ali sheikhmehdi

Problem statement: 

Bergson’s Duration is adding a qualitative aspect to the perception of time and in fact, removing the quantitative aspect and space of time. This view of Bergson prompted Deleuze to show a narration from Bergson’s Duration from classical cinema to modern cinema in two books, “Cinema 1” and “Cinema 2”, with a historical look at cinema as an image of modern man. He shows how classical cinema indirectly and modern cinema directly can do this narration. He did not make a distinction between form and content elements in explaining how this narration is happening. The article tries to evaluate this narration by separating all cinematic formal elements from each other and only emphasizing formal elements in Bela Tarr’s cinema.

The article seeks to reach the possibility and manner of narrating time as a Duration through the formal elements of Bela Tarr’s cinema.

After explaining Bergson’s theory with Deleuze’s interpretation of it, which was made using library sources, and after seeing all the Bela Tarr’s works, the article isolated (Epoche) all the formal elements of his cinema from other formal elements with a phenomenological method, and the effect each of these elements has been measured on the narration of Duration.

The article shows that Bela Tarr’s cinema has the ability to narrate Bergson’s Duration due to its purely formal elements. These formal elements are two categories: structural and non-structural. The non-structural formal elements in Bela Tarr’s cinema activate Artistic devices that in the first step, provide a foundation for the narration of Duration, and in the next step, due to the existence of the Boredom Artistic device and non-structural formal elements that lead to this Artistic device, they make it possible for the audience to perceive time as the Duration.

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.

AbstractProblem statement: Among the components of the phenomenological approach, the epochē is the element that carries the methodological aspect of this approach more than other components. On the other hand, a movie has full of form elements that can affect the audience’s perception, whether or not they are used or how each of these elements is used. This research tries to deal with the phenomenological encounter with the object through the medium of cinema and a movie.Research The research purpose is to examine the possibility of the phenomenological reduction of external objects and aesthetic objects through cinema and a movie.Research The article with an analytical method among the components of phenomenology has highlighted its only methodological element, epochē. Then, with a descriptive-analytical method, it measures the ratio of all the formal elements in a movie with the epochē. The article shows that there is a possibility of phenomenological reduction of the external objects through a movie and this possibility is realized in the first way in the aesthetic objects.The article introduces “Epochēe” as the only tool of phenomenological reduction. It discusses the possibility of phenomenology through the movie, concludes that such a thing is available through the formal elements of the movie, and then looks into this possibility. First, it highlights the formal structural elements and explains the appropriateness of the phenomenological approach in selecting each structural element and using them. Next, it points to the non-structural formal elements separately and examines how to implement these formal elements to epochē objects as much as possible. The article shows that although it is possible to epochē an external object through a movie, this epochē is considered a second-hand method in epistemology. In contrast, in the field of aesthetics and its related objects, they are regarded as a first-hand encounter.

Graham Harman, an American contemporary philosopher, is the founder of object-oriented ontology (OOO). In his 2016 book, Immaterialism, he offeres a theoretical framework for studying social phenomena using OOO. According to this theory, the traditional distinction between subject and object is eliminated in favor of a more realistic vision, in which everything from human beings to animals and artificial entities are 'objects' as far as they have similar stages of living: birth, maturity, decadence, and death. We tried to examine this theoretical framework in film studies by taking the film Dance with Me!, (2019, Persian: "Jahan, ba man beraghs!") as a study case. The methodology of this article is a description-analysis based on observations and library resources. In this paper, we try to sketch out how the film's protagonist, Jahan, as an object in his last stage of living, undertakes! actions and reactions to other objects (characters, animals, properties, etc.) to make sense of his life as a symbiosis.Immaterialism provides a framework to analyze things as they are, as well as their effects on other things. Unlike other theoretical frameworks used in film studies, such as Lacanian psychoanalysis, OOO’s main goal is that the critic does not need to find events, accidents, or actions in the films to apply prior knowledge to them. In other words, while other methodologies try to confirm their own limits by abstracting them from the narrative, immaterialism lets audiences see what is deliberately conveyed in the narrative, even if it does not contribute to or amount to the level of dialectical progress of the narration.Dance with Me!, unlike "art movies" that are produced for global or western audiences, is a film that targets local cinemagoers in Iran. Its director, Soroush Sehat (1965), has a long experience in script-writing, direction, and acting in Iranian TV and cinema. In this paper, we take the characters as objects that interact in order to create momentum in the narration. Jahan (a Persian name meaning 'world', dropped out of the film's English name), is regarded as a thing at its last stage of life that has some important interactions with other things, from his family and friends to his domestic animals and properties. But, as its name suggests, the film is not simply a biographical drama about someone dying but instead it is trying to portray an improvised cinematic dance.Dormant objects, which according to immaterialism are things present before any interaction with other things, are considered in this paper to have great importance. Instead of trying to prove something or confirm some psychoanalytic realities, here we simply try to address dormant things that may have or not have obvious effects on the plot or the protagonist's consciousness but make a difference, provoke curiosity, and provide a spot in which metaphor becomes possible. So, while we care about what happens and how the narration goes on, we also have an eye on what remains dormant and escapes from the normative restrictions of cinematic narration in Iran.

