ARTIST COMMUNITY AND ARTIST OF THE COMMUNITY

Sociological analysis of cinematographic works of BAHRAM BEIZAYI:
This report, is verifying the interactive relationship of artist and the society. Therefore, we have selected the feature works of BAHRAM BEIZAYI, who is one of the famous cinematographers of the seventh art in the years of before and after Islamic revolution of Iran.
By research in BEIZAYI`s feature works, we want to reply to this fundamental question: how much social developments, around film maker, were effective in his films?

Theoretical framework:

Reflect approach in art sociology, is forming the theoretical basis of this study.” JARVI and SURLEN “theories are clearly indicating the reflection relationship between cinema and the community. To avoid the repeat of preferences, the reader is referred to read the GOLDMAN theory in first and second chapter of “other scholar” book in chapter of theories.

Methodology:

In this method, semiotic analysis was used which is explained in methodology in details.

Research findings:

B.BEIZAYI, by expressing some basic elements in his works, tries to go beyond some issues which he loves them and are his worries about the mother land and its residents. These basic elements are consisted of: alien, woman, identity, tradition, modernity and ultimately the society. And here we are going to analyze them.

Foreign element:

Alien, in verifying the BEIZAYI works (eight feature films), we can see many up and downs. In films such as: “cloudburst”, “crow” and “stranger and fog”, this point is obvious.
In “cloudburst” (1972), Mr. HEKMATI, is a new teacher, who has been transferred to a school in south of the city. A student accused him that, he loves sister of another student. This news has spread out from mouth to mouth and Mr. HEKMATI tries to deny the accusation, but faces many oppositions. Now this love becomes real, but at this moment, Mr. HEKMATI is transferred to another area.
HEKMAT, an alone stranger is a representative of intellectuals who works with passion and pure heart for knowledge of lower class people, but in the end, is rejected with same community. Here, the hero, reaches to passivity with all his capacity. He leaves the place, and obviously his impact in the area will disappear. His efforts which is accompanied with modern thoughts fades in front of deep roots of traditional relations and ideas. In the meantime, the only hope which remains in the area, is his work with the next generation. We can guess, among those teenagers who were his students, some persons like his character will rise but with more power. This is one of the intellectual stories in 1960s and 1970s in Iran, who were alone in dictatorship regime, without support of the people and were burning in darkness just like lightning and disappearing.
Table number 4: elements of common content in “cloud burst” film with other films:
Stranger: Mr. HEKMATI, a loving teacher, who resists in front of his community`s traditional customs with his own method.
Woman: ATEFE, a young girl who is guardian of mother and younger brother.
Identity: stranger, who has the remarks of modern styles, and his colleagues are only showing the modern appearance and are acting in traditional behaviors.
Tradition and modernity: the final way in story, has traditional color and stranger leaves the area.
Society: fully traditional, with specific rules which reacts rapidly in front of changes and insists on standing opposite improvement.
In “stranger and fog”(1975), in a village beside the sea, one day, water brings a boat to the beach. In the said boat there is an injured man who can`t remember anything, villager are calling him AYAT. They give him a chance to live in the village, and be with them. Despite the oppositions, AYAT marries a woman called RAANA, who lost her husband in sea. And AYAT thinks, he may know something about the sea. In fact, worries of villagers about AYAT has been finished, but not about AYAT himself, because he finds some proves about those people who injured him. And finally really some come through sea to take AYAT, after a conflict, AYAT is injured and goes to the sea, so at the end, once gain the sea takes the husband of the RAANA.
Stranger, who is the main hero of the story, has no little effect on next generation, and a young boy who has taken his promise to make a house is butchered in front of AYAT`s eyes. Again here AYAT is just like is searching for knowledge and understanding. Knowledge about those things which were imposed on him, and also his ignorance. And these two are his two sources of fear. At the end he will reach only to a little knowledge, and is expelled out of the society. But this time self-departure of the stranger is highlighted. We can see the effect of film maker in processing the hero character of the film who is injured and alone, which shows the result of social-political developments in those years, and some intellectual groups who found their struggle way in armed conflicts. And we can find the example of it in clashes with regime forces in SIAHKAL jungles, and as result, majority of them died and remained persons went to jail.
Public were watching only, as we have seen in “stranger and fog” film. Even though they were workers and farmers, but there was not any understanding between them and militant heroes. It is interesting that, the place of SIAHKAL event and said film were in north jungles.
Table number 5: elements of common contents in “stranger and fog” film with other films:
Stranger: AYAT is not insider, and even though he is trying for consistency of his own values and community`s values, he fails at the end, but does not bow to myths and beliefs of the society.
Woman: RAANA has achieved to internal resistance to opposite the beliefs of the society and its permanent supervision.
Identity: alien, without background and is immigrant and is not cooperating with the society and always is afraid of unknowns. His actions are appearing externally.

