Scene of National Film Archive of Iran
Seminar of Chinese and Iranian Experts
Scene of National Film Archive of Iran
The film Taste of Cherry WOn Palm d'Or Prize at the 50th Cannes Film Festival in 1997
Happy Talk between CFA Delegation and Iranian Production Unit in an Encounter in Tehran
"As a Persian saying goes, there are always paths of communication between the two hearts. Cultural exchange is just one of them." PANG Sen, Chinese Ambassador to Iran, quoted in his speech at the opening ceremony of Chinese Film Week, as part of Chinese Cultural Festival in Iran on the afternoon of September 18. Film is a gift that such an ancient and mysterious country as Iran dedicates to the entire world.
Many Iranian films such as Children of Heaven, Taste of Cherry, A Separation and The Salesman have won awards in varied film festivals worldwide and received hearty appreciation from numerous Chinese audiences. Then what is the impression of Chinese films in Iranian audiences' mind? What kind of interaction might take place in the film—the modern business card of the two ancient civilizations?
On the afternoon of September 18, the Tehran Museum of Contemporary Arts was filled to its capacity as professional film makers and amateurs in Iran came to welcome the opening of Chinese Film Week where six Chinese films, namely Wolf Totem, Confucius, Grandmaster, Taking of Tiger Mountain, Piano in a Factory and Under the Hawthorn Tree, were shown consecutively and aroused a fashion among Iranian audiences. Majid Mollanoroozi, director of Iran Visual Art Center of Iran Ministry of Culture & Islamic Guidance, extended his welcome towards the Chinese Film Week. "In recent years, Chinese film industry has gained rapid development. Plenty of sound experience with the development mode of Chinese film may serve as reference for Iranian counterparts. We expect that our cooperation with China in film may be realized in the future and that the Chinese Film Week today becomes a new chapter and a good beginning of strengthened cooperation between China and Iran." he said.
As a pleasure talk among Chinese film delegation in private, the possibility of a film week in China may probably be realized through a simple meeting over quite a short period of time. However, in order to make this Chinese Film Week happen in Tehran, capital of the Islamic Republic of Iran, Chinese Embassy in Iran spent a couple of months in constant communication, negotiation and coordination before it was successfully realized. The final list of the films to be shown was decided after several rounds of comparison and selection. As some shots, in the opening film Wolf Totem though quite ordinary in Chinese people's eyes, are forbidden scenes in the custom of Iran. Technical processing that happened in the 1980s in China were immediately made to ensure the opening show. The opening show turned out to be a success with a passionate feedback, testified by audiences' excitement at the sight of the leading actor Basen Zhabu and the producer Wang Weimin after the show. Acclaiming the magnificent part of "War of Human and Wolf" and fascinated with the wisdom in Chinese philosophy, film makers and amateur film lovers in Iran came to surround Wang Weimin, reluctant to leave for quite a long time.
As was stressed in the opening speech by LI Qianguang, vice president of CFLAC, "The Silk Road belongs to both China and Iran It also belongs to the entire world and humankind. We must make joint efforts to create the brilliance of cooperation and exchange among film makers of the two countries in this new age". It was at the unofficial meeting prior to the opening ceremony that film officials and representatives from the two countries conducted the first talk concerning co-production and exchange.
On the morning of September 19, the New Silk Road China-Iran Film Seminar was held where officials, experts, directors and producers from the two giants in Asian films gathered and discussed enthusiastically how to make film cooperation between China and Iran possible. As the first speaker from Chinese side, YIN Haigang, cultural counselor of Chinese Embassy in Iran, said, "film is a key window to learn about a country. In recent years, China and Iran have gained outstanding achievement in film. In the eyes of Chinese people, Iranian films tend to draw inspirations from vivid life, provide a subtle profile of figures and reflect the optimism of Iranian people via simple stories. As to Chinese films, their-creativity level is constantly upgraded, technology integrated in line with the international standard, marketing operation matured and box office multiplied. The respective advantages in the respects of feature film, children's film, documentary and film talents complementation. When talking about the possibility of cooperation mode, Tooraj Mansoori, director and producer of the films Deadly Escape and Little Game uttered, "the attraction of Iranian films to Chinese audiences lies in our capability to tell the simplest story in reflection of an extremely big issue with the humblest equipment, which is unique in the world film circle. As for co-production between China and Iran, it is anything but a joint venture with respective investment. Chinese film makers must find what they lack and what Iranian counterpart is good at so that the co-production can take both advantages to overcome each other's shortcoming". In response, WANG Weimin gave a frank reply, "as a matter of fact, Chinese audiences and film makers have a high recognition of Iranian film and we hope that China Film Association and official administration of film in Iran can promote some interesting co-productions. If we can witness some Iranian filmmakers in China or vice versa, the purpose of this seminar will have been fulfilled".