The book "The TV Production Handbook" aims to introduce students to digital technologies for producing TV programs and also the presentation of the specific aesthetic of this medium for influencing audiences. In this regard, we confront explanations about technical facilities and how to use them, regarding qualitative analysis method for reviewing and analyzing the book "The TV Production Handbook", and, along with the use of theories of McClellan and Baudrillard in media criticism. Regarding this analysis, the important point is that for the invitation of the audience, and presentation of formal elements to influence, his choice for interpretation is restricted. His deprivation of possible alternatives in the visible image is an ideological aspect of the TV program. Standardization in choosing the visual form of programs and avoiding visual innovations in choosing the shot sizes, camera angle, etc. This can be called depriving the audience of their freedom to interpret the program.

This paper attempts to investigate the evolution of the concept of photography in Iran in light of changing political discourses. Focusing on the role of ideas and organizations, the study uses discursive institutionalism as a methodological approach. Photography as a modern phenomenon associated with the rise of the middle class can hardly be detached from socio-political circumstances. Photography, which arrived in Iran only 3 years after its invention in France, has always played an important role in major historical moments such as the Constitutive and Islamic Revolutions. During the Qajar dynasty, Shah Nasser-al-din’s obsession with art and photography led to the establishment of the first royal photography studio. During the Pahlavi era, with its modernization agenda, photography found its way into magazines and newspapers as the best means of advertising. However, it was hardly considered an artistic form. In the 1960s, one could see photo exhibitions by photographers such as Ahmad Aali, Ebrahim Hashemi, and Maryam Zandi, who considered photography a form of self-expression or an art form. However, in the mid-1970s, political and social upheavals changed the concept of photography from art to a revealing document and a political weapon. One could refer to the photographs of Kaveh Golestan showing working class and sex workers in the whore houses in the south of Tehran.

Impact on Iranian cinema, as well as its understanding, this study attempts to reflect Iran's repertoire of the works in the cinematic critique of six works in the cinema of the French New Wave and its cinema. Two cinema from Iran and France.It can be said that cinema, as the most influential art that depicts every thought and concept, was able to create a new wave with the aim of addressing the facts as a "new wave" that opposes any adaptation, imitation, repetition, and lie. This need for self-reflection and self-reflection made people more aware of the realities of their society without past barriers and pressures In order to achieve this intellectual, psychological and individual growth, one needs to doubt, investigate and investigate certain issues, to examine the basis of his beliefs in order to uncover the nodes formed within him, and his mental disorder To heal in order to reach peace with himself and restore his existential truth And it shares its inner peace with the world; it is thus manifesting itself to the world as it is in reality; it is self-reflective of the fact that the new wave of cinema has to be considered in order to achieve its goal, the reality of the world. Getting self-reflective is in his works, and self-reemergence is an inseparable part of the new wave of cinema..Because the new wave of French cinema reflects itself as a phenomenon of "transcendentalism", it seeks to clearly and transparently display its codes and structural elements, and has many functions, most notably its critical function. Regarding the nature of the subject, the study of the critical work of three self-reflective cinematic effects of Persia Khimavi's "Mongols", "That night, when Baron came" by Kamran Shirdel, "Close-Up" by Abbas Kiarostami, and three French New Year's " Truffaut, "Everything Going" by Jean-Luc Godard and Pierre Gourin, "Summer Memories" by Jean-Method, a type of descriptive-analytical research method and methods for collecting library information in the form of searching in scientific articles and books. Other tools of this research are observable. The research findings show that, Considering the world's need for a new approach to cinema and the emergence of a "New Wave Cinema", it is worth noting that in a world of this massive amount of communication and the pace of transmission, and given that humans inevitably had to adapt themselves to such a speed Forward, they may be subject to stress, confusion and superficiality, and compulsory exposure to the environment due to this wide range; To overcome these problems and prevent deep mental and psychological splits, they need to be self-aware and recognize their own weaknesses and strengths. In this regard, cinema, due to its wide extent in the world, has the greatest power of rapid, effective and profound transitions on people to enlighten the light of reason and awareness, to understand and accept duality, reality and truth in the world, and to have a peaceful attitude toward Reality and the world.

