to report Trust cinema Abolfazl Najib wrote in Etemad newspaper: Censorship has been the bane of art and especially cinema in the Islamic Republic for years. In a sense, it has been strong and weak, but it has been a constant foot of the protest of cinema people. The 13th government as well as Mirslim’s chancellorship can be considered a unique and unique era of censorship rule. Today’s generation does not remember the era of Meerslim, but the rule of the 13th government over culture and cinema can be compared to the era of Meerslim. Censorship, of course, has taken different forms over the years. The rejection of the script and the seizure of the film after approval and the surgery of the film were simple forms of censorship.
Other forms can be pointed to the application of prohibitions and restrictions in genres, especially social and more specific political ones. Another form of censorship is to give a topic to filmmakers, either in the form of instructions or implicitly, as well as restrictions on the creation of government facilities and facilities, etc. has been The worst kind of censorship has been aligning filmmakers with cultural and cinema policy makers. This approach is similar to the statements of both senior directors and some filmmakers who have openly spoken of hidden censorship or in a white interpretation during the transition from one management to another. Although giving in to this type of censorship is rooted in inevitability and in the sense of eating bread at the daily rate, it is undoubtedly the ugliest type. Maybe it is because Buñuel takes the strongest position regarding such artists.
It is attributed to Buñuel[ …] But it undoubtedly shows the depth of Buñuel’s hatred for those who, by claiming the title of artist or even its scientific merit, put themselves at the disposal or subjugation of a field other than the artist’s desire and instinct, using any excuse, including the excuse of bread. They are either imposed on them or accepted at will. What Buñuel insists on is, in simple words, the field of art and artist. Or the independence of art and of course that artist. There is no doubt that Buñuel’s intention is to confront and contradict the will of those in power and, in a sense, demarcate between the field of art and politics. What we have read and experienced over the centuries in the interaction and confrontation of these two, has been sufficient and convincing semantic implications as much for the sanctity of art and artist, as well as for keeping the art field clean and beautiful from the influence of politics.
What has been interpreted to be committed to art over the years and as far as the mental construction of governments[ …]it has often been caused by self-made or made-up conflicts in the field of art. Here, it means the self-creation of artists who spontaneously connect the reasons and intellectual motives of the art field with political worlds. Similar to some of the artists from the twenties to the fifties who were influenced by leftist and Marxist tendencies and even religious artists who were influenced by religious beliefs and were interested in this identification of their art with ideological tendencies.
These tendencies, of course, as long as they depend on belief, are the same commitment to the field of art. But what has been and is the subject of discussion is often in the transition of belief and ideology from the field of thought and belief in connection with political power. Where political power tries to impose itself even on the field of art and artist’s mentality. This voluntarism has been reflected in different forms to the field of art as far as the historical experiences learned.
Its simplest form is the limitation of art and artist against the taste of power and we are still witnessing it. Its more complex forms can be seen in standing on the side of political power under the guise of belief. On the one hand, this way of dealing with the artist leads to alignment in the creation of desirable artworks of power and politics, and it can justify the status quo along with the political power of the identity and position of an artist.
What has been witnessed in the interaction and in the confrontation of artists with the willists oriented towards political power, in various forms and subtlety, has been the observation of the fact that art and artists in all fields and subjects of art have been involved in some way with the political problem and making art religious. . Although this challenge is strong and weak, even when there is a desire for relative independence on the part of some railroad makers, it has faced difficulties and obstacles in the face of the main decision-making cores, which are the macro-libertarians. Although this volitional approach to the field of art and artist has never been denied, it has been applied in different ways in giving and giving facilities and giving formal and informal guidelines, as even at one point the directors of the Farabi Foundation with global intentions They used the same methods to create Iranian cinema, but perhaps the performance of the 13th government’s cinematographic and artistic managers and directors in rejecting and removing artists is unprecedented. According to him, what he pursued and applied was to pollute the field of art and artist with grief. But what he reaped from this planting and will take with him, even compared to what Mirslim planted and reaped during his tenure as the Ministry of Guidance, will not be a mint on his ass. What has been proposed and pursued since the beginning of the revolution under the title of committed art, compared to what has been applied to the field of art, artists and culture of this country in the past few years, is in itself a more bitter experience than in the past, but at least I was satisfied from the point of view that the willists Convince the politician. The ground and field of art and artist is too hard for the political power to plant any seed in it at will.
Just unlike the field of art, which is the world of mana and permanence in the history and collective spirit of society, the field of politics and political power, if there is no good in it, is a place of coming and going. Blessed are the people of power, whose coming and going becomes an excuse to boost and encourage the imagination of real artists as much as possible.