Application of Neoformalism for Analysis of two Iranian Distinguished films

Abstract

Neoformalism is one of the recent film criticism approaches which appeared in the 1980s and 1990s. This approach uses a new strategy in addition to achievements gained using prior methods. In this article, the specifications of this approach are studied on the basis of works of founders of neoformalism including David Bordwell and Kristin Thompson and issues such as definition of form and narration, differentiation of plot and story, principles of form, definition of device, function and motivation are expressed. According to the definition given by neoformalist, form is the overall system of relations between the elements in the whole film and narration is the plot's way of distributing story information in order to achieve specific effects. The set of all the events in a narrative, both those presented explicitly and those inferred by the viewer, constitutes the story and the term plot is used to describe everything visibly and audibly present in the film before us. A large number of Iranian filmmakers and critics believe that too much attention to content and lack of attention to form is one of the most important problems of Iranian cinema that has emerged in recent years. Also, neoformalism emphasizes the importance of analysis of form and aesthetical principles of cinema. Therefore, this approach is appropriate for studying contemporary Iranian films. Then. this approach has been used for analyzing of two important films of Majid Majidi including Children of Heaven and Baran as two distinguished Iranian contemporary films. These two films awarded the best film prize from Fajr festival in 1997 and 2001. Majidi has yet to achieve this prize again. Results of this neo-formalistic analysis show that in these two films, the form is developed to present main themes including family affection, dedication and love. Majidi in Children of Heaven has presented an attractive narration with sufficient rise and fall. He has used some devices such as overhead shot, slow motion and sound design and has applied form principles in order to represent the theme of dedication. In Baran he has taken a step further and has created a form that is consonant to theme of film, by using appropriate devices and form principles. Due to this film he rose up from ordinary form of Iranian cinema. In Baran, theme of love has been expressed with a mystic and spiritual aspect and Majidi has used Iranian mysticism and Sufism and especially has used Rumi’s works for expression of romantic story of film. Therefore, through directing of these two films Majidi gained more knowledge about cinematic form and expression and obtained more strength and ability for creating consonant form to themes of his films.