نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 3 (پاییز و زمستان 1390)

The present study tries aimed to survey the different cultural aspects and social roles of women, in the seventy-eight performing and non-performing ceremonies of Komijan, Millajerd and 67 other subsidiary villages, which have been collected through a field ethod during years 2002 – 2009. There are 206 villages in Komijan city fabric, and over 45000 inhabitants, that almost half of the total population is women. People talk in three languages: Tati, Persian and Azeri. The authors’ field studies in 16 months have covered 67 villages. Finally, the category, and this dramatic discovery of 48 local laws has led ecker and very old. Women are the main actors in their ritual and ceremonies. Results indicate that in addition to the classic position of Komijan women as “Kad-banou” (dame, Queen of the House) which has been inherited from ancient periods, they have had an official presence in many social activities such as agriculture, animal husbandry and administration outside the home. In the cultural establishment of Komijan villages, there is a kind of division of tasks between men and women from long times ago, and women as a part of rural society, have allocated key parts of social participation chain to themselves. Therefore, it could be said that over 80% of traditional dramatic performances are allocated to women, and the men have no right to participate in them. This paper has been set based on the method of participatory using interview and filming technique in the research field.

In this paper, the Iranian Spiritual Cinema has been analyzed from two approaches, the general and major ones that critics take to study this cinema. The first approach has been described through ‘orientalism’ and the second one as ‘nativism’. Orientalism is a critical discourse which describes the Iranian Spiritual Cinema as an ideological commodity for the western gaze. From this approach, this kind of cinema represents the East, as a whole, and the eastern culture toward the politics of western dominated cultural discourse. In this dominant discourse the eastern culture is described as the opposite point of the western one. According to critics, it is not only the matter of cultural difference, but also it produces some kind of hierarchical system between the East and the West, which leads to stabilization of the dominant western culture and the marginal eastern culture. Therefore, this critical point of view considers the movies of this cinema as the objects of reproduction of the hierarchical cultural difference. In the other hand, nativism is a way that the nations or some groups of people, determinate their own identity through it. In the beginning of nativism, it was some kind of responding to the colonialism, so that the colonized nations could have their own independent identities which have not been dictated by the colonizers. This kind of identification also has been used by black Africans as a reaction against racism. But nativism, in general, is a method of identification for any culture or community which has been ignored by the dominant powers. Thus, the nativists argue that the Iranian Spiritual Cinema, just like any other aspects of Iranian culture, is a politic for emphasizing their own specific cultural identity instead of the dominant western culture. Both of these approaches have their theoretical origins in the postcolonial studies. So the framework of this paper is the postcolonial theories, focusing on Edward Saeed’s definition of orientalism and Frantz Fanon’s description of nativism. With considering both orientalism and nativism as two discourses, the main question of this research is about the discursive operation of these discourses, on the Iranian Spiritual Cinema. Three famous spiritual movies, which have been awarded in both Iranian and western film festivals, have been chosen to be the case studies of this research. These are: The Color of Paradise by Majid Majidi; Life and Nothing More by Abbas Kiarostamio; and So Close So Far by Reza Mirkarimi have been analyzed from both of these two approaches- the supportive one as nativism and the other one as an orientalistic criticism. At the conclusion, the article argues that orientalism and nativism, which are from two different discursive contexts, have a same discursive function which is reproducing and reconstructing the concept of ‘cultural difference’ between East and West. In fact both of these discourses operate through producing the binary of West/East or western /eastern culture; so they both just reproduce the subject of cultural difference.

