Abstract
This article embarks on a profound philosophical journey through Abbas Kiarostami’s cinema, guided by Gilles Deleuze’s theory of the movement-image. I explore how Kiarostami‘s films transform the path—both physical and metaphorical—into a profound philosophical sign. In Kiarostami‘s cinema, the path transcends its material existence, symbolizing existential inquiries, human choices, and the pursuit of meaning. Kiarostami‘s films, celebrated for their simplicity and contemplative storytelling, invite viewers to contemplate existence through the path’s lens. Films like Taste of Cherry (1997) and Close-Up (1990) serve as our guides, revealing the interplay between the movement-image, the path, and philosophical thought. Drawing on Deleuze’s cinematic philosophy, I navigate the dynamic aspects of Kiarostami‘s cinema. The path, whether a road or an existential journey, becomes the conduit for philosophical musings. This exploration delves into the path’s symbolism, transcending physicality to embody the complexities of the human condition. Through Kiarostami‘s perspective, the path signifies not just a route but a metaphorical trajectory, prompting reflection on life’s mysteries, choices, and meaning. Beyond cinematic analysis, I offer a philosophical discourse on the interplay of cinematic artistry and existential inquiry. my article bridges Deleuze’s and Kiarostami’s cinematic perspectives, transcending traditional philosophical discourse. This article, rich in philosophical reflections and critical analysis, underscores cinema’s power for profound philosophical exploration. It deepens our understanding of Kiarostami‘s works and highlights the philosophical potential within the path—a sign inviting us to explore the depths of our existence.
Introduction
Before embarking on our cinematic and philosophical journey through the works of Abbas Kiarostami and the profound insights of Gilles Deleuze’s theory of the movement-image, it is imperative that we establish a sturdy foundation. This foundation will enable us to navigate the intricate landscape of our exploration with clarity and precision. In this section, we will illuminate the central themes that shape our discourse and provide context for the profound philosophical insights that lie ahead.
The Movement-Image: In the realm of cinematic theory, Gilles Deleuze’s exploration of the movement-image stands as a foundational pillar. Deleuze, a philosopher known for his profound and innovative ideas, ventured into the intricacies of cinema, offering a philosophical framework that transformed the way we perceive and analyze this visual art form. At the heart of Deleuze’s cinematic philosophy lies the concept of the movement-image, a term that encapsulates the dynamic and action-oriented aspects of cinema. Before delving into the nuances of the movement-image, it is imperative to understand its essence. The movement-image embodies the very core of cinema’s kinetic nature. It encapsulates the dynamic interplay of actions, reactions, and interactions that unfold within the cinematic frame. In essence, the movement-image captures the essence of human existence in motion, and it does so through the sequence of images presented in a film. To grasp the essence of the movement-image, it is essential to explore Deleuze’s sensory-motor schema. Within this schema, Deleuze identifies three primary types of images: perception images, action images, and affection images. Each of these contributes to the overall sensory and motor experience of the viewer, engaging the audience on both physical and emotional levels.
Perception Images: These images capture sensory input, such as the visual and auditory stimuli presented in a film. They engage the viewer’s senses, drawing them into the cinematic world.
Action Images: Action images involve characters’ physical movements and reactions to their surroundings. They are dynamic and kinetic, propelling the narrative forward through a sequence of actions and reactions.
Affection Images: Affection images convey emotional states. They allow viewers to connect with characters on an emotional level, empathizing with their joys, sorrows, and everything in between.
Deleuze’s sensory-motor schema forms the foundation of dynamic storytelling in cinema. It is within this schema that the movement-image finds its profound significance. In essence, the movement-image invites viewers to actively engage with the sensory and motor aspects of the cinematic experience. Cinema, in Deleuze’s perspective, is not a passive medium where viewers merely observe; it is an active realm where sensory and motor faculties come into play. It is a medium that immerses the audience in a dynamic narrative where characters’ actions and reactions drive the story forward.
The Path as a Philosophical Sign: In the cinematic universe of Abbas Kiarostami, the path emerges as a recurring motif that transcends its physical presence to become a profound philosophical signifier. It is a visual metaphor that invites contemplation, encapsulating layers of meaning and significance beyond its materiality. Within the context of Gilles Deleuze’s cinematic philosophy, particularly the movement-image, the path takes on a distinctive role—one that beckons us to delve deeper into its philosophical dimensions. In Kiarostami’s cinema, the path can manifest in various forms. It can be the winding road through picturesque landscapes, the labyrinthine alleys of a village, or even the metaphorical pathways that characters navigate in their quests for identity, authenticity, or connection. What unites these diverse manifestations is their capacity to transcend the physical and become carriers of philosophical inquiry.
The path, in its material form, often serves as a visual anchor in Kiarostami‘s compositions. It guides our gaze, leading us through the cinematic landscape and framing the narrative. Yet, its significance extends far beyond mere aesthetics. It becomes a conduit for philosophical exploration, inviting viewers to contemplate the profound themes that Kiarostami weaves into his storytelling.