With the surge in translation of Islamic scientific works in the 12-13 century AD by the Europeans, a large number of these translations became available in Europe when Muslims were at the height of their scientific glory. Avicenna was a well-known Iranian scholar whose works in medicine and philosophy were well received in Europe. Avicenna's Hayy ibn Yaqdhan is an ancient dramatic work that was translated into French in 1889. It is possible that the English translation of Ibn Tufail's book of the same name and his direct reference to Avicenna's Hayy ibn Yaqdhan led to the first contact of Tolkien with Avicenna's book as inspiration for the writing of his novels. The Hobbit by J. R. R. Tolkien is one of the most fascinating contemporary fantasy fictions that enjoys immense popularity. This study used a descriptive-analytical method, touching upon the American-style comparative literature, to demonstrate that Tolkien's The Hobbit (2006) was influenced by Avicenna's Hayy ibn Yaqdhan irrespective of difference in their content, and examined this influence.

Lawyers are the most prominent actors in criminal justice movies. This is mainly due to the unique construction and representation that has been shaped by cultural, cinematic and political factors. According to the Fisk classification these three factors can be divided into three levels of reality, representation, and ideology. On the reality level, the cultural issues that challenge the performance of lawyers have affected the representation of Iranian cinema lawyers. At the level of representation, Hollywood cinema based on the accusatory system has had a significant impact on the form of defense and the authority of attorneys in court. On the ideological level, the image of lawyers has also been part of a discourse that has sometimes played a part and sometimes opposed to ideology and power. Prior to 1997, lawyers were largely active in the fight against the corrupt imperial judicial system, but had no success in this regard. After 1997, female lawyers entered Iranian cinema with positive representations. Female lawyers are trying to deliver justice to women in a patriarchal system, but they also fail to achieve their goals. The present study seeks to root out the backgrounds and causes of such different representations of lawyers in post-revolutionary Iranian cinema.

Abstract Adapting is the disputed discussion. It is important to know that adaptation is a theory, a concept or a process. But what the reaearcher thinks is important is the adaptation process. Early signs of literature in the sacred texts of the pre-Christian civilizations, showed that to this day, have taken on some form of adaptation. Analysis is of secondary importance to the discussion of the adapted work. Therefore, with an adaptive approach, the researcher intends to consider the process of the adaptive work and its analysis as twi variables. If we consider the achievement of an adaptive work from Gadamer's perspective as an independent variable, so we have to express the philosophical hermeneutics of the text. Also, if we consider the reading of an adaptive work based on Linda Hutchen's postmodern theory as a dependent variable. In this article, the two variables will be considered because do content analysis lead to the production of adaptive work or hermeneutics?

Nowadays, the concept of sustainable development is progressively considered in all contemporary activities, including art and has been featured in the cinema since2004 with introduction of the term "Ecocinema" as a field of study. Earlier, film criticism and analysis of the ecological issues was limited to the scattered studies of critics such as Wilson, Armstrong, Seibert, Mitman, and Bousé with the focus on wildlife documentaries. But from this year, and within a short time, all kinds of cinematic genres, from fictional to documentary and experimental films have attracted the attention of critics. Similarly, many researchers from the humanities and social sciences have focused on ecological issues in cinema studies. As we see nowadays the expansion of ecofeminist studies, representation of gender, ethnic, racial issues, along with local and global action within the context of environmental and biological justice and ecosystems. Besides considering the effects of cinema as an industry on the environment, part of these subjects is about the social and cognitive effects of cinema in promotion of ecological awareness. In this regard, the aim of this paper is to examine the relationship between aesthetics of cinematic image and environmental awareness of the audience. For this purpose, the relationship between sustainable development and aesthetics is explained first, and then, an attempt is made to classify different ecosystems from a thematic and a range of studies so that later on, the relation between image aesthetics and ecological awareness can be compared. Therefore, the following are clearly divided into two general categories by the experts, and finally a critical analysis of their views. This paper addresses the written views of the experts in this field by using descriptive-analytical and critical approaches. The results of the paper indicate that while all critics agree on the central idea that cinema is capable of portraying environmental issues and A closer analysis of films from an ecological perspective can reveal fascinating perspectives on the relationship of cinema with the world around us, but in terms of the relationship between aesthetics and ecological awareness, there are profound theoretical and intellectual differences that go back to how ecological issues are represented. While some experts such as Mitman, Brereton and Ingram believe in explicitly loading of the ecological message into films based on common patterns and forms of filmmaking, Bousé, McDonald, Vivanco, and Ladino find commercial cinema lacking the power to influence environmental awareness and the avant-garde empirical cinema, which uses different aesthetic forms than commercial cinema to express its subject matter, is the perfect vehicle for projecting ecological issues. Also, the critical examination of the two groups' views reflects three serious challenges in their analysis: 1) In many analyses, the relationship between aesthetics and environmental perception is not based on a theoretical basis, 2) In many works, serious attention is not paid to the main texts of research which are films in this case, 3) In many of these works that emphasize on audience behavior analysis, field research does not perform.

