How did Iranian become artist ?

The quality of people's becoming an artist is one of discussing principals in sociology of art generally, and particularly, in cinema sociology. How that is some people enter into social and economical activities while others spend all their life for creation or making art products? Is becoming an artist and entry into the territory of art is something accidental or optional? Is everyone in a society, if they possess the same artistic talent, are likely to become artist at the same rate? As Janet Wolfe also believes, that apparently it seems unshaking borders have not been made around the art and artists, it does not mean that entering into art territory is without the law and regardless of social causes and effects in fact, in order to become an artist some preliminaries are required that the majority of those related to the social conditions .
Wolfe says, in this regard, about social institutions on many things, including who become artist, how they become artist and when they become artist, how they keep their art and how they can be sure that their product is made, performed and is available for all; He uses the other research results and indicates that the artists, most often have been the children of other artists. These subjects represent the role played by the family in making people artist. Other factors such as constructing hierarchical structure of society are also involving for example , to become a full time author requires literacy (and having teaching and training always for all segments of the population is impossible) and also need more leisure time (and, thus, a sort of provision in terms of income or assets of the fund). So, the upper middle class and the women of this classes that have more leisure time, are more likely try writing. To this reason, it has been observed that during 19th century, most writers, in the middle class, were born as actor as actress or a large number of story writers of that century, were women; that’s why, the middle class wives of were born as actor or actress while, a large number of the story writers of that century, were women who had recently found leisure.
The private and the state support systems and variety of art dealers that for example, we can call them art critics may be called , other social factors that are in the way of people are involved . For example what forms the index of twentieth century in terms of support systems, has been the spread of government support for the arts however, perhaps the supporters might not directly interference in the work of artists, but, their support for certain artists and investors to them and their lack of support from others, have an effective role in presenting artists with specific characteristics.
In the history of Iranian cinema which a part of it discussed in the past, the trace of many of these factors in people toward cinema art is visible. Ibrahim bookbinder who, by 1276, was an unknown person had a new antique shop and was occupying in ornamental Chinese and Japanese business objects and he is the one who ,in the history of the Iranian cinema, known as the first cinema operator . He , due to the his trade experience, was always going on the trips and the souvenir of one of his trips to Europe was Topography set and film however, he had first put it up for sale , but then it changed his mind and decided to use them to show the film for people. Although the bookmaker, due to breaking out science fight with Qajar king was at last imprisoned and was forced into exile and put all his belongings including device on sale, but, this occupational opportunity of him that was trading and ability to travel to other countries put him economically in the upstairs and culturally in connection with the other communities that its result was adopting a role in the history of the Iranian cinema which was mentioned.
After the bookbinder's name, the name of three other man is seen through the cinema spread in Iran that these three guys who also due to particular position in the construction of their own class and social specific situation, they attempted this sort of art. First, he was Mehdi Russi Khan who in 1254 was born by a British father and Russian mother - in Tehran. He was a member of a family who communicated with Qajar dynasty. The Second was Akayev from Tsarist Russia immigrants who, because he was capitalist, decided to use his capital to establish the cinema halls and the third one was Artashos Patmagrayan who was fabric merchant, and his main deals was in Iraq, Turkey and France . It is observed that the first film crews in Iran ( although they were not artist themselves, at the entrance of the art to Iran and its spread were effective) all the urban people had been the owner of wealth , social status and were businessman so, this social condition has allowed them to play such a role in the Iranian cinema . But, where people are directly entered into the artistic activity, similar situation have been existed.
Babakhon Motazedi, the first professional cameraman of cinema was born in an aristocratic family of Tabriz. He, in Tehran, went to France Alyans school that in 1888 the French embassy formation had announced its affairs. Motazedi ended his university educations in Switzerland and France and after seven years staying in these two countries returned to Iran. He, in France, was familiarized with Gojelested Gomon, the son of Leon Ernest Gomon, the movie director and the owner of movie manufacturer tools in France, and since then, he seriously paid attention to cinema and it is the same person who later set up and directed several cinemas across Iran nevertheless, The first long Iranian movie named blue and Robbie has been shot by Motazedi
An Interesting point regarding artistic talent is that Motazedi is that in fact he was not artist in terms of its creativity but, he just due to the family and social position had achieved a device that others were deprived of that and all the activities done by that device so, the point that Haideri propose is an important point from the cinema's sociology points of view is. He writes: if Motazedi did not have such fortunate to be as the one or two person who in the period of Qajar and early period of Pahlavi could work with camera, certainly, like tens and hundreds of other news cameraman who later came and went, he gained no benefit so, the same expression shows the importance of Motazedi's position, and not his special artistic talents in becoming an artist. About the first Iranian film director was also existed a similar situation which shows the importance and the impact of the conditions and social institutions and their role in becoming an artist. Evans agianas, the first film director in Iran, in 1308 migrated to Iran from Armenia so that by the command of Mohammad Reza shah made preparations for the movie activities in Iran. He who in Moscow had chosen to study about cinema, since 1309 published some popular daily newspaper and, he was the first who inaugurated the first school of artist (cinema acting school) in Iran and tried training cinema artists in various fields then, He directed his first movie named, blue film and Rabi, with the help of his first term Graduates of acting school.
The second known Iranian director at the beginning of Iranian cinema was Ibrahim Muradi; He was simultaneously the scriptwriter, director, cameraman and the producer of frivolous movies. In the inaugural session of the film, the leader heads of that time National Council, a group of deputies Speaker and the officer heads participated. Muradi by the Ministry of Education became the manager of the company of Iranian limited movie and in this way had the government support behind. He who on his thirteen of age had traveled by his father to Russia and there had taught photography, painting and music ,the second time in 1305 on a visit to the Soviet passed the teaching period of filming. In 1314, he was elected by Ministry of Culture of that time so that by as Iranian representative, but without film, take part in the first film festival in Moscow and it was his third travel to Soviet Union then, after the end of the festival, he went to Berlin from Moscow and after the completion of information in Germany filming factory returned to Iran and established The scientific cinema of "Darol Phonon" and the cinema of " women circle".
After the possibility of traveling abroad ( at a time when it was not possible for anyone ), studying in foreign institutions and connection with political leaders have had decisive role in success of the first two director of the Iranian cinema so, about the role of factors and social institutions in people's becoming artist, we can keep on examples and to show many and many evidences but, it is better that this issue to be along with the evidences as well as the results obtained by descriptive researches in the field of art that currently the amount of such research in Iran is not enough so far as we can use their result to sociologically review Iranian cinema . But in the theoretical level, we can conclude that although different social and economic factors as discussed play an important role in the emergence of artistic activities but, in any particular circumstances and conditions, perhaps some of the factors other than the other might have more influence and importance but, recognizing this issue is not easy unless by descriptive investigation and studding the real social conditions.
Therefore, the theory of the impact of the actual conditions on people's becoming an artist, by its own open a widespread range of empirical studies on and sociology of art and cinema that put this comment into experience and help to improve these experiences as well as theoretical framework of his comment.
the main hypotheses to carry out such as scientific research, is this way of thinking that having artistic talent and motivation , although is considered as one of tools and the conditions in the field of art , cinema and success in it, but it is not good criterion. In contrast, the sufficient condition is that social conditions provide special position for the person so that he or she would be able to perform their artistic talents in the coming stage. These conditions begins from person's membership in an artist family up to relation with political leaders , having enough income to pay for art, being able to travel and collect various experiences , enjoying private supports and finally , involves other factors that ,perhaps, is being specified in each particular study.