Theoretical Underpinnings
Our intellectual odyssey through the cinematic universe of Abbas Kiarostami is guided by the profound philosophical framework crafted by Gilles Deleuze. Deleuze’s contributions to cinematic philosophy are marked by a rich tapestry of concepts and ideas, among which the theory of the movement-image stands as a pillar. This theory serves as our North Star, illuminating the path through Kiarostami‘s works. At the core of Deleuze’s cinematic philosophy lies a crucial distinction—one that bifurcates the cinematic experience into two distinct terrains: the movement-image and the time-image. While both are integral to his philosophy, our primary focus, as we venture deeper into the cinematic landscapes painted by Kiarostami, is the movement-image.
The movement-image, as envisioned by Deleuze, forms the very bedrock upon which the edifice of cinema is constructed. It encapsulates the dynamic and action-oriented facets of this art form. Here, narratives unfurl through a sequence of images in motion, much like the sequential frames of a film reel. It is the realm of sensory-motor engagement, where characters perceive their surroundings and respond to them through a choreography of actions and reactions. By honing in on the movement-image, we engage with the kinetic essence of cinema—a medium that thrives on the interplay of movement and stasis, action and consequence. This concept aligns profoundly with the philosophical explorations that permeate Kiarostami’s works. As characters in his films navigate their physical and existential journeys, their actions and choices mirror the sensory-motor schema elucidated by Deleuze. By anchoring my exploration in Deleuze’s theoretical underpinnings, I unlock the door to a deeper comprehension of the intricate dynamics at play within Kiarostami‘s cinema. It is through the lens of the movement-image that we decipher the philosophical nuances in Kiarostami‘s storytelling. We discern how characters’ movements, choices, and encounters contribute to the philosophical narratives woven into the fabric of his films.
With these foundational concepts clarified, we are poised to embark on our intellectual odyssey. This section serves as our compass, directing our attention to the critical themes and theoretical perspectives that will shape our analysis of Kiarostami’s modern cinema. As we delve deeper into his works, the movement-image, the path, and philosophical thought will intertwine, inviting us to explore the profound interplay between cinematic artistry and existential inquiry.
The Movement-Image: A Philosophical Framework
In the intricate tapestry of cinematic philosophy, Gilles Deleuze’s seminal work, Cinema 1: The Movement-Image (1983/1986), emerges as a profound guide to navigating the profound interplay between cinematic artistry and philosophical inquiry. Deleuze’s contributions have redefined our understanding of cinema, offering a philosophical framework that allows us to explore the multifaceted nature of the medium. Central to this framework is the concept of the image, a complex entity that Deleuze meticulously categorizes into two primary types: the movement-image and the time-image.
my exploration in this section focuses on the movement-image, a concept that captures the very essence of cinematic storytelling in its most immediate and dynamic form. At its core, the movement-image encapsulates the conventional understanding of cinema—a succession of images in motion. It is within this framework that the narrative of a film unfolds, guided by a continuous flow of visual and auditory stimuli. This dynamic interplay creates a vivid sense of temporal progression and spatial continuity, immersing the viewer in the immediacy of action.
For Deleuze, the movement-image is not merely a cinematic convention; it serves as a philosophical entry point into the medium. It beckons us to ponder the profound philosophical questions that cinema raises regarding perception, time, and reality. The movement-image prompts us to consider how the cinematic medium shapes our perception of the world, blurring the boundaries between the fictional and the real. It invites us to dissect the intricate web of images, gestures, and actions that constitute the fabric of cinematic storytelling.
One of the fundamental aspects of the movement-image is its ability to immerse the viewer in the unfolding action. It places us in the midst of the narrative, where characters move through physical spaces, interact with their environments, and propel the storyline forward. This immediate engagement with action raises questions about agency, causality, and temporality. We are invited to contemplate the role of the cinematic spectator as an active participant in the construction of narrative meaning. Our choice to commence our exploration with the movement-image is strategic. It aligns with the predominant characteristics of Abbas Kiarostami‘s cinematic oeuvre, where simplicity and immediacy often take precedence. Kiarostami‘s films, celebrated for their contemplative storytelling and deep philosophical undertones, provide fertile ground for examining the dynamics of the movement-image. By grounding our analysis in Deleuze’s philosophical framework, we equip ourselves with the tools to decipher the subtleties of Kiarostami’s narrative style.
As we delve further into Kiarostami‘s cinematic world, we will uncover how the movement-image, as elucidated by Deleuze, breathes life into the winding roads, silent contemplations, and nuanced gestures of the characters. This exploration will not only illuminate the cinematic artistry of Kiarostami but also underscore the enduring power of the movement-image as a philosophical conduit within the realm of cinema. In essence, the movement-image, as conceptualized by Deleuze, serves as a gateway to the profound philosophical inquiries that cinema invites. It invites us to engage with the medium on a profound level, transcending mere visual spectacle to contemplate the intricate interplay between cinematic artistry and existential exploration.
