Kiarostami And The Aesthetics Of Ghazal '

The narrative design of this scene in fragmentary is in the sound and shots that are taken. For a while, the microphone on Makhmalbaf is not working properly and the conversation between Makhmalbaf and Sabzian is unheard. In “Kiarostami and the Aesthetics of Ghazal” it says “It is not known if the sound was meant to be turned off,…but in any case it has a distracting effect on the audience, who are left to guess about the conversation between the two men” (Sheibani, 49). When both Makhmalbaf and Sabzian are driving off, there is a long take of a passing vehicle. In the ending of the film, the viewer is shown Sabzian in the frame. This produces ambiguity and invites spectatorship. As it states in “Kiarostami and the Aesthetics of Ghazal,” “…as well as narrative ellipsis and ambiguity, are the techniques Kiarostami uses to achieve an open-ended and interactive end product” (Sheibani, 48). …show more content…
Makhmalbaf, being a famous director and Sabzian, a low-class civilian, are together on a motorcycle. The desire of class mobility Sabzian had to undergo in order to be heard or in some way understood dealt with lies and being untruthful of who he really was. In “Kiarostami and the Aesthetics of Ghazal” it states, ‘…Kiarostami attempts to take the viewer away from the plain reality…to reveal the more complex inner journey of a human being…” (Sheibani, 36). Sabzian had to become someone he was not and by doing that he was invited into a home because of his “director title”. If it was known that he was an average man and not a famous director to the woman sitting on the bus next to him, he would have probably not been invited to visit their