نشریه رسانه های دیداری و شنیداری
پیاپی 42 (تابستان 1401)

The family is one of the main themes or motives in television series. These series, just like any other media products, attempt to encode their preferred meanings and messages in different technical, social and ideological levels . This article is to do a semiotic study about one of the most popular series named Lahzaye Gorgo Mish whose central theme is about the transformation of family in recent past decades. The theoretical constructs include family transformation in late modernity, the integration/ contradiction of the family, and the media construction of family. We have used semiotic model developed by John Fiske for text analysis. It is concluded that this series, through using different social and technical codes, is an attempt to dramatize the usual aspects of everyday life and idealize its incident features in order to represent an ideal form of family which is ahistorical and transcendental. Elements like patriarchy, extended family, reproduction are deserved and contradictions and divergences are introduced as problems that are solved only by way of ethical and personal solutions. It is claimed that the ideal family is a response to all the needs and demands of the members and is the only safe place for the individuals to seek perfection. Some of the main themes of this series include: nostalgia for the golden past, the reproduction of patriarchal ideology, the justification of traditional authority, concealing of social structures, introducing individual solutions for intergenerational gap and highlighting the role of the individuals in in decreasing social trust.

The transfer of the concept of film to the blind is a multidimensional phenomenon. This biological phenomenon, with the help of its related meanings, determines how a blind cinema audience will understand and interpret the reality of such an event. The transmission of the concept of film to blind people depends on the methods and knowledge that are used to achieve this better. Oral description is one of these methods. This phenomenological study is an attempt to explain the transfer of meaning in the lived experience of congenitally blind people interested in film and cinema. In this study, the method of interpretive phenomenology has been used. This research was conducted in 1400 on 25 congenitally blind people in Tehran, Shiraz, Rasht and Yazd who were interested in cinema for the blind and watching films with oral descriptions. Semi-structured interviews were used to collect data. The interviews were analyzed by Van Manen's phenomenological approach after implementation. Six main themes of superior sense, emotional communication, vocal whiteness, optimal narration, speech disorder and deficiency were extracted. The results showed that the lived experience of the blind from the transfer of the concept is unique in the audio film. Therefore, understanding the complexities of the experiences of the blind, considering the need of the blind audience to show and describe the film, training descriptors or narrators and paying attention to the abilities, limitations, beliefs and attitudes of the blind to benefit more from this cultural product It is essential.

The purpose of this study is to identify the methods of persuasion of the audience in TV series. The subject of that study is the foreign series Chernobyl.the Chernobyl serial has been analyzed using the systematic qualitative content analysis method of Anselm Strauss.The findings show that, given that movies and TV series are also works of art, visual appeal, strong atmosphere, lighting, ambient color, military uniforms designed in the best possible way, explosion scenes, location and precise details of the Chernobyl power plant and attractions.Another important code is astonishment and horror, which the director uses this technique in successive scenes by creating chaotic moments, excites the audience, and arouses his curiosity by using gravity.Negative view of the Soviet authorities, self-sacrifice, the depth of the tragedy, courage, ambiguity, and mystery, inexperience, self-sacrifice, denial of reality, and the presence of prominent negative characters throughout the film are prominent categories that have convinced the audience.Finally, among the central categories, we obtained 2 categories of categories in the selected coding, which are: 1- Text attraction: including golden sentences, direct induction, metaphor, and repetition, 2- Image including fear attraction and emotional attractionThe content presented in the film, relying on the technique of direct induction through influential sentences, is the most important factor in this field. The influential series within the message receiver has been able to achieve the main goal of the source, which is Hollywood propaganda.

This article concerns the new media policy-making in Iran. Today, any media policy-making requires consideration of other areas of communication, including new communication technologies. The purpose of this study is to identify the most important strengths, weaknesses, opportunities and threats of new media policy-making in Iran with the focus on the IRIB organization and the National Center of Cyberspace .This research uses a method based on SWOT Analysis Matrix to deal with the IRIB & the National Center of Cyberspace’s media policy-making whit new media. Therefore, purposive interviews were conducted with 26 managers and experts in the area of policy making and media. The findings demonstrate that in new media policy-making, weaknesses of the IRIB organization outnumber the strengths, with the future threats overshadowing the opportunities. Therefore, The organization must reduce its vulnerability by putting scientific policies on the agenda, avoiding duplication of work, resisting informal pressures, and using audience-friendly policies. On the contrary, strengths of the National Center of Cyberspace outnumber the weaknesses, with the future opportunities overshadowing the threats. Therefore, This center should also monitor the country's cyberspace as much as possible by strengthening the infrastructure and creating a national information network, policy-making on content production with Iranian-Islamic lifestyle themes, using the power of knowledge-based companies and the private sector and policy-making in order to promote people's media literacy, take advantage of external opportunities to strengthen its strengths.These findings show the political and ideological components as well as their complicated processes in media policy-making.

The Ravayat-e fath series is one of the most valuable documentary series about the eight-year period of the Iran-Iraq war and has somehow become the visual history of the Holy Defense. Avini called his method in this series, illuminating(Sabke Eshraghi).Theoretical and philosophical foundations as well as Avini's worldview have made this series stand out among its peers. Construction of space is one of the most significant elements through which Avini points his thoughts and ideology in the context of the film. This research analyzes the three devices of editing, voice over and interview to demonstrate the way in which the most noticable features of space-creation in the narration of Ravayat-e fath have been fulfilled and finally by considering the characteristics of this series, puts the spotlight on the ambiguities of the illuminationist style. The findings show that despite the importance of each of the three devices in constructing space, editing is avini's most considerable tool for this purpose. In addition, the paper critically examines Avini's use of concepts such as reality, autonomous reason, subjectivity and montage and highlights some ambiguities.

The special capacities of the time element, such as the scientific and artistic nature of this particular phenomenon, which can be used in the dramatization of phenomena, has given it a unique feature in the category of cinema and has created different readings, readings that lead to various receptions. And reveals its dramatic capabilities . A different reading can be found through the sight of reception theory and the characteristics that creates in the field of various researches.The main Research objective is to answer the question of how cinema presents time and how the audience receives time? As a result of research, it has been shown that items such as open ended, cinematic signs and codes, critical views (critique), repeating and receiving new dimensions, complete empty story spaces, different reception depending on individual, intellectual and prior conditions am, etc. are some of the features the audience by them can achieve the phenomenon of time in cinema.

Nowadays, many of the television series are location-based, and they have only a main fixed place. In some successful series of this category, it seems that the fixedness and lack of variation of the place (location), Not only doesn’t prevent the emergence of narrative, meaning and significant facilities related to the location, it also provides new opportunities. The main aim of the current study is to identify the semiotic-phenomenological aspects of place Transformation in location-based TV series. Therefore, the "Khane Sabz" series served as the research sample in order to answer the question of how a fixed place in a TV series can undergo different meaning changes and transformations. The research employed a Paris school semiotics method. Data collection involved taking notes from library resources and textualizing the research sample. The findings show that the place can take on multiple metaphorical attributes and undergo different transformations in despite its fixedness. Moreover, place in such a series can progress towards a transcendental state; and by transitioning into space, it can endow the series with varied phenomenological and significant effects, such as the quality of genius loci.