Cinematic style of Abbas Kiarostami. Abbas Kiarostami is known for his characteristic use of techniques and themes that are instantly recognizable in his films, from the use of child protagonists, to stories that take place in rural villages, to conversations that unfold inside cars utilizing stationary mounted cameras. He is also known for his use of contemporary Iranian poetry in dialogue, movie titles, and in the thematic elements of his pictures, and often undertakes a documentary style of filmmaking within narrative films.[1] The Kiarostamian style[edit] Though Abbas Kiarostami has been compared to Satyajit Ray, Vittorio de Sica, Eric Rohmer, and Jacques Tati, his films exhibit a singular style, often employing techniques of his own invention (the so-called "Kiarostamian style").[2]
Five to Ten: Five Reflections on Abbas Kiarostami’s 10. 5. Countdown One of the well-worn gestures of avant-garde cinema was the inclusion and foregrounding of the countdown leader within the body of the film. It was to be recognised as a signifier in its own right, not only as a standard sign pointing to the commencement of a film. For the so-called structural/materialist tradition of avant-garde practice, the leader’s foregrounding was a reaction against that other, so-called illusionist cinema. Abbas Kiarostami has never shied away from showing the artifice of cinema. 10 is structured around the leader. Www.yorku.ca/jmarches/visiblecity/ten.pdf.