**How Do Abbas Kiarostami’s Films** ****_**Where Is the Friend’s House**_**** **and** ****_**The Wind Will Carry Us**_**** **Portray Two Contrasting Societies and Information Systems, and Imply the Role of Information Networks in Shaping Social Cohesion and Resisting Oppressive Regimes?** ### **Introduction: The Iranian New Wave and the Role of Information Systems** Iranian cinema underwent a significant transformation with the emergence of the **Iranian New Wave**, a movement that sought to move beyond the commercial, melodramatic, and heavily censored productions of the past. Beginning in the late 1960s, this movement emphasized **poetic realism, social critique, and minimalist storytelling** to subtly challenge dominant narratives and censorship laws. Among the most celebrated filmmakers of this era was **Abbas Kiarostami**, whose films focused on **ordinary people, existential themes, and the social structures that shape human experience**. Kiarostami’s films _Where Is the Friend’s House_ (1987) and _The Wind Will Carry Us_ (1999) offer **two contrasting portrayals of Iranian society and its information systems**. _Where Is the Friend’s House?_ depicts a **fragmented, isolating system** where individuals struggle to obtain even the most basic information. In contrast, _The Wind Will Carry Us_ portrays a **deeply interconnected community** where knowledge flows freely, creating a network of trust and cooperation. These portrayals hold deeper implications regarding **how information is controlled, censored, and resisted in Iran’s political and social landscape**. --- ### **Contrasting Information Systems in Kiarostami’s Films** Kiarostami’s two films present societies where **access to information and communication networks** operate in entirely different ways. These systems shape the lives of their characters and mirror the real-world struggles of Iranians navigating restrictive information environments. #### **Where Is the Friend’s House? – A Fragmented, Isolated Society** In _Where Is the Friend’s House?_, an 8-year-old boy named Ahmad embarks on a simple yet deeply symbolic journey: he must return his friend’s notebook to prevent him from being punished at school. However, in doing so, he encounters a society that is **fragmented, unresponsive, and disconnected**. - **Lack of Communication:** Ahmad’s efforts to ask adults for help are largely ignored or dismissed. The people around him are **indifferent, disconnected from one another, and unwilling to engage in meaningful dialogue**. - **Conflicting and Incomplete Information:** Rather than clear guidance, Ahmad receives **contradictory instructions** and is left to **navigate uncertainty alone**. - **Bureaucratic and Structural Barriers:** The rigid social structures prevent Ahmad from achieving a simple goal, mirroring how **bureaucracy and censorship** in authoritarian regimes isolate individuals, making access to truth difficult. This world reflects **a system where information is not freely exchanged**, and those in power—whether teachers, parents, or community leaders—**enforce a structure that keeps individuals passive and powerless**. Ahmad’s struggle symbolizes **the broader struggle of Iranian citizens** against censorship and the **fragmentation of social networks under oppressive systems**. #### **The Wind Will Carry Us – A Well-Connected, Supportive Society** In contrast, _The Wind Will Carry Us_ presents a **highly connected rural society** where knowledge and assistance flow **freely through interpersonal relationships**. - **Open Communication:** The protagonist, a journalist or engineer from the city, finds himself in a village where **people constantly talk, share information, and assist one another**. - **Easily Accessible Knowledge:** Unlike Ahmad’s struggle, here **answers are readily available**—the protagonist can ask anyone for help and receive **useful and truthful responses**. - **Contrast Between Bureaucracy and Organic Social Networks:** The protagonist, coming from a modern bureaucratic world, struggles with the **hierarchical and impersonal structures of the outside world**, while the village represents an **alternative system where trust, cooperation, and shared knowledge thrive**. Through this contrast, Kiarostami critiques **authoritarian systems that thrive on isolation and fragmentation** while celebrating **the power of collective knowledge and social cohesion as a form of resistance**. --- ### **Real-Life Implications: Information Systems, Censorship, and Resistance in Iran** The information systems in Kiarostami’s films are not just abstract storytelling elements; they reflect real-world conditions in **Iranian history, particularly in moments of resistance against oppressive regimes**. #### **The 1979 Iranian Revolution and the Power of Alternative Information Networks** Before the Iranian Revolution, the Shah’s regime controlled **all formal media**, preventing dissenting voices from reaching the masses. However, alternative **information networks** emerged: - **Religious Networks and Mosques** acted as hubs for revolutionary messages. - **Cassette Tapes** of Ayatollah Khomeini’s speeches were secretly recorded and distributed among citizens, bypassing state censorship. - **Word-of-Mouth Networks** were essential in organizing protests, much like the organic information sharing seen in _The Wind Will Carry Us_. The revolution was successful **because people circumvented the fragmented and controlled media system**, creating **a parallel information network**—just as the villagers in _The Wind Will Carry Us_ navigate their own system of communication outside bureaucratic control. #### **Post-Revolution Censorship and Digital Resistance** After the revolution, the new Islamic Republic **implemented its own censorship measures**, controlling television, newspapers, and later the internet. However, alternative **digital information networks** have continued to facilitate resistance. - **The 2009 Green Movement:** Protesters relied on **social media (Twitter, Facebook)** to coordinate demonstrations against election fraud. The government attempted to block these platforms, but people used **VPNs and proxy servers** to bypass restrictions. - **The 2022 Mahsa Amini Protests:** After the Iranian government restricted internet access, protesters used **encrypted messaging apps like Signal and Telegram**, along with **satellite-based connections like Starlink**, to share information globally. These real-life movements reflect the **contrast between fragmented and cohesive information systems** seen in Kiarostami’s films. Where oppressive regimes thrive on **controlling or fragmenting communication**, resistance movements depend on **building resilient, decentralized networks of trust and shared knowledge**. --- ### **Conclusion: The Power of Information in Social Cohesion and Resistance** Abbas Kiarostami’s _Where Is the Friend’s House?_ and _The Wind Will Carry Us_ serve as **metaphors for contrasting information systems** within Iranian society. One film presents **a fragmented, bureaucratic world where individuals struggle alone**, while the other depicts **a cohesive, interconnected society that thrives through communal knowledge sharing**. These films are not just artistic statements but **reflections of real-world struggles against censorship and oppression in Iran**. Iran’s history—from the **1979 Revolution** to the **digital resistance of modern-day protests**—demonstrates that **access to information and social cohesion are essential tools for resisting authoritarian control**. Just as Kiarostami’s characters navigate **oppressive or cooperative environments**, Iranians throughout history have used **oral traditions, underground media, and digital networks** to **challenge power and preserve collective agency**. Ultimately, Kiarostami’s work suggests that **censorship thrives on isolation, but resistance is built on connection**. Whether through **oral storytelling, digital activism, or community resilience**, information networks remain **the foundation of both oppression and liberation** in Iranian history.