Abstract It is widely accepted that Abbas Kiarostami’s cinema revolves around the representation of the gaze. Many critics argue that he should be considered a late modernist who repeats the self-reflexive gestures of modernist European cinema decades after they were first introduced. The present paper will contradict this assertion by investigating the problematic of the Kiarostamian gaze and analyzing the perceptual side of the act of looking. I will argue that instead of focusing on the gaze of the spectator directed towards the filmic image, he exposes a gaze that is fully integrated into the reality to be captured on film. The second part of the paper will explain this by linking the concept of gaze to the Lacanian concept of the order of the Real. Finally, I will contextualize all this by discussing the Iranian director’s position between Eastern and Western traditions of representation.

中文翻译：

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凝视凝视的主题和对象：阿巴斯·基亚罗斯塔米和个人视角的真实

摘要Abbas Kiarostami的电影围绕凝视的表现而被广泛接受。许多批评家认为，他应该被视为已故的现代主义者，在首次引入现代主义欧洲电影几十年后，便会重复自我反省的姿势。本文将通过研究Kiarostamian注视的问题并分析看行为的感性方面来与这一主张相矛盾。我将争辩说，他没有专注于观众对电影影像的凝视，而是将凝视完全融入了现实，以捕捉到电影中。本文的第二部分将把注视的概念与拉康式的真实秩序的概念联系起来，对此进行解释。最后，