Now, a week has passed since the end of the series "Khatoon" directed by Tina Pakravan, and we can take a different look at this work, away from false excitement. The point, along with the success of this series, is that it was made by a woman. After the Islamic Revolution until the mid-sixties, a handful of female directors were able to enter the film and serial production profession. But this trend has grown better since the 1970s, and now, at the beginning of the new century, there is a long list of Iranian women filmmakers working in various fields, documentaries, short films, art and experience, feature films, and so on. Interestingly, despite the large number of women entering the world of directing in the last three decades, the number of those who have made serials in their artistic careers is still small. To say that it is not a bit of an exaggeration and does not even exceed the number of fingers on one hand. Appear, focuses more. Here we want to have an overview of the record of Iranian women serial makers, with a look at the works of three important directors in this field.
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For many years, she was the only Iranian female serial producer. We are talking about Marzieh Boroumand, who has a bachelor's degree in performing arts and started her career in the fifties. After several experiences of acting in cinema and television during the Pahlavi era, he returned to television in 1980 by making a puppet TV series called "The Demon Cho Goes Out" and was one of the most popular television directors until the early 1990s. Boroumand's main interest is in the field of children, and the series he has made for children and adolescents are among the most memorable television series of the sixties and seventies.
"Beautiful Hairdresser" put itself in front of an adult audience. Boroumand, with his experience in children's serialization and cinema work, in the years after the end of the war and the production of a small number of family series on television, with a very simple story about a hairdresser and his family, a drama series with traces of Make humor. After this series, he returned to the children's field with "Tales to Ta".
In the mid-seventies, with the opening of the Tehran network, he became one of the main directors of this network. Series such as "Tehran 11", "Hotel" and "Solar Workshop and Madame" were all memorable and successful series that were made with an episodic structure according to the needs of those years and the taste of the audience. In addition to raising the level of Boroumand's directing on television, these series were also very effective in the popularity of the Tehran network among the residents of the capital. "Mr. Nikbakht's heir" was Boroumand's first collaboration with Channel One, which aired on Nowruz in 1980. A series with a detective story, but at the same time funny and entertaining, which was also one of the first TV series on Nowruz. Giving focus to young directors. "Hudhud Bookstore" and "All My Kids" were the only collections he directed in the 1980s. Series that both had original ideas. The first was the director's only collaboration with Channel 3, which never happened again. The second series was made for broadcast on Family TV, and although it did not have a popular broadcast time, it found its audience and was successful in rebroadcasts.
Marzieh Boroumand's last collaboration with television was in 1989 with the series "Fairy water" happened. A series that had a fictional story and talked about the optimal use of water. Boroumand, like many other television activists in the past decades, could no longer work with the national media with the changes that took place at the macro level of television, beginning in the 1990s. According to him, he gave various plans to the television, but it was so accompanied by audits and ifs and buts that he preferred to change his way. He is currently working on a series for the Home Theater Network, which has not yet received detailed information about the media. We have to wait and see if this veteran TV director will be successful in home theater as well?
Perhaps one of the main factors in the success of Marzieh Boroumand's work is that it goes with its time. He never insisted on making a historical series and portrayed all the daily issues of people's lives in his collections. For example, in the series "Beautiful Hairdresser", he used a small issue such as using the coins of shop coins for personal contacts, telling the story and adding to the humor of the series.
A few years later, in the series "Tehran 11" , Showed the presence of a luxury car at that time, which was a green Pride hatchback in different families. This Pride entered homes that were deliberately preoccupied with the issues and problems of the day. For example, a man and a woman working with small children, the culture of apartment living, the unemployed children of rich families, and all the issues that people faced during the day, and once a week, Marzieh Boroumand discusses all this and how to better deal with these phenomena in her series. This issue was also clearly seen in his latest works, "Hudhud Bookstore" and "All My Children". The issue of low reading per capita, the conversion of bookstores into fast food, the flight of people from reading, and in "Hudhud Bookstore" was portrayed dramatically to the viewer. On the other hand, the differences between the generations, the different desires of those born in the sixties and seventies, and the advancement of technology were issues that were subtly placed in "All My Children" through the stories. Boroumand always wrote significant screenplays, but he did not always work on the screenplays he wrote, and incidentally in series such as "Hotel", "Hudhud Bookstore" and "Solar Workshop and Madame", he trusted the young writers of those days such as Peyman Ghasemkhani, Soroush Sehat. Samini's song and had an acceptable result.
Bakhtavar is in the second place after Marzieh Boroumand by making only three series. He was an active director in the early eighties, especially in the newly established network of Tehran, but after a few years of activity, he preferred to do educational work and support his wife Asghar Farhadi's activities more.
