امیرحسن ندایی

This article investigates the symbolic and emotional roles of color in Corpse Bride (2005), a full-length stop-motion picture directed by Tim Burton and Mike Johnson. Using a qualitative research method, the method of color utilization is used to illustrate the characters, and the dichotomy of the sociocultural conditions depicted in the two story settings within the film. The applied colors convey emotional impressions and symbolic meanings, which can be attributed to the theories of color aesthetics expressed by Johannes Itten. Both the lighting color and color of visual elements imply various meanings, reflecting the characters' moods and feelings as well as their social, cultural contexts and the atmosphere of their places. The filmmakers have been successful in this attempt as they use colors artfully for specific times and places of the story. Generally, in Burton’s films, the protagonist journeys to a colored world, sometimes through a means of transition or passing through a rabbit-hole. In Corpse Bride, the hero struggles between the two worlds of the dead and living. One is designed in a boring and miserable atmosphere like a living world, it is in contrast with the dead world, which is colorful with sense of vitality of life and freeness. The living world is concurrent with the Victorian era (19th century Britain), experiencing the dominant issues of the Industrial Revolution. As the story takes place in this period, the study describes how the applied colors work as the elements showing the moods and emotional feelings of the characters that living world is expressed with their own specific colors. The directors presented such a difference through using types of opposing colors. Two color palettes constitute the color values utilized to depict the world. Each palette contains colors to help reflect particular traits of its own world which root in its ruling ideology and the hero’s attitudes, behaviors and beliefs. Therefore, the colors in the dead world are pure saturated values that depict a pleasant atmosphere, whereas a range of saturated values in gray illustrate the living world to be depressing and gloomy. In fact, the directors reveal the unhappy feelings of the living world through a series of combined gray colors to show its residents in their own society involved with strict matters and hardships. The film shows two types of worlds, one extracted from the real world and the other comes from their imagination. Although they both display the places of a story, they are considerably different in terms of their creation as parts of visual elements for an animated film. Developing the living world’s concept, the directors might be assisted by experiences of the real world as they know, as well as studying the Victorian era, while creation of the dead world was only dependent on his imagination of such an unseen world. Thus, the main significant reason for showing these objective and subjective worlds was the particular utilization of color in order to contrast and depict the mindset attributed to each place.

Among the cinematic works centered around the event of Ashura, the movie The Fateful Day (1995) by Shahram Asadi is a thought-provoking cinematic work. This study aims to analyze the interaction between the narrative structure and the visual style of the film in creating different meanings using Christian Thompson’s neoformalist approach and David Bordwell’s theories on the narrative of the story-telling film. The research method applied in this research is descriptive content analysis. The narrative expansion in the form system of The Fateful Day follows the pattern of the unique myth and the pattern of Search. The use of stylistic and narrative creative devices in the film has resulted in the harmony of mise-en-scenes with the stage goals and the overall texture of the work. The originality in the narration and the stylistic elements of the movie The Fateful Day (among the Iranian historical religious cinematic works) is the result of the innovative cinematic devices used in the movie. The most important of such devices include the use of narrative and stylistic expansion patterns fitting the work’s theme, application of subplots in harmony with the main plot, numerous functions of repetitive motifs in the objective and narrative context, appropriate rhythm of the music and image, and creation of implicit meanings. According to the results of this research, in historical cinema with a thematic focus on religious events, the correct formation of dramatic situations related to their corresponding historical situations, as well as the coherence of the concepts arising from the objective and narrative context of the film with the basic ideologies presented in the work itself are very important.

This study examines four theories of screenwriting by Syd Field, Christoph vogler, Robert Mckee, and John Truby. The theoretical framework of this research is to study the narrative method based on the models presented by all four theorists discussed in this research. The main purpose of this article is to compare the narrative style in the four theories of screenwriting. The research question is what are the common features and differences in the way these four theories are narrated.The approach of the present research is qualitative and the research method is a combination of comparative, descriptive and analytical methods and the method of data collection is library, observational and objective perception. The research findings show that there are commonalities and differences between these four theories and based on the use of three-part narrative method, all four theories are applicable. From the research findings, it can be concluded that the narrative style in Syd Field's model can be considered as a plot-based model based on the script's greater focus on plot. Mckee does not distinguish between a plot-driven and a character-driven screenplay, and the narrative style in Vogler and Truby patterns, which focus more on the character and change it, can be called a character-driven model. It should also be borne in mind that the narrative style in these four theories, apart from their dependence on Aristotelian drama, forms the narrative style common in fictional cinema.

