Abbas+Kiarostami.pdfYasujirō Ozuslide.shapes.title

from pptx import Presentation
from pptx.util import Inches

# Create a presentation object
prs = Presentation()

# Layouts: 0-Title, 1-Title and Content, 6-Blank
title_slide_layout = prs.slide_layouts[0]
content_slide_layout = prs.slide_layouts[1]

# --- Slide 1: Title Slide ---
slide = prs.slides.add_slide(title_slide_layout)
title = slide.shapes.title
subtitle = slide.placeholders[1]

title.text = "The Quiet Revolution of Yasujirō Ozu"
subtitle.text = "A Look into the Camera and Aesthetics of a Master"

# --- Slide 2: Who Was Yasujirō Ozu? ---
slide = prs.slides.add_slide(content_slide_layout)
title = slide.shapes.title
body = slide.placeholders[1]

title.text = "Who Was Yasujirō Ozu?"
tf = body.text_frame
tf.text = "The Poet of Everyday Life"

p = tf.add_paragraph()
p.text = "Yasujirō Ozu was a pioneering Japanese film director whose career spanned from the silent era to the early 1960s. He is celebrated for:"

p = tf.add_paragraph()
p.text = "Rejecting Hollywood melodrama in favor of a quiet, minimalist, and deeply humanistic style."
p.level = 1

p = tf.add_paragraph()
p.text = "Focusing on the subtle dramas of everyday Japanese family life: marriage, children leaving home, aging, and generational change."
p.level = 1

p = tf.add_paragraph()
p.text = "Creating a unique and contemplative cinematic language that has influenced generations of filmmakers."
p.level = 1

# --- Slide 3: The Ozu Camera Perspective 🎥 ---
slide = prs.slides.add_slide(content_slide_layout)
title = slide.shapes.title
body = slide.placeholders[1]

title.text = "The Ozu Camera Perspective 🎥"
tf = body.text_frame
tf.text = "Seeing the World from a Different Angle"

p = tf.add_paragraph()
p.text = "The \"Tatami Shot\": His most famous technique."
p.level = 1

p = tf.add_paragraph()
p.text = "The camera is placed low to the ground, mimicking the eye-level of a person sitting on a traditional tatami mat. This creates an intimate, calm, and observational feel."
p.level = 2

p = tf.add_paragraph()
p.text = "The Static Camera: The camera almost never moves."
p.level = 1

p = tf.add_paragraph()
p.text = "Ozu avoided pans, tilts, or tracking shots, treating the frame like a painting and emphasizing composition over dramatic movement."
p.level = 2

p = tf.add_paragraph()
p.text = "Breaking the 180-Degree Rule: He deliberately broke the conventional rule of maintaining screen direction. This forces the viewer to re-engage with the composition of each new shot."
p.level = 1

# --- Slide 4: Ozu's Unique Aesthetics ---
slide = prs.slides.add_slide(content_slide_layout)
title = slide.shapes.title
body = slide.placeholders[1]

title.text = "Ozu's Unique Aesthetics"
tf = body.text_frame
tf.text = "Finding Poetry in the Mundane"

p = tf.add_paragraph()
p.text = "\"Pillow Shots\": These are quiet, transitional shots of seemingly mundane objects or landscapes—a vase, a steaming teapot, a passing train."
p.level = 1

p = tf.add_paragraph()
p.text = "They function like visual poetry, providin

1. AbbasKiarostami
22 Jan 1940
To 4 Jul 2016
R EI

2. Roots and Early Influences
Childhood in Tehran:
Grew up in a large, modest middle-class family during political
upheaval.
Silence was a rule at home —“we were many children, with
little means, but with peace and quiet.”
His father worked as a painter/decorator. The tactile world of
painting made the visual arts feel close to him.

3. Early Life & Education:
As a boy, Abbas painted and drew constantly.
Won a painting prize as a teenager and later studied at the University
of Tehran’s School of Fine Arts —grounding in composition long before
cinema.
Poverty was real: as an infant, his family lived in a house without doors,
using blankets as partitions.
Roots and Early Influences

4. Shyness & Silence:
From kindergarten to sixth grade, Kiarostami “didn’t talk to
anybody.”
Loneliness and silence shaped his patience, his long-held
shots, and his cinema of suggestion.
Roots and Early Influences

5. Where Is the Friend’s Home? (1987):
A young boy searches for his absent classmate’s house
—echoing the absence of strong paternal/authority
figures.
Roots and Early Influences
Examples:

6. Roots and Early Influences
Examples:
The Wind Will Carry Us (1999):
Title borrowed from ForughFarrokhzad’s poem, blending
his love of Persian poetry with cinema.

7. The Child’s Eye
Children at the Center:
Kiarostami repeatedly centered children, using their innocence and
curiosity as a lens to critique society.
Childhood wasn’t just subject matter —it was his laboratory at Kanun
(Institute for the Intellectual Development of Children and Young
Adults), where he made early shorts like The Bread and Alley, The
Colors, Toothache, Orderly or Disorderly.

8. The Child’s Eye
Truth over Innocence:
For Kiarostami, children are not symbols of purity but truth detectors.
They reveal cracks in authority, family, and social rules.

9. through a Responsibility
and morality
boy’s determination to
return a notebook.
Where Is the Friend’s
Home? (1987):
The Traveler (1974):
A boy lies and cheats to
see a football match —
exposing ambition,
deception, and moral
testing.
Homework (1989):
Children describe fear of
failing assignments and
being beaten at
home/school —exposing
how education confuses
discipline with care.
Close-Up (1990):
A teenager’s fascination
with cinema and class
aspirations.