Tradition and modernity: dominance of traditions

Society: reacts strongly in front of whatever, disrupts the balance of traditions, beliefs and myths and established and extensive regulatory system.
In “crow” film (1977), Mr. ESALAT, speaker and program maker of the TV sees a picture of the missing girl in the newspaper, who looks familiar. His wife is a school teacher of deaf and dumb students and his step mother who lives in past. All of them are involved in a search, which he starts. Searches of Mr. ESALAT, ends in a program for missing people. His wife ASSIYEH, who is writing the memories of mother, finds out that, the missing girl is youth of the mother. The stranger, just like cloud burst (and somewhat, stranger and fog) is very passive, even though he found some strength to keep his personal method in the life. In addition to it, this is the first time, the individual knowledge of the hero from the past, is joined to the knowledge and identity of the community. In crow film, the heroin, that means the ASSIYEH, opens the final group narration, but remains in this level, and does not go further, and may be can`t.
From the second half of the fifties and especially the last few years before the Islamic revolution, we are witnessing the emergence of the student movements which were first hidden and in the last months of the regime, openly announced their presence. ASSIYEH, according to many symptoms, can represent such intellectual and educated young fellows. She is educated and coach of deaf and dumb kids, and likes to ask. And like many girl and boy students who came from lower level of the society, and for the sake of knowledge are not feeling shy about their base and level. The young people who are in connection with modernity and gradually are learning the modern thoughts, but still they are respecting the tradition. The regime is trying to drag the society to modernity but the said students are trying to make balance in modernity and tradition. They are just like ASIYEH and don’t want to bow down to baseless contracts and were in conflict with government`s view.
Table number 6: elements of common contents in “crow” film with other films

Stranger: it is discussed mostly in the frame of a woman.

Woman: ASIYEH, a young woman, self-made, employed and resistant to imposing the rules and community agreements.
Identity: man, who has accepted all advisable agreements and is showing today`s behavior. The woman is today`s person but believes balance, between tradition and modernity.
Custom and modernity: total space of the story is tending to modernity but rejects the superficial modernity.
Society: the community is passing from tradition to modernity but sometimes they are confusing the meaning of modernity and modernism.
In ballad of TARA, a young widow called TARA has two kids. One day, she meets a man who came through history, and is searching for a sword which is last sign of his tribe on the earth. TARA knows this sword, a useless heritage which was thrown away. After finding the sword and handing it over to the man, the historical man can`t go , because now he loves TARA. This nightmare love is violating their life and finally the man goes but sword remains as his sign.
Stranger in this film has mythical character who came through the history. He is there but not alive. He is a memory in the eyes of the woman. He is symbol of lost. On the other way, he is representative of all those who carry the mountain of the pride but can`t tolerate a simple fact, just like the love of historical warrior about TARA. This film was made in 1979, shortly before the Islamic revolution of Iran, so clearly we can see the decline and collapse of the aristocrats, princes and rulers, who were disappeared and their names only remained in the history, in front of the ordinary people who will remain always and distribute the seeds of the life.

Table number 7:

Elements of common contents in ballad of TARA with other films
Stranger: historical man, subdued against the fate, and is representative of death
Woman: TARA is the main heroin of the story, lively and dynamic, she is representative of life and existence
Identity: TARA is self-reliant and self-esteem, she is representative of those women who have main role in their areas and life. She and those who have positive link with her, are rooted in farming culture but those who are opposite, arose from hunting and destruction culture.