“Phenomenology of film” could be defined in the field of philosophy of film, which itself is a growing subfield of contemporary philosophy of art. According to current essay, it is clear that Hermeneutic- Phenomenology, declaring by Heidegger and expanding by Gadammer, has more possibilities for thinking in contrast to the classic Phenomenology, growing by Husserl and many of his followers. Hermeneutic-Phenomenology in the line of the unity of Heidegger’s thought shows the unity of the relations between man and Being in a resonating way. Attending phenomenology of art in Heidegger reveals proper notions (such as world) which could be used for phenomenologically thinking about the truth of cinema. Gadammer, too, applies Heidegger’s phenomenology of art as model of understanding, but not exactly going on his way. Some inquiries using phenomenology for film theory such as Allan Casebier, Daniel Yacavone and Malin Wahlbergs attempt to show not enough succeed, because of the problems such as lack of illuminating the cinema in itself, lack of paying attention to the cinematic capacities of other theories, and lack of passing the current subjective way of thought. Criticizing many views about Heidegger and film also shows rare attention to the way in which Heidegger suggests to think, and instead using Heideggerian concepts to define cinema. Some of these views including many philosophical essays about thin, red, line are only attempts to show probable philosophical as well as poetic capacities of cinema and not examining and declaring the way these capacities absolutely may be. While some other writers as Robert Sinner brink pay attention to cinematic technique more and try to clear a Heideggerian point of view according to his opinions about technique, arts, poetics, etc.; he also cannot explain how the cinema has the ability to be poetic, while his interpretation about Heideggerian poesies is awfully wrong. But, followingHermeneutic-Phenomenological way to think about cinema, attending inspirations from Heidegger in concepts such as technology, world, Dasein, world-picture etc. helps to enclose the truth of cinema. This essay comes close to cinema in a hermeneutical manner, to see cinema, movie or film -as what it really is – and not from the viewpoint of its theories. Therefore the authors explicated Heidegger’s main viewpoints about Gestell, Gebild etc. and came close to the truth of it. Although this may not be enough, and the cinema should be interpreted according to its history. Finally, using Gadammers term, game, unfolds cinema as a technological world, sharing by both filmmakers and viewers, considering a determinate culture - a definitive world - for ordinary viewers of movies, who look for entertainment in watching motion pictures. This article does not necessarily deny the probable capacity of movies for representing several thoughts and values - regarding Heidegger’s authentic Dasein or world - after the mentioned conditions.

“Phenomenology of film” could be defined in the field of philosophy of film, which itself is a growing subfield of contemporary philosophy of art. According to current essay, it is clear that Hermeneutic- Phenomenology, declaring by Heidegger and expanding by Gadammer, has more possibilities for thinking in contrast to the classic Phenomenology, growing by Husserl and many of his followers. Hermeneutic-Phenomenology in the line of the unity of Heidegger’s thought shows the unity of the relations between man and Being in a resonating way. Attending phenomenology of art in Heidegger reveals proper notions (such as world) which could be used for phenomenologically thinking about the truth of cinema. Gadammer, too, applies Heidegger’s phenomenology of art as a model of understanding, but not exactly going on his way. Some inquiries using phenomenology for film theory such as Allan Casebier, Daniel Yacavone and Malin Wahlbergs attempt to show not enough succeed, because of the problems such as lack of illuminating the cinema in itself, lack of paying attention to the cinematic capacities of other theories, and lack of passing the current subjective way of thought. Criticizing many views about Heidegger and film also shows rare attention to the way in which Heidegger suggests to think, and instead using Heideggerian concepts to define cinema. Some of these views including many philosophical essays about thin, red, line are only attempts to show probable philosophical as well as poetic capacities of cinema and not examining and declaring the way these capacities absolutely may be. While some other writers as Robert Sinner brink pay attention to cinematic technique more and try to clear a Heideggerian point of view according to his opinions about technique, arts, poetics, etc.; he also cannot explain how the cinema has the ability to be poetic, while his interpretation about Heideggerian poesies is awfully wrong. But, followingHermeneutic-Phenomenological way to think about cinema, attending inspirations from Heidegger in concepts such as technology, world, Dasein, world-picture etc. helps to enclose the truth of cinema. This essay comes close to cinema in a hermeneutical manner, to see cinema, movie or film -as what it really is – and not from the viewpoint of its theories. Therefore the authors explicated Heidegger’s main viewpoints about Gestell, Gebild etc. and came close to the truth of it. Although this may not be enough, and the cinema should be interpreted according to its history. Finally, using Gadammers term, game, unfolds cinema as a technological world, sharing by both filmmakers and viewers, considering a determinate culture - a definitive world - for ordinary viewers of movies, who look for entertainment in watching motion pictures. This article does not necessarily deny the probable capacity of movies for representing several thoughts and values - regarding Heidegger’s authentic Dasein or world - after the mentioned conditions.