The book Understand Film Studies, aims to equip its reader with necessary concepts for film critique; in this regard the author describes the definitions of aesthetic and film structure, film genres and documentary, and by giving examples and expressing the basic concepts of each one, clarify the topics. But the ten approaches mentioned in the book, do not have precision and comprehensiveness enough for film analysis. The emphasis on Hollywood films and special privilege on director as auteur, palliate the up to date content of the book, despite the subsequent text-based analysis.

Georg Wilhelm Friedrich Hegel, the German philosopher (1770-1831) in his book:   Phenomenology of  the Spirit, (1807) devotes a section to the dialectics and the “master “and “slave” which  explores the power struggle between two individuals in the smallest unit of human accumulation in the history of spiritual evolution. Hegel has influenced the formation of the ideas of Jacques Lacan, a new follower of Sigmund Freud in psychoanalysis. Lacan introduced the notion of desire of a subject with an object and identification of concepts in regards to the “master” and “servant,” according with a combined view with Hegel. In other words, desire for confirmation that he/she should do with the same manner. Although that confirmation can be implemented only by a living creature, a power struggle starts between two people. This battle must continue close to death because the individual can prove that he/she is truly human if only they endanger their lives for confirmation, but this battle should end near one of the opponent's death since the confirmation can only be done by a living creature. The battle ends when one of the opponents walks away from the desire for confirmation, surrenders to the other, and confirms the conqueror as his/her "master" and becomes his/her "slave". The dialectic of “master” and “slave” are related to psychoanalysis by Karen Horney, Jacques Lacan, and other psychoanalysts. Thus, the relationship between man and woman are the relationship between “master” and “slave”. Therefore, the research issued in this paper analyzes the dialectical relations between the couples (male/female) in Asghar Farhadi's Le Passe (2013) movie, which is produced in France. This article through psychoanalytic signs has implied in characters' action and speech and with a reference to other psychoanalytic schools. Data gathering method in this research is based on observation of the film, in which its content is analyzed through using the interpretative method and psychoanalytical approach. Accordingly, the dialectic of power exists in every two-way relationship, including the relationship between man and woman. This research has, through interpretive-analytical research, examined the dialectical relationships between couples in Asghar Farhadi's other films, as an example of studies of middle-class multinational community. The results show that the position of male and female characters in the two “master” positions or “slave” in the previous film depends on the social status of individuals and the effect of migration on their position in this dialectic. This article opens a different path to Farhadi's films. The result of this research conveys that the position of male and female characters within the category of “master” and “slave” in this film is related to people's social status, and immigration has an enormous effect on people's position in dialectics. This research is conducted based on the relationships between the alleged film's characters as a reflection of real individuals in society and as an analysis of power relations between the individuals in European society.

The book, A Short Guide to Writing about Film, is a description of how to analyze movies, and closely linked to thinking about film and writing about it. To achieve this goal, the author focuses on defining the terminology and professional concepts of cinema and movie analysis approaches. For analysis and critique, it is necessary to have theoretical plan for analyzing; but the described approaches in this book, are not the main movie analysis approaches, and for instance, approaches like formalism and ideology lack a theoretical basis; especially in this book, formalism is considered the same as structuralism.