RAO Shuguang replied, "we have deep sympathy for Iranian counterparts' eagerness to learn more about the current development of Chinese films, especially some concrete co-production projects. As is known to all, the ancient Persian civilization is one of the four civilizations in the world and Iran is a key country in the "B&R" Initiative. In the strategic background of this initiative, China will keep its gate always open to the rest of the world. In the light of current differences between China and Iran, there is much more complicated process to go through in films of China and Iran have laid a perfect foundation for our future cooperation and the rapid yet sound bilateral relationship provides opportunities for cooperation as well". RAO Shuguang, head of Chinese film delegation and secretary general of China Film Association, delivered a keynote speech titled Chinese Film Development and New Structure of World Film. As he held, under the "B&R" Initiative, the development of Chinese film must always adhere to the general ideals of "rebalance of globalization" and "creating new pattern of regional cooperation". While realizing a higher cultural inclusiveness and global recognition of Chinese film, it is necessary to promote the sustainable prosperity of films in the B&R countries, crack down the traditional monopoly of Hollywood film in the context of old globalization, and construct a new structure of diversity, multi-elements, multi-dimensions and sound interaction in world films within the framework of "the community with shared future for mankind". Blessed with their own traditions both in culture and in aesthetics, films of China and Iran have differences both in contrast and in complementarity for spacious cooperation. Film makers and agencies of China and Iran ought to promote the co-production hand in hand with sound interaction and win-win outcome.
Iranian counterparts were so eager to express their urgent will for cooperation with China that almost every speaker came to the point straight and put forward their own suggestion and idea before making co-production happen in Iran. Haste makes waste, and some patience is still needed. We really admire our the sight of the leading actor Basen Zhabu and the producer Wang Weimin after the show. Acclaiming the magnificent part of "War of Human and Wolf" and fascinated with the wisdom in Chinese philosophy, film makers and amateur film lovers in Iran came to surround Wang Weimin, reluctant to leave for quite a long time.
As was stressed in the opening speech by LI Qianguang, vice president of CFLAC, "The Silk Road belongs to both China and Iran It also belongs to the entire world and humankind. We must make joint efforts to create the brilliance of cooperation and exchange among film makers of the two countries in this new age". It was at the unofficial meeting prior to the opening ceremony that film officials and representatives from the two countries conducted the first talk concerning co-production and exchange.
On the morning of September 19, the New Silk Road China-Iran Film Seminar was held where officials, experts, directors and producers from the two giants in Asian films gathered and discussed enthusiastically how to make film cooperation between China and Iran possible. As the first speaker from Chinese side, YIN Haigang, cultural counselor of Chinese Embassy in Iran, said, "film is a key window to learn about a country. In recent years, China and Iran have gained outstanding achievement in film. In the eyes of Chinese people, Iranian films tend to draw inspirations from vivid life, provide a subtle profile of figures and reflect the optimism of Iranian people via simple stories. As to Chinese films, their-creativity level is constantly upgraded, technology integrated in line with the international standard, marketing operation matured and box office multiplied. The respective advantage in the respects of feature film, children's film, documentary and film talents complementation. When talking about the possibility of cooperation mode, Tooraj Mansoori, director and producer of the films Deadly Escape and Little Game uttered, "the attraction of Iranian films to Chinese audiences lies in our capability to tell the simplest story in reflection of an extremely big issue with the humblest equipment, which is unique in the world film circle. As for co-production between China and Iran, it is anything but a joint venture with respective investment. Chinese film makers must find what they lack and what Iranian counterpart is good at so that the co-production can take both advantages to overcome each other's shortcoming". In response, WANG Weimin gave a frank reply, "as a matter of fact, Chinese audiences and film makers have a high recognition of Iranian film and we hope that China Film Association and official administration of film in Iran can promote some interesting co-productions. If we can witness some Iranian filmmakers in China or vice versa, the purpose of this seminar will have been fulfilled".
