amir abbas mohammadi rad

This study applies quantitative content analysis, and Paul Gee’s context analysis methods to analyze the representation of everyday life objects in works of Iranian contemporary photographers. In this respect, answering the question about meaningful differences in the choice of subject and the artistic styles in the works of male and female photographers seems necessary, through studying different characteristics of works of contemporary Iranian photographers.Artists use everyday objects to arise artistic perception of the audience and inspire them to contemplate what seem to be ordinary. Whereas such art works represent an object, they challenge everyday subject to express artistic ideas and invite the audience to think.This study investigates seven important linguistic actions and five activities in each art work provided in two different tables, in details.What is derived as  result, is a meaningful and obvious difference in representation of objects in works of male and female photographers.  Photos of this study are selected through targeted sampling method.Key words: Content Analysis, Context Analysis, Everyday Life Objects, Iran’s Photography. One of the most important reasons that make everyday life a subject worthy of research is its ordinary nature. It was from the end of the 20th century that social theorists considered daily life as a dynamic and controversial subject. Since the beginning of the human consciousness and his approach to art, countless common objects and elements have been among the shaping factors of works of art. Especially photographers have emphasized their aesthetic aspect and importance in life by looking at and recording objects. In the photos where the objects are next to the portraits, you can understand the class and social position of the people.The collection of photographs whose main subject is everyday life objects and tools, as well as dealing with the difference in the representation of everyday life objects in the works of contemporary Iranian male and female photographers, form the subject of this article. This representation of objects invites the audience to think and try to criticize the phenomena and normal affairs of everyday life. For this purpose, and better presentation of the concept of the article the works of the following contemporary Iranian artists have been studied: Shadi Qadirian (two collections), Mitra Tabrizian, Farshid Azarang, Mehran Mohajer, Neda Razavipour, Maitham Mahfouz and Behnam Sediqi.This article uses the combined method of qualitative content analysis1 in order to describe the collections and analyze the text with an approach to Paul Gee’s discourse analysis method, which on the one hand expresses the constituent parts and components of the text and on the other hand expresses its internal actions.  The sources were collected through was field study and library research. The method of selecting works is based on targeted sampling among the works of male and female artists since 1991.Content analysis is actually the classification of signs and the description of the explicit content of the message. It can be defined as a technique used to classify signs. Content analysis as a method recognizes and highlights the main points or axes of a text (or photo, video, etc.). In this method, the implicit content of the work needs to be examined as much as the obvious aspects. In this research, descriptive analysis is used to point out the frequency of specific topics and general theme analysis. This article has benefited from content analysis in the description of the collections and Paul Gee’s text analysis. According to Paul Gee, the analysis of the text is the analysis of the language used in the situation. In this research, language means the system of representing everyday life objects in the works of contemporary photographers. Paul Gee believes that the internal dialogue of the text shapes its conditional meanings and it is not possible to get out of it. As a result, the artistic text is able to create its conditional meanings through its internal language. According to Paul Gee, these texts have a kind of social praxis that creates identity. These texts create new actions and promote new policies.In this research, with the help of Paul Gee's discourse analysis method, we will identify the linguistic actions that are performed in each of these functional parts of the language. In his two books, "Introduction to Discourse Analysis Theory 2005" and "Discourse Analysis: A Toolbox 2011", James Paul Gee has mentioned the method of discourse analysis, which believes that every linguistic text consists of "six parts". And according to the "seven linguistic actions" that the language performs, reality occurs. If in the analysis of a text (here we mean photography) we can identify these seven linguistic actions and the linguistic elements and relationships that make these actions practical, we can analyze the descriptive discourse of a text.What this study emphasizes on is not the descriptive attention of the existence of objects, but it is a door to confronting and contemplating the objects, which leads to reflection on everyday life and to the explanation of the difference in the representation of everyday life objects in the works of contemporary Iranian male and female photographers.In contemporary art, objects without human presence also have a meaning and have a special place. The beginning of the use of objects in art goes back