At present we are going through a social and economical phase that will pave the way for a genuine growth and development in the Kingdom. Therefore, we are in desperate need for social awareness and more understanding of modernization.
Some cinema directors and cinematographers miss the point when developing movies — movies that allow viewers to escape reality and indulge in an imaginative world. These cinema and moviemakers fail to understand that their movies and films are incapable of supporting a process of modernization and development within the Kingdom and also incapable of projecting a respectful image internationally.
In order to contribute to the cinema with an experience that we could be proud of, we must take a long and difficult academic path and invest in long-term projects in our local human cadres.
The question is why don’t we have any scholarships for arts and literature, two majors that can be considered to be the heart and conscious of the nation. Why didn’t higher education authorities see any importance in sending students to study cinema, television, and theater arts?
Everyone is presently praising the Iranian cinema that has imposed its existence on the international world. However, we must realize that the first generation of cinema directors and cinematographers in Iran were educated in France, Germany, and Russia.
These three countries have a long history in cinema. These directors and cinematographers graduated and came back to their country to spread what they had learned and established one of the most important organizations.
This organization — the Institute for Intellectual Development of Children and Young Adults — was and is still a great help to the development of national cinema.
The institute was founded by Lili Jahan Ara, a close friend of Farah Diba (the Iranian Queen). With the support of Farah, a library became the first project that the Institute focused on and in 1969 it started its cinema department. Soon many young talented filmmakers and animators joined the organization.
The main attraction of the institute was its title, which could provide artists relatively greater freedom of expression than elsewhere. Many prominent directors of Iranian national cinema started their careers there or made films for the institute. Among them are: Bahram Baizai, Amir Naderi, Abbas Kiarostami, Reza Alamzadeh and Sohrab Shahid-Sales.
Saudi cinema at present does not really need to construct movie theaters. What is important is to open the door for young filmmakers and directors to mix with other cultures and learn from the industry. These things are necessary and not just a means of luxury or entertainment. It would widen our scopes and improve our visions before developing cinematic proficiency.
We have no right in criticizing the absence of motion pictures or the poorness of cinematography. In the end, as much as we need talented and skilled engineers and doctors, we are in need of qualified artists to reform the social awareness and develop it for the best.
