نشریه رسانه های دیداری و شنیداری
پیاپی 47 (پاییز 1402)

With the reduction of film-making studios in Hollywood, a stream of independent film-making has emerged in the United States. Over the course of time and after some decades since the advent of this new approach, differences can be traced within this model of film-making based on various relationships dominant in the US cinema system. The goal of this research is explication of such distinctions and tendencies. Distinctions that result in the divergence of the US independent cinema. Enjoying the thoughts of Pierre Bourdieu, the French sociologist, especially his field theory and its surrounding concepts, this research tries to identify and explain two specific approaches in the independent cinema of the US. The first is a cinema called “quasi-independent” (semi-independent) which is a corrective solution at the service of the mainstream cinema, and on the other hand, a form of cinema named “independent” which could create a distinct field from different dimensions such as aesthetic, viewing the minority, and economic and political discussion within the American cinema.

With the spread of high-speed internet and its consequences such as media convergence, the audio and video industry faced a surprising transformation both in the technical field and content delivery. This research seeks to provide a suitable framework for the governance of immersive audiovisual in the present time, considering the diverse developments of the industry and the consumption methods of the users. To achieve this goal, Ginosar's (2013) media governance theoretical framework, which takes into account the differences of the political system, has been selected and improved using experts’ opinions. In accordance with these findings, the components of desired immersive audiovisual governance in the governing system of the Islamic Republic of Iran were proposed. Using the Delphi research method, an expert panel consisting of 15 professors and managers in the field of governance and immersive audio and video was formed. As a result of the suggestions of the panel members, the value-oriented governance style was added to the framework, and the market, culture and values of society and users were also identified as the stockholders of immersive audiovisual governance. Also, the experts in this research suggested that it is necessary to move towards a co-governance in order to achieve favorable conditions in the governance of immersive audiovisual in the Islamic Republic of Iran.

The Transcendental Style is a special approach in arts that has left behind a valid and noticeable tradition and background in pursuit of achieving the sublime and intangible in the form of the tangible. The possibility of enjoying this function in cinema is a concern sought by some studies or works of many filmmakers such as Wassily Kandinsky in painting or Paul Schrader in cinema. Also, one of the most important types of cinema, which is often considered to be related to vision, is experimental cinema (in this article, specifically: Essay Film). This research, using the qualitative method, aims to answer the ambiguous points of the Transcendental Style and to place it in the context of Essayistic Films, with the aim of representing the sublime and recognition of the stylistic characteristics at the intersection of Transcendental Style and the Essay Film. This research was conducted with the comparative method, and by studying the available data in the field and their formation from the beginning of Essay Film and Transcendental Style to their modern perceptions, explains them, and deals with the intersection of this style with Essay Film and its filmic abilities from Paul Schrader’s views. Grasping these multifaceted concepts naturally requires a new look which is possible via comparative study. The results of the research realize the idea that the formal arrangements of Essay Film are a new approach in dealing with the Transcendental Style and that Essay Film has the potential to bring the audience to watch the sublime on the screen of cinema.

This research has been conducted with the aim of content analysis of the environmental crisis of Urmia Lake in the IRIB TV series. At first, we enjoyed the theoretical bases of environmental communication concerning the role of media in forming the interaction between societies and the environment, informing and the ways to tackle environmental crises. Then, we investigated “communication messages”, “the triple of social learning and socialization”, “agenda-setting” and “framing” theories based on the centrality of meaning construction. In this study, qualitative content analysis has been used with an arbitrary approach without enforcing pre-determined categories. The statistical population is Darya series and the themes relevant to the research topic have been selected and analyzed. In Darya series, the Urmia Lake’s environmental crisis has forced obvious social and economic effects on the communities surrounding the drainage basin some of which include unemployment, immigration, the rise of crime, the disappearance of agriculture, disabling of shipping, and the tourism industry. Darya series presents two categories of “water resources management” and “correction of the unparallel development of agriculture trend” as solutions to pass the crises, and draws the future of revival of Urmia Lake as promising. In this series, human is the most effective parameter in the emergence of the Urmia Lake’s environmental problem, but the series suffices with the human actions as farmers at the microlevel, without dealing with the problems of macro-level measures of the system.

Exploring the intricacies of television series characters from a psychological perspective is pivotal for gaining a deeper insight into these personas and amplifying the influence of these media productions. One notably effective theory in this context is Alfred Adler's theory of inferiority complex. Consequently, this article aims to elucidate the factors contributing to the development of an inferiority complex and its repercussions within the character of the anti-hero in the series "Molkavan," while also examining the mechanisms of compensation employed. As the character's actions serve as a reflection of their psychological realm, pivotal scenes featuring the active involvement of the anti-hero have been purposefully selected. Subsequently, employing a descriptive-analytical approach, the character's actions are delineated in accordance with the theoretical constructs advanced by Adler. The findings indicate that the establishment of feelings of inferiority within the series' anti-hero arises from childhood comparisons with peers. Subsequently, as a consequence of setbacks in both their professional and familial spheres, manifestations of the inferiority complex, such as "envy," "hatred," "arrogance," "narcissism," "greed," and "vengefulness," emerge in the character. Ultimately, the character endeavors to redress suppressed impulses through a "compensation mechanism," albeit with unsuccessful outcomes. It is recommended that, in television series, alongside individuals who struggle to control their sense of inferiority, characters who can effectively manage this detrimental emotion should also be portrayed. Such a portrayal would improve the educational function of these media productions for their audience.

The goal of this article is to describe and define the criteria and indicators of immersive audiovisual media services. Using the documentary method and with an analytical-interpretive approach, the experiences of the European Commission in the period of 1984 to 2018 were examined regarding the policy of these services. The findings show a shift in the European Commission's approach from covering media activities based on broadcasting to Video on Demand (VOD) services and video-sharing platforms. This shift is mainly due to the phenomenon of “convergence”, changes in media consumption, and the general strategies of the European Union to create a single digital market. Also, the definition of immersive audiovisual in the virtual space of Iran was explored as a challenge among the role players and it was tried to yield a comprehensive and telling definition of immersive audiovisual services in Iran. In this research, the forming components of immersive audiovisual services were identified as 1) economic nature; 2) editorial responsibility; 3) principal purpose; 4) provision of programs 5) informing, entertainment and education 6) being public and 7) electronic communications networks. Comparative studies show divergent interpretations of the European Union members on audiovisual’s building components.

The goal of this research is a comparative study of the thoughts of Shahid Motahari and those of Ingmar Bergman (the notable Swedish filmmaker) considering his movies. Shahid Motahari has dealt with topics like ethics, beauty, sublime art and poor (non-sublime) art, philosophy of cinema, woman in cinema, crises of the modern world, death, etc. under ethical cinema. With the conduction of a comprehensive study of the transcendental cinema of Bergman and studying his sayings in both written and unwritten resources, we achieve striking similarities between the viewpoints and the artistic-philosophical worlds of the two, the comparative-descriptive study of which will open a new window to better understand the religious and transcendental concepts. The philosophy of resurrection and survival, death and the belief in the hereafter, theology, and the element of “faith” are among the themes extracted from Bergman’s works.