“This note does not want to criticize the performance of the” Documentary and Experimental Cinema Development Center “; That intends to take a look at the direction of supporting documentary cinema in all years and from the author’s point of view, to “expand” it.
Iran’s documentary cinema, a honest mirror of the facts, with all its brilliant background and unique potential, still face serious challenges on the path of development and influence. This cinema, which can reflect the voice of the unhappy, has been caught in the defective cycle of production, distribution, and demonstration and has failed to play its role as a tool for social awareness and change. Today, more than ever, there is a need for a review in this area.
Iran, with a treasure trove of documentary narratives, from rich culture and history to social and environmental concerns, can have a much higher place than the present situation. But this huge potential has never flourished because of its over -focusing on production and neglect of the play. The cycle that must begin with clever investment and reaches the audience by bringing the work to the audience is ineffective today due to the lack of efficient policies and structural weakness.
It is clear that one of the most important problems in this cycle is the limitation of investment for production. The lack of sufficient financial resources forces documentaries to either make a quality documentary, either to reduce the quality of their work, or to abandon their projects half -use. But the main problem is beyond that; Even high quality works go into the shadow of the weakness of distribution and play.
The main challenge is the weakness of the documentaries to the audience. Contrary to public notion, documentary cinema has little audience, but a “specific audience”. This means that every documentary must be specifically provided to specific target groups. Sometimes these “specific audiences” can be a small number of MPs, sometimes the “special audience” is widely widely publicized. For example, a documentary about climate change can have audiences of environmental activists, geography students and natural resource policymakers (this does not mean that the film has no audience among other groups). Or a film about family relationships can target the general audience. The delivery of such works requires careful planning through the channels for each audience. But unfortunately, this part of the documentary cinema life cycle in Iran has always been ignored and there is no specific plan to deliver the works to its particular audience.
One of the main reasons for this shortcoming is the over -concentration of the Center for the Development of Documentary and Experimental Cinema, as the government’s trustee of the “expansion” of documentary cinema. Since its inception, the center has been largely a film production company instead of focusing on the development of documentary cinema and has been competing with other producers such as the Surah Documentary Center, the Documentary House or the Documentary Network. A policy that may have been felt at the beginning of the path, but today the situation is different. Correcting the structure of the center and changing its approach from production to distribution and display can solve many problems. If the center focuses on the purposeful distribution of the works instead of competing with other producers, not only the documentary market in Iran will be formed, but also investing in this area. Investors will be more willing to support this area by observing the proper access to the audience and positive feedback.
The Center for Documentary and Experimental Cinema has begun efforts to display works in recent years, but these efforts, like other similar measures, will be based on the fact that the documentary cinema has “specific audience” (based on the definition presented), and the documentary, without regard to the audience, He does.
One thing to keep in mind is the difference between “sales” and “show” in documentary cinema. Unlike fictional cinema, the success of a documentary is not measured by box office sales. Reaching the documentary to a particular audience and its impact is the main criterion of success in this area. Academic performances, online platforms, mobile shows, domestic and foreign TVs, etc. can be a good platform for documenting their own audiences.
On the other hand, the quality of documentary cinema production has also been reduced due to defective management structures. The closure of specialized councils, incorrect budget allocation, and unfair ownership of the Center for Expansion on Works have reduced the incentives of documentaries for creativity and quality improvement. These problems gradually diverted the documentary flow from its original path and transformed products into medium and sometimes mere consumption.
The Film Festival, which could have been a launching platform for documentary works, has departed from its main goals because of the conflict between the center of expansion and its role as the organizer of the festival. To prevent the festival from being turned into an advertising tool, it is necessary to hold it to an independent secretariat.
The reform of the documentary cinema budgeting system can increase the responsibility and motivation of filmmakers by adopting an approach that allocates funds in the process of research, production, and post -production. In this model, the center of development only plays a supportive and reinforced role, while the intellectual and legal ownership of the works is entrusted to the documentaries. This change of policy enhances filmmakers’ motivation to search for complementary funds from other government or private sector sources and create healthy competition between them, and ultimately, it will lead to a more stable support, self -sufficiency and in -person in society.
Investing in the education of documentaries, especially in the field of audience recognition and marketing, is one of the key steps to develop this area. Careful understanding of the audience and its continuous attention to all stages of production is of particular importance. This view helps the documentary present the message of its work in a way that can communicate effectively with the audience and receive positive and constructive feedback.
In addition to promoting and promoting the documentary works as a person performed in the distribution cycle of each film, it is imperative that “documentary cinema” itself is considered as an independent cultural concept. This cinema should be introduced to the general public and its position as a tool for enlightenment, awareness, and addressing social and cultural issues are widely consolidated. Environmental advertising, television programs and the production of a variety of cyberspace can play an important role in promoting documentary cinema. Also, holding cultural events such as meetings, roundtables and targeted performances in universities and cultural centers provides an opportunity to explain the role of documentary cinema and familiarize audiences with its values.
One of the serious issues in Iranian documentary cinema is the weakness of reporters and specialized critics in the field. Most criticisms and reports written about documentary work are based on criteria and a look derived from fictional cinema. This mistake not only ignores the fundamental differences of documentary and fictional cinema, but can divert the path of documentary cinema from its original goals and independent identity. Documentary cinema requires a specialized look and analysis; An analysis that recognizes the features, structure and goals of this type of cinema and in its critique of relevant frameworks. To achieve this, it is necessary to form and strengthen journalists and experts in the field, as accurate and conscious criticisms and reports can provide an appropriate platform for the development and development of documentary cinema.
Finally, Iranian documentary cinema must return from the margins to the text. This cinema can be a tool for reflecting the facts and turning awareness into action. Modifying managerial structures, focusing on the purposeful display of works, and strengthening the distribution infrastructure will pave the way for this goal. If these changes are properly implemented, documentary cinema will achieve its proper place in the culture and art of the country and become a powerful tool for social change.
This is not just a desire, but a necessity for the flourishing potential that has been overlooked for years.
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