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The Iranian film director Abbas Kiarostami is known for uses of certain themes and cinematic techniques that are instantly recognizable in his work, from the use of child protagonists and stories that take place in rural villages, to conversations that unfold inside cars utilizing stationary mounted cameras. He often undertakes a documentary style of filmmaking within narrative works, and frequently employs contemporary Iranian poetry in dialogue, movie titles, and in the thematic elements of his pictures.〔 〕 ==The Kiarostamian style== Though Abbas Kiarostami has been compared to Satyajit Ray, Vittorio de Sica, Eric Rohmer, and Jacques Tati, his films exhibit a singular style, often employing techniques of his own invention (the so-called "Kiarostamian style").〔(【引用サイトリンク】 Abbas Kiarostami: Biography )〕 During the filming of ''The Bread and Alley'', his first film, Kiarostami disagreed with his experienced cinematographer about how to film the boy and the attacking dog. The cinematographer wanted separate shots of the boy approaching, a close up of his hand as he enters the house and closes the door, followed by a shot of the dog. Kiarostami believed that if the three scenes could be captured as a whole it would have a more profound impact, creating tension. That one shot took some forty days to complete. Kiarostami later commented that the breaking of scenes can disrupt the rhythm and content of the film's structure, stating he prefers to let the scene flow as one. Unlike other directors he showed no interest in developing his directorial muscles by staging extravagant combat scenes or complicated chase scenes in large-scale productions. Instead, he attempted to use the medium of film in his own unique way.〔 As he quoted in relation to his cinematographer's perspective on filming
Kiarostami appeared to have settled on his style when he made the ''Koker trilogy''. Nevertheless, he continued experimenting with new modes of filming, using different directorial methods. Much of ''Ten'', for example, was filmed in a moving automobile without Kiarostami present. He gave suggestions to the actors about what to do, and a camera placed on the dashboard then filmed them while they drove around Tehran.〔〔(The Mac Weekly:With liberty for all: the films of Kiarostami )〕 The camera was allowed to roll, capturing the faces of the people during their daily routine, using a series of extreme close-up shots. Kiarostami's cinema offers a different definition of ''film''. According to film professors such as Jamsheed Akrami, unlike many other contemporary filmmakers Kiarostami has consistently attempted to redefine film by forcing the audience's increased involvement. In recent years he has also progressively trimmed down the size of his films, which Akrami believes reduces the film making experience from a collective endeavor to a purer, more basic form of artistic expression. As Kiarostami quoted in relation to his individual style of minimalism:
Self-referencing is a feature specific to Kiarostami's cinema. Stephen Bransford contends that Kiarostami's films do not contain references to the work of other directors, but do include a myriad of references to his own work. Bransford believes his films are often fashioned into an ongoing dialectic: one film reflecting on and partially demystifying an earlier film. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Cinematic style of Abbas Kiarostami」の詳細全文を読む スポンサード リンク
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