Custom and modernity:_____________________

Community: rural, traditional. Just like the most agricultural communities, work and human relationships are the base in their life.
At the peak moment of the war time (1986-87), the film of “BASHU the little stranger” arrived. A little boy named BASHU, during air attack of enemy to his town, where he saw the death of his family, throws himself into a truck, and after a while, he goes to sleep. When he opens his eyes, finds himself in north of Iran, where no body knows his language and they are not understanding him too. In this strange world, a woman by name NAYI JAN who has two children and her husband has gone to a far city for the sake of job is supporting him. And despite of enmities and suspicions, accepts him as her child.
In this work, we can see the stranger in frame of a southern black boy who escaped from the war. But his presence in the story, shows the color of stay. And this is for the first time in the BEIZAYI works which, stranger comes but does not go and finds a family too, and gets root. And again this is for the first time which action of the stranger defeats the reaction of the group. May be we can find the clue of effectiveness of story`s hero in two categories of revolution and war. As the ordinary people did the revolution and defended the country, we can see this ability in look of the artist which reflects in the action of the story`s hero.
Table number 8: the elements of common contents in the film of “BASHU, the little stranger” with other films
Stranger: BASHU, a war-stricken teenager and migrant, tries to be accepted in the new community.
Woman: NAYI, receptive and defender, in absence of her husband, she maintains her life powerfully. She is symbol of mother.
Identity: between the relationships of main characters of story with others, the director relies on Iranian identity that means the diverse despite of unity.

Custom and modernity:__________________

Society: rural, the traditional logic of relations is based on the amount of profit.
In the film of “perhaps for another day”, the climax, again travels down the road. An interpreting speaker and television documentary film maker, called as Mr. MODABER. Accidently finds a photo of his wife with another man, and becomes suspicious on her. In fact his wife, KIYAN, worries about her parents illness and is not paying attention to his curiosity. MODABER tries to find the unknown man, and watches the wife`s movements. But gradually finds that, KIYAN`s parents are not sick but finds himself, desperately, searching for the cause of a memory which has root in the past. In fact he faces new picture of everything, when he finds the similarity of unknown`s wife with his own wife. And it seems he found out the answer for the KIYAN`s intellectual problem. And finally he makes a documentary film along with his companions about the KIAN`s past which will face KIYAN with her past and her nightmare is registered in the film, a reality which belongs to everyone.
Alien as a separate element, although is not appearing with much color, but in a way, the main woman character is very passive in public, who worries about her identity and her past. The said film was made (1988), during heavy bombardment of the enemy on Iranian cities. And gradually indifference to fill the front is emerged (which its enthusiasm was not like before) and this passivity was going to be extend to other parts of the society. Therefore, passivity and limiting the foreign problem to personal matter was the position of the community`s condition in last months of the war.
Table number 9: elements of common contents in film of “maybe for some other time” with other films

Stranger: next generation

Woman: KIYAN, who is worry and searches for her past and tries to others.
Identity: the story of the woman in the film has root in middle class of the society. But after research, it has been cleared that she was born in a poor family.
Tradition and modernity: action of the persons in higher level gets traditional taste. Connection node of past and the present is still blind, and society is oscillating between past and modernity.
Society: apparently an urban city, people are nervous with paranoia and anger and are not understanding each other. The issue of woman`s right becomes a tragic.
“Passengers” is the first film of the BEYZAYI, after the war. A family from the north of Iran decides to go to a marriage ceremony in Tehran city. Before the journey begins, MAHTAB the mother of the family looks to the camera and says: we are going to Tehran, for the wedding of my younger sister, but we don’t reach there, because we will die. Later, a tragic accident of a car with overturned oil tanker is reported to road police station. In Tehran, when everyone is busy in preparation of the wedding, the news of accident reaches to them, suddenly, celebration becomes mourning. In the meantime, only grandma has hope for their return, and is waiting for them to bring the mirror. In mourning ceremony, tension rises and at the top of inflammation and disbelief, dead fellows arrive and before all MAHTAB carries the mirror.
“Passengers”, is the only film in which a certain stranger is not visible. Perhaps, because the transition from a period (war) to another phase (reconstruction and fresh peace), is highlighting the issue of death and life and believe in life`s up and downs.
“Killing dog” is the last film of the director, while this report was made. A woman writer, called as GOLROKH KAMALI, left her husband, because she was thinking that NASER MOASER (her husband) betrayed her. After finishing of the war, she comes back to Tehran and finds that, NASER MOASER is bankrupted and imprisoned. Now because of her previous fault, she believes it is her duty to help him. So starts to buy his checks and takes consent of the complainers to release NASER. In this way, GOLROKH is putting step in to the world of brokers, land developers and traders which is far away from her clean world. In this way, she passes various experiences, from insult, humiliation to abuse band insult. After release of her husband, GOLROKH, finds out all issue was a trick of NASER to scare his partner and force him to scape, so by this way he wanted to acquire the company`s capital. Now NASER is owner of the factory and at first opportunity want to go for honey moon to abroad. But at the end of the film, his plan did not work well and can`t scape from the hand of his partner and his men.
Table number 10: elements of common contents in “Passengers” film with other films

