Abstract:

Iran is a rich country of culture that has met with cinema since the beginning of the 20th century. After the cinema arrived in Iran, it has also been seen that, with the developments in the world cinema and the political changes that occurred in Iran, the cinema activities have varied. The film, which is seen to be quite active in certain periods, has sometimes been stable, but in some way continuity has been secured. In this regard, the history of Iran’s cinema, before the revolution and after the revolution, will be discussed in two separate periods in terms of comparison and revitalization. Iran was governed by the monarchy before the Islamic Revolution and served the cinema modernization policies. In this period, it is seen that there are commercial indigenous productions where modernization and western films are put in the forefront. The consequences of the conservative monarchy's governance against the western and its practices within the country have also been felt in the cinema. The 1979 Iranian Islamic Revolution has removed Iran’s cinema from modernity and a concept of cinema has emerged where the Islamic lifestyle is centered. Increased film controls and aggravated censors have restricted and strengthened filmmakers. Thus, during this period, the directors had to develop new narrative languages. Iran’s cinema has entered a period in which children’s characters are told about themes in the mid-1980s. This is clearly understood by the Iranian director Mecid Mecidi, who in his films gives too much place to children's characters and put them in the center of the story. Mecid Mecidi reflects many socio-cultural situations through children in his films that he integrates with Islamic understanding. This study has studied the children's characters in the film "The Children of Heaven" and "The Color of Paradise" of the director. This study was conducted socioculturally taking into account the areas of family, life, education and beliefs.

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