to Marcel Duchamp who, by using the object itself and changing the title, changed the attitude towards matter and caused a revolution in the attitude towards everyday objects. Although this representation has been accompanied by ups and downs in the expression of the idea, the mere representation of it has not changed. For example, in the past, artists used objects for their representation and visual appeal, and in the modern era, this representation has led to a change in the artists' vision of the objects and phenomena of everyday life. In the era of new art, where the idea behind the representation of objects is to invite the audience to think and contemplate the artist's perspective, the objects of daily life have continued to be a constant in modern art. In photography, which is one of the branches of art, objects have always been the constant basis of images, either separately or next to people. In this article, an attempt has been made to examine the importance of objects in the works of male and female photographers and how they are represented.This article deals with the representation of objects in the photographs of contemporary Iranian artists, and by studying the characteristics of the artists' works and how they deal with the subject, it aims to answer the question of whether there is a difference between the representations of everyday objects in the photographs of male and female artists. In most of the photographs taken by female artists of objects, they are represented next to women; while in the works of male artists, objects have an independent identity and only the physical and commodity aspect of the object itself, has significance. In photographing objects, women seek to give importance to women's identity and assert lost social rights. A work of art is an object that has emerged from the artist's perspective on world affairs. What has turned the everyday object into a work of art in these works is its separation from the context of everyday life. Through art (here, photography), objects are separated from their everyday functions and become objects to be seen. It is their separation from their usual context that gives them an appearance and makes them worth seeing. In this type of looking beyond reality, the value of objects and materiality is revealed and they can be separated from their empirical dimension through observation and reflection, and can be considered art. In Art as Device, Shklovsky claims “there is a difference between everyday objects and artistic objects because there is no insight in everyday objects and we experience them unconsciously." In fact, by emphasizing everyday objects and highlighting them, these works play an important and fundamental role in creating meaning and turning them into a work of art.

Throughout history, humans have faced the phenomenon of war in their lives, and war is also a set of social issues that are included in the category of anomalies in human life, as well as damage and consequences. It brings with itself destruction, anxiety, chaos, and death. Naturally, due to the mentioned reasons, the artists of the societies react to this issue and are influenced by it. Artists, as leaders of art and culture, have different approaches to war based on the time and place conditions, the aesthetic standards of their era, as well as their expertise in different artistic fields. The effects of historical wars, both big and small, can be seen in different ways in the cinematographic, visual, literary and musical Artworks. In Artworks related to war, artists represent narratives and individual and collective feelings. These concepts make the survivors and the new generation understand the events and disasters that sometimes bring a sense of shame and sometimes a sense of collective pride. Artists throughout history, inspired by some common cultural, political, and social conditions, record narratives or embody their personal view of events, among which some retell the war with a heroic perspective, and some also depict catastrophes and destructions. These cases are sometimes evident in the world of anime and animation. Anime and animation, due to their features, i.e., conveying feelings with the help of images and movement, the freedom of the artist in designing characters and using visual elements and qualities, makes it possible to create a deeper connection between the artist and the audience. Many artists around the world have recounted the tragedies and consequences of war by relying on this field of art. For example, Japanese anime artists such as Miyazaki and Takahata have started creating works of art in line with the Second World War, which had engulfed Japanese society at times. The swing is considered to be the work of Isao Takahata. It should be noted that animes, which are animation products specific to Japan, include a collection of several artistic fields, including drawing, painting, acting, dancing, sculpture, photography, and music, and in this, it can be said: Anime art is included in the category of visual arts, in such a way that aesthetics, the effect of its elements and its visual quality require a general understanding of the principles and basics of the aforementioned arts, as well as having visual literacy, because having a coherent artwork comes from the basic combination of qualities and visual elements that some of these qualities and visual elements are changed in line with the theme of the anime. It seems that the focus of the war on