The Path as a Philosophical Sign
Abbas Kiarostami‘s cinematic tapestry is richly interwoven with images of paths—winding roads, meandering trails, and metaphorical journeys. These paths, whether they stretch beneath the vast expanse of the Iranian sky or weave through the narrow alleyways of a small village, assume a significance that extends far beyond their mere material presence. In this section, we embark on a philosophical exploration of the path as a central motif in Kiarostami’s cinema. Drawing upon poignant examples from his films, I endeavor to unravel the profound philosophical implications of the path, transcending its physicality to become a powerful signifier of existential inquiries, human choices, and the perennial quest for meaning.
The path as a philosophical sign is a concept that transcends its physical existence and takes on profound symbolic meaning. In philosophy and literature, the path often represents a journey, both physical and metaphorical, that individuals undertake in the course of their lives. This journey may lead to self-discovery, enlightenment, or the quest for meaning. The path symbolizes choice and direction. It signifies the crossroads of life where decisions are made, each turn representing a different fate or outcome. Philosophically, the path invites contemplation on free will, destiny, and the consequences of one’s choices. Furthermore, the path is often associated with transformation and personal growth. As individuals navigate their own paths, they encounter challenges, obstacles, and opportunities for self-improvement. In this sense, the path becomes a metaphor for the human experience, emphasizing the importance of the journey rather than the destination. In literature and cinema, the path is a powerful narrative device that guides characters through their emotional and moral landscapes. It serves as a visual and symbolic representation of their inner struggles and external challenges. In summary, the path as a philosophical sign invites us to reflect on the profound questions of human existence, choice, and transformation. It reminds us that life is a journey, and the paths we choose shape our individual and collective destinies.
To truly grasp the depth of the path’s symbolism in Kiarostami‘s films, one must first acknowledge its omnipresence. These paths, whether traveled by a solitary wanderer or shared by multiple characters, serve as potent metaphors that embody the ebb and flow of human existence, the twists and turns of life’s journey, and the choices that mold our destinies.
In the vast cinematic landscape of Kiarostami‘s works, one cannot traverse the narrative without encountering the winding roads that crisscross the Iranian terrain. These paths, often leading to destinations unknown, serve as a recurring visual motif that invites profound contemplation. Within these landscapes, the path becomes more than a geographical feature; it evolves into a canvas upon which Kiarostami paints complex narratives and philosophical inquiries. Consider Taste of Cherry (1997), a film that epitomizes Kiarostami‘s penchant for using the path as a symbolic element. In this film, the protagonist, Mr. Badii, embarks on a solitary odyssey to find someone willing to bury him after he has committed suicide. The desolate path he traverses mirrors his own metaphysical journey—an exploration of life’s meaning and worth. Every twist and turn in the road becomes a reflection of his inner turmoil, and the path itself emerges as a representation of the existential journey, fraught with uncertainty and laden with choices. But Kiarostami‘s use of the path goes beyond the physical realm; it extends to the metaphysical and the metaphorical. The path becomes an exploration of human choice, authenticity, and the nature of reality.
The path in Kiarostami‘s cinema serves as a philosophical signpost, inviting viewers to ponder the deeper questions of existence. It prompts us to reflect on the significance of our choices and the consequences of our actions. In Where Is the Friend’s Home? (1987), a young protagonist named Ahmad embarks on a perilous journey to return his classmate’s notebook. The path he traverses, fraught with challenges and obstacles, becomes a metaphor for the moral choices we make in life. Ahmed’s determination to do what is right, regardless of the difficulties he encounters, speaks to the ethical underpinnings of Kiarostami’s cinema.
The path in Kiarostami‘s films is not always a straightforward trajectory; it often presents forks and intersections, mirroring the complex nature of human decision-making. In Through the Olive Trees (1994), the characters navigate the paths of love and desire, seeking to reconcile their emotions and aspirations. The film’s layered narrative, marked by repeated retakes and rehearsals, underscores the intricate choices that define our relationships and blurs the boundaries between reality and fiction. Kiarostami’s cinema continually challenges us to contemplate the philosophical implications of the path. It invites us to question the significance of our choices and the consequences of our actions. Whether the path leads to a remote village, a mysterious encounter, or an unexpected revelation, it serves as a symbol of human agency and the existential journey.
At its core, the path in Kiarostami‘s cinema embodies the quest for meaning. It signifies the pursuit of understanding, the search for identity, and the exploration of the human condition. In Close-Up (1990), a film that defies traditional narrative conventions, the path becomes a metaphor for the protagonist’s desire to transcend his own circumstances. As he impersonates a famous filmmaker and navigates the treacherous path of deception, the film raises profound questions about the nature of art, identity, and the search for authenticity.
