دکتر بهارک محمودی حنارود

This research seeks to understand how and why Iranian audiences watch domestic platforms such as Filmo and Namava. Sampling was done in a purposeful way and research data was obtained from in-depth interviews with 17 people from the audience of home viewing platforms. Finally, the data has been displayed in the form of a theme map using the theme analysis method of categorizing and main categories which is the answer to the research question. Audiences expressed the reasons for watching in these platforms, such as creating motivation despite proper categorization, cost-effectiveness, dubbing and censorship, etc.Also, factors such as not respecting copyright, censorship and inappropriate dubbing, etc. have been considered as a reason for not watching these VODs. The important thing is that the audience believes that they should protect others and they do not need to protect themselves against immoral and inappropriate content. They prefer to use VOD released movies along with others because they are censored and have ethical content. In this way, others are exposed to the right content; But in their solitude, they are interested in watching the full version of non-Persian movies without censorship through other means of access.

In social media studies, the linkeage between social media and the public sphere is one of the most comprehensive topics. This study focused on the relationship between the dialogue -oriented platform of Clubhouse and the public sphere. The direct observation technique was used to collect data from one of the Iranian rooms in the Clubhouse, “Jedale Dagh” Club, in order to explain this issue. Then, this room’s communicative actions and conversations were studied using thematic analysis. The research indicated that “creating bipolarity and othering, taunting, labeling, prioritizing self-interests over collective interests, and threatening to expose” were among the most important instances of instrumental action. In addition, the following were among the most significant examples of value-rational action: “Open discourse, logical discussion, observing fairness, accepting mistakes, using respectful expressions, turn-taking in the dialogue, and guiding the dialogue.” The research also demonstrated that the rational-critical dialogue of users was characterized by “logical reasoning, presenting evidence, using statistics, and expressing solutions.”

According to the book publishing statistics, the novel "The Forty Rules of Love" is one of the best-selling novels in recent years in Iran, and paying attention to the reasons and contexts of its popularity can help to understand the mood of society in this period. Therefore, the present study, through a qualitative study of the reasons for the tendency of female Instagram Users to the novel "The Forty Rules of Love", tried to find some of the issues raised around such a phenomenon in Iranian society. For this purpose, in-depth semi-structured interviews were conducted with twenty of these Users by means of Content Analysis and Purposeful sampling and Snowball sampling. According to the findings of this study, although it seemed that the audience was called by popular features and curious advertisements, but on the other hand, attention to the elements of the story such as form, content and author also indicates the selectivity of the audience and their agency in choosing this book, and in addition to the "propaganda wave" and "story appeal", the reasons for the tendency to study it can be attributed to another important factor, such as addressing issues such as "society's current issue" in Iran. It can be said that the social, cultural and political conditions of Iran are influential in the attention of this book, and among them, the role of Instagram in introducing and more attention to it has been very bold.

In this article, an attempt has been made to study the method of representing food tables in Iranian cinema and its relation to social ties, their study and their implicit meaning with a semiotic approach. For this purpose, based on the logic of theoretical sampling, films (from post-revolutionary cinema) have been selected in which food and its preparation are the main themes or the gathering of the main characters under the pretext of eating is one of the key chapters in the narrative. However, this study began with the hypothesis that the food tables in Iranian cinema necessitate cultural ties due to cultural necessity, and this is a point that can also be seen in cinema; However, the implicit connection of this issue with concepts such as gender and class was also revealed. In other words, the image of food tables in Iranian cinema is an image that has an undeniable link with gender relations and in fact femininity as well as class differences.

The cultural life of objects is one of the fields of cultural studies and cultural sociology and interdisciplinary discipline that is limited and lacking in Iranian research. In this article, we will attempt to address this research deficiency by considering the social and cultural existence of the 'door' as an object and emerging. This will be accomplished through an interpretive study of the two films "Paternal House" (Kianoush Aiyari) and "Lovely Trash" (Mohsen Amir Yousefi). Our theoretical and methodological approach in this article is based on Simmel's ideas and theories. The results of this study, by accepting the premise that "man is a creature, boundary-bound," suggest that the "door" phenomenon in these works is a static, stopping, and confining factor. In the film, the men in the paternity house make doors, knock down walls, and hide, but it is women who break through the walls and unlock the doors, revealing the truth. In these films we also see the dialectic of the inside and the outside, hidden and revealing, as well as personal and impersonal, through the 'in' element. Studying these two films shows that the Door is also intertwined with gender, individuality, domination, secrecy, and history. They also act alongside the "in" element, such as walls, frames, windows, and locks, as a semantic motif and context that open social and cultural interpretations to text reading.

