فهرست مطالب نسرین محمدپور

This study seeks to understand the ways of constructing and representing the divorced female subject in Iranian cinema of the last decade. The research has been done by using the method of semiotics and combining the approaches of Barthes, Fisk, Selby & Cowdory and the theoretical framework based on Subjectivity from Althusser's point of view and Hall's representation. Using Purposeful sampling, three films (nahid, rage khab and inja bedoone man) were selected for analysis. The results indicate that the lower social class, being exposed to be judged, people's biased view of divorced single women, society's indifference and society's suspicion of independent and divorced women, the reproduction of a cycle of violence by them and society, Behavioral, living, economic, and unhealthy behaviors and showing the recovery of femininity in environments such as the kitchen are among the most important ideological codes that have found meaning in these films. Adherence to ideology (patriarchy) is also so blind that women, as subordinates, internalize and reproduce it themselves, like the landlady in rage khab. Also, the patriarchal ideology is so ingrained in the people of society and in the daily relations of people, tradition and family that the divorced woman becomes the obedient subject of ideology and acting against it leads to questioning by individuals that becomes fascinated by ideology.

This study aims at investigating the construction of the subject of female-headed households in post-revolutionary cinema in order to answer the question of how it has been represented and constructed in these works. For so doing, it employs Foucault and Althusser's interpretation of the subject. The research has been done via a semiotic method, using Fisk and Barthes model, combining it with Selby and Cowdory approach. By purposeful sampling, three films (The Blue-Veiled , Border Café (Cafe Transit), and The Corridor (Dehliz) from the 70s, the 80s, and the 90s have been selected for analysis. Results show that the power in these movies addresses family sanctity along with the need for woman management in it, also reproducing the discourse of housekeeping. But on the other hand, we see the construction of a faithful woman in return for a commitment to her husband or family and responsible for male roles. Here the desirable femininity portrayed in the films include: a) construction of a loyal housewife who supports the husband, b) the female-headed household who is committed to the family and is employed, and finally, c) the female-headed household who is chaste and a lover. The cultural meanings of the films are the lower social class of female-headed households, exposure of young female-headed households to judgment, their livelihood and economic problems, people's constructed look at them, the multiple roles they play, their strong sense of motherhood, cultural and value differences of varied ethnic groups, self-sacrifice and devotion, and drawing the old traditions of female widowhood. Also, all female-headed households try to change and start again, yet in the face of society, traditions, gender stereotypes, and the idea that men are superior, they are deprived of the opportunity to empower themselves.