Stranger: there is no certain alien.

Woman: MAHRUKH, she is from the next generation and representative of purity. Grand lady, accompanied by wisdom and intuition.
Identity: women are main basis of community`s identity and heritage holders of the past history.
Tradition and modernity: formal rational approaches in front of beliefs, customs and intuitive understanding.
Society: various social levels are united, during mass events.
In “dog killing”, once again, the foreign presence is evident. This time. Her alienation is not in front of small gathering, she is alien, opposite the whole structure of the society. In “dog killing”, once again, in the film, the stranger is going away from the society. But this time, no body forces her. She has chosen to be away from others. And this is because, she knows the situation. This self- leave from rules and believes, comes out of the unique experience (even though bitter), and this resentment, leads to wise action, instead of passive reaction. The character of stranger in “dog killing” is consistent with character of the film director and the bitterness that he faced.
Table number 11: the elements of the common contents in “dog killing” and other films
Stranger: no tangible form, but in hidden layer of the story, character of the film, enters an area which has no similarity with it.
Woman: GOLROKH KAMALI, a woman who tries her level best to release her husband from the jail.
Identity: heroine in up and down of the story, turns to be a hard person. She faces a lot of problems but at the end of the story, she understands everything. She is representative of the intellectual society.
Tradition and modernity: modern appearance have emerged everywhere, but rational action can`t be found anywhere.
Society: urban and not productive. Everything is a business, even the human relationship.
Summary of other film content elements, from tables 4 to 11 have been explained below:
Female element: one of the salient features of BEIZAYI works, is the role and base of the woman. The woman in all the works, has autonomous role and is not shadow. Women in BEIZAYI`s works, regardless of class and place of the living, all have special distinction. By looking at his works, it can be found out that, the woman has a ascend position, in centrality case as well as the it`s type. In “cloud burst” film, ATEFEH is somewhat normal woman who wants to stand on her own feet. The female has sub-role and does not have axial base (table number 4). In “stranger and fog”, again there is a woman who wants to stand on her feet. And this time, this self-sufficiency is more visible. In this film, the woman`s role is very important. And is having one of the main roles of the story (table number 5). ASIYEH in the “crow” film, has a role, equivalent to the role of the man. She can stand on her own feet and also can create change in her surroundings. The role of the woman is one of the main roles (table number 6).
In “ballad of TARA”, a female has the main role. TARA, in addition to features of women in previous films, has ability to take decision, alone (table number 7). NAYI in “BASHU, the little stranger”, is just like TARA, but her features are improved and consolidated. This issue about the protectionist role of woman is more significant. She has main role and all events are happening around her (table number 8). In “maybe some other time”, KIAN, not only has the main role, but also, the identity is visible in relationship with her (table number 9). In “passengers”, not single woman but women are main characters. In some places, family evokes matriarchy when the role of grandma is highlighted). Women in this film are shown as inheritors and main pillars identity of this country (table number 10).
“dog killing is top presence of the woman in BEIZAYI`s works. GOLROKH is focus point of the story. And main load is on her shoulder. And other roles are considered to be minor. “dog killing” is the only film of BEIZAYI which starts and ends with appearance of the woman. Stranger, this time with female element reaches to perfect consistency, on the other hand, this is for the first time, this stranger/woman in the path of most bitter experiences, reaches from rawness to full knowledge and again this is for the first time, she is insulted (may be this is a direct conflict of political power with the director (table number 11).