The Islamic arts have ideological basis and epistemological predilection. Artist’s look in such world is introverting and truth-seeking. This trait is similar with music inherent, which is basically an abstract art, in some elements. Music video phenomenon which has been introduced and widely extended during the last decades can be an appropriate form in experiencing the imaginations of this term. Music video is a combination of music, lyrics and visual forms of images. In different types of music videos, all types of musics (Pop, Rock, Classical and folk musics, etc.) have been used. By studying on Islamic art traits, the authors have found out that there are many expressing elements which have potentialities for imaging. This way of imaging somehow depends on coding system which is among the Islamic art’s specifications. So the authors decided to study the Islamic arts and their equivalents in music video based on this pictorial coding. In previous years, two music videos have been made in Iran which has used expressive elements of Islamic theosophical art as their basic expression forms. These successful exemplars which have dealt with these issues of Islamic art demonstrate that music video, as one of the most popular and affective forms in film and television imaging can be an appropriate context for expressing introversion arts concepts, like Islamic arts. This article tries to study on the capability of Islamic arts in this imaging form. Studying these elements, such as dream-like basis of Islamic arts, symbolic look to visible world, artists’ use of theosophical thought, function of music, and the way(s) of influencing the audience by introducing their familiar mental codes, show that the Islamic arts include special features and capabilities in media imaging. The article tries to recognize these features and capabilities in new ways of imaging, by studying and discussing on two Iranian music videos, named In the Moon Embrace, Navaii. Music video is a manifestation of intelligence which its short time causes elegance and brevity of expression. So in making a music video, all of the rules can be used without emphasizing on any of them, and then discover new rules. Music video is an experimental field. This phenomenon makes its world more specifically and wider year by year, and therefore it may be one of the most flexible forms in the 21st century. The ability of music video in shaping mental images, and its function in relation with music, makes a basis which expressive spaces of music might have been objective. Emerged world of music does not follow the logic of the real world, it comes from the human mind and effects on it. On the other hand, the Islamic arts, take meanings from metaphysics to create forms of fantasies. It comes from deep inside of the artist to recognize human and his/her place in the universe. This article tries to study on relations between music and expressive elements of Islamic theosophical art in a phenomenon which is a common point in music and image (music video). Therefore the artists can explore new areas to attract a wide range of audiences. Keywords: Islamic art, Music video

Actor is a key component of theatrical Arts. Producing and transforming the dramatic senses is among the most important things which should be done by actors. The relationship between the viewers and actors is more immediate. As an example, Hollywood ‘star system’ is one of the most successful tools for making powerful the Hollywood economy. So there are many things to be said about acting in cinema and theatre, but the acting for character animation in real world means what? Although the author knows the means acting in general, but acting style is a different thing from animation. By the way, the author is not going to discuss about acting styles for animation, compared with cinema or theatre. However he intends to determine the characteristics of acting style for animation which can either be similar to each other or different ones. Due to lack of unanimity in this area and according to present theories and documents, the author tries to achieve the basic principles of acting which are vital for a good animation. Therefore, he has gathered of the quotes relating to acting styles for animation which are found throughout history. And finally, he is going to define specific rules and regulations for acting styles for animation, using the mentioned quotes. At the end, certain major features of acting style for animation that will be discussed in this article are as follows: 1- The character consists of feeling. He should think first and then act. 2- Acting is just showing up your reaction. 3- Actor for character animation should be as a directed purpose. 4- The character should always move from an action to another. 5- A conflict is always expected in any scene of animation. 6- The audience should always feel similarity in nature with the character of animation. 7- Each action consists of a move. 8- The move of a character should be accompanied by beats and timing. 9- Some natural mistakes should be recognizable in acting for animation. 10- The criterion to recognize a good acting style in animation is the man himself. 11- Movement coordination, body style and characterization should be included in acting. 12- Exaggeration in acting and camera movements should be noticed in acting style in animation.

