kiarostami’s unfinished cinema and its postmodern reflections

kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and individual minimalism. the main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. in this respect, kiarostami’s unusual works are interpretable by deleuze’ some neologism like affection-image. the films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. this paper attempts to present a new approach of reading kiarostami as an increasing global interest.