The question of the identity:

In this field what attracted the artist is significant in two respects: the first one is the identity which has root in the back ground and history of Iran, and second is his maintenance of identity for heroes and work roles. For example, the first cases are referred to his points to the identity of urban life, which is reflected in the architecture.in films such as the “crow”, “maybe some other time” and “dog killing”, we can see such examples. In terms of cognition sign, stopping the way buildings are designed was occupied by the violence in present urban space and consequent disorders. What can be said of the second category, is the reflecting of the characters, especially between female and male. For example: he believes an independent identity for the woman but in interaction with man. He assumes that, the Iranian woman is capable, diligent and progressive and along with the man is tolerating the heavy weight of existence. BEIZAYI, in direct and indirect ways points to some traits which came out of the Iranian rituals and believes, whether on the base of customs and believes in his own stories, such as death and life in old believes of Iranians in “ passengers” films or lugubrious in “ballad of TARA”, and “ passengers”, or where we can chose the reflection of these, such as the girl should be virgin in the view of groom in film of “ the stranger and the fog” and “ ballad of TARA”.
The conflict, between tradition and the modernity:
We can observe the conflict, between the tradition and the modernity in works of BEIZAYI, when the story is about the urban, stranger or a woman. The heroes of these works are concerned with modernity but are forced to confront with the traditions or traditional community members. In case of occupation or action, they are showing the modern attitudes but sometimes are struggling against tradition or traditional ways. Other characteristics is their continuous effort in recognizing their own efforts. These individuals, even though are tending to modernity but are accompanying the rituals and the customs. Their concern, always is about the knowledge.
Community: the film maker looks at the society and person, always in two side interaction. BEIZAYI, never puts the difficulties, inadequacies and perversities on a single person, and do not limit them to range of personal and individual. He believes that, ugly works are the fruit of their gathering and themselves are the cause for wrongs in tomorrow`s community. He tries in his works, from the beginning of the story, not to judge about the actions of the bad fellows and is not evaluating the people in relationship with social fields. On the other hand, the space which he shows us about the present time is dark and bitter and it seems this bitterness is increasing. He shows a society which is continuously, repeating its work, without thinking in change of it, even for a moment. He assumes that, this society is not having problems such as lack of ideal and love, and the society is so dusty, because of its difficulties, and can`t even breath, and only memories remained for them.
In this field, bitterness path which BEIZAYI shows is consistent with the present situation. This bitterness, starts with the film” cloud burst” and increases in “crow’, and “the stranger and fog”, but in “ballad of TARA”, suddenly, hope, light and success arrives which is derived from Islamic revolution in 1979. In “BASHU the little stranger, this space becomes a cheerful place. This time war, has created the enthusiasm of empathy and consensus in said artist. He made a work on the base of patriotic thought, puts aside everything and displays the empathy. But in “maybe some other time’, and “dog killing”, again he talks about bitterness.
In “dog killing”, a society which is said to reconstruct the country, but still is accelerating toward the decay and collapse of human values.
In this society, there is no border for the traders and law can`t stop the business people. But there is a border for intellectuals and everywhere an angry look is waiting.
In the meantime, what opens the window of hope for the BEIZAYI is the middle class, whom the fertility is not taken from them. They still have believes and adhere to principles and contrary to general situation of society. The middle class is not believing, about their own interest but are trying for the profit of the whole society. The only characters who can create change in their own area, are from this area.
In short, in the perspective of the BEIZAYI, the most important damage is from inside of the Iranian society and not from the outside. Disagreeing, evil thoughts, destructive misunderstanding are running within thinking, talks and deeds and were the cause of every failure in every point of the history in this country.
Break from the past which connects to today or increasing fear from alienation of new world (especially in urban works) is clearly evident. But it should be noted, all these works, still have signs of ideals and hopeful believes of their creator. BEIZAYI`s works just like mirror, reflects the history and recent social developments, as all incorrect believes, misbehaviors and historical conflicts are present in our present time in some other shapes. In his works, gradually we are introduced to a community, which will not leave a lie, superstition or false religion, when it became accustom with it. And step by step will extend it which will be better than truth. In BEIZAYI`s work, all are playing in these right and wrong games and in the same time all are suffering from these artificial world`s outcome. But constantly are guarding them.