The movie directors can be considered as the key creators, as well as the main bodies accountable for movies. Therefore, having a deep knowledge and grasp of the fundamental expressive elements of cinema, becomes a crucial requirement for the directors. The directors of live-action movies or the animations can add to the expressive possibilities of both media if they deeply understand the specific potentials of these two and combine them with their artistic creativity and imagination. From the film production perspective, the main role of the director is to provide the necessary conditions in which all the production team can utilize the best of their professional skills and creativities to materialize and substantiate the goals of the project. So it can be concluded that the more extensive the role of the directors in their films or the more they can bring the production team to their thoughts, the more they can approach their mentality and concepts. The ternary stages of production are Pre-production, Production, and Post-production. One of the differences between directing Animation films and live action ones concerns the difference in the ternary stages of production. Complications of the stages of production in Animation compared with live action films are due to the presence of many production factors and artists who play different key roles. In the ternary stages of production and making an Animation film, many persons who shall be referred to later perform many different processes and those with more importance shall be investigated. Pre-production Stages such as selecting the production factors, scheduling for the production stage and provisions are carried out in the pre-production-stage, but the most important stage is creating the scenario. Writing this includes literary scenario or “screen play”, directing scenario or “script”, and making illustrative scenario “story board”. The production stage starts after the storyboard/ Leica reel (Pre-visualization) is prepared. Directing live action films after the preliminary stages, during the pre-production stage, in the production stage starts with these questions: Where should I put the camera? What should I tell the actors? What is the scene about? and etc. These are the most important questions that the directors have to answer. But in Animation films, the questions like these would be thought in advance, and in the storyboard. The aim of this research is to ‘locate’ the position of the directors in managing various stages and aspects of the production process and the ways they may supervise primary and secondary axis of the production project in a comparative study between animation and live-action films. The outcomes of this paper include: 1) Identifying and comparing the three stages of film production in animations and live-action movies; 2) Locating and categorizing the main production factors in animation and live-action films; 3) Comparing and analyzing the roles and duties of the responsible in various stages of film production and the pros-and-cons of their interaction with the director; and 4) A comparative investigation and analysis of the director’s role in supervising primary and secondary axis of production inanimation and live-action films.

Many ethnomusicologists think that the classification of the music in two main categories “classical” and “popular” is impossible in certain countries of Middle-East. They think that these two musical categories, as opposed to what one sees in the West, are not distinguished clearly in these countries so that one often can see musicians of a sector, which can be seen as “classical”, are also active in the popular sector. Although it is not impertinent to interpret the musical life of certain countries of the Middle-East in this manner, this promiscuity of the sectors, as opposed to what think these ethnomusicologists, are not specific to these countries, but it can be seen even in the West just at the moment of the genesis of the popular music. The comparative study of the cases in Iran and Egypt shows that the genesis as well as the development of the popular music undergoes a determined law, in the West as in the East, without any exception. In fact, the popular music always is mingled with the classical music at the moment of its genesis and then, if the conditions are favorable, it separates from it to carry on its way independently. If the distinction between popular music and classical music in some countries of the Middle East is difficult for some ethnomusicologists, it’s reason is that they very often forget that the specific ties that linked the popular and classical musics are, especially in capitalist countries, the necessary condition of its genesis. The author tries to show that the popular music in Islamic societies where the market economy began to be installed towards the end of the 19th - early 20th century, followed, grossomodo, the same way in the West, so that the existence of a more or less general rule of the genesis and development of this music in the countries with market economy is probable. This rule is explained primarily by the notion of meso-music that binds the categories of classical and folk music. Then there are special ties that link the emergent popular music to classical music of the culture in question. Yet, it must be added that, for the Muslim countries the influence exercised by Western meso-music, considered (of course wrongly) as representative of Classical Music or “scientific one” on these cultures. The case study of Azerbaijan shows how this rule can be modified when it comes to socialist countries that have experienced another economic and social system.