There is a character in a significant number of fictional films in Iranian cinema that are often referred to as "Jahel", a character that can be said to have been popular before the revolution. This character has been making his way to Iranian films since the mid-thirties. In this research, we have explored the emergence of this character in Iranian cinema in the overall socio-historical context with Due to the state of cinema and filmmaking during the period under discussion. The results of this study show that what hasbrought attention to "jahel", is the despair and reluctance of the manifestations of Western civilization and, as a result, the search for indigenous solutions both among the masses and among the intellectuals. This was the result of the occupation of the country in World War II and the government's attempt to sub-Westernize Iran during those years.On the other hand, Iranian filmmakers, who could not technically compete with foreign films distributed in cinemas, had to approach folk culture and language in themes, characters, and dialogues. so The Jahel character, who popularized by the story of "esmal in New York", is being drawn to the attention of filmmakers and audiences.

Causality is a significant concern to humankind and also a fundamental philosophic concept. Western philosophers whose ideas are discussed in this research, studied cause-effect relationship from different point of views. Cinematic narrative is a combination of causality ,time and space system. In classic narrative which are typically in Hollywood films, causality is the most important element that guarantee the coherence and unity of a plot. Since the causality in Aristotle's philosophical tradition was essential, the cause-effect relationship in classic cinematic narrative is also based on the principle of necessity. Cause-effect relationship in postmodern cinematic narrative is accidental. It seems that variation in cause-effect relationship through philosophical thoughts resulted in transformation of causality in film narrative structure. Since narrative in Iranian films is in part a reflection of the narrative in western cinema, this study tries to investigate and assert the impact of philosophical causality on the cause-effect relationship of cinematic narrative. Furthermore surveying the Taste of Cherry (1999) by method of content analysis is considered to examine the narrative variation from conversion of the cause-effect relationship

Regarding Critical Discourse Analysis approach based on the theories of Norman Fairclough, this article is concerned about the class status of individuals of characters in Firework Wednesday (2006), About Elly (2009), A Separation (2011). Representation of class status of characters has made from macro-pattern of political economy, based on Erick Olin Wright’s theories in production and consumption of these films. Relations of power in social structures and proceeding related to development of Iran, lead to class gap and unequal enjoyment of amenities in the period of making and exhibition of these films, and we see such this representation.
After declaring of middle class and under-class distinguish based on accessibility of ‘means of production’, skill and management, with the critical discourse analysis, this essay leads to conclusion that, the way of representing characters in above mentioned movies, is a kind of reproduction of the relativist dominant ideological discourse, and is in contrast with the marginalized of society and sees them as a threat.
Using library resources and interpretive analysis method and after description assortment of Iran’s urban middle class, this research leads to this conclusion that, the way of representing characters in above mentioned movies, is a kind of reproduction of the relativist dominant ideological discourse, and is in contrast with the marginalized of society and sees them as a threat

The second Pahlavi reign implemented many policies with distinct intention of modernization. With such grand vision for the country, this changes ultimately had great impact on the arts and their direction within the country. One such discipline was in theatre and the film industry. , Iran launched an unconventional cinematic trend after the announcement and implementation of policies based on the expansion of capitalist relations and political repression of dissidents through modernization of Iranian society during the second Pahlavi ruling in 1950s and 1960s. Various reasons can be identified for this evolution; but undoubtedly Iranian filmmakers associated with the literary circles of the Iranian community in the context of modernization and adaptation of modern cinema, were one part of these major changes. Khesht va Ayeneh (1344) by Ebrahim Golestan, is an exemplary film that both the content and form are different and innovative. Khesht va Ayeneh in addition to being affected with the new wave of cinema before the Revolution, is completely in contrast to the direction of those years in which cinema was heavily indebted to European artistic cinema. Mise en scène and the movement of the camera, the editing film as well as screenplay and dialogue writing style that were influenced by modern literature, are some of the key components that have become fundamental characteristics in Golestan's movie. Realistic and symbolic language come together in Khesht va Ayeneh, in the other words, while the film defines a realistic story, with the help of dialogue, filming technique, framing and so on, it takes a modern, metaphorical and poetic form to itself. This is how the use of symbolism and poetic language along with realistic logic creates the element of atmosphere in classic cinema as well as in the language of film. The main theme in Khesht va Ayeneh is the collapse of human relations and their sacrifice in traditional society juxtaposed with the challenges of modernity, a reflection of the society at that time. Mikhail Bakhtin, one of the main theorists of the twentieth century literature, suggests that the logic of conversation is a way to order a modern literary structure. His focus on literature is completely related to linguistic structure and structuralism. One of Bakhtin’s main theories is that words are social signs of active and dynamic implications that reflect different meanings among different social classes as well as various social and historical conditions. Bakhtin presented the works of Feodor Dostoyevsky as a Russian example for Dialogism theory. Dostoyevsky's stories are multi-sound and polyphonic structure. Dostoevsky does not impose his views as an author, but each of the story characters have their own logic and sound and freely can express their own statement. Khesht va Ayeneh is based on this theoretical analysis. The purpose of this study is a cross-examination of how conjunction of literary art and theater changes with the modernization of this period. Khesht va Ayeneh features the views of Bakhtin and his conversational logic, mirroring modern narrative techniques in literature, which in turn becomes an influential focal point for some leading Iranian filmmakers.

