Movie posters of the last three decades of Iran (from 1360 to 1390), a practical project of poster design for cinema and television films.

Dissertation for Master's Degree in Visual Communication

Abstract

The present study examines the works of Iranian cinema posters in the last three decades -1360 to 1390- in four chapters.

During a period of library research, materials about the formation and birth of cinema in the world were conducted for the first chapter, and then to collect the materials presented in the second chapter, the same library research and Field research was sometimes used, and in a few cases face-to-face interviews and published interviews were used. Then, in the next chapter, all the posters published during the mentioned decades were placed in the forms that were embedded, and the answers to the questions about the form, composition, dominant structure, color, etc. The quantity and quality, the color and the quality values ??of the movie posters of this period of time put Iran in the crucible of evaluation and determined their qualitative liquidity level, which was obtained by drawing graphs, the percentages of which have been discussed in detail in the conclusion section. In the final chapter of the current research, a number of posters designed for movies provide solutions in order to reduce the movie poster standards for Iranian audiences by relying on efforts. The professors of the past and the effects that the artists of this field in different international schools have had on the process of the formation of the art of making posters for films in the history of cinema.

Key words: poster, cinema, Iranian cinema, film poster

Introduction

Considering the presence of cinema in Iran for about 100 years and the production of posters for films during These years and at the same time these two branches of visual communication, which are the most contemporary arts that are seriously and continuously present in the lives of the people of today, it seems that the art of making posters for movies in Iranian cinema must have gone through its stages of growth and evolution and now it is in its growth period.

In recent decades, Iranian cinema has had a significant presence in international forums and has won numerous awards and honors, so it is worth looking at it as well. The perpetuity of this art - poster making - to clarify the issue of whether the growing and complementary movement of cinema has also happened in the art of poster making and why? On the other hand, by reflecting on the fact that the masters of the last generation of Iranian graphic design and also the master painters who tried to improve the art of poster making for Iranian films, there is a place to check if all the forces that were spent to create a clear and correct path to improve the level of the customers' taste And the filmmakers and cinematographers, as well as the audience of Iranian cinema, did it come to a conclusion or did the path continue? It is worth mentioning that great artists such as Morteza Mamiz, Qabad Shiva, Abbas Kiarostami, etc. They tried with all their might to present valuable and different works and make Iranian cinema the owner of visual media and a healthy graphic taste worthy of Iran's history and visual richness.

So far, no significant activity has been done regarding the visual quality and artistic values ??of Iranian cinema posters, and if some work has been done, it has not been very extensive and influential. Perhaps the only serious effort in this area has been made by Mr. Masoud Mehrabi for the book 100 years of announcements and posters of Iranian cinema, which is very valuable and deserves to be thanked and appreciated for his efforts, because the possibility of collecting such a collection requires a lot of hardships, but this book in a way tries to collect works and is more of a historical and quantitative value. Because as the researcher himself has mentioned in the introduction, all the works in this book have been collected without quality evaluation.

But in the present research, with appreciation for the efforts of those who have previously been published in various sources, specialized publications, assemblies and meetings, etc. They have started such a look, it tries to focus more on the qualitative path of producing movie posters and examine them based on aesthetic and qualitative values ??rather than quantitatively. Of course, in this research, the movie posters of the last three decades of Iran will be reviewed and evaluated..

In order to find out the values ??and shortcomings of movie posters of the last three decades, the present research has gone through different paths and used different methods to collect sources and materials. The first and second parts of this research are mostly based on library research to deal very briefly with the history of world cinema and Iran, and then a brief history of successful posters of world cinema and influential schools, as well as a brief history of posters and cinema posters in Iran, and of course to collect visual resources and some of the posters. Field research has also been used, and in some cases, the interview method has been used to solve some questions - in cases where it was possible.

Next, a qualitative study was conducted with some questions based on the analysis of works and a more detailed look at the posters of the last three decades of Iranian cinema, and the results were obtained, which are specified in detail in the conclusion section by drawing diagrams and tables of the results.

Chapter One

Cinema, the effective media of the contemporary world

1-1- A brief look at the formation of the cinema industry

1-1-1- Before cinema

1-1-2- The birth of cinema

1-1-3- The silent era

1-2 - A brief look at the influential schools of cinema

1-2-1-German Expressionism

1-2-2-Japan Pure Cinema Movement

1-2-3-Dogma 95

1-2-4-Poetic Realism

1-2-5-Cinema Nouveau

1-2-6-Cinema of the Look

1-2-7-Cinema Renaissance

1-2-8-Underground Cinema

1-2-9-Third Cinema

1-2-10-German New Cinema

1-2-11-Italian Futurism

1-2-12-French New Wave

1-2-13-Japanese New Wave

1-2-14- Neorealism

1-2-15-New Hollywood

1-2-16-Calligraphy

1-2-17- Kamrashpil

1-3- Popular approach and artistic approach

1-3-1- Popular approach

1-3-2- Artistic approach

1-4- The history of Iranian cinema in a Overview

1-4-1- The forties and fifties

1-4-2- Cinema after the revolution

1-4-3- The new wave of Iranian cinema

1-1- A brief look at the formation of the cinema industry

1-1-1- Before cinema

Show and dance have many common elements with film. had, such as the text of the show, lighting, costume design, production, directing, acting, viewing, audience and rating. The history of the above two arts goes back thousands of years before the film. Many technical terms of these two fields were also used in the future in film theory and criticism, such as the term mise-en-scène. The date of the box dates back to Ibn Haytham in a book of his named Kitab al-Muhamad (1021 AD, 5th century) and later this device was completed by Giambattista della Parta in 1600. The light is refracted by a small hole or lens outside, and projected onto a flat surface or screen, in 1740 and 1748 David Hume discusses the participation and stimulation of the imagination by images in Essays on Human Nature and Inquiry into the Process of Understanding in Man in 1740 and 1748, which some believe are the first references to film language.

1-1-2-birthday Cinema

In 1878, Edward Muybridge, with the financial support of Leland Stanford, who was a politician and the founder of Stanford University, succeeded in taking a series of photographs of a horse named Sally Gardner. These consecutive pictures were taken by 24 cameras in a row. The above test was held on June 11 at the Palo Alto farm in the presence of the media. The cameras were placed parallel to the movement of the horse in a straight path and the shutter of each camera was controlled by a wire connected to the horse's hoof.    

    Each image was captured in a thousandth of a second. The next film to be experienced was The View of the Garden of Trends, made on October 14, 1888 by Louis Prince in Leeds, West Yorkshire, England. Therefore, the British are known as the first people who achieved the moving image. On June 21, 1989, William Green received patent number 10131 for his chronophotographic camera. Apparently his camera was capable of taking 10 pictures on perforated celluloid film. A report of this camera was published in the British Photographic Newspaper on February 28, 1890. Greene sent a series of pictures of the matter to Thomas Edison, who had built a device called the Kintoscope in his laboratory. This report was published again in the Scientific American magazine on April 19 of the same year