Part I TEHRAN Since 1980, just after the Iran's Islamic Revolution, efforts began to be made to save the declining cinema, especially the decline cinema had been suffering since late 1960s. In the wee days of the Revolution, when artistic guidelines were shrouded in an uncertain atmosphere, even the most optimistic people expected the cinema would be going to be absolutely shut down.

However, Imam Khomeini (RA), with his personal positive view toward cinema, guaranteed the existence of cinema in the structure of our Islamic community when he clearly uttered, we are not against cinema; we are against prostitution.'' Besides, some of those involved in planning and executing the cultural policies of the country thought cinema was just a place to offer advisement and guidance to people directly.

The Revolution generation, who were closely familiar with the seventh art, from the very first days of their responsibility had in mind the familiarization of the young generation with practical realities of religious culture. After years of gaining experience, the said filmmakers, who had now reached the peak of mental and technical maturation, gradually began to give life to the cinema with their films.

The youth who were real aficionados of cinema gave the art more cachet when they had their potential capabilities interwoven with the filmmakers' experience. The modern cinema, in fact, wouldn't have been formed and established both inside and outside the country if it hadn't been for their great efforts. Although Iranian cinema is not yet in the status it should be, it is commendable.

With a quick glance at 750 films made between 1980 and 1997 some major measures taken in the Iranian cinema can be counted as: 1. Cinema became interwoven with thought: Cinematic works started to be regarded as products of thought and contemplation. Cinema, truly turning to an efficient medium for communication, became a place for the Islamic dignity to show up.

So new themes and subjects started to be experienced in cinema. 2. Limitations were put on the arrival and screening of foreign films that were mostly based on sex and offense. This led to qualitative and quantitative growth of cinema in Iran. 3. In the beginning of 1980s cinema saw dramatic changes with the production of 9 warfare films among which Kiloometr-e Panj (Kilometer 5), Pol-e Azadi (Bridge of Freedom), and Diyar-e Asheqan (Land of the Enamored) were considered good work for the start.

Later the War Cinema gradually took shape. Eventually in 1987 Parvaz-e Shab (The Night Flight) was pioneered as the first warfare cinematic product with the desired goals of the Sacred Defense. In later years Deedehban (The Observer), Mohajer, Hoor dar Atash (The Sun in the Fire), Sajadeh Atash (Praying Mat of Fire), Kimia, Payan-e Koodaki (The End of Childhood), Leili ba Man Ast (Leili Is With Me), Bar Bal-e Fereshtegan (On the Angels' Wings), and Hemase-ye Majnoon (The Epic of Majnoon) were produced to be introduced as the most outstanding works of the War Cinema. 4.

Women met a new identity of theirs after the Revolution; an identity which was in contrast with the one they used to have as dancers or actresses in the scenes that questioned their dignity and gracefulness in the pre-Revolution cinema. In the Iranian cinema, now, it was made possible, based on compassion and nobility, for women to show their real status and role in the society.

Also women, as film directors, found the opportunity to make films as well as men did and even in some cases proved their efficiency in a high level. 5. Since 1986 the children and young adults cinema was paid special attention when it started its own planning, investment, review council, as well as its exclusive festival. The Iranian cinema owes a major part of successes it gained to the children and young adults cinema.

In the recent decade over 70 films have been made about children and young adults. 6. After 1986 attention was centered around films with philosophical and mystical themes. Along with this, efforts were made to found the religious and traditional cinema. Among those who were interested in making mystical and philosophical films, however, were seen those who did not have any idea what this kind of cinema is.

The result is, during the recent years a few pseudo-mystical and pseudo-philosophical films have been produced whose themes are so superficial and vague. 7. Many changes have been made in terms of technique in the Iranian cinema. These changes are more eye-catching in filming, light, and sound where technical deficiencies are more tangible. Some of these films have had the capability of competing in international festivals and that with films from industrially developed countries.

However, technical flaws still linger in the Iranian cinema, especially flaws in filmscripts and story narrating. Apart from their mental immaturities, Iranian filmscripts do not enjoy a correct frame of description either. 8. New occupational titles were made in film producing titles such as stage assistant, Stage and costume designer, production, and sound manager. New personnel were recruited and trained to enter in the cinema occupation.

To get this done, apart from cinema colleges, the Association of the Young's Cinema expanded its activities. Governmental centers like Islamic Center of Filmmaking Training, and Center for Development of Experimental and Semi-Proffessional Cinema were established. In general, from 1980 to 1997 some 300 filmmakers have been making films of whom only 35 had experience in the field in the pre-Revolution cinema.

9. Starting and maintaining Fajr Film Festival as the most significant phenomenon in the Iranian cinema was among the major measures taken after the Revolution. The festival tries to make models for the annual productions preceded by efforts it makes to encourage those involved in filmmaking. (The second part of this article will appear next Monday.)