This study is an attempt at examining staged photography series “By an Eye witness” by Azadeh Akhlaghi. In these photos, historical events were reconstructed by staged photography and a reflection of the photographer's attitude towards the moments of death, murder, and burial of the people who made turning points in the contemporary history of Iran could be observed. In this series two types of narratives are retrievable: every frame which narrates the death or murder of a person or a group of people, and the narrative which is produced as the mind of the viewer is vacillating from one photo to another. To examine this series, Roland Barthes's theories in S/Z and Camera Lucida were used. Among Barthes’ five codes, Proairetic and Hermeneutic were utilized to comprehend the photographer's attitude and symbolic, cultural, and semic codes were used for interpretations of the viewer. Later on, Barthes added accreditation code; the codes that let the artist present his piece like a reality. In all photos, a considerable attention was devoted to redefinition of particular moments related to the photograph's choice; using this view breaks the codes and analyzes the sampled photos. The viewer experiences the narratives through moving from one photo to another and becomes the interpreter of the photos. This article shows that the series of photos is between writerly and readerly texts. On one hand, the photographer tries to narrate the historical events as it is and leaves no room for the viewer's interpretation and on the other hand, the viewer comes to a narrative reading as he sees the sequence of the photos, so goes beyond the photo. By means of Barthes's codes, it can be concluded that “By an eye witness” series change to a writerly text, a text which consciously and indiscriminately depends on the viewer's impression and sense making.

One goal of comparative studies of literature is to search for the human “truth” that has appeared as archetypes in the literature of all nations and all times. In this paper، the author draws an archetypal comparison of romantic love in the French story of «Tristan and Iseult» and the Iranian epic romance «Samak-e-‘Ayyar». It starts with explaining the Jungian concepts of mother and father archetypes، anima and animus، conscious and unconscious، as well as collective conscious and unconscious. Since individuation process in the Jungian psychology has to do with the connection between the conscious and unconscious، the tale romantic love could be seen as individuation process in which each lover seeks to connect to his/her anima (feminine unconscious) and animus (masculine unconscious)، based on his/her gender. After providing a synopsis of each story، the author explains the archetypal roles and symbolic meanings of kings، queens، heroes، witches، and princesses in each story using Marie-Louise Von Franz’s methodology for the interpretations of fairy tales. It then compares romantic love in each story by analyzing its characters، functions، and events، and explaining its similarities and differences. Since archetypal literary analysis reveals the attitude، outlook، and behaviors of the people that the myths are originated among them، this comparative study aims to answer to a rather broad question: How is it that in the French story of the 12th century، romantic love ends with death and tragedy; however، in the pre-Islamic Iranian tale، it ends with the union of lovers?

Human’s house without any consideration to physical dimensions and natural and climatic regulations is affected by the cultural factors of society, beliefs and the non-material needs of life, which give meaning to human’s residence. In residential architecture, socio-cultural factors, effective on people’s daily life and their living methods, exert some important regulations on the subject of house; therefore study of the characteristics of vernacular houses without cogitation is not very useful. Paying careful attention to cultural characteristics of the architecture of people’s houses and mentioning the functions of house with this respect, originated from socio-cultural characteristics, reciprocal actions and human relations, are the subjects of this article. Therefore the main question of this article is this: what socio-cultural needs have affected on vernacular houses, in other words, what are the needs of vernacular houses? This article which is theoretical with a view to type, in post-structuralism and qualitative paradigm and paying careful attention to daily life is in the theoretical frame extracted from the theories of Amos Rappaport and Edward Hall. Gathering the information of this article was based on library studies and investigation of field observations. The research strategy is descriptive- analytical. The article information was analyzed independent from numerical documents and in a comparison procedure. In this article, house has been studied from the viewpoint of cultural needs. The research findings show that selection of house has been one of the most important transformations of people’s life in pre-historical period following to taking an important decision based on settlement and is synonym to an existence selection. House is visualization of the view to life and is built in continuation of life style. Vernacular house, which is one of the people’s architecture, is the visualization of culture without any chapter and as well as being originated from social characteristics, has a key role in production and visualization of culture. Architecture of vernacular houses is the symbol of tangible needs and the society’s values and the people’s ideology. Reciprocal effects of natural, economic and socio-cultural factors on each other and on house depend on time and place and totally form living methods, which are some of the most important factors for vernacular houses formation. The research result is a statement of distribution of cultural functions on promoting residential quality, meeting non-material needs and inclusion of belief characteristics.