Evidences of cognition sign:

From the viewpoint of cognition sign, we can find some evidences on previous issues. Back ground signs are mostly opaque, dark and gray (particularly in urban works), which are showing the bitterness and disappointment of the film maker. Only one of them is having bright and clear colors, and that is “BASHU the little stranger”, in previous works, backgrounds, were single-factors, (BASHU and grass land), but recent works, specially the “passengers” and “dog killing” are multi-factors (its clear sample is the scene of dog killing castle, in which sky, trees, road and…….have filled the background). And this is the witness to the tension, insecurity and increasing social unrest which was shown in pictures. In connection with this issue, as we come closer, the lights are finding more contrast and position is changing from single point to multiple points. But on the other hand, the composition of the pictures, as a whole, still have symmetry. And this contrast is the sign of stability and hope. On the other side, shows the thought of the film maker, that he did not lose his hope to better tomorrow, despite of increasing bitterness.
Conclusion: artist community is the society in which the artist has depicted in his works. This society is the result of the real and recent community of the artist, but because of the some selections by the artist in relation to social class and most important elements in the structure of the community is a different society. And in one side, is the reflection of problems which are interested by the artist and from the other side, indicate the will and wish of him in changing the society, in an order, the difficulties are going to be solved and reaches to an ideal society of the film, a community that sometimes is accessed directly and sometimes indirectly.
It has been observed that, in a society which was drawn by the artist, there are five issues and main elements. The issue of stranger which points to loneliness of the person in the community and in unilateral way and totalitarian norm, is imposing the accepted values and methods of the life to the individual, without allowing any place for decision making among the its members. The intellectual person in such a society is a stranger, because one of the main features of the intellectual is innovativeness and paying attention to new and developed methods in the life. The methods which will not be accepted by the society. Therefore, this kind of society is not accepting such people, just like foreigners. The second element in artist community is the woman element. The woman, who is sometimes in a mythical method is the representative of the nation, and sometimes is the guard of the national traditions and heritage holder of the past history and sometimes is envoy of the life and existence. On the other hand, the woman in today`s methods is introduced as an intellectual, representative of tomorrow`s generation, active in social fields and responsible in life of others. Woman in artist community, is a crucial element and a decision maker. Unlike other women in other artist world, who are weak, emotional and dependents creatures, and are appearing in victim roles, the woman in considered society of BEIZAYI is accompanying the woman.
The third element in the society of discussed film maker, is the identity element. In the artist community, modernity and paying attention to positive aspects of the modern life is not preventing the protection of human traditions which makes the identity of the community and the individuals. In other words, the film maker, tried to remark the positive elements of cultural heritage in his films, and in contrast, questions about some of the other customs which are old and useless.
The other element is the constant facing of tradition and modernity in the community, which in the end has traditional color and solution. In this society, even when the individuals reach to modernized post, have traditional taste, and so there will be a relationship among past, present and the future. And at film, problems of the society are shown. BEIZAYI is trying to show a traditional society which is moving to modernity and is struggling with the new problems but has attracted the negative appearances of the modernity. A society which has anger, suspicion and violence. A society which thinks about the business in all aspects.
The film maker is assuming his own position as the stranger, who is resisting by his own way about bad habits of the community. He feels that his efforts are failure and then tries to cooperate with the society. He enters in the form of a woman in a community which has no similarity with it. And after suffering a lot, the artist become envoy of the national intellectual class. BEIZAYI has made big works, and has proved to be representative of intellectual class. Those two characteristics which have been mentioned by the Goldman for the great works, can be seen in BEIZAYI`s works, clearly. His works are reflecting the transition developments of the society, and also expressing the most common problems of the present time in the most personal way (special style of BEIZAYI). With all these descriptions, it seems the ُُُُُُُُُُSociology Theory of Goldman about the exceptional individual and also the theory of Jean DOBINO about the imagination power and creative characteristics of artist are applicable in Iranian cinema. But other artists are showing different views, according to difference in evaluating the values and ideals, just like EBRAHIM HATAMI KIA who is having different ideas about the society in his films. From the perspective of art sociology, a collection of works by great artists can help for the cognition of the society and at least can identify the social groups and their views. A cognition which is not comparable with other methods and experiences and this this the use from the discovery of relationship between art and the society for the better recognition of the community.