Özet:

The cinema coming to Iran with the beginning of the twentieth century, in the course of time, due to political changes in the country’s governance and the developments in the world cinema, has tried to keep its activity at times active and at times stable during certain periods. Therefore, when we take the history of Iran’s cinema in a general sense, it seems that it is clearly divided into two, pre- and post-revolution. In the pre-revolution Iran, since the cinema served the modernization policy of the country under the monarchy, it gives more place to western films and commercial indigenous productions that put modernization in the forefront. Over time, the conservative party has come out to the monarchy and its practices within the country, and the cinema has the success of it. And with the 1979 Iranian Islamic Revolution, the Iranian cinema becomes no longer the most effective narrative of modernity, but of the Islamic lifestyle. While this new concept of cinema makes film controls and censors more strict and heavy, it makes the filmmakers more difficult and restricted to film. Therefore, in the Iranian cinema, which continues to be active during this period, the directors develop new narrative languages. Finally, along with the mid-1980s, the thematic stories in the Iranian cinema are more performed through child characters. At this point, the Iranian director Majid Majidi appears to us as an important name in his films that places a lot of children's characters and places them in the center of the story. The Majid Majidi also integrates them with Islamic understanding while putting children in their films and reflects many socio-cultural phenomena through them. In this context, the study discussed the director's "Color of Heaven" film's children's characters and tried to reveal many facts related to family, education, beliefs and life areas from a socio-cultural point of view.

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