some elements and visual qualities was not unaffected in the anime "Grave of the Fireflies". From this point of view, the question raised for the researcher is: What effect did the centrality of war have on some visual elements in the pictures of the Japanese anime, Isao Takahata's Grave of the Fireflies? And the purpose of this research is to study the effects of the focus of the war on the visual elements in the pictures of the Japanese anime, Grave of the Fireflies, by Isao Takahata. This article has been done in a descriptive-analytical way, and the information contained in it has been obtained through the use of some library and internet sources, as well as observation and study of Isao Takahata's Grave of the Fireflies anime have been collected. In this way, some of the visual elements and qualities present in the considered sample pictures have been investigated based on the effects of war on them. The findings of this research show that: the lines that in some way lead to the formation of the texture as well as the rhythm, in the example of this research, have the task of showing the facial scars, scratches, and characters having mud on their  bodies. In this anime, the intensity and weakness of the lines in some scenes intensify and induce the sense of isolation, loneliness, and suffering caused by war. If we pay attention to the design of the two characters Sita and Setsuko during the anime, we will find that the closer we get from the beginning of the work to the end, the more lines appear on their faces, bodies, and clothes, The multiplicity of these lines and the textures formed through them in the pictures of the artwork can express the helplessness, fatigue, endurance of many hardships and the physical damage caused by the war to Sita and Setsuko, which, of course, in this anime is similar to the rest of Takahata's works. The peripheral lines of the elements and characters are also preserved, of course, these types of peripheral lines are a signature of the director. In animes such as Grave of the Fireflies, which follows the theme of war, in the scene after the air strike on Kobe city in this anime, when Sita looks at the cityscape from a distance, the  ruins look like they are covered with a layer of grey colour. For example, the greenness of the plains has been replaced by dull green colour and the blue colour of the sky has been mixed with grey as if they carry a layer of dust and sadness with them. Of course, it should be noted that the game with the element of colour and its saturation is also used as a tool for emphasis in the pictures of the work, such as when the people of the city start collecting debris and destroyed household items. They say that Sita and Setsuko appear in the centre of the frame with a bright and clear colour and the rest of the people who are struggling in the background are depicted with high colour saturation, thus emphasizing the main characters of the story. The presence of contrast both in the content and visual layers of the work shows the contrast between a peaceful life and a life full of anxiety and pain caused by the war. In the content part of the work, we can mention the cherry blossoms. In Japan, every year during the blooming of the cherry blossoms, a ceremony is held along with an excursion in nature. These blossoms do not survive more than a few days and soon They are lost. The depiction of the family of four, Sita and Setsuko, in the middle of a bunch of cherry blossoms, can be a sign of the short life of this war-torn family, because in the rest of the scenes of this anime, each of these characters painfully lose their lives. It is clear that the desired visual elements do not create a sequence by themselves or by chance, but it is the director who arranges the characters and other elements according to the centrality of the work and the content in it. In the anime "Grave of the Fireflies," it seems that the composition has been done carefully and based on the principles following visual arts and cinema. For example, the opening images of the movie Sita's Half-life at the train station, show the use of golden proportions in the composition of the desired anime image. The correct use of elements made this work known as the best anti-war anime. The images in this anime are like paintings that have preserved their beauty despite portraying a bitter and dark story. In the image of the escape sequence of Sita and Setsuko, the composition of the page is such that the two characters are surrounded by circles. The placement of two figures from the back view in the middle of the circular frames, which themselves induce a magnifying glass-like look, evokes a sense of pursuit in the audience, these views, through the correct composition design, even the moods, the spirit of the characters has also been well conveyed to the audience. Movement, as a visual element in anime, sometimes carries with it a sense of enchantment and magic, in the anime "The Bury of the Glow Worms", the movement and vibrancy of the worms give the audience a magical and enchanted feeling. Because, when the characters of the work are disappointed, fireflies appear, in the middle of the rice fields in the dark of night when Sita and Setsuko talk about family and parents, the sky is full of worms. It becomes a nightshade. And when the candy can of Setsuko is thrown out of the station as garbage by the train station attendant, the fireflies start moving again in the form of luminous and magical points.

