Abstract

The widespread acknowledgement of Kiarostami as a global auteur provides us with a background against which to reconsider one of his most local films as well as one of the most important representations of children in Iranian cinema. When interpreting Where Is the Friend’s House?, many critics and scholars see metaphysical references in the simple act of a child attempting to overcome obstacles put in his way by adults. But any mystical reading of the film runs the risk of closing off consideration of Kiarostami’s endeavour to offer a cognitive map of a crucial moment in Iranian history. This study aims to rethink the film, focusing on Kiarostami’s depiction of social conflicts through an exploration of quotidian spaces and a portrayal of simple objects such as doors, windows and homework notebooks. Abbas Kiarostami, in creating such a microcosmic space, was following great Iranian thinkers and poets such as Hafez in expressing his contestation of the dominant ideologies of post-1979 Iran.

摘要

基亚罗斯塔米作为全球导演的广泛认可为我们提供了一个背景，让我们重新考虑他的一部最本土化的电影以及伊朗电影中最重要的儿童代表之一。翻译《朋友的家在哪里？》时许多评论家和学者在孩子试图克服成人设置的障碍的简单行为中看到了形而上学的参考。但对这部电影的任何神秘解读都有可能阻止人们对基亚罗斯塔米努力提供伊朗历史关键时刻的认知地图的思考。这项研究旨在重新思考这部电影，重点关注基亚罗斯塔米通过探索日常生活空间和描绘门窗和作业笔记本等简单物体对社会冲突的描述。阿巴斯·基亚罗斯塔米在创造这样一个微观空间时，是在追随哈菲兹等伟大的伊朗思想家和诗人表达他对1979年后伊朗主导意识形态的争论。