In Kiarostami‘s cinema, the path is often marked by moments of contemplation and stillness. Characters pause along their journeys to reflect on the world around them. These moments of stillness are not mere pauses in the narrative but opportunities for philosophical inquiry. In The Wind Will Carry Us ( 1999), the protagonist’s interactions with the inhabitants of a remote village become a meditative exploration of life, death, and the transience of existence. The path, in this context, serves as a conduit for philosophical musings, prompting us to contemplate the profound mysteries of the human experience.
Kiarostami‘s Certified Copy (2010) takes the exploration of the path to new philosophical heights. In this film, the path becomes a labyrinthine journey through the complexities of authenticity and imitation. The story revolves around a series of dialogues between the two protagonists, Elle and James, as they traverse the path of conversation. Their discussions revolve around the authenticity of a reproduction—a reproduction of art, identity, and relationships. As they engage in a pseudo-philosophical dialogue about the authenticity of reproduction, the path symbolizes the intricate interplay of identity, imitation, and the choices that define our relationships. Kiarostami challenges us to contemplate the nature of authenticity, blurring the boundaries between the real and the replica. The path becomes a metaphor for the journey of self-discovery, where identity is not a fixed point but a winding road of transformation and adaptation.
In Close-Up (1990), Kiarostami blurs the line between fiction and reality, challenging our understanding of the path. The film is based on the true story of a man who impersonated a famous Iranian director, Mohsen Makhmalbaf, and deceived a family into believing they would star in his film. The path becomes a symbol of the blurred boundaries between reality and fiction, as the imposter navigates a complex web of deception. As we follow the imposter’s path, Kiarostami raises profound questions about the nature of art, identity, and the search for authenticity. The path becomes a metaphor for the journey of self-discovery, where reality and illusion intersect and diverge. We are invited to ponder the significance of the choices we make in constructing our identities and the fine line between genuine expression and artifice.
In the realm of cinematic storytelling, Abbas Kiarostami‘s films stand as a testament to the power of the path as a philosophical sign. These paths, whether etched into the Iranian landscape or woven into the fabric of interpersonal relationships, transcend their physicality to become potent symbols of the human journey. They signify the existential quest for meaning, the ethical choices that define our lives, the intricate interplay of reality and fiction, and the nature of authenticity. This exploration of the path, as a philosophical sign, serves as a gateway to the deeper layers of Kiarostami‘s cinematic world. It invites us to embark on our own philosophical journey, to ponder the significance of the choices we make, and to navigate the winding paths of human existence with newfound insight.
Intersecting Perspectives: Deleuze and Kiarostami
This section serves as the heart of our exploration, where we bridge the gap between Gilles Deleuze’s cinematic philosophy and Abbas Kiarostami‘s filmmaking. In this intricate dance of ideas and images, we will delve deep into Kiarostami‘s cinematic masterpieces, such as Taste of Cherry (1997) and Close-Up (1990), to showcase the profound interplay between the movement-image, the path, and philosophical thought in Kiarostami‘s oeuvre. Drawing parallels and highlighting deviations, we will unravel how these two brilliant minds converge within the realm of cinema, offering unique insights into the human experience.
The movement-image, which predominantly aligns with Kiarostami‘s cinematic style, captures the dynamic, action-oriented aspects of cinema. It emphasizes movement, action, and the unfolding of events. For Deleuze, the movement-image is inherently linked to the sensory-motor schema, where characters engage with their surroundings through a series of actions and reactions. In Taste of Cherry (1997), we witness the embodiment of the movement-image as the protagonist, Mr. Badii, embarks on his enigmatic quest along the winding roads of Tehran. The film’s narrative unfolds with a meticulous focus on Mr. Badii’s actions, interactions, and the physicality of his journey. Each frame reverberates with the movement-image, accentuating the dynamic nature of Kiarostami‘s storytelling.
Kiarostami‘s cinema, while inherently philosophical, diverges from traditional narrative structures. His works often defy conventional storytelling, embracing a minimalist and contemplative approach. It is within this cinematic language that we find a harmonious resonance with Deleuze’s movement-image. In Close-Up (1990), Kiarostami blurs the line between reality and fiction, a theme that resonates with Deleuze’s exploration of the time-image—a concept we will delve into later. Kiarostami masterfully intertwines reenactments with documentary elements, creating a cinematic tapestry that challenges our perception of reality. The narrative unfolds through a series of actions, mirroring the sensory-motor schema central to the movement-image. Yet, it is in the subtle interplay between Kiarostami‘s minimalist storytelling and Deleuze’s cinematic philosophy that we unearth profound philosophical insights. Kiarostami‘s characters often find themselves at crossroads, both literal and metaphorical, where choices define their journeys. These choices, laden with existential significance, invite us to contemplate the philosophical underpinnings of their actions.