Nations have their heroes unimaginable qualities from ancient times; these heroes are sometimes eternal and out of reach like the gods in ancient Greece, the spirits of nature in the land of Japan, and the Emshaspandan in ancient Iran. Each of which is the source of transcendental powers, and sometimes, like earthly and ideal beings, who have appeared in the national epics of every nation, fulfilling the golden as well as unsatisfied desires of a nation. Like Shishigami or the spirit of the Japanese legendary nature and Rostam and Esfandiar in Ferdowsi's epic. It should be remembered that in all myths, the two forces of "good and evil", "Ahuraian and demonic", "good and evil" are always in conflict with each other and "good" will prevail over "evil" and for this reason, the same concepts are seen in the creation of most tribes. The controversy of this duality, one of which is rooted in light and good and the other rooted in darkness and evil sometimes it will end up in the hands of mythical heroes. In the history of ancient Iran, two forces are constantly in conflict with each other, one is the symbol of light and good and the other is the force of darkness, which represents evil. The force of good is the force of Ahura, and the force of evil is demonic, like the gods of good fortune in Japan, who in some manifestations worship demons or symbols of evil. In the manifestations of good and evil, the heroes manifest all the positive traits, and the anti-heroes also manifest the characteristics of evil Therefore, anti-heroes engage with them sometimes for sensual purposes and sometimes to diminish the ability and competence of the manifests of good. These concepts are now conveyed to the audience in the new format with the same messages in this way, the manifestations of the forces of good and evil were widely narrated first in the form of stories and legends it was possible that through art, the heroes in them became visible and carried their own identity and message. In the field of art, animation and anime are some of the appropriate ways to turn myths and stories carrying the concepts of good and evil into a visual message in communicating and conveying the message to the audience. It can be said that animation is one of the most faithful media to the theme and structure of myths inspired by myths and can present the narrative to the audience from a new perspective. Persian and Japanese myths and legends carry some similar features, including in the manifestations of good and evil which can be displayed through animation. In other words, the elements in myths and legends are a good tool for illustrating and ultimately creating an animation. One of these Japanese anime works is The Legend of Princess Mononoke by Hayao Miyazaki and Iranian Animation is the latest story by Ashkan Rahgozar which seems to have a common basis in representing the concepts of good and evil in their images to convey to the audience. Thus, the question posed in this article is: The manifestations of good and evil in contemporary Iranian and Japanese art in the two cases of the Japanese anime Princess Mononoke and the Iranian animation of the last Fiction, what do they have to do with each other? And its purpose is to discover the relationship between the forces of good and evil in the contemporary art of Iran and Japan in the two cases of Japanese anime Princess Mononoke and Iranian animation is the last story. This research is of descriptive-comparative and has been done by library tools as well as observation and review of some Iranian and Japanese animated cinema series. The method of data analysis in this study is qualitative, relying on the research method and by the focus of the present study, comparison and study between picture data on two case studies have been done pictures and texts in this article are mutually exclusive and complementary. In addition to written documents, pictures are also referred to as advanced research goals. Based on the cases mentioned in this article, first, in two sections, the conflict between good and evil, as well as good and evil in creation, are described in general from the point of view of Iranian and Japanese mythology. Then, for a better understanding of the contents, a review of the Princess Mononoke anime and the animation of the last story has been formed. In the following, by examining the method of characterization in two works of form and also the colors used in creating the character of the representatives of good and evil (hero and anti-hero) are examined. As well as the transformations made in the form of the characters of good and evil in the form of Mononoke have been studied. Finally, in addition to adapting the characters of the Iranian guards to the Japanese ninjas, the effects of the demonic touch on the bodies of the heroes and the visual changes in the appearance of positive characters have been studied. It should be noted that using the mentioned method in research, the nature of which is a kind of comparison between cultures and nations opens the way to the issues, questions, and goals in the present article. In the section on the struggle between good and evil, it should be said: The conflict between good and evil is also referred to as the war of light and darkness. This is also the case in the creation of most nations and nations of the world from the point of view of mythology, and the very beginning of the creation of the world, its system has been a dual system. For example, in the creation system of Iran and Japan, from the point of view of mythology, from the very