Samurai genre, as one of most important parts of Japanese cinema history, had a significant role, in its seven decades of life, in emerging artistic threads in Japanese cinema, binging about a relative economical constancy for this cinema, and attracting attentions around the world to this cinema. Since genre studies in cinema mostly have been concentrated on Hollywood, especially on its studio system period, other cinemas, including valuable genres like Samurai genre in Japan on which great filmmakers from Mizoguchi and Kurosawa to Kobayashi and Oshima made films usually were neglected. This article applies Semantic/Syntactic approach of Rick Altman in genre theory, which regarded by genre theory experts most authentic theory for explaining cinema genres, into Samurai genre. So we will analyze this genre through the approach in two semantic and the syntactic sections by a descriptive/analytic method, and finally will provide a general vision of the class of this genre.

Representing racial, ethnic, cultural, and geographical “Others” is considered a focal strategy of a number of American media and entertainment productions. Accordingly, the primary goal of this article is to explain the “Othering” mechanisms in the first three seasons of the popular television series Westworld (2016–present), with a focus on the values of the American Dream. In its theoretical literature and analyses, the study drew on the Western philosophical concept of “the Other” and on cultural studies. To understand how the construct of the Others functions in the show, the study used John Fiske’s semiotics and three-level model, along with Roland Barthes’ Symbolic Code. The research found that the presence and absence of two American Other groups—Black and Native Americans—and one non-American Other group—East Asian people—in relation to white people, i.e., “the Self,” in the series carry significant implications. Westworld’s semiotic mechanisms represent white people as the dominant group, East Asian people and Native Americans as subaltern groups, and Black people as being close to whites. By doing so, they normalize a power hierarchy topped by the white race to reproduce for a future world the myth of the “superior white;” a myth that portrays the core elements of the American Dream, including individualism, liberty, and freedom of choice, as being exclusive to white people. The myth also downgrades the essential element of equality by stereotyping and delegitimizing the Others to ensure that whites will be the only group to develop plans and make decisions for the world of the future.

Myth-making from different political, social and cultural events flows in today's world and contemporary societies. Modern human, like his ancestors, have the power of myth-making and he uses this power when he encounters with a situation which is beyond his perception and his potency. It seems that one of the methods to achieve to this goal is creating superheroes whose abilities are suitable with man's needs and desires and his altitude to existence and world. In fact, making these myths is a reaction to fears and inabilities of modern human encountering with the world around him. Today's man has desires and dreams which cannot fulfilment them, so he actualize them in the form of heroes and local athletes. Due to the new world's technologies and developments to illustrate impossibilities, now superheroes can exist on screen. But how they represent myths on cinema screen? This survey studies on the way of representing contemporary myths and analyzing the elements of superheroes. Heroes and superheroes in comic books and in cinema are characters in "contemporary myths" because they have many things in common with myths in their classical meaning. This study relies on Umberto Eco's opinion about superheroes. The way of narration and its dominant components based on character (double identity), repetitive plot, conspiracy, paradox, and time and place has been studied. This research is based on this hypothesis that contemporary myths have components which is traceable in newfound superheroes of cinema and shows that dominant components of these superheroes; narration, time, place and characters show that according to eyewitness and sample surveys, narrative components of contemporary myths can be seen in the form of placeless and timelessness, repetitive plot, conspiracy, paradox and character's double identity.

This study aims to identify the dimensions and components of cultural branding in the Iranian film industry and to provide an appropriate model in order to improve the current situation. The present research was applied in terms of purpose, qualitative in terms of data type and based on grounded theory in terms of research method. Participants in this study based on the rule and principle of theoretical saturation include 20 experts and experts available in the field of cultural branding of the film industry who were selected by purposive and theoretical sampling. The data collection tool was a semi-structured interview. Data were analyzed using Max Kyoda 2020 software in three stages of open coding, axial coding and selective coding. Data validation was performed by the participants using the verification method. Based on the research findings, the dimensions and components of the cultural branding model in the Iranian film industry in 6 categories, including the central phenomenon dimension (branding), causal conditions dimension (brand mission), background conditions dimension (environment), mediation conditions dimension (communication), dimension Strategies (ranking) and outcome dimension (brand loyalty) were identified. As a result of the research, it can be said that providing a suitable model and providing conditions for brand development can improve the effectiveness of cultural branding in the Iranian film industry by policy makers in the field of media. In addition, the results of the research showed that cultural branding, if considered and invested, can bring the Iranian film industry to a valuable position.

The novel and the performing arts can be considered as two comparable systems that often have similarities in narrative features. The aim of this study was to recognize how movies used narrative methods and techniques in conveying meaning to the audience, based on postmodern literary theories; and it tried to answer this question: Which of the postmodernist literary expression techniques that movies used to convey meaning? Interdisciplinary researches (literature and cinema) are necessary, which shows the closeness and similarity of these two artistic systems. This developmental descriptive-analytical study compares two different systems of literature and cinema. information was collected through library searching and sample movie viewing (Inception, 2010, Christopher Nolan). The data have been selected purposefully from the actions and dialogs. The information has been compared with the techniques that used in postmodern novels and has been analyzed and interpreted qualitatively. Our finding showed that the narrative structure of “Inception” was almost liked to the postmodern novels with at least eleven narrative features of postmodern novels that have been used to convey meaning to the audience. Implicit to “Memento” and anachronism were the most important postmodernist feature in the “Inception”. The film consciously merged reality and representation and created a vicious circle in the viewer's mind. Simulation in the Jean Baudrillard theory, manifested itself in movies and signs were no longer a reflection of reality. Short circuit to closing the gap between the real world and the fiction was another feature of the narrative that used in postmodern movies. Presence the dead character such as “Mal” and its relationship to the living was similar to the phenomenon of short circuit in David Lodge 's theory. The principle of contradiction, can be manifest itself as a conceptual and visual inconsistency in the movies like novels. The conversations between Sative and Dammkab at the end of the film was the example of contradiction in the "Inception". Although only brief moments have passed, but the effects of aging can be seen on the faces of both characters clearly. Used the Freudian psychoanalytic theories has been effective in deepening the human characters of the story and example of bricolage in “Inception”. Attention to subcultures and cultural eclecticism was very important in the postmodern novel, which was presented as the abolition of racist and patriarchal in this film. In fact, this phenomenon indicates the emergence of “Pluralism” in the postmodern world and collapse of “Centrist” in modern thought. Unexpected changes in camera angle, distortion and metamorphosis of image in “Inception” were the examples of the language disorder in postmodern novels. According to the content of the story, in some scenes of the film, the lack of attention to gravity is evident. Demonstrating the inability of human beings to penetrate to the deeper levels of dreams indicates the collapse of metanarratives in the fourth level of dreams. Like the postmodern novel, the film constantly reminds the viewer that the story and film are artificial. Planting an idea in the human mind was an example of the collapse of values in this film.

There are many stories which have been created on archetype of immortality and transmitted to us mouth to mouth or in literal forms. Alcestis by Euripides and legend of Crazy Demerol are two examples which despite of cultural differences, have many similarities. The main question is in what context do the two worlds share and differentiate? What are the similarity and different aspects of these two works? This research is based on a descriptive-analytical method and data collection is done through library method. Findings show that despite of similarity in subject and endings, narrative process of two story are different. Alcestis narration is based on back-story and Aristotle unity. Play begins with Alcestis’ testament and ends with returning her by Heracles. But in Demerol the whole story is told in a linear way from the beginning, and there is no back-story related to the events. Demerol encounters with death-angel and beg him to let him alive and his wife sacrifices herself for him. Their titles show that, Demerol comes from a patriarchal culture because the name of the man entitled the story despite of woman’s devotion. But in Alcestis the woman's name is on title of the play. This point also attributed to author's (Euripides) point of view and also indicates to Iranian and Greek cultural differences. Finally by his begging to god, he forgive them. This comparative study shows that one single subject in two different story in two different cultures may have different components and functions as well.

The notion to categorize and identify different kinds of literature and arts has a great importance. In order to investigate the essence and functions, a set of hypotheses known as the Genre Theory has been created. This theory can be followed to Aristotle’s thesis about kinds of poetry. In the middle of the 20th century, the neo-Aristotle school was formed to confront the new critique school which believed in literature free from any restraints, any cross-references or dependence and relationships with works of literature and they gave credit to avant-garde artists who didn’t pay attention to any established rules or conventions. Conversely, Aristotelians stood against these beliefs and supported the genre theory of the late 1930’s and early 1940’s which ultimately referred back to the romantic school’s period. It was this confrontation that lead other theorists of another art disciplines to attempt to renew the use of this theoretical device in their own specific fields of study. Genre Interpretation is one of the most common and important topics in cinematic arts criticism and theory. Andre Bazin and Robert Warshow were the first ones who examined the notion of genre in cinema. But serious and systematic studies were not done until the late 1960’s. Firstly, most of works that were examined were westerns and in the other genres the primary theories were not adopted by all. But it was just a beginning. Writers like Lawrence Alloway, Jim Kitses, Edward Buscombe, and Tom Ryall are among the first generation of Cinema’s genre theory scholars. They founded a fundamental tribune for future researches. Film genre is always attributed with three dimensions of the artistic production triangle: artist - work of art - audience. Then, there is no doubt that social function – i.e. basic thematic of the article - in relation with audience aspect of the triangle is a basic part of each film genre. Generally, in film genre and specially, in Semantic-Syntactic approach of Rick Altman which is the most comprehensive theorist about film genre, social functions are investigated in two contexts: ideology and ritual-myth. The ideological part is investigated in accordance with Althusser’s view of the ideology’s notion but the ritual-myth aspects mostly have been derived from Claude Levi-Strauss’s hypothesis about myths - although this is only a catalyst for Altman’s opinions of the ritual side of film genre. The article’s case study is “Samurai Genre” or “Chambara” (its Japanese name) as a famous and genuine non-Hollywood film genre. The Chambara ideology in contrast with usual reductive thoughts is not a uniform text but through several decades in line with political, social and cultural changes has been has shown variable phases. On the other hand, the ritual-mythological context roots in the feudal warriors’ culture in the name of Samurai and generally, Japanese society codes of honor in the feudal era. In this research, the examinations of the ideological and ritual-mythological aspects of Samurai genre reveal an apparent view on interactions of the genre with society and audiences through 1900’s to mid 1970’s.

The Introduction of “Computer generated Imagery” or CGI has revolutionized every aspect of motion picture special effects, creating a fantasy world which had never existed. Digital cinema has its own genealogy; giving rise to a system of simulations which is totally believable by audience. This article studies this system of simulations and shows how it came to existence. The main hypothesis is that digital technology paved the way for a world of simulations and these simulations made a system of visual codes. These visual codes sometimes had no real world referents (angels with two long wings for instance) or involved events that were not likely to unfold in front of a camera (like sinking of Titanic).
First, we provide a historical survey of digital cinema and then we can study the importance and effects of this attitude in the contemporary cinema. This article is descriptive and analytic considering documents and studying relevant feature film. Selection of the films was random, mainly based on their effect on cinema when they were released.
The result of this paper shows that a special kind of aesthetic has been created which through its simulations has an impact on audience’s perception. In a sense, thanks to digital cinema, a digital metaphysics has emerged.

If we look around through an artist's investigative eye, we shall perceive every object and element as a combination of lines, points, surfaces and volumes; Elements which are referred to as visual elements in visual arts. Each visual element of frame and image composition can play a distinct role in conveying a specific meaning. Unquestionably, line is the most readily available and the most important element found in our environment. Each frame of our world is packed with lines that make up the surfaces and volumes of our surrounding areas. Each line infuses its own meaning and concept in the frame. For example, horizontal and vertical lines are in conflict, a vertical line is exactly in an upright position on horizontal line, conveying a sense of dynamism and height in the picture. In contrast, a horizontal line conveys a sense of coldness and stillness in the frame. Now if we analyze frames making up the body of a movie by transferring illusion of motion to the audience through an analytic view and an approach to the visual arts, we may realize that each such frame itself can serve as a window that conveys a concept to the audience. In this respect, the use of visual elements can play a significant role in conveying the image sense to the audience. In other words, the director can employ a mise-en-scène arrangement of the scene objects to convey a sense of uneasiness, dispersion or altered mental or social space to the audience by creating segments, broken and angular lines. This article endeavors to demonstrate the impact of visual arts in cinematic mise-en-scène through analyzing Asghar Farhadi’s movies such as “The Beautiful City”, “The Past” and “A Separation”. The reason for selecting Farhadi’s movies as case study in this paper is that when a director such as him obtains lofty awards like the Academy Award for best Foreign Language Film, he has definitely been able to convey the sense and concept of his movies in the form of image to the audience who don’t understand the movie’s original language. Consequently, analyzing the mise-en-scène of his films with an approach towards visual arts can be of great assistance to this research. In this study, the impact of lines created by objects or actors have been studied via examining the movie frames in these three films and also by analyzing mise-en-scène and the impact of lines in creating depth of field in the semantic space. In addition, this study aims to illustrate the significance of the implication of visual arts' principles in cinema through combining the features of visual arts in cinema and studying the mise-en-scène of these three movies. The study also endeavors to display the fact that visual elements, specifically lines, can help convey feelings through mise-en-scène in cinema. Also, the use of mise-en-scène based on and through the employment of a variety of lines and their features as well as their psychological, visual properties can assist directors transmit feelings. As the one determining the mise-en-scène, the director should have comprehensive information on the features and effects of visual elements and particularly line, as one of the most important elements, to be able to use an appropriate stage setting and proper arrangements to convey feelings to the audience. Therefore, the result of this research reveals a new dimension of the key role of visual arts in cinema.

Cinema, as a modern media and one of the most affective forms of contemporary human’s art, has extended its areas and spheres of explorations effectiveness. One of these areas, which have entered into the set designing, is the aspect of traditional arts. With this way of set designing, one can make a film with a national and traditional point of view. In each country, traditional and ritual arts (as old forms of art) and cinema (as a modern art) are produced from history, historical activities, plural experiences and that nation’s beliefs. These elements have emerged in the culture. Hence, ritual arts in set designing for the films can be an important field of analyzing and studying in cinema studies. Cinema, as an art, has become a way of imagination to illustrate all things which are in human’s mind. Actually, Cinema has experienced many fields; from psychology to sociology and from philosophy to rituals. So the filmmakers who have a dominant attitude in an ideology, have used this mean to illustrate their thoughts. Spring, Summer, Fall, Winter and Spring (2003) is one of this type of films. Kim Ki-Duk considering Zen intellectual foundations has organized the elements of the film. Cinema with an extent of expression can belong to the sources of eternity and the transcendental realm, just like ritual arts. With this attitude, Spring, Summer, Fall, Winter and Spring is in search of exposure mysteries and visual codes to express ontological questions and raising the sense of existence. To reach this aim, Ki-Duk has used the traditional handmade creations in a way of metaphor, symbols and visual similitude and has created foundations based on colors, light and visual compositions, accompanied with music. This essay is attempting to study on the functions of Zen traditional and ritual handmade creations in the film Spring, Summer, Fall, Winter and Spring directed by Kim Ki-Duk; Korean filmmaker. This paper has descriptive-analytical method and we are trying to study and analyze traditional and ritual handmade creations. The results show that the traditional and ritual handmade creations in this film have several different functions. They have used not only as decorative elements but also as elements which make a believable space of a Korean position for audience. In some sequences they also have used to respect the traditions and this is a nostalgic attitude. Given that Spring, Summer, Fall, Winter and Spring is a transcendental film, we have to notice that the main function of these elements, based on Zen ritual, is a symbolic function. And this is because of eastern traditional thought of filmmaker; Kim Ki-Duk. So this function is preferable to the other ones. In other words, Kim Ki-Duk with an eastern point of view has acted to make an internal relation between these traditional and ritual handmade creations which are made by human and transcendental affairs.

Advertising characters and commercial mascots such as Yum Yum, Cheetoz monkey, Safety-man and many others have made Memories of different generations of Iranian consumers for many years. They have many abilities to attract attention and create a nostalgic and friendly relationship with the consumer and have a great impact on the sales of products. Through a review of the relevant literature, This paper will determine the definition of the role and function of commercial mascots and outline character-driven advertising pros and cons and extend the stream of literature with principles and criteria that will help advertisers in the creation of advertising character in accordance with the historical, religious and cultural differences of audiences and will be able Advertising Agency to create lasting and efficient mascots. This research has been done by descriptive-analytical methods and the content analysis of Character-driven commercials and by viewing documents and sources and interpretation of the issue is dealt with. During researching was determined a promotional character is symbolic and cultural image, so it should reinforce visual symbols and stereotypical behaviors According to the values, tastes and culture of the audience, so the audience could decode message and understand implied concepts of ad character properly and receive the desired message. On the other hand, This paper also briefly document ad characters can appeared in human, animal, mythical and product personifications forms and Different Types of advertising character will be more successful for various promotional purposes. The Animal mascots can symbolize product attributes and express common hopes, aspirations and ideals because they are standard mythical symbols of human qualities. For example, everyone knows that a dove is peaceful, while human and mythical characters build consumer identification so about human and mythical character, The Cultural and Identity fit and congruence between trade character and Consumer culture and values is important so according to Iranian cultural areas, it is necessary to consider The identity of the ad character in form, conceptual and behavioral activation to Partly reduce the amount of imported and incongruous mascots with Iranian culture and help the audience to accept and understand desired and implied meanings and the behavioral stereotypes of character in the character-driven commercials and advertisings. The results showed that necessarily apparent compatible between mascot and Product Like choosing an image like cattle for dairy products is not effective in remembering brand by Consumer But to create a feeling or story about ad character in continuous, frequent and consistent advertising can be effective in succeeding. such research is necessary in this regard of the lack of Persian sources, Low and sparse Latin resources, continuous and broad use of these advertising elements and because interest in these character has evolved over time in Iran and because Most of ads owners deemed ad characters as promotional elements in place for inappropriate and ineffective elements which are more Suitable for inexpensive and childish products than for adult and serious ones.

The music video is a relatively new and influential form in TV programming which is the most used form of music in TV. Music video as an attractive form is widely used in many West TV channels. This is a new tool to expand the expressive possibilities in film –making forms and media arts. But the important point is its undeniable impact on audience’s minds. Its audiences are often the youths.
The main question of this research is, to what extent the typology of music video and the star (singer) have an impact on audience's mind to build an identity? Therefore this article tries to find a typological framework for the perception of identity in the music video as a popular phenomenon. The discussion in this article is the West music video in which the singer plays a Key role. Image of a piece of music is highly dependent on the singer as the narrator, story characters, creator of the piece and ideally the thoughts induction of the West media policy-makers. Indeed, the music video applies new indications to communicate with the audience and affect the audience’s unconscious. According to media researchers, this encoding is a convenient theme for identity and ideology induction in youth’s minds. These ideologies are sometimes appeared as a decadent thinking (as opposed to the cultural norms of society) and sometimes as an expenditure culture (for more dependent youth).
Therefore,this article gives a brief revision of music video history, then introduces a typology of its effective elements, studies on the mechanism and function of star making in music videos and finally analyzes this ideal system to attract an audience and build a new identity for him/her.
Studying on effective functions of this phenomenon fits among the most important today academic discussions in media sciences, visual arts, and social psychology.

A large number of movies in the history of cinema are made based on dramatic texts of theater and accordingly adaptation has developed along with original scripts. There are many movies based on famous plays, during the history of the cinema. But due to the differences between these two mediums, a lot of changes take place in the film adaptation. So as Andre Bazin says, can never guarantee that the original play and its adaptation be the same, even if the author has adapted it. The important issue in adaptation in classics is the transition of one dramatic system into another without losing its influence. How we can display the verbal form of a play on the screen, through the aesthetic elements of cinema. Solving this problem is possible only by keeping the dramatic power of a play in transition of theater medium into cinema.The form of an adapted screenplay depends on screenwriter’s point of view, on one hand, and his relation with the play, on the other hand. Sometimes he considers the whole play, sometimes he renders the components of play and translates them into cinematic elements, and sometimes he just takes its idea. The first form is called “film theater”, the second one called “translated plays”, and the third one is called “adaptation from idea”. Depending on the selected play, which is classical or modern, we can choose the type of adaptation. And base on one of these three types of adaptations, we can transform a classical play into a modern film. The importance of the director’s point of view in the formation of adaptation is undeniable. The method of this research is descriptive and comparative. So we compared dramatic elements of Medea by Euripides with two adapted films by Lars von Trier and Pier Paolo Pasolini and we tried to study their differences and similarities. In this paper, we wish to analyze the adaptation of Medea and the position of the film director during this process. Because adaptation of a play is not possible, except by changing the text and replacing it with something else, something like an image. The director’s general approach affects adaptation process. Since, they have used the dramatic features of play to describe their subjective for audiences, based on their personal aspect. None of the directors, neither Trier nor Pasolini, tried to modernize the play. On the one hand, Lars von Trier in his adaptation emphasized on visual and cinematic features. And on the other hand, Pier Paolo Pasolini has tried to depict its mythical background of Medea’s story. Therefore, he has not adhered strictly to the original play. The research findings show that the directors adapted the play based on their own personal impressions of the play and their own view on the cinema.