The path, as a recurring motif in Kiarostami‘s films, emerges as a philosophical sign that aligns with Deleuze’s movement-image. As characters navigate these paths, their movements become emblematic of their inner struggles, choices, and existential inquiries. In Taste of Cherry (1997), the path embodies the existential journey of Mr. Badii, who grapples with the fundamental question of life’s worth. Kiarostami‘s use of the path transcends its physicality to become a symbol of human agency and the quest for meaning. The winding roads and labyrinthine alleyways mirror the complexities of choice and the twists of fate. It is in these cinematic landscapes that we witness the convergence of Kiarostami‘s narrative artistry with Deleuze’s philosophical framework.
Parallels and Deviations: Deleuze and Kiarostami
As we explore the intersection of Deleuze’s cinematic philosophy and Kiarostami‘s filmmaking, it becomes evident that while there are profound parallels, there are also intriguing deviations that shape their respective approaches to cinema. Let us examine these in detail.
Parallel 1: The Movement-Image
At the core of both Deleuze’s philosophy and Kiarostami‘s cinema lies the concept of the movement-image. Deleuze’s exploration of the sensory-motor schema, where characters engage with their surroundings through actions and reactions, finds resonance in Kiarostami‘s meticulous attention to the physicality of his characters’ journeys. The movement-image, characterized by dynamic storytelling and the unfolding of events, serves as a shared foundation upon which their cinematic worlds are built.
In Taste of Cherry (1997), the movement-image takes center stage as Mr. Badii navigates the landscape in search of someone to bury him. Kiarostami‘s camera follows every step of his journey, capturing the nuances of movement and action. The road becomes a metaphorical stage where choices are made, encounters unfold, and existential questions are confronted. It is within this movement-image that we discern the convergence of Deleuze’s philosophy and Kiarostami’s cinematic language.
In Close-Up (1990), Kiarostami blurs the lines between reality and fiction, crafting a narrative that is deeply rooted in the movement-image. The film revolves around the true story of Hossain Sabzian, who impersonated filmmaker Mohsen Makhmalbaf to be closer to a family he admired. Kiarostami‘s camera captures the intricate movements of Sabzian as he navigates the world of cinema and deception. The film’s exploration of identity and authenticity unfolds dynamically through the movement-image, mirroring Deleuze’s emphasis on the sensory-motor schema.
In Certified Copy (2010), Kiarostami continues to explore the movement-image but adds layers of complexity through the interplay of fiction and reality. The film follows a couple, played by Juliette Binoche and William Shimell, as they engage in a complex dance of authenticity and imitation. Kiarostami’s camera meticulously observes their movements and interactions, blurring the boundaries between genuine emotions and performed roles. The movement-image here becomes a tool for exploring the fluid nature of identity and relationships, aligning with Deleuze’s philosophical inquiries.
These examples from Kiarostami‘s films illustrate how the movement-image serves as a pivotal element in both his cinematic narratives and the philosophical underpinnings shared with Deleuze. While their approaches may differ in specific contexts, the movement-image remains a compelling bridge between their worlds of thought and filmmaking.
Parallel 2: The Path as a Philosophical Sign
The path, as a recurring motif in Kiarostami‘s cinema, emerges as a profound philosophical signifier, resonating deeply with Deleuze’s exploration of the movement-image. These paths, whether winding through picturesque landscapes or navigating the labyrinth of human choices, become visual metaphors that invite contemplation.
In Where Is the Friend’s Home? (1987) Kiarostami‘s young protagonist embarks on a heartfelt journey to return his friend’s notebook. This seemingly simple path through the village becomes a profound exploration of moral responsibility and the consequences of one’s actions. The path serves as a philosophical signpost, guiding us through the complexities of human existence and ethical dilemmas, echoing Deleuze’s focus on action and choice within the movement-image.
In Through the Olive Trees (1994), Kiarostami explores the intricate web of human relationships as characters navigate the paths of a rural landscape. These paths become symbolic of the choices individuals make, both in love and in life. Kiarostami‘s camera meticulously observes their actions and interactions, reflecting the dynamic interplay of action, choice, and consequence within these cinematic landscapes. This exploration resonates harmoniously with Deleuze’s philosophical inquiries into the movement-image.
Deviation 1: Minimalism and Contemplation
While Deleuze’s movement-image emphasizes dynamic storytelling and sensory-motor engagement, Kiarostami‘s cinema often deviates through its minimalist and contemplative approach. His films are marked by long takes, extended moments of silence, and a deliberate pacing that encourages reflection. This deviation from the traditional movement-image highlights Kiarostami‘s unique cinematic language—one that favors stillness and introspection.