10. The Child’s Eye
Key Takeaway:
Children see without filters. Their small acts
(returning a notebook, skipping school, telling the truth)
become big moral questions.

11. AbsenceofFatherFigures
Recurring Absence:
Absence of fathers, guidance, or authority
echoes both his personal life and Iran’s
fractured “political fatherland.”
Institutional Authority:
His school years: silence, intimidation,
harsh discipline.
This trauma reappears in films where
authority is indifferent or punitive.

12. Life, and Nothing
More (1992)
A father and son travel
through earthquake
ruins, but the father is a
silent observer, not a
guiding figure.
First Graders (1984): and Orderly or
Disorderly (1981)
A teenager’s fascination with cinema
and class aspirations.
Taste of Cherry (1997)
A man seeks validation for
suicide —no paternal
figure resolves his crisis.
Examples:

13. Silent Faces &EverydayPeople
Non-Professional Actors:
Cast ordinary people; their silent faces and
pauses reveal truth more than scripted dialogue.
Silence was not just a technique but rooted in his
childhood of quiet and muteness.

14. Close-Up (1990):
Hossein Sabzian’ssilent
close-ups reveal
vulnerability more than
words.
Ten (2002):
Camera fixed on faces
inside a car; silence carries
meaning
SilentFaces &EverydayPeople
Examples:

15. BlurringFictionand Reality
Documentary–Fiction Hybrid:
Constantly collapsed boundaries between
truth and invention, making audiences
question reality.

16. Close-Up (1990):
Real court trial staged with real
people reenacting their roles —
cinema between performance
and reality.
Taste of Cherry (1997):
Protagonist’s suicide plan
ends with behind-the-
scenes footage of the crew
—reminding us it’s both
real and artifice.
Certified Copy (2010):
Unfolds like a documentary of
a marriage before twisting into
ambiguity —strangers or
husband-wife?
Examples:

17. Biographical Connection:
As a child, Kiarostami reframed reality
through drawing and painting —later
echoed in his cinema’s hybrid style.
BlurringFictionand Reality

18. Signature visual motifs:
Long dusty roads → life’s uncertain journey.
Windows & doorframes → perception, distance, framing reality.
Cars → sites of transition and intimate conversation.
Painterly eye → every frame composed like a canvas.
Nature as a Silent Character
Landscapes with Meaning:
Nature isn’t background —it reflects solitude, resilience, or
eternity.

19. The Wind Will Carry Us
(1999):
Vast hills and endless roads as
metaphors for mortality and
journey
Taste of Cherry (1997):
Barren desert mirrors
despair.
Examples:
Nature as a Silent
Character

20. Personal Life & Marital Journey
Marriage (1969–1982): Kiarostami married Parvin Amir-
Gholiin 1969; they had two sons, Ahmad (1971) and
Bahman (1978) before divorcing in 1982.
He later reflected that he remained in Iran during the
Revolution partly because “I was having a revolution in
my own home,” highlighting how deeply personal life
influenced his creative identity .
Relationships&Romance:
Personal Influence on the Cinema

21. The Report (1977):
Made before the Revolution, this film portrays a collapsing
marriage—fraught with conflict, emotional distance, and
domestic breakdown—offering insight into Kiarostami’s
personal grappling with marital crisis.
Relationships&Romance:
Narrative Reflections of Marriage & Intimacy

22. Certified Copy (2010):
Created decades later, this film—itself a meditation on
marriage—was shaped by personal experience. Critics and
scholars view it as a cinematic reflection on the cost of his own
marital breakdown. Godfrey Cheshire notes that by filming
abroad, Kiarostami could finally portray intimate male-female
relationships he had perhaps yearned to explore.
Relationships&Romance:
Narrative Reflections of Marriage & Intimacy

23. Like Someone in Love (2012):
Set in Japan, the film avoids direct autobiographical parallels
but resonantly evokes themes of emotional distance, transient
relationships, and nonverbal connection—all echoing his
complex understanding of intimacy
Relationships&Romance:
Narrative Reflections of Marriage & Intimacy

24. New Cinematic Language:
Minimalism, ambiguity, silence, and poetry in film.
Philosophy of “unfinished cinema” → films are
incomplete until the viewer participates.
Influence on Iranian Cinema:
Jafar Panahi (The White Balloon, 1995), Asghar Farhadi,
Mohammad Mohammadian, Mania Akbari.
Vahid Jalilvand(No Date, No Signature), Mohammad
Rasoulof(A Man of Integrity) → narrative ambiguity
and visual economy.
Impact and Legacy

25. Influence on World Cinema:
Admired by Scorsese, Godard, Kurosawa (“Words cannot
describe my feelings about him”).
Global heirs:
Nuri Bilge Ceylan (Turkey), Jia Zhangke(China), Kelly
Reichardt (USA), Jim Jarmusch, Pedro Almodóvar, Wong
Kar-wai.
Impact and Legacy

26. “I’ve never been in a gunfight.
I’ve never been involved in
espionage. I’ve never been in a
helicopter crash. And yet I feel
like my life has been full of
drama, and the most dramatic
thing that’s ever happened to
me is connecting with another
human being.” –Richard
Linklater
And that is what Kiarostami’s
films evoke —not spectacle or
certainty, but the quiet
recognition that the deepest
drama lies in the simple act of
truly connecting.Itreminds us
that even the smallest moments
can carry the weight of life itself,
and it is in these moments that
his legacy continues to live on.