INSC: One of the speakers at the INSC’s research session entitled “representing unconventional relationships in Iranian cinema”, Fereydoun Jeyrani has worked years as a journalist, researcher, filmmaker and is the first editor-in-chief of TV show “Seven”. In an interview with INSC official website, he speaks about the status of research in cinema and the defect of traditional educational systems in the field of cinema. Read our interview with him.
how did you see the session? What gap you think continuing these sessions can fill in the field of survey in cinema?
A private sense was at the session, and the because of security and scientific space of it, it was easier to talk about unheard issues. Of course, the publication of these meetings’ outcome and how they are transferred to artists, cinephiles and students is of high importance. In the previous session, Alireza Davood Nejad and Fereshteh Taerpour discussed the capital in cinema, where both of them are theoretician in the subject, and I would love to have this conversation provided. Apart from the students, the people occupied in cinema itself, has to be considered.They, however, need to have a theory. Research conducted at such meetings are theorized and filmmakers have to become familiar with them. Very often, the filmmakers do instinctively and unconsciously and researchers decode it.
The prevalence of cinema studies has not happened in our country so far. From the day established,INSC set one of its goals to focus on cinema interdisciplinary topics. How do you think the cinema can be linked with interdisciplinary topics? What channel is it possible to know?
The problem is that nobody invests on research in Iranian cinema. For years myself with my own cost, I have researched on some issues where the cost of living forced me to leave it unfinished. Somebody, somewhere, has to grant money and fund , to especially young researchers, so that they can spend their lives on their research and have no other concern. I spent at least eight years in the House Library, the National Library and the Library of Tehran University, spending long hours searching for sources, newspapers, magazines and articles I wanted. Extensive research needs money, that;s why nobody follows it. If part of the budget of Iranian National School of Cinema goes to those who work in the field of research seriously, this school would be far better than other schools that has had no output. Cinematic specialized topics lack the consultation of sociologists and psychologists, because the analyze the subjects from different viewpoints.
In what educational areas, Iranian cinema has deficiencies and weaknesses, so an organization such as the INSC tries to focus on it?
Education in our country is not updated. The new cinema is now formed. now is not the time of Hitchcock, it is Christopher Nolan’s now. This does not mean abandoning Hitchcock, but the new generation in cinema should teach this kind of cinema. who teaches Kiarostami at the universities? Nobody. Who says Kiarostami is a great filmmaker that we should teach him? National School of Cinema If not undergoing displacements and political developments in the field of cultural management, and the current team does not get changed, it will flourish. In other parts of the world, even with a change in policy, cultural management is not changed. And the new team responsible, will rebuilt a new agenda.
what advantage do you see in the teacher-student educational system with the Iranian National School of Cinema, in contrast with other educational institutions?
I find it useless earlier, and I felt not optimistic about the it. Later, when I heard Alireza Davoud nezhad is dedicating his time to school, I felt that a more practical person with knowledge of film works here and can bring good things with the help of others to the school. Research sessions and speakers and guests who attended the event, for me, was a sign of good things.
Fields and entries interesting and worthy of attention but neglected in cinema. What do you think they are?
I can not now give a quick answer to this question. I have to think. Things that are we are challenging with them for some time. For example, has not the time for letting go the Council of Filmmaking license, come? Is it not the time that the trust in filmmakers take place of the Council? And supply-and-demand system to be settled? what about rating the movies? I think the time has come.
In your opinion, legal issues, such as the possibility of a owning a film, can affect the situation of Iranian cinema?
We must be strong enough to have guilds that only they can decide for the conditions for the movies. just like advanced countries. We do not have these powerful guilds. because everything is state-owned and we can decide our own issues among ourselves.