Tales of Resilience from the War's Unsung Heroes

The 'Production in Fire' night, organized by Bukhara magazine as part of its 'Bukhara Night' series, was held at the Museum of Contemporary Art in Tehran to unveil the short documentary film collection 'Production in Fire.' The 60-episode series, produced by Shasta's Public Relations department, documents how production continued during the 40-day war and the perseverance and struggle of workers during that period.

According to Ambassador Arjan of Iran, on the evening of "Production in Fire", Kambiz Zahidpour, on behalf of the production group and the project manager of this series, gave a speech while narrating part of the sacrifice and resistance of the production line workers and forces in order to maintain the continuity of production in the war, and presented a report on the process of making the short documentary series "Production in Fire".

He said: It was due to the efforts of these honorable workers and employees that the production continued under the fire of war, due to the efforts of people whose names may not appear in the headlines, their pictures may not be seen on the TV screen, and no one speaks of their sacrifice, however, people's lives depend on their work.

Zahidpour continued: It was right here that we remembered that verse: I said this is not the custom of your people/ The chicken, the rosary and I are silent.

He added: It was from this sense of responsibility that the video series "Production in Fire" was formed; A series of 60 episodes, of which 40 episodes have been produced so far and the production of the remaining episodes is ongoing. Of course, in this collection, we do not claim to produce a documentary film, but we believe that we have narrated the documentary events.

The head of the Shasta Communication, Brand and Social Responsibility Center explained: Our work started in the heat of 55 degrees in Khuzestan with the story of Arundan Petrochemicals and Shipbuilding and from one province to another. Abadan, Ahvaz, Mahshahr, Qazvin, Zanjan, Tabriz and many other cities were the production locations of narratives because every narrative had to take place at the scene of the incident.

He said: I hope "Production in Fire" can have a small contribution in recording this part of Iran's contemporary history; A history in which, along with the sound of explosions, the sound of people's efforts and resistance should also be heard.

In the continuation of Hadi Khaniki's program; In his speech, the professor of communication stated that the title of this lecture is "narrative in fire and fire in narration" and stated: The fundamental question here is why we need "narrative" more than ever in times of storm and fear? Isn't information and flood of daily news enough?

Khaniki continued: The truth is that there is a substantive and moral distinction between the large amount of data and the lived truth of the narrative, one of which is that the narrative can be told and heard and requires interaction between the speaker and the listener; While information is discrete and fragmented data that reduces human suffering to numbers, statistics and cold technical charts.

He went on to explain the distinctions between narrative and massive amounts of data and said: Narration is connected with identity, bioethics and of course power. Narration without a listener becomes vulnerable and stutters.

This university professor expressed his gratitude to Shasta for the documentary production series "Production in Fire" which recorded the continuity of life and production under fire, stating that large companies are not only responsible for producing goods and technical services, but also for creating content, narration and recording oral history.

On the other hand, he considered the fire narrative to be "fire in the narrative" and said: An authentic narrative should not sacrifice the truth for sloganeering. Advertisements try to portray people as strong and fearless; While real standing is mixed with tears, fear, fatigue and loss.

Khaniki emphasized: Recounting the experience does not heal the wound by itself. But being heard in a safe and empathetic relationship can provide support and reduce the feeling of loneliness, and this is the mission of literature. Just as Ahmad Mahmoud in "Burnt Earth" and Ismail Fasih in "Zimstan 62" immortalized the pulse of life wounded in the war.

"Production in Fire" is the introduction of unsung heroes

Cinema critic Javad Toosi, pointing to the importance of "Production in Fire" documentaries and recording the narrative of the country's critical days, emphasized: workers and producers are the main pillars of society, who appear in the field unassumingly in historical moments; But their experiences, demands and role should not be forgotten when the situation returns to normal.

Referring to the history of the representation of the working class in world and Iranian cinema, he said: dealing with the worker, production and the relationship between the worker and the employer is a never-ending issue that is linked to social justice and the need to create balance in society. However, the working class is still isolated in a significant part of Iran's cinematographic and theatrical works, and a comprehensive picture of its life, demands, and social status is not presented.

Referring to the "Production in Fire" series, this film critic said: The production of these works is an opportunity to record the experiences of workers, professionals and employees who have been responsible for the continuation of production and service in difficult conditions. Such narratives should go beyond reporting the performance of companies and become the historical and social memory of the country.

Referring to the experience of the Holy Defense documentary cinema and the works that were able to present a lasting image of the people in the field, Tusi said: documentaries related to recent wars and crises can also introduce the unknown heroes of the production to the society; The people who work in the factories and industrial units, without seeking to make themselves heroes, come to the field at the moment of need.

This film critic emphasized: The importance of recording the sacrifices of workers and producers is not limited only to the days of war and crisis. The society should take the demands and rights of this group seriously even after the situation returns to normal. Documentaries such as "Production in Fire" become a lasting and culture-building work when, in addition to recording the standing of people, they provide the basis for a deeper understanding of their position and attention to their issues and demands.

"Production in fire" is the preservation of a part of Iran's human memory

In the continuation of Mohammad Reza Saeedi's program; The CEO of the Social Security Investment Company as the last speaker at the unveiling ceremony of the documentary series "Production in Fire", emphasizing the role of Shasta Group in the continuation of production and service in war conditions, said: "Social capital, trust and the power of collective action are Shasta's invisible assets that the fire could not burn." In the war, we did not just manage and lead, but we led with each other and help, the instruments were different, but the song was the same, and that song was for my country, Iran.

In this ceremony, referring to Shasta's place in the country's economy and people's lives, he said: Shasta is one of the largest and most influential groups in the country, whose activities in various fields are connected with people's lives. The war experience provided an opportunity to reveal new dimensions of the capacities of this complex and the role of its employees in maintaining the production and service flow.

He said that he was proud to be with Shasta's colleagues during the days of war, and added: "During the days when fire rained on our land, employees across the country tried not to extinguish the light of life." With their responsibility and continuous efforts, these people kept the flag of production and solving people's problems aloft.

Referring to the importance of documenting wartime experiences, Saeedi noted: the unveiling of the "Production in Fire" documentary series is not just the unveiling of a few interviews; Rather, it is a measure to preserve a part of Iran's industrial and human memory and prevent the experiences and sacrifices of employees from being forgotten.

Stating that organizations need historical and organizational memory to learn from the past, he said: honest narratives of successes, difficulties, vulnerabilities and lessons learned should be recorded. Numbers and figures show part of the reality, but it is the narrative of people that reveals the human dimensions of efforts and responsibilities.

Shasta CEO added: If organizations do not pay attention to their historical memory, they lose the possibility of learning from the past and building the future. Documenting war experiences can turn this lived experience into organizational knowledge and then into a part of the country's historical memory.

At the end of this program, the families of three martyrs in the field of production and industry in the 40-day war were honored, as well as four veterans of this field.

"Production in Fire" night was organized by Bukhara magazine in the series of "Bukhara Night" program on the occasion of the unveiling of the series of short documentary films "Production in Fire" at the Tehran Museum of Contemporary Arts. This 60-part video collection, which tells the story of the continuation of the production flow during the days of the 40-day war, as well as the struggle and resistance of the workers during that time, was produced by Shasta Public Relations.

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