This article has been written with the aim of critical study on the book "Everyday Life of Urban Precariat (2013-2011)" written by Alireza Sadeghi.  This book is considered as a collection of works written in the theoretical-methodological tradition of Bayat and according to the author, it is readable in the continuation of Bayat's book "Street Policies" which was written in 1997. The results of this critical study show that although the information and evidence presented in the book, which has been analyzed in an ethnographic manner, indicate the depth and breadth of this research, the fact is that the book is one of its original examples of "street politics". He has not stepped beyond. Also, showing the negligence and insignificance of the role of the poor in reproducing the inferiority situation and urban irregularities is a point that can be seen in the design and summary of the present book.

This study was conducted to study the representation of the concept of "women against women" in cinematic works. Qualitative work in the field of cultural studies that seeks to explain and analyze a particular set of conflicting actions displayed among women in Iranian cinema under the concept of "benevolent xenophobia."Even if cinematic images are not devoid of bias, they can be a slice of social reality. For this purpose, four films from the total of films screened in the 90s have been studied on a case-by-case basis and analyzed by a combined method of discourse analysis and semiotics. The findings of this study show that in a historical and social context, Iranian cinema presents a picture of xenophobia among women, which marginalizes its repressive nature and emphasizes its benevolent intentions. For this reason, the characters in the films in this situation are mainly unaware of and tolerate the reproduction of discrimination against them by their homosexuals. This representation is generally considered to be everyday and natural and is depicted in the margins of the main theme of the film. the characters in the films in this situation are mainly unaware of and tolerate the reproduction of discrimination against their homosexuals.

The purpose of writing this article is to study the action of a group of "improved homeless women" as part of the social inferiority on Instagram. Although the group has less access to official media, they have the opportunity to show themselves and their daily lives on social media and social media. Therefore, in this article, the content shared by this group on Instagram was studied. With these questions, what topics do these women share on their Instagram posts? In these images, how does the transition from homelessness to homelessness occur? And in general, what capabilities and opportunities does this social network provide for them as tools and strategies for living their daily lives? This research was conducted with a qualitative approach and the method of thematic analysis and study of 140 Instagram posts from page 10 of the homeless women. Based on the findings of the present paper, three categories of topics including "adorned appearance", "social presence" and "search for peace" were identified in the posts. Despite the lack of past displays in the transition from homelessness to homelessness and the viewing of images of women without a past in these posts, it seems that displaying a new "self" on Instagram has a compensatory function; Such as politics and resistance, which are discussed in Bayat's theory of "quiet progress" and the concept of "tactics of coping."

The purpose of this article is to present, review, and criticize the book “Meaning of Everyday Life” which has been written by English-born Susie Scott in 2009. A book that tries to examine and consider all aspects and dimensions in relation to the concept of "everyday life" in ten chapters. The assumption of the author is based on the fact that the study of everyday life in the field of sociological studies, which is usually engaged in answering questions and predicting macroeconomic trends in the community, has been regarded as a marginal archetype that seems to be unmistakable as if it was not necessary to study it. The author claims that recognizing macro-social structures regardless of micro levels, such as the realm of everyday life, will not be possible. As a result, it will be argued that the author could not get out of the narrow circle of social psychology and discusses the issues at sociological levels, as claimed. For this reason, the author has used superficial and non-theoretical approaches in different chapters, and it has not gone beyond the initial levels of analysis.

The comparative study of family image in TV and Cinema is a crucial topic in Iranian context. In this article, I am going to show and discuss representation differences through literature review and its secondary analysis. In the light of these studies, the article reveals two different “field of representation” of family image. The Iranian cinema is spreading the image of family decline, Whereas Iranian national TV is depicting a sacred family. In a nutshell, this battle of images grants an important place to Iranian family representation in the relation of Media and ideology.