RAO Shuguang replied, "we have deep sympathy for Iranian counterparts’ eagerness to learn more about the current development of Chinese films, especially some concrete co-production projects. As is known to all, the ancient Persian civilization is one of the four civilizations in the world and Iran is a key country in the "B&R" Initiative. In the strategic background of this initiative, China will keep its gate always open to the rest of the world. In the light of current differences between China and Iran, there is much more complicated process to go through in films of China and Iran have laid a perfect foundation for our future cooperation and the rapid yet sound bilateral relationship provides opportunities for cooperation as well". RAO Shuguang, head of Chinese film delegation and secretary general of China Film Association, delivered a keynote speech titled Chinese Film Development and New Structure of World Film. As he held, under the "B&R" Initiative, the development of Chinese film must always adhere to the general ideals of "rebalance of globalization" and "creating new pattern of regional cooperation". While realizing a higher cultural inclusiveness and global recognition of Chinese film, it is necessary to promote the sustainable prosperity of films in the B&R countries, crack down the traditional monopoly of Hollywood film in the context of old globalization, and construct a new structure of diversity, multi-elements, multi-dimensions and sound interaction in world films within the framework of "the community with shared future for mankind". Blessed with their own traditions both in culture and in aesthetics, films of China and Iran have differences both in contrast and in complementarity for spacious cooperation. Film makers and agencies of China and Iran ought to promote the co-production hand in hand with sound interaction and win-win outcome.
Iranian counterparts were so eager to express their urgent will for cooperation with China that almost every speaker came to the point straight and put forward their own suggestion and idea before making co-production happen in Iran. Haste makes waste, and some patience is still needed. We really admire our counterparts in Iran, who are capable of making the most touching films out of the minimum funding and the simplest equipment. We suggest that both sides prepare some detailed proposals for discussion the next time we visit Iran so as to realize a genuine cooperation. As Chinese film market is of gigantic capacity, rapid development and many opportunities, we firmly believe that the "B&R" Initiative will bring about changes in the reality". As YIN Haigang suggest, various events such as film festivals should be fully utilized to showcase films of China and Iran. In the meanwhile, a mechanism should be established for continuous communication and cooperation. Iran-China Friendship Association and Asian Culture Center are recommended as the connecting points where suggestions from Iranian side will be conveyed to China Film Association. Chinese Embassy in Iran is also willing to function as a bridge in between.
During the visit, we once mentioned that the Best Foreign Film Award of Oscar seemed to be a piece of cake for Iranian filmmakers to take in, as especially their children's films always keep at the top level around the world. Nevertheless, in most degrees, only children's films are fully allowed in Iran and thus those best filmmakers are invariably shooting children's films. In China, some directors blamed the censorship for their poor production, but compared with the actual environment for creation and production of Iranian film, they shall probably reflect more on themselves. There was an interesting dilemma in our exchange. As the wife of Chinese ambassador to Iran used to be a professional dancer, she particularly wished to stage a dance performance in Iran. However, Iranian women are forbidden to show any part of their bodies except hands and faces, or shake hands with the opposite sex. Those dances with men and women on the same stage thus become a mission impossible. In this sense, Chinese Kungfu action films received great popularity. As Chinese Embassy in Iran told us, on the show day of the film The Grandmaster, there were so many crowds inside and outside the Tehran Museum of Contemporary Arts that the local media was greatly amazed.
Within a short visit from September 16 till 21, Chinese film delegation fully experienced Iranian people's love of Chinese people and culture as well as their disposition of "Film is Life" . Whether in the Chinese Film Week events in the Tehran Museum of Contemporary Arts, or in the exchange visit to Film Archive of Iran, we invariably met with ordinary citizens who offered friendly smiles, hand-shakes and group photos. Literary youngsters volunteered to explain about Iranian film and film shooting cast in the street. Just like the delicate and smooth life in Iranian film, the unveiled Iran is so true and beautiful. The future of exchange and cooperation in films of China and Iran is well worthy of expectation.