In the case of the crisis of identity، one of the obvious emblems of the objecting new wave in cinema before the Islamic revolution is to express the national identity. In this study the problem is to recognize the components of national identity in Bahram Beyzaie works. introducing the concept of identity، it’s dimensions and components the ingredients of identity is searched in three main films of Beyzaie named as: Ragbar، Qaribeh va Meh، Cherike-ye Tara. Content analysis and extrovert analysis is used in this way. The facts exposed in study are social، cultural، political and geographical facts. the historical national identity is the most central instances taken into account. The results show that Beyzaie prefers to detect the cultural and historical identity On to the other aspects such as political or geographical identities. It seems that he believes in attaining a modern identity through the intellectual implements of tradition. After analyzing Bahram Beizay’s movies this conclusion comes to us that identity belongs to meaning and meaning is a percept that can be made، this is the effort he puts in his movies. This research is done on 3 of Bahram Beizay’d movies made in the years 50،53 and 57، the purpose of this paper is identifying the dimensions and components of national identity in his works. In this research this has come to view that in all three films “the problem of identity”، are of the repetitive elements and the main meaning of Beizay’s movies is the identity crisis. But the quantity and type of this tendency is various in different times. In Fact heroes in his films tent to understand their identity as the time passes and in the last movie، which was mad in 1357 in time with the victory of Iran’s Islamic revolution، the heroin Tara achieves a full and perfect identity. In the film Ragbar the director pays most of his attention to the cultural and political dimensions of national identity and the geographical، historical and social dimensions are of less importance. The director declares his dissatisfaction to the political system and the ruling power of the country but he also shows his attachments to culture، society and geography. In the movie Gharibeo meh the director shows nothing but a small amount of attention to national and political identity and only social and historical identity are of importance to him. In this movie the director has a critical point of view to historical identity and the worry of finding a social identity is highly apparent in the movie. In the movie Charike Tara Attentions was paid to all the dimensions of national identity except the political one. In this movie attachment to historical identity is more that before and also cultural and geographical identity is of importance. In an overall deduction، it seems that the director after his primary protests to imposed political identity in the movie Ragbar decides to pay no more unnecessary attention to the ruling system، and instead shows the importance of the cultural identity to his audience and encouraging them to search for their historical identity. The director knows the reason for crisis in other aspects of identity to be because of the society not being award of their own historical and cultural identity. In his movies he knows self awareness، the feel of belonging and being attached to values، beliefs، signs and national myths and knowledge of Iran’s geography and cultural heritage to be of great importance and the way to salvation

This article is a comparative study of the hero’s journey in the myth of Gilgamesh and thefilm named The Deer. Mythologists use different morphological patterns for applying to various literary and cinematic texts.This study aims to investigate to what extent this pattern of the hero’s journey could be found in two works, one literary and the other cinematic. It seems that the film The Deer is similar to the myth of Gilgamesh in its content. In the absence of mythological studies on Persian new wave cinema, the main idea is to use Campbell’s model in an archetypal approach.According to the archetypal approach, three phases are recognized in the hero’s journey as “departure”, “initiation”, and “return”. The present study will analyze these three phases and will conclude that Campbell’s model is well applicable to both works while the film named The Deer shows more resemblance to Campbell’s model than the myth of Gilgamesh.

