Resumo

RABBANI, Darian Soheil Rahnamaye  e  AQUINO, Julio Groppa. Childhood In Abbas Kiarostami’s Cinema. child.philo [online]. 2019, vol.15, e36890.  Epub 02-Jan-2019. ISSN 1984-5987.  https://doi.org/10.12957/childphilo.2019.36890.

The present article dedicates itself to describe and analyze the addressing to childhood in some of Abbas Kiarostami’s films. In order to do so, the argument is initially focused on the context of the Iranian Revolution of 1979, responsible for the end of the monarchic regime of Shah Reza Pahlavi, who had secularity and modernity as mottoes, and for the beginning of the Islamic Republic of Iran, centered on the figure of Ayatollah Khomeini and supported in the Islamic tradition. In this scenario, an important role was played by the Institute for the Cultural Development of Children and Adolescents, referred to as Kanun. Founded with the intention of creating educational material during the Shah's regime, the Kanun was fundamental for the artistic-cultural production of that country, both before and after the Revolution. Especially, its cinema department, in which several filmmakers started their careers (among them, Kiarostami, the first director of the department), is considered the birthplace of the movement known as New Iranian Cinema. Thus, this work operates on the narratives about childhood present in such films, considering the post-revolutionary scenario and, presumably, the founding of a new historical subject based in another framework for childhood. More specifically, the work offers an analysis articulating six of Kiarostami’s films produced from 1970 to 1989. In all of them it is possible to witness an inquiry about the position of children in that society. After a discussion about the use of films as an investigative source, three argumentative movements identified in such works are presented, entitled respectively: the child on the margins of society; the child at the center of society; and the child of the revolution. At the end of the discussions, we propose that Kiarostami’s cinema consists of an inflection point on the modalities of veridiction and subjectivation therein, i.e., a peculiar type of ethical-political struggle, through a narrative experimentation that used children's universe as an occasion to explore the ideals of the revolutionary process.

Palavras-chave : Childhood; Cinema, Abbas Kiarostami; Iranian Revolution..

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