Shay' Shudigī va Sinama-yi Suhrab Shahīd Sālis: Persiska (Farsi) 1404

Although cinema in Iran, as a newly emerging and imported phenomenon, had little opportunity to connect with the social realities of its time in the first few decades of its existence, over time this connection expanded new boundaries. In addition to its impressive capacity for entertainment, fiction cinema in Iran has always been considered a suitable medium for filmmakers who were concerned with thought or had political and social commitments to showcase the so-called artistic aspect of cinema by making non-commercial works, in addition to expressing their opinions and views. The history of Iranian cinema from before the revolution to today, relying on two commercial/artistic aspects, has provided a suitable basis for social historical studies on the one hand and cinema studies on the other. In the meantime, and with the help of the political, social, and cultural conditions of the 1940s and 1950s, a movement was formed alongside the body cinema (Persian film) that was in a way opposed to the popular cinema of those days. Cinema critics, studying pre-revolutionary films, applied the term New Wave to this group of films. This title was due to the filmmakers' tendency towards a new and fresh form in their works, as well as their tendency towards different themes from what Persian film cinema dealt with. The New Wave movement had emerged through the efforts of like-minded filmmakers. Although the characteristics that placed their works under the New Wave movement were not coherent and unified, all of these filmmakers were composed of individuals who each had a specific individual approach to the art and society of their time, and were not known as New Wave filmmakers simply because they were not in line with the prevailing trend of mainstream cinema (Persian film). Sohrab Shahid Sales is also known for continuing this approach that is distinct from the cinematic trend of that era. In this research, an attempt is made to examine the concept of objectification with the Frankfurt School approach in Sohrab Shahid Sales' pre-revolutionary works and the relationship that his works create with this concept. In the works of this filmmaker, the concept of alienation and the transformation of man into a tool that can be considered a part of inanimate nature in the service of employers and those in power is depicted. The main subject of this research is to examine the reflection of the concept of objectification, meaning a person alienated from himself, in the works of Shahid Sales before the revolution within the theoretical framework of the Frankfurt School.