In Taste of Cherry (1997), Kiarostami‘s deliberate pacing allows us to dwell in the contemplative spaces between actions. The protagonist’s silent contemplation in the car becomes a philosophical canvas where the weight of his choices and the significance of life’s meaning are palpable. Kiarostami’s minimalism invites viewers to engage with the philosophical undercurrents beneath the surface of the narrative.
In the documentary Five Dedicated to Ozu (2003), Kiarostami offers a tribute to the legendary Japanese filmmaker Yasujiro Ozu. The film is a series of static shots capturing landscapes, objects, and moments of everyday life. Kiarostami’s minimalist approach allows viewers to contemplate the essence of cinema and its ability to capture the profound in the ordinary. This deviation from conventional cinematic storytelling highlights Kiarostami‘s commitment to the contemplative dimensions of the medium. These examples from Kiarostami‘s films illustrate his departure from the traditional movement-image and his embrace of minimalism and contemplation.
Deviation 2: The Time-Image and Blurred Realities
While Deleuze’s cinematic philosophy extends to the concept of the time-image, a territory marked by the blurring of reality and fiction, Kiarostami navigates this terrain with a distinctive touch.
In Certified Copy (2010), Kiarostami further explores the interplay between reality and representation. The film’s narrative unfolds in a manner that challenges our conventional understanding of time and continuity. Kiarostami’s characters engage in conversations that oscillate between authenticity and performance, creating a sense of temporal dislocation. This exploration aligns with Deleuze’s concept of the time-image and it moves away from the concept of movement-image, where the cinematic experience transcends linear time and invites contemplation on the nature of reality.
Like Someone in Love (2012) continues Kiarostami‘s exploration of the time-image. The film’s narrative unfolds over the course of a single day and night, blurring the boundaries between past, present, and future. Kiarostami‘s deliberate manipulation of time challenges our perception of temporal continuity, inviting viewers to question the linearity of cinematic storytelling. This deviation resonates with Deleuze’s philosophical inquiries into the time-image, where temporal disjunctions become a means of exploring the complexities of human experience.
As we traverse the intricate landscape of Deleuze’s cinematic philosophy and Kiarostami‘s filmmaking, we find ourselves engaged in a profound philosophical dialogue within the realm of cinema. Their convergence within the movement-image reveals shared principles of dynamic storytelling, sensory engagement, and the exploration of human agency. The path, as a philosophical sign, becomes a symbol through which both Deleuze and Kiarostami invite us to contemplate the profound questions of existence and choice. However, their deviations are equally enlightening. Kiarostami‘s minimalist and contemplative approach challenges the traditional boundaries of the movement-image, inviting viewers to linger in the spaces between actions.
In essence, Deleuze and Kiarostami engage in a rich and multifaceted dialogue—one that transcends the confines of theoretical discourse and unfolds on the cinematic canvas. It is a dialogue that invites viewers to partake in the philosophical inquiries embedded in the very fabric of cinema, to contemplate the paths we choose, and to navigate the labyrinth of human existence.
Kiarostami’s Cinematic Philosophy: A Deleuzian Perspective
Expanding upon the analysis in the previous section, we will delve into specific examples from Abbas Kiarostami‘s films. In this section, we will embark on a cinematic journey through Kiarostami‘s works, exploring how his characters move along the paths he presents. We will dissect their actions, choices, and encounters, recognizing that these elements are integral to the philosophical narrative woven into Kiarostami‘s cinema. Through a close examination of scenes and dialogues, we will unveil the nuances of Kiarostami‘s cinematic philosophy and interpret them through a Deleuzian lens.
In Taste of Cherry (1997), Kiarostami invites us to navigate the labyrinthine roads of Tehran alongside Mr. Badii, a character on the brink of a profound existential decision—life or death. Mr. Badii’s journey along these paths is not merely a physical one but a philosophical exploration of the human condition.
As we observe Mr. Badii driving, stopping to pick up potential gravediggers, and engaging in conversations with them, we become witnesses to the movement-image in action. Deleuze’s concept of the sensory-motor schema, where characters interact with their surroundings through actions and reactions, comes to life. Mr. Badii’s interactions with the landscape and the individuals he encounters are tactile and visceral, mirroring the essence of the movement-image. Yet, Kiarostami‘s brilliance lies in his ability to infuse moments of contemplation within the dynamic narrative. These pauses in action, often accompanied by silence, allow viewers to dwell in the stillness between movements. Mr. Badii’s silent contemplation in the car becomes a philosophical interlude where the weight of his choices and the search for life’s meaning hang in the balance.
In Deleuze’s terms, these moments of contemplation align with the time-image—an aspect of cinema where the boundaries of action and reflection blur. Kiarostami’s narrative structure deviates from the traditional movement-image, inviting viewers to ponder the existential questions that haunt Mr. Badii. These are moments of pure duration, where time is not measured by action but by the profound philosophical inquiry.