Expressive evolution of hybrid cinema in reproduction of reality and cultural logic of capitalism is the aim of this article. Hybrid is a new method for production of laboratory and commercial goods, with modern composition and implication characteristics. It has been posed firstly, in animal and plant species biology and then extended to industry and culture. The cultural logic of late capitalism which is rooted in diversity seeking has promoted such an aesthetic. In contemporary cinema culture, hybridization of reality and imagination has been basically changed; because of access to the modern digital techniques through simulation, in which reality approach has been replaced by virtual strategy. According to political economy analysis of the Fredric Jameson’s typology the way of expressing imagery signs applied in reproducing the reality in cinema has been accompanied by the reality concept changes in various capitalism areas. Also, Jean Baudrillard believes that the hyper reality signs do not refer to any object and are just media-made virtuality which has been referred as simulacrum. The theoretical ackgrounds of the present study were formed based on review of the key reasons for the reality success in cinema concerning style and technology, and with regard to various cultural logic eras, as well as capitalism development. The research theoretical framework is based on a combination of typology and political economy growth and capitalism development, aimed at analyzing the hybrid position in reality reproducing. Among the post-modern thinkers’ ideas, we have used those of Fredric Jameson and Jean Baudrillard; because of their critics on capitalism developments and the typology application in imagery media. Studying the pro and con ideas in this regard requires explaining that promotion of the visual images’ quality in digital cinema has removed the distance between reality and imagination. The main goal of this research is to recognize different capabilities of combining a live film and animation, in hybrid cinema history. It doubtlessly is beneficial for the Iranian cinema, theoretically and practically. The basic hypothesis of the research states that: in hybrid cinema, the reality reproduction both in live film and animation has been realized based on simulating the imitative signs in symbolic signs according to capitalism’s cultural logic. Therefore, imaginary signs don’t refer to any real object, but to the film world. Here, we are going to consider and analyze two films made based on the King Kong (1933 and 2005) in the early and late capitalism era, under the influence of realism and post- modernism cultural logic. The findings of the research show that the modern expression mode of the current cinema has consolidated the hybrid cinema’s multiple systems, through digital systems performance. It also uses miseenscen’s general expression, in order to apply the computerized unlimited layer age. The comparative analysis of the two era’s cinema reveals that applying live film in hybrid cinema has led to dominance of the hyper reality space; also it has entered the real personages into the virtual space

The Iranian “New Wave” filmmakers started to pay attention to social changes during the Pahlavi regime. Imperial Pahlavi successfully suppressed his political oppositions in decade of 1332-1342 (Hijri Shamsi) and spread a social reform during the following decades in 40’s to 50’s. The Iranian cinematic movement that was called New Wave by some Persian film critics because of its similarly to the new wave cinema in France as well as its simultaneous happening, criticized government’s pseudo modernism of that era.The Iranian “New Wave” filmmakers started to pay attention to social changes during the Pahlavi regime. Imperial Pahlavi successfully suppressed his political oppositions in decade of 1332-1342 (Hijri Shamsi) and spread a social reform during the following decades in 40’s to 50’s. The Iranian cinematic movement that was called New Wave by some Persian film critics because of its similarly to the new wave cinema in France as well as its simultaneous happening, criticized government’s pseudo modernism of that era. These filmmakers made films that many of them were censored or even banned by the Pahlavi regime until the victory of the Islamic revolution. The Iranian New Wave movies were strong in their screenplay and artistic form and cinematic structure; and are well known for their mise- en-scène, shooting script, montage, costume design and make up. In other words, the Iranian New Wave films not only attracted the Persian audiences but also raised the level of expectations. Besides being influenced by main international movements like new realism in Italy, and new wave movement in France and auteur theory, Iranian New Wave filmmakers were affected by world’s literature and the contemporary critical sociology of Iranian intellectuals. In fact the movement originated the Persian new literatures, more specifically the modernist writers. Most of the filmmakers were accustomed to literature in a new way and this affection lead to evolution in narrative modes in cinematic works. The movement was much affected by the auteur theory in practice. Alike French new wave, Persian filmmakers had an affinity with literature but they preferred a new adaptation with cinematic creation. Considering adaptation, most Iranian filmmakers added their own interpretation to fictions. Some of these filmmakers in fact were active in writing short novels or plays. In that era, dominant cinema in Iran well-known filmfarsi (dragotory name given to a genere if Iranian films) imitated Hollywood and Indian films. Persian popular films, as the state apparatus propagated consumerism, promoted lustful living and happy lifestyles. Superstars of these films entertained their target movie audience mainly with song and dance. Two films, The Cow (1348) and Shazdeh Ehtedjab (1353) have chosen for case studies. These films were adaptatons from Persian modern literatures and received a number of international awards. Their directors, Dariush Mehrjui and Bahman Farmanara, tried to transfer Persian modern literature using the language of cinema. We have concluded that the development and spread of the new wave movement in Iranian cinema had direct relation to the Iranian society passing from tradition to modernity.