A study and explanation of the views of Martyr Morteza Avini on cinema and its relationship with the views and thoughts of the late Dr. Seyed Ahmad Fardid

In examining the commonalities and differences between Avini and Fardid’s thought about cinema and following the analysis and adaptation in the works of these two thinkers, common points and cases of significant differences appear. The commonalities of these two thinkers, rather than indicating Avini’s teaching, indicate the common intellectual horizon of the two, or in other words, derived from a common intellectual source that has emerged from a critical reading of the current state of the universe. . The different aspects of the two’s thought also go back to Avini’s greater focus on the axis of original Islam, which in turn has led to the development of an artist’s brilliant view of religious art and illuminated cinema. In terms of subscription points, the following can be listed:
1. The critical approach of both thinkers to Western civilization,
2. Considering these two of the common cinema in the world as negligent products,
3. Both pay attention to the capacities of Imam Khomeini’s movement to overcome intellectual-artistic deviations,
4. Paying attention to the spiritual dimension of human life, in presenting an enlightened cinema.
But in addition to the above commonalities, the approach of these two thinkers is accompanied by differences in important points and, more explicitly, Avini’s thought differs from Fardid’s views. The main points of these differences are:
1. Avini pays attention to the strengths of the thought of the companions of Khaleda or the traditionalists,
2. Avini’s profound reference to the mystical tradition of the Islamic world,
3. Avini’s lasting influence on the revolutionary-spiritual aspects of Imam Khomeini’s (as) thought about art, which manifests itself in the idea of ​​”committed art”.
4. Avini’s communication with the Qur’anic thought about art, which is the last comprehensive aspect of the previous three cases and is considered as a fortress that protects Avini’s thought about art and cinema.