Iranian animator Noureddin ZarrinKelk came to USC on September 24 to screen a retrospective of his work as a guest for Vision and Voices and to give a seminar on his work to the DADA department. Kurosh ValaNejad, one of the event organizers, moderated the event giving context to the sociopolitical climate to films made in both pre-revolution Iran and of Iran today.
The film Prince Amir-Hamzeh(1977) utilized stylistic elements of Persian manuscripts to inspire the character design and background layout. To resolve the graphic style of the characters, Noori adopted cutout method to animate the characters. The characters' actions were simple, and economical producing a effective method of communicating the characters movement and intention.
Persian calligraphy plays a direct role when the Prince recovers from his injuries. He overhears sunbathing morning doves gossip about the current whereabouts of the princess. The written script translates the unintelligible cooing and acts as imaginative subtitles for the audience while playing on the fantastical possibilities of the medium of animation.
I snapped a few images of his earlier film, A Playground for Baboush(1971). Baboush, his son, snags his balloon on the crescent moon. The boy employs help from the local firemen, god, and then finally the animals of the forest who character a human pyramid for the boy to clime his way to the moon to retrieve his balloon. The images are below: