فهرست مطالب محمدعلی صفورا

Sound acts as cinematic codes for the filmmaker to create a work of art. In the meantime, industrial documentary can bring a different experience for the audience due to its link to advertising and education. The codification process of the filmmaker and the effects and the relationship between the audience and the work have been studied in different theories, such as perception theory by Stuart Hall. In the reception analysis, the fundamental presupposition is that media texts, which are of coded meanings, do not have a fixed meaning, but are meaningful at the moment of reception by the audience. In Hall's encoding and decryption model, the encoder first presents his own account of an unprocessed social event in a meaningful discourse, and finally, the audience decodes the message.This research, conducted in an analytical-descriptive method, involves a transition to a semiotic approach to the sounds of film to investigate its processing for meaning production for training and advertising goals. The results showed that with structural analysis of the film’s sound, the codified explicit and implicit messages can be understood. In two selected industrial documentaries made by Kamran Shirdel, the sound played a role in introducing the event, transferring the message, activating the sense, presence in the past, visual expression, characterization, personification of space, symbolization, and creating a common sense and by creating an added value on the image, in the same direction with the communicative pattern of the author and the message, has been applied in the social ground.

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.

The emergence of new approaches to form and content in cinema has led to the creation of diverse and numerous genres and subgenres, which are derived from the combination of primary genres and modes. Additionally, the use of innovative techniques in various stages of film production has occasionally resulted in the formation of hybrid genres and modes, necessitating a deeper analysis and understanding of these cinematic developments. This research aims to examine and analyze such new approaches in cinema by studying and summarizing contemporary theories. Therefore, in order to analyze these methods and new genres, which also exhibit a significant abundance, there is a serious need for more advanced analytical approaches. These approaches should be based on solid foundations, rooted in new theoretical frameworks, and capable of being utilized as a unified theory for film analysis, either in a specific case or in a broader context, to examine genres and subgenres in cinema. Based on this premise, this article focuses on examining and analyzing new domains in contemporary cinema based on Alain Badiou's ontological thought, which is grounded in set theory in mathematics. In the first stage, an attempt is made to elucidate this ontological theory to identify its formation grounds and its points of differentiation from major approaches in contemporary philosophy, and to open up avenues for developing a new approach to film analysis. Next, the structural oppositions in Badiou's theoretical concepts are extracted and classified in the elements of form and content in mockumentary film, in order to observe their impact on the structure of such filmmaking. By examining the theoretical roots of Badiou’s ideas among major contemporary philosophical theories, their origins and differentiations are explored, and a general framework of Badiou’s philosophy is. Then, the fundamental concepts and oppositions in Badiou’s theory are examined in the truth procedure, and their potential for providing an analytical approach to mockumentary filmmaking is investigated. Finally, according to this pattern, four mockumentary films are categorized and analyzed using a descriptive-analytical approach, providing an overall analysis of mockumentary cinema. The results demonstrate that the derived pattern from Badiou’s theory can be effectively employed in the analysis of mockumentary cinema, describing and analyzing the functioning of structural elements in these films through the creation of oppositions and dualities. This approach can also contribute to a better understanding of documentary cinema by analyzing the relationships and oppositions between its elements and the elements of fiction film. Furthermore, it is observed that the dualistic oppositions of reality/truth, art/non-art, and pure/impure in Badiou’s ontological theory in art and cinema can be significant and decisive in the analysis of form and content in mockumentary filmmaking. The dualistic elements present in mockumentary films and the oppositions in these ontological concepts elucidate what is represented in documentary cinema. In conclusion, such an approach can be effective in understanding, describing, and analyzing mockumentary cinema as well as having an impact on documentary filmmaking.

This study concentrates on the form of mockumentary and its relation to its content; focusing on its ability to represent the reality, in order to describe and analyze Mockumentary. In this study, the effect of the medium of cinema, is analyzed on mockumentary films through analyzing four successful mockumentaries, which all had achieved a considerable rating in IMDb and Metacritic. First, mockumentary is introduced and its features are described. Its relation to documentary cinema and fiction cinema is mentioned, their common features are considered and the potential and capacities of this genre are presented. Mockumentary as the name implies, has a very close correlation with documentary. In the first glance, mockumentary seems a copy which tries to get to the place of the reliable non-lying documentary, and waits until the documentary is made and then copies it, but in this research, it is emphasized that there are different philosophical perspectives about the Real and reality and its relation to the Truth, especially in contemporary philosophy. These discussions, challenge the authenticity and factuality of the mockumentary and documentary. According to Alisia Lebow, mockumentary might be the correct or more real form of documentary but through analyzing the theory of Alain Badiou in “Being and Event” we obtain the key concepts in his theory, which combines Set-Theory in mathematics and ontology. He suggests a kind of Meta-ontology based on Set-Theory. According to his definition of the Truth and the Real, and based on this duality (Truth/Real), a fair point for judging mockumentary can be found. Considering the relations and dualities between the key concepts in his ontology, a way of analyzing Mockumentary Cinema in recent years is offered; four successful samples in this genre have been analyzed, and meanwhile, some criteria for evaluating mockumentary films are achieved through them. A descriptive-analytic method is used to develop the argument. Initially, the definitions and presumptions about documentary are considered in order to clarify the different interpretations of this field, and then the different features in the form of mockumentary are studied. In Badiou’s words, Cinema of Mockumentary presents a void, which is an area for event to take place, which is made between documentary and fiction cinema. It is a void representing a lack of form. Mockumentary tries to fill this void by a new combination of fiction and reality. Mockumentary locates itself between documentary and fiction, and with the utilization of the techniques from both of them, makes a rearrangement in the boundaries of the documentary and fiction cinema. This new combination shows a new structure since it brings new dualities with the key concepts which mainly form the fiction cinema and the documentary. It suggests ways for finding better techniques in Documentary Cinema. The correlation between Documentary and Mockumentary, and their mutual influence on each other, results in the enrichment of both. In the present study, a variety of techniques and formal features in mockumentaries are identified through the analysis of four successful case studies.

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.

Today, a large number of cinematic productions are produced through adaptations of various sources and literary texts. Most adaptations are usually made up of historical texts, novels, plays, short stories, religious texts, and so on. In other words, adaptation is always a way to produce a variety of content produced in past texts in a new medium. The importance and attractiveness of some past texts is such that in the field of cinema, we have sometimes seen numerous adaptations of a work.Adaptation in cinematic animations with descriptive, analytical method. Linda Hutchen believes that it is necessary to study O's work as an independent product first and then to deal with the aspects and dimensions of its adaptation; His point of view is considered as a theoretical approach in this research. The Prince of Egypt cinematic animation and Elephant King are two examples of studies to be studied in this research that have been purposefully selected based on proximity to the subject.The results of this study show that one of the important functions of adaptation in cinematic works is the revival of old and forgotten literary, historical and religious works that have lost the ability to communicate with the current audience for various reasons. Also, most of the animations adapted from religious texts deal with fictional, historical and educational and moral themes. Therefore, one of the other functions of the adaptation is to represent the educational themes in these adaptations that are suitable for the audience of animation works.

Genre in Film Studies is a set of rules and common agreements among three groups of audience, filmmakers and critics to classify types of films. This set of rules and accepted characteristics directly influences film formation. A cursory look at “Musical Animation” genre shows that this type of animation, due to its potential, has gained a huge popularity among cinemagoers. By investigating different theories, the present study tries to identify the main characteristics of this genre and provide an analysis of two chosen films based on these characteristics. Its vision is to cover part of the theoretical shortcomings concerning this genre in Iran. This article aims to prove a hypothesis in which this genre is fully explainable according to five levels of Narrative, Character & Acting, Music, Song and Voice. “Beauty and the Beast” (2017) and “Fantasia” (1940) are two feature animations that are studied considering the above mentioned levels.

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.

Adaptation from ancient literature, especially tales and legends, and the discovery of the multi-layered relationships of legends with the statement style of animation, is one of the ways that many animate screenwriters have pay attention to it today. Considering the structural features and amazing abilities of Iranian tales and legends for adapting with the language of animation, learning the media language and using techniques such as adaptation and re-creation to turn legend to animation is very necessary.
This article, presents the adaptive critique of the common elements of the legend and the animated animation of "Jamshid and the Sun" and how these elements are transmitted in the process of adaptation of the myth to animation, by using the documentary method and the descriptive-analytical approach, after expressing the dreams of myths. According to research findings, the first step in turning the myth into animation, analyzing the legendary text, and finding the characteristics of the image and its various dramatic components. Knowing the strengths and weaknesses of myths, adding or highlighting dramatic elements and enhancing various components of animation will increase the movement, suspension and image in animation

Genre in Film Studies is a set of rules and common agreements among three groups of audience, filmmakers and critics to classify types of films. This set of rules and accepted characteristics directly influences film formation. A cursory look at “Musical Animation” genre shows that this type of animation, due to its potential, has gained a huge popularity among cinemagoers. By investigating different theories, the present study tries to identify the main characteristics of this genre and provide an analysis of two chosen films based on these characteristics. Its vision is to cover part of the theoretical shortcomings concerning this genre in Iran. This article aims to prove a hypothesis in which this genre is fully explainable according to five levels of Narrative, Character & Acting, Music, Song and Voice. “Beauty and the Beast” (2017) and “Fantasia” (1940) are two feature animations that are studied considering the above mentioned levels.

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.

Aim of this article is to bring to light the grounds and the origins of film narratives, namely its possibilities and necessities. Film narratives as the work and behavior of human being is necessarily originated in and grounded on the essence and the mode of his Being. In this article from the viewpoint of care of Being, that is, one original characteristics of human beings, and regarding to Heidegger's general thought of Being as such, essence of human being, and truth or unconcealment, has been tried to explicate the necessities and the possibilities of narratives as language, the necessities and the possibilities of cinematic montage on the basis of indeterminate presence and concrete acquisitions. Finally, researching the narratives from these three viewpoints, it will be shown that the care of Being as the primordial essence of human beings that cares truth or unconcealment of entities and Being, is the origin and ground of film narratives as the human being's behavior, that is, if the care of Being that necessitates Mitsein [being-with] and accordingly the language as such, and also necessitates concrete acquisitions which are essential in order for human being and other living beings to remain constantly as what they already are, was not the essence of human being then the cinematic montage and editing would not be possible at all

Animation as an artistic industry is considered as one of the main demarches for communication in contemporary world. A common way to show art as a national culture. It is a matter which is not only included in art but also depends significantly on industry events. Iran animation couldn’t be considered as an industry due to some factors, so Iran lacks the capacities of this strong media. The primary term and condition to develop national animation is to create a regulatory and monitoring system having economic, artistic and cultural managers and strategists. Considering the status quo, this field strongly requires a hierarchical and permanent system based on which can find the executive systems and the executional capacity of developmental rules. This study aims at investigation and analysis of art production market- animation industry in Iran and the barriers to its development. To do so, managerial SWOT Model is applied in order to identify the factors preventing animation development in Iran by studying the strengths, weaknesses, opportunities and threats. To achieve that goal, statistical population was considered and some questionnaires were provided. The main question of this study is that "what are the most important damages in statistical population and how they can be developed?" In term of objective, the methodology is considered as applied type and in term of data collection is considered as survey type. "54" types of damages were recognized, then by using questionnaire No.1 the damages were filtered, finally "19" most injurious damages were recognized which were entered into questionnaire No.2. According to the findings of this study, damages related to domestic weaknesses and foreigner threats obtained first and second rank, respectively. The highest rank in the scope of foreigner threats is dedicated to the lack of governmental support and credit allocation and the highest rank in the scope of domestic weaknesses is dedicated to the lack of unique management of animation production. Our hope is to help the development of Iran animation by using the obtained data.

This research is about studies of genre film and it more aims to identify and understand the concept of genre film, its dimensions, and especially the meaning of the word “genre film”. Many genre theory studies have used this word, although they didn’t give an exact and evident definition of genre film. The Focus of this article is on the definition of “genre film”. This study aims to answer these basic questions: 1. If we recognize the word “genre film” and its meaning in film studies, is there the “non-genre film”? 2. What distinguishing characteristics have non-genre films? When we want to answer these questions, we have to explain concept, term and practical aspects of the film genre. According to the contrast between ‘author theory’ and ‘film genre theory’, and besed on a comparative study of these theories, in this paper we are trying to distinguish and describe the dimensions and characteristics of genre film with descriptive-analytical method. Initially, a definition of authorship theory and film genre theory will be provided, and then, the above mentioned conflict, “genre film” would be explained. We can detect many films that don’t have these characteristics. These films can be called non-genre films. The results show that properties of non-genre films are the main points of the author’s theory. This means that if two theories are illustrated like two opposite points in a syntactic structure, many of recent genre films are between these two points. When a film is near to one of these points; it would be in the structure of that, and far from the structure of the other. Although there have been a connection between these theories, since the creation of French new wave to now, and can improve structure of each other. Connection between theses two theories has provided a bed for the emergence of some films wich have different characters of two theories. Many directors from commerical cinema have paid attention to critiques and aims of author theory and began to make films which were inspired by author theory. Cinema historians called these films and their directors ‘second generation of new wave’. These films show personality, solitary and individuality of artist (director) and simultaneously, stand in generic structures of genre theory. Although no genre film is completely without artist’s personality and authority and there isn’t any author film that doesn’t have any of the six properties of genre film. When a film closes to genre theory and its structures, it would have no properties of author theory. Six characters are detected for genre films: Repetitive nature, economic nature, social function, predictability, Extensive use of resources and intertextual references, the application of formal elements and symbolic iconography. Therefore, those films which don’t have any of these properties are non-genre films. In the result, most of the films that are highly oriented toward author, aren’t in the range of genre films and have their individuality.

In a very general classification، films can be divided into three groups including fiction، nonfiction (i. e. documentary، experimental….) and animation. Animation، as one major member of the three is a hybrid medium and art form which employs the expressive elements of other arts; that is it hybridizes and utilizes elements of dramatic arts (mainly cinema) and fine arts (painting، graphic design، etc.). Thus it may be said that to study these ‘structural elements’ and utilizing them in an appropriate manner in TV animation production would mediate the ideal effect and message to the viewer. It is possible to group animation productions into three major groups of short experimental animation، feature-length and TV animation. Nowadays، TV animation production comprises the majority of the animation produced in the world since the massive number of TV channels throughout the globe has made such kind of animation highly demanded and marketed. In a very general outlook، it may be said that most TV animations as cheap and fast products have shared properties such as flat perspective، simple color pallets، and simple forms in designing characters as well as limited animation which is mostly mass produced with low budgets. The structural elements of the three different categories of animation mentioned before، while sharing many factors، are different and diverse dependent on the specificities of each medium. Each، have different properties in terms of their scripts، formal structures and so on; visual elements (such as color، form، texture and…) and also other determining factors (such as composition، lighting and so forth)، aural elements (such as music، dialogue، and sound effects) and the animation script properties differ dependent on the type of medium as well as the target audience. This research is based on a hypothesis that ignoring the mentioned ‘structural elements’ as well as not considering the differences، properties and functions of the diverse range of animations would result in the production of weak and inefficient works which will eventually fail to communicate with the target audience or the intended message. Based on structural theories، it is possible to uncover the ‘message’ and significations of a work by creating practical relationships among its structural elements. Thus it is possible to consider a film and its narrative as a ‘structure’ or in other words، a specific way to synthesize the building blocks to create a coherent whole. In this research، the theories of Bordwell and Thompson، Esslin، Furniss and others who have proposed theoretical models to study and deconstruct structural elements of a dramatic text based on the concept of mise-en-scene are used to create a new method with consideration of novel relations to come to a comprehensive model by which to analyze animation texts، especially to examine the structural elements of TV animation productions. To reach such a model، the structural elements are divided into the structural/expressive elements specific to animation، dramatic text (screenplay)، visual design، sound design، and structural elements of editing، and the properties of each will be studied in depth in the paper.

The present research aims to identify and examine indicators influencing financial and cost-related, market, and supply and demand factors preventing the animation industry thriving in Iran in 1380-90s. Positivism forms the philosophical basis of this applicable descriptive research. The data were gathered through interviews and questionnaires. Due to lack of a developed model for pathology of industrial production of animation in the last decade, the Delphi Method was employed in this study. Finally, Freidman Statistical Test was used to rank experts’ viewpoints. The findings emphasize on the need to develop a coherent structural model, taking into account restrictions and encouraging domestic producers to expand their activities into international production arena and allocating funds to private sector with offering special facilities and finally, paying attention to production quality.

