer possible to control this issue with such old rejection policies due to the technological revolution in the field of cinema. It is enough to look at the output of a part of Iranian cinema that was made outside the dictated production rules. Two years ago, the number of underground films was 2-3 films, but last year it reached 17 underground films. Where was the Ministry of Guidance? Has he been able to stop the filmmakers? Has he been able to close all these projects? Nearly 70 to 80 short and long underground films have been made without the will of the ministry, do you guys consider these points? Now tell me if this document can be prevented? Except to deepen the rifts? In my opinion, due to the technological modernization of cinema, such old laws have both destructive consequences for Iranian cinema and harm the legal regulation role of men in cinema.



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