Talk:Cinematic style of Abbas Kiarostami/GA1

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GA Reassessment[edit]

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  • Delisting This has been open since ~9 months now and appears to be abandoned by the original re assessor, so I am taking it over. The points below are valid and unaddressed so I am going to delist this now. Once the issues are addressed feel free to renominate it at WP:GAN. AIRcorn (talk) 23:12, 17 April 2018 (UTC)[reply]


Hello. I think this article in its present state does not fulfill the GA criteria:

  • It fails the first criteria, in that it 1) does not have a comprehensive lead section; 2) has awkwardly written prose, eg.
  • Though Abbas Kiarostami has been compared to Satyajit Ray, Vittorio de Sica, Eric Rohmer, and Jacques Tati, his films exhibit a singular style, often employing techniques of his own invention (the so-called "Kiarostamian style"). – tautological
  • Nevertheless, he continued experimenting with new modes of filming, using different directorial methods. – unprofessional, as well as unprecise
  • Kiarostami's cinema offers a different definition of film. – different to who/what?
  • As Kiarostami quoted in relation to his individual style of minimalism: – ungrammatical
  • In recent years he has also progressively trimmed down the size of his films, which Akrami believes reduces the film making experience from a collective endeavor to a purer, more basic form of artistic expression. – vague: size as is in length? Budget? Narrative?
  • Kiarostami's complex sound-images and philosophical approach have caused frequent comparisons with mystical filmmakers such as Andrei Tarkovsky and Robert Bresson – again, unprecise language: what do phrases like sound-images and mystical filmmakers mean in this context?
  • Differing viewpoints have arisen in this debate. – otiose sentence
  • It fails the second criteria, in that it has entire paragraphs that are unsourced. There is also a problem with close paraphrasing:
Article: When the protagonist reaches his grave, a black screen evokes his symbolic death, but the finality of this ending is undermined by the video sequences that follow, which show the actor playing Mr. Badiei lighting a cigarette and the film crew resting. Again, life goes on, but in an off-screen elsewhere.
Source: Just as the suicidal protagonist Mr. Badiei reaches his grave in Taste of Cherry, a black screen occurs which evokes ‘a symbolic death’, the finality of this ending undermined by the video sequences that follow which show the actor playing Mr. Badiei lighting a cigarette and the film crew resting (124). Again, life goes on, but in an off-screen elsewhere.

I hope these issues may be seen to. Gertanis (talk) 21:28, 29 July 2017 (UTC)[reply]

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