Animation, in its shape and content, originates from imagination; its most important characteristic is the actualization or materialization of endless imaginations. The art of animation, when its variety of techniques and attractiveness is considered, is warmly accepted by a wide range of audiences across the globe. With the emergence of television and its serious need for this art, animations gradually moved towards industrialization. All these, with its importance in today’s world to achieve both cultural and financial goals, led various artists to be attracted to and employed in this huge industry. This large group of human resources is actually the building block of this industry which has made it change from its initial shape as an absolute art to an enormous industrial enterprise. Though there is not much of animation history in Iran when compared with pioneer countries, Iran can be considered as having a relatively long background in Asian animation. While half a century is passed since the first time animation was produced in Iran, this art-industry has not yet improved much for many reasons such as the employment of people with non-related degrees and misemployment in the production line of the projects as well as the shortage of professional employees and lack of a comprehensive insight about animation industrial productions as an influent and profitable industry by policy-makers. It seems that part of this disadvantage is due to mismanagement in the process of animation production. In this research, having some influent indexes of management examined, reasons for the Iranian animation failure in the 2000th decade are studied. The philosophical basis of the research is positivistic, oriented toward applied uses. The analogical approach of the research is supported by a qualitative-quantitative field survey. The present study is a descriptive one equipped with data-gathering, interviews and questionnaires. Lacking an organized model of pathological study of industrial animation production in the last decade, the Delphi method was used to serve as a model of study. To analyze the given data, the Freedman variance statistic test was utilized in order to classify the preferences of the experts’ views. The results of the research showed the below indexes atop the list of experts’ approval percentage in the production field among many other indexes: Lack of a standard structure for industrial production in the studios, managers’ unfamiliarity with the proper method of mass production, ignorance about the principles and bases of human resource management in studios, manager’s being unaware about marketing and distribution techniques, lack of cooperation with great international companies and lack of commitment to a high-quality production. The results also categorize the below indexes as next indexes in line, as to the ordering management: unfamiliarity of managers with the mass production conditions in animation industry and lack of a valid technical supervision.In the end, the findings criticize managers for their distrust in younger production teams and their usage of other cultures that are not quite compatible with our culture.

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.

"Malek Khorshid", a sixteen minute animation, was produced by Ali Akbar Sadeghi in the Institute for the Intellectual Development of Children and Young Adults (kanoon parvaresh fekri koodakan va nojavanan) in 1975. Sadeghi is one of the forerunners of animation in Iran. And an analysis of his works helps us to appreciate the history of Iranian Animation. This film shows us one of the most successful adaptations of Iranian folkloric stories, thus it can be considered as a model for adaptation from other Iranian folktales. The research uses content analysis approach as well as bio-filmography. The animation is analyzed from a literary aspect as well as cinematic features. Elements of action, characterization, complication, climax and conclusion are studied and cinematic structure, visual design elements consisting of concept, background drawing, color, movements, sound and visual effects are also discussed. Some motifs such as love, choice of short but dangerous roads, princess captured by demon, and killing of dragons are also compared in the folklore and the animation.

In order to be attracted, each work of must encounter viewer in its environment. At first it is virtual and is the result of sensitive subjectivity of the artist, and then it will be changed to objectivity and forms a piece of artwork. The artist of filmmaker is changing the virtual environment of the film; the virtual situation which is made in the mind of the scriptwriter and himself; and uses images in, shots, scenes and sequences. However, before to set the images, shots, scenes and sequences, he must create the real environment of the narrative movie by pre-visualization like design and storyboard. Creation of environment is the first step in concretion of the imaginations of the filmmaker. There are different ways to create an environment for live action movie, like determining a location, to design decors whether natural or artificial or digital or combination of them. This variety is countless in animation movie. The variety in styles and techniques help the variety in the structure of creation an environment in an animated work. So we can use different techniques of design in producing each style of animation. Space designing, in place dimension relates to location and scene, and in time dimension relates to editing and other factors such as mise-en-scene and sound. Making space in animation cinema like any other cinematic works emanates from story plot; at first the work exists in creator's mind potentially and then it appears in form of words and sentences in screenplay. The director or creator of an animation movie, in his first step, tries to visualize the space which has been created in his mind. For such a director there are many possibilities for creating different spaces than a live action movie director. Surreal and virtual world of animation which makes everything artificially opens the way for creativity in emplacements of space. In live action movie, Instance, there are limitations even in camera place for taking different shots and point of views. But in animation these limitations are far less than they. The ways of formation and projection of an idea are varied in animation formats. Different visual techniques in animation are among their possibility that helps to create space. The director makes his firs decision for objectivity to the subjective impressions of space by identification techniques. While we say, for instance, that we can make an idea, a plot, or screenplay in puppet animation format, in fact, we have decided about its appearance. Film spaces that must have been made by this technique are objective and depicted, by sets and puppets. In another movie, for instance in paper animation, spaces must have been painted in two dimension in form of consecutive frames. Hence, we can say that after identification technique, style and creator's view in implementation and way of making film, space and task force is determined. In real and animation cinema creating space and visual space is production designer's task which is done with main director consulting and art director supervising.