Encyclopedia of Persian Cinema From 1930 to 1978

 The two-volume culture book “Persian Cinema” written by Vahid Alirezaei, under the supervision of Farhad Qahemian, was published by the title publishing house.

According to the report of   Boraq Hamamim’s artistic news site, the two-volume culture book ” Persian Cinema ” written by Vahid Alirezaei was recently published by Titul Publishing House.

In this two-volume dictionary, which is printed on 1152 pages and in the cut of a minister, the information of 1204 Iranian films made between 1309 and 1357, including plot synopsis, film genre, location, readers, evaluation grade and film review is included.

The first volume of Persian cinema culture includes the letters “A to S” and the second volume includes the letters “S to Y”. The 100-page index at the end of the second volume is also intended for research and easy access to the contents and names of films and artists of Iranian cinema.

Vahid Alirezaei said in an interview with Ibna that the main difference between this book and other books that reviewed Iranian movies is that those books are selections from movies and were selected according to genre or content or audience percentage, but this book has no selection. It does not exist and all Iranian cinema films from 1309 to 1357 were fully reviewed.

The author has provided explanations in the introduction so that there is no ambiguity in the specifications of the films. Explanations such as what is meant by the year of production, what the historical periods refer to (it means before 1316 and after), genre, location, adaptation, versions, time of the film, etc.

In the span of one hundred years since the development of cinema in Iran, many books have been written about this cinema, paying tribute to its efforts, unfortunately, most of them are body cinema, which Hoshang Kavousi called Persian film and later on The custom of respect was called Persian cinema; It was ignored and only the works that had cinematic and historical importance have been addressed, while cinema lexicographers, in a research attitude, should pay equal attention to all works. Due to the fact that most of the films of that time were ignored in the previous author books, this culture has for the first time taken a comprehensive look at all the works made without artistic evaluation.

In a part of the introduction, we read:
Iranian cinema was never genre-definable like Hollywood cinema, and Iranian films always jumped from one branch to another within 90 minutes, sequence after sequence. For this reason, it is very difficult to put Iranian cinema works under a specific genre. However, in the same cinema, films can be classified under the same category relatively and not absolutely.

For example, in the first period, when the movie “Vagabond” was made, everyone could connect it to the genre of melodrama. Or in the third period, a movie like “Delahreh” is a movie in the crime genre and a full-fledged thriller. Or the comedies of the thirties “Mademoiselle Khale” can’t be placed in any other genre than comedy. In the fifties, many street films were made, such as “Kondo and Goodbye Rafiq”, but these are among the few works that fall into the category of genre. The films made in these fifty years can be divided into twelve types and genres, and of course a combination of these types, two of which are completely Iranian and influenced by local cinema, and ten genres are more or less close to global definitions.