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Paytakht 6 part 7, Every critic has a way of criticizing. People, however, see a television phenomenon in its entirety. The Paytakht 6 part 7 now attracts people because of its goodwill. First, the good history of the series has led people to follow it. The audience is nostalgic for the people in this series.
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لینک های دانلود و تماشای آنلاین برای کاربران ایرانی نیم بها می باشد
Then, in general, these programs that are popular, and aesthetically and artless to say, are pleasing to the public, meaning that the story and the content and what impacts the people in a series are different from what the critic calls the series. Sees. Incidentally, The Paytakht 6 part 5 is a heavily televised series. Television has a general audience that most of the viewers watch for serial entertainment and want
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to see a series that is fun for them to laugh at and enjoy. If Tarkovsky’s television is broadcast in the hours after Iftar, with all its artistic and aesthetic abilities, people will not welcome it. Critics always disagree with people who even follow the series so seriously, because their reasons for watching a series are different.
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A professional serial viewer wants to see the series as a life, while being critical of the artistic aspects of the work. “
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There are exceptions to the critics, of course. With Massoud Frosty saying, “I don’t see this nonsense,” Robert Safarian also insists that he has not been seen for a long time, and that Maziar Fekarshad avoided commenting on a television series.
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Houshang Golmakani, who has not seen the TV series for many years, is an exceptionally sought after Paytakht 6 part 7. “I haven’t watched the series for many years and even watched the previous three Paytakht 6 part 7s after the television broadcast.
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but I set my time this year and for the first time in the last 5 years,” says Glamkani, who is very fond of the series. I watch routine television. Of course, minus the “1” program I always watched.
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It is a very good serial with nice elements. The screenplay, the acting, the directing and the details are all up to our highest television standards, with a subtle satire. Its promotional aspects are consistent with the serial structure, right and proper in the serial. “
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However, whether or not they see television serial critics as the Paytakht 6 part 7, after four years the Paytakht 6 part 5 has its own fans. Better to follow the critics of this series rather than get angry with Sima and help improve it by commenting.
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Despite the fact that the Paytakht 6 part 7 series from series one to five gradually and unfortunately declined in terms of “script” and “content”, we have to say that we have a significant and significant phenomenon overall. Why?
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The Paytakht 6 part 7 is a habit. Whether in the path of characterization, the idea, the story, or the narrative that indigenous and Iranian spaceship has been able to show considerable creativity and originality.
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And secondly, he created all of this through the “simplicity” channel.This simplicity is perhaps the most important feature of the series. Of course “simplicity” is extremely complex and extremely difficult.
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Getting to the art of simplicity is never an easy task. This simply means going through the usual complexities.
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The Paytakht 6 part 7 of course, besides the important element and the decisive element of “simplicity” was able to achieve the “hijab of technique”. The veil of technique in both form and narration. It can be said that the result is the amazing simplicity of this “veil of technique”.
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It is enough to take a look at the masses of Iranian television serials over the years to find that they are often confused with stereotypical ideas in the duplicate form of minimums and end up with a weak audience and a weak antenna.
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But the Paytakht 6 part 7 goes the other way, laying the first clay: The return of family originality, tangible characters, simplicity, avoidance of aristocracy, correct rhythm, familiar tales, moving around in the eccentric and patriotic circles, and most importantly .
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especially in the first series – accuracy in screenplay elements From dialogues, milestones to storytelling and character building and space.
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This has even influenced Cirrus Moghadam’s filming and framing, and has saved him from Fermi’s games and the awkward turns of his earlier work.
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The Paytakht 6 part 7 can also be seen as a prominent example in the portrayal of the “national image” of “indigenous identity” in television media.
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One might see such an approach years earlier in another notable example of national cinema that Martyr Avini sought in the Majid Tales series.