Parisa Bakhtavar graduated He studied directing and entered the professional arena in the seventies, acting in theater and television. During the production of the series "The Story of a City", the first professional work of Asghar Farhadi, he was the host of this series. But in 1980, with a screenplay by Farhadi, he directed the series "Childhood Notes" as his first professional experience in directing.
This series had a family theme, but among the many series of that time It was made for the Tehran network, it was not seen much. A year later, with another screenplay by Asghar Farhadi, Bakhtavar directed the series "Behind the Concours" for broadcast during Ramadan in 1981, focusing on a topic that was very important in those years, namely passing the entrance exam and the difficulties of this exam. A series that introduced him to the audience as a novice director but Carbald.
This series was one of the most popular series during Ramadan with its remarkable humor. Two years after this series, Bakhtavar made his last TV series and collaborated with the Turkish national media forever. The name of this collection was "I am a tenant". The first work that Bakhtavar directed without his wife. Again, one of the issues of the day, the renting of young and unemployed couples, was on display in this series. A series that was noticed during the broadcast and then was successful in rebroadcasts.
Parisa Bakhtavar, from the very beginning of her directing career, focused on making comic books. The humor of the situation and the real that was far from any etiquette and principles. In each series he made, this satire evolved and in his last professional activity, making the movie "Circle of Bells", he portrayed the most complete form of this kind of satire.
Of course, Asghar Farhadi's role in paying attention to the subjects and the body Bakhtavar's works should not be ignored.
Bakhtavar did not direct anything after the 1980s, and this may not be the only reason for his personal desire. Because the changing conditions of television, which began in the mid-1980s, did not accept Bakhtavar's favorite social satire.
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Tina Pakravan, with the help of prominent directors such as Bahram Beizai, Dariush Mehrjoui, Masoud Kimiaei, entered the professional career of cinema and in the eighties with Making documentaries and short films entered the field of filmmaking. "Khanoom", "Midnight Happened" and "Los Angeles Tehran" are feature films he has made in the last decade. Since the mid-1990s, when the phenomenon of the home theater network in Iran became more popular with directors and audiences, many filmmakers have tried their luck in this field.
This phenomenon is increasing every day, and the decline in the quality of television works is also fueling this trend. Tina Pakravan, like many other directors, decided to try her luck in this field. Of course, the support of his wife Ali Asadzadeh as a producer made it possible for him to portray the idea he had in mind safely and without worrying about financial resources.
And with the planning that was done, the series was supposed to go in front of the camera in 1999, but Corona changed many of these plans. But "Khatoon" was finally made. A series that named Pakravan as the first female serial maker of the home show network He threw it on the tongues. He made this series in a situation where the home show was very popular due to Corona and the failure of the cinema, and every month a new series was added to the series being aired in this media. Of course, in this highly competitive market, "Khatoon" with all its strengths and weaknesses was able to attract the attention of a wide range of audiences.
Considering Tina Pakravan's directing education in Iran and the United States, making a series with a "female" structure is a very strange and far-fetched task for This is not a director. However, he has worked in this field academically and experimentally for many years. But what caught the audience most in Pakravan's work is the perfect combination of a love story with a part of the neglected history of Iran.
A different romance that surprised the audience, along with historical references that It was curious for the viewer. Of course, Hooman Behmanesh's clever filming should not be forgotten in the success of this series. However, ignoring the story holes and sometimes uncontrolled acting of the actors, "Khatoon" with its fast rhythm and addressing issues that have never been addressed in the history of plays, as the first series of a female director, is an acceptable work.
A work that makes things harder for Tina Pakravan and greatly raises the audience's expectations of her next work, especially if it is a series.
Perhaps the first name to be mentioned among these women is the mystical angel. He started his career in the sixties by appearing in children's works, and in the late seventies he started directing in the field of children by making two series, "Eid-e-Amad Bahar-e-Amad" and "Heavenly Police". But these collections did not receive much attention and were forgotten after a while. Sadr Arfaei became seriously involved in cinema acting in the 1980s and did not even appear on television anymore.
The second female director to appear on television with a series is a well-known name; Gulab Adineh. Adineh has been an actor and actress in various serials and movies for many years. In the theater, he does both educational work and is a professional and practical director. But Gulab Adineh recorded the serialization experience in her record only once in 2007, by making a series called "Khastagaran" to be broadcast on Family TV. A series that dealt with the issue of suitors and courtships in episodes, and with humorous traits, tried to criticize the strange customs and praise the good consequences of this family tradition. The broadcast of this series was only noticed by the audience of Family TV. After that, Adineh had no other activities in the field of serialization, except for the construction of two tele-theaters for Channel Four. Lesser-known letters in the field of television, such as Manizheh Mohammadi, whose main activity is in education and theater, made unsuccessful attempts in the field of serialization in the 1970s, none of which were lasting works.