In Where Is the Friend’s Home? (1987), Kiarostami introduces us to Ahmad, a young boy on a mission to return his friend’s notebook. The path he traverses becomes a metaphor for the choices he makes and the consequences that follow—a philosophical theme that resonates with Deleuze’s exploration of human agency within the movement-image. Ahmad’s journey is marked by his determination to fulfill a moral obligation—to return the notebook. The path, as he navigates it, becomes a moral landscape where right and wrong are defined by the choices he makes. Kiarostami‘s camera, in the spirit of the movement-image, captures Ahmed’s actions and interactions in exquisite detail.
Deleuze’s philosophy of the movement-image aligns with the meticulous storytelling of Kiarostami, where actions unfold with precision. Ahmad’s encounters along the path—a friendly truck driver, a stern schoolteacher, and a compassionate elderly lady—shape the moral contours of his journey. These interactions are not incidental but integral to the philosophical narrative of choice and consequence. As viewers, we witness Ahmad’s agency within the movement-image, where each choice carries weight, and each action has repercussions. Kiarostami’s cinematic philosophy converges with Deleuze’s framework, highlighting the significance of human agency within the narrative of life’s choices.
In Through the Olive Trees (1994), Kiarostami immerses us in the world of filmmaking, blurring the boundaries between fiction and reality—a theme that intersects with Deleuze’s exploration of the time-image. The path in this film takes on multiple dimensions—a physical path among olive trees, the path of filmmaking, and the path of human relationships. Kiarostami‘s characters find themselves at existential crossroads, where the choices they make echo the philosophical inquiries central to the movement-image. The film-within-a-film narrative structure introduces layers of complexity, where characters play themselves and engage in reenactments of real-life events. This blurring of reality and fiction mirrors Deleuze’s concept of the time-image, where the boundaries of cinematic representation become porous.
Within this intricate narrative, the path becomes a symbol of choice and consequence. The characters’ movements along these paths—both physical and metaphorical—reflect their inner struggles and philosophical dilemmas. Kiarostami invites us to contemplate the intersections of choice, reality, and representation within the dynamic interplay of the movement-image and the time-image. While Kiarostami‘s cinematic language aligns with the movement-image, it also deviates from it in significant ways. His films are characterized by minimalism, where extended moments of silence and deliberate pacing encourage reflection—a departure from the traditional sensory-motor engagement of the movement-image.
In Taste of Cherry (1997), for example, Kiarostami‘s deliberate pacing allows us to dwell in the contemplative spaces between actions. The protagonist’s silent contemplation in the car becomes a philosophical canvas where the weight of his choices and the significance of life’s meaning are palpable. Kiarostami‘s minimalism invites viewers to engage with the philosophical undercurrents beneath the surface of the narrative. This minimalist approach finds resonance with Deleuze’s exploration of the time-image. While the movement-image emphasizes action and reaction within the sensory-motor schema, the time-image extends beyond these boundaries. It encourages viewers to linger in moments of duration, where time is not dictated by action but by contemplation.
In Certified Copy (2010), Kiarostami‘s exploration of human existence takes center stage. The film follows the interactions between a man and a woman who may or may not be a married couple. As they journey through the picturesque landscapes of Tuscany, their conversations delve into the nature of love, art, and authenticity. The path in this film serves as both a physical and metaphorical backdrop for their philosophical musings. Kiarostami’s characters move along the winding roads of Tuscany, but they also navigate the twists and turns of human relationships. The path becomes a symbol of the intricate and often unpredictable journey of love and human connection.
Deleuze’s philosophy of the movement-image, with its emphasis on action and sensory engagement, intersects with Kiarostami‘s exploration of human existence. The characters’ dialogues and interactions align with the sensory-motor schema, where their words and gestures carry profound significance. Kiarostami‘s minimalist approach to storytelling encourages viewers to linger in the moments of reflection between dialogues, mirroring the time-image’s invitation to contemplate the complexities of human existence.
Kiarostami’s Philosophical Path: Conclusion
In the winding labyrinth of modern cinema, Abbas Kiarostami’s works stand as luminous guideposts, beckoning us to explore the profound interplay between the movement-image, the path, and philosophical thought. As we bid farewell to this cinematic journey that traversed the landscapes of Kiarostami‘s narratives and delved into the philosophical framework of Gilles Deleuze, we find ourselves at a crossroads of contemplation and revelation. Throughout our exploration, we navigated the paths of Kiarostami‘s cinema, where the very notion of a path transcends its physical presence. These paths became more than mere trajectories; they evolved into philosophical signs, symbolizing the human condition’s depth, choices, and ceaseless quest for meaning. In Kiarostami‘s hands, the path became a canvas where existential questions were painted with the strokes of cinematic poetry.
In Taste of Cherry (1997), we witnessed the movement-image in action as Mr. Badii journeyed through the landscapes of Tehran. His interactions with the world around him mirrored Deleuze’s sensory-motor schema, inviting us to engage with cinema’s dynamism. Yet, it was in the silent contemplation within the car’s confines that we encountered the time-image, where time extended beyond action, and profound philosophical inquiries hung in the balance.
