TEHRAN Sacred defense cinema has been kept oppressed from different point of views. Those engaged in this kind of cinema, encounter different problems. Films produced on the subject of sacred defense, can be divided into two main types: publicity and documentary films which portray different aspects of the values of the sacred defense. According to latest evaluations and opinion polls, majority of people like those films which draw up the values of sacred defense more realistically.

These kinds of films attract more audience. It's worth mentioning that the number of such films in our cinema is considerable and our film-makers possess a remarkable and bright record in this field. During the last days of September, we witnessed the Seventh Nationwide Sacred Defense Film Festival held in Hamedan. The festival hosted those engaged in the cinema of war and every elements of sacred defense film production.

Aimed at becoming familiar with the idea of a group of film-makers and artists on sacred defense cinema, the TEHRAN TIME conducted a series of interviews. Following are the interviews: Q1. What is the stance of sacred defense films in the Iranian cinema? Q2. Where is the destination of sacred defense cinema? Jamshid Jahanzadeh (actor) He has performed role in the films: War of Tankers, Attack, Storm, Invisible Webs<170> and Chariot of Death. A. In my opinion, the objection to the war cinema, is the same as the objection to the entire Iranian cinema.

Unfortunately, by entering new persons, policies change and by every change, a new particular system and method will be dictated. Such a method or system defines the framework for films. I believe that although there is goodwill behind this issue, it is contrary to the nature of cinema. Such problems are afflicting the war cinema. Unfortunately in each era new definition is clarified for war cinema and it is completely wrong.

War cinema, itself, should find its own definition. With regard to the aforesaid problems, it may deviate from the right path and be ruined. Shafie' Aqa Mohammadian (film-maker and playwright) His films are The Ambassador's Driver, Black Pearl, Escape From the Hell, On the Death's Line, The Eye of Eagle. Sacred defense cinema, as its name reveals, is holy, because it maintains the Iranian youth's sacrifices.

The sacred defense cinema enjoys a special position. If those engaged in cinema do not find a way and solution to their problems, sacred defense cinema will be lost. The main problem of the cinema is the stories of screenplays and another problem depends on the way of applying cinematic technics. Nader Talebzadeh (film-maker and playwright) His works include serials Reality of Khouzestan, City of Unknown Martyrs, At 00:25 in America, Dagger and Anemone and Growth in Fire. The main problem in sacred defense cinema is that the main gists have not yet been explained.

The framework has not been experienced to explain sacred defense. What has been produced is just a cliche. In my opinion, the nature of the real war cinema has not been experienced and the future of this kind of cinema is not clear, for, war is a treasure which should be experienced regardless of box office and the cliche scope. Behrouz Farno (researcher and expert in cinematic affairs and writer) Unfortunately most of sacred defense works are unable to compensate the cost price of the films.

Film-makers blame policy-makers in the industry and sacred defense cinema for this problem. On the other hand authorities in the industry believe that lack of successes of some films is because of weak points of film producers and makers. Film-makers, people and authorities should accept the fact that cinema industry of Iran, in the field of war films, is not so powerful to compete with countries which have advanced technological facilities, equipments and considerable capital.

We should not look for an amusement, entertainment or adventurous films in sacred defense cinema. Unfortunately, at present this trend is followed, except in a few number of films. Rouhollah Baradari (Production Manager) His essential works are Pioneer, Chase of Shadows, Passageway and The Rug of Fire<170>. Survival of cinema specially sacred defense cinema depends on the audience. We should keep it in our mind that a centralized policy has not been determined yet for the sacred defense cinema and it is changing constantly.

If the policy changes continue, no clear and acceptable future waits for the cinema. The Iranian film-maker is never the main decision-maker for creating a work in sacred defense cinema. Parviz Parastouee (Actor) He has performed role in Land of Lovers, Leili Is With Me and The Glass Agency. The sacred defense was an ideal defense with a specified objective. Unfortunately some of sacred defense films do not fulfill this objective.

The audience usually reject such films and the problem stems from the structure of the war film. War films usually ends to war operations and success of our soldiers. While post-war issues and events should be considered and paid attention. Instead of uplifting the values, some films question the values. For creation of an artistic work, one should be a lover.

As long as love exists, sacred defense films will survive.