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To this end Abbas Kiarostami’s Close-up becomes an “unclassifiable hybrid.”(Rapfogel, 2001) The film’s central character, Hossain Sabzian and the film’s plot are not fictional creations, but rather real recreations. The fact is, a man with the name, Hossain Sabzian did in fact impersonate a film executive named Mohsen Makhmalbaf and the impersonator, Sabzian is played by himself. (Rapfogel, 2001) Kiarostami takes the concept of documentary film to a unique level so that the art of distinguishing the actor from the character he or she plays is impossible since the actors play themselves in the film.
In this regard, each of the actors and the characters that they play are authentic representations of themselves. Since the actors are not caught unaware, they are role-playing nonetheless. (Naremore, 1988) Real life situations are therefore reconstructed so that the nuances of human existence are exposed. So while Close-up brings film closer to life, it simultaneously brings the reader closer to reality. So although Close-up is for all intents and purposes a staged portrayal of real characters and a real plot, it is very much an exercise in realism and authenticity.
This is because it combines reality with “an hallucination that is also a fact.” (Bazin, 1967) The hallucination is manifested by the preparedness in filming and performing. Salesman like Close-up chronicles everyday life by depicting the role playing in vastly similar ways. Like Sabzian, who impersonates a film executive for disingenuous reasons, the salesmen in Salesman likewise resort to role playing. The four salesman follows the travels of four Irish Catholic Bible salesmen from Boston to New England and Florida where they attempt to sell fancy bibles to lower and middle class consumers who are obviously not interested in purchasing the bibles.
Paul, one salesman is the ultimate performer. In trying to reach his sales’ quota he even lies to
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