Where Is the Friend’s Home? (1987) further underscored the philosophical significance of paths and choices. Ahmed’s quest to return a notebook became a moral odyssey, where each step on the path reflected a decision, and each encounter shaped the consequences of his choices. Kiarostami‘s meticulous storytelling mirrored the movement-image, inviting us to contemplate the significance of human agency within the narrative.
In Through the Olive Trees (1994), the paths expanded into multifaceted dimensions, mirroring the complexities of human relationships and the blurred boundaries between reality and representation. Characters found themselves at existential crossroads, navigating not only physical paths but also the intricacies of identity and authenticity. Kiarostami‘s exploration resonated with Deleuze’s framework, where the movement-image converged with the time-image, and the boundaries of representation became porous.
Kiarostami’s minimalist approach challenged the traditional confines of the movement-image. His deliberate pacing and extended moments of silence invited viewers to linger in the contemplative spaces between actions, echoing the time-image’s invitation to contemplate the complexities of human existence.
In Close-Up (1990), Kiarostami embarked on a cinematic experiment that blurred the boundaries between reality and fiction—a theme that resonated with Deleuze’s exploration of the time-image. The film unfolded as a documentary-style reenactment of a true story where a man impersonated a famous Iranian director, Mohsen Makhmalbaf. What set this film apart was Kiarostami‘s incorporation of real-life individuals playing themselves, adding layers of complexity to the narrative. The path in Close-Up (1997) became a metaphor for the passage between the real and the replica. The imposter’s story intersected with the lives of the individuals involved, creating a cinematic tapestry that challenged our perception of reality and representation. Kiarostami navigated the territory of the time-image, where the boundaries between fact and fiction were blurred.
In Certified Copy (2010), Kiarostami invited us to contemplate the intricacies of human existence through the lens of a romantic encounter. The path, both physical and metaphorical, became a backdrop for the characters’ philosophical musings on love, art, and authenticity. Kiarostami‘s characters moved along these paths, engaging in dialogues that aligned with Deleuze’s sensory-motor schema.
Yet, Kiarostami‘s minimalist approach encouraged viewers to linger in the moments of reflection between dialogues, mirroring the time-image’s invitation to contemplate the complexities of human existence. The film explored the intertwining paths of love and identity, where authenticity became a philosophical quest.
Our exploration of Kiarostami‘s cinema within the framework of Deleuze’s philosophy revealed a rich and multifaceted dialogue. Their convergence within the movement-image illuminated shared principles of dynamic storytelling, sensory engagement, and the exploration of human agency. The path, as a philosophical sign, became a symbol through which both Deleuze and Kiarostami invited us to contemplate the profound questions of existence and choice. However, their deviations were equally enlightening. Kiarostami‘s minimalist and contemplative approach challenged the traditional boundaries of the movement-image, inviting viewers to linger in the spaces between actions. His navigation of the time-image, as seen in Close-Up (1997), blurred the boundaries of reality and fiction, expanding our understanding of cinematic representation.
As we conclude our journey through the cinematic landscapes of Kiarostami and Deleuze, we recognize the enduring philosophical relevance of Kiarostami‘s works. His exploration of paths, choices, and the human condition resonates with timeless inquiries that transcend the boundaries of cinema. Kiarostami‘s minimalist approach and his ability to evoke contemplation align with the philosophical essence of the movement-image and time-image. In a world where sensory overload often dominates the cinematic experience, Kiarostami‘s films stand as a testament to the power of subtlety and reflection. They invite us to navigate the paths of our own existence, to ponder the choices we make, and to engage with the profound philosophical questions that shape our lives.
Our exploration of Kiarostami’s cinema within the framework of Deleuze’s philosophy opens avenues for future research and contemplation. Scholars and cinephiles alike can delve deeper into the intersections of the movement-image and the time-image within Kiarostami‘s works. The exploration of minimalism in cinema and its philosophical implications offers a rich terrain for further investigation. Additionally, Kiarostami‘s unique ability to bridge the gap between reality and representation invites scholars to delve into the complexities of cinematic truth and authenticity. The blurred boundaries in Close-Up (1997) provide a fertile ground for discussions on the nature of identity and the role of cinema in shaping our perceptions of reality.
In conclusion, Abbas Kiarostami‘s cinema is a philosophical journey—a path that invites us to explore the human condition, the choices we make, and the timeless quest for meaning. His collaboration with Gilles Deleuze, whether by intention or serendipity, enriches our understanding of both cinematic storytelling and philosophical inquiry. As we bid farewell to this exploration, we carry with us the enduring wisdom of their cinematic legacy, a legacy that continues to inspire and provoke contemplation in the world of cinema and beyond.
Be First to Comment