beginning, the forces of good and evil enter the world arena. They are the product of evil. Sarwan is in the Pahlavi writings of the god of time. According to Zoroastrianism, at a time when nothing existed, Zarwan worshiped as a constant god to have a son with the ideal characteristics of Ormazd. At the same time, the devil's sperm is formed next to Ormazd. In Japanese mythology, as well, there is a double standard. The Japanese male deity is called Izanagi Nomikoto and the female deity is called Izanami Nomikoto. Izanagi and Izanami descended on the earth according to the order given by the old gods, they were ordered to create the earth, and finally, they built a suspension bridge between the earth and the sky and stood on it. Izanami is the god of good and Izanagi is evil. Today, such concepts, in the field of art and the production of anime and animation, in addition to differences in nationality, sometimes appear in the same way in the form of pictures. These functions and similar forms can be derived from the use of some identical visual elements in the creation of the characters of the two works. The creator of the artwork, with elements such as form, color, texture, and other visual features, can show the good and evil of the nature of the characters in the anime and animation to the audience through the pictures. Because by using these elements in character creation, some concepts can be represented in a way that is more understandable according to the taste of today's audience. In the Japanese anime, The Legend of Princess Mononoke by Hayao Miyazaki and the Iranian animation The Last Fiction by Ashkan Rahgozar, which have a legendary-mythical genre, some of these performances have the same function and sometimes the same mood. The mentioned cases are a kind of narrator of the manifestations of good and evil in contemporary Iranian and Japanese art in the form of anime and animation.

One of the methods of visual expression that presents a story and narrative by relying on a visual language called comic book and in part includes the two main categories of comic strip and manga Each of which is a collection of sequential paintings that in their way tell a story to the audience. Comic strips in the modern sense originated in the United States, and in contrast to them, manga originated in the East, especially in Japan. Among these, Japanese manga has a large audience in Iran today, especially among young people, which has led the country's artists to create comics with Iranian features, including the comic "Marz"., it seems that the Japanese manga, willingly or unwillingly, as a source of inspiration for the Iranian artist, creates effects that manifestations are reflected in the final Artwork by the Picture with some changes and transformations desired by the artist. Therefore, the question that arises in this article is: Based on what backgrounds have the visual elements of Japanese manga been used in the Pictures of the Iranian comic, and have they been transformed? And the purpose of this article is to trace the effects that the visual elements of the Japanese manga have created on the picture of the Iranian comics. This research is of descriptive-analytical type and has been done through library tools as well as a study on the collection of Japanese manga and Iranian comics. As a result, some manga features appear, such as the type of characterization, the inspiration for the Takarazuka Theater, the use of the Kiga style the Marz has been influential in the creation of the comic, and finally, the coexistence of the mentioned elements with the pictorial elements in Miniatur, has tried to create a native work.

To keep their tradition alive, the people of Japan promote it popularly that In addition to the domestic audience, there are many audiences around the world from any age group. Anime covers a variety of subjects including science-fiction, romance, legend, and myth. Like the Tale of Princess Kaguya anime by Japanese director Isao Takahata, based on the Japanese ancient legend of the bamboo cutter. Legends include features that can be displayed through anime. In other words, the elements present in the legends are an effective tool for creating an anime. But to present and convey the concepts contained in the myths in different eras with today's audience, some elements will be transformed or changed. Based on the available tools, it can be said that animes with traditional themes become a part of cultural heritage and oral literature in the long run because to depict them, pictures are used that induce the presence of some traditional and indigenous elements."One way to convey such concepts through traditional elements to the audience is to use intertextual relations relying on traditional text to be used more intelligently, relying on such relations, the extent and type of presence and impact of the text in the present text can be more easily understood that which of the following is explicit or explicit, implicit and ironic". One of the tasks of an anime maker in producing animes with traditional and cultural content is to update some traditional elements for modern audiences, that in the field in question, all these interactions are performed on related pictures. Therefore, the purpose of writing this article is to examine some of the selected visual and Japanese traditional elements in the anime of Princess Kaguya that have changed and they found their way into the modern world of anime pictures. And also the question that this research tries to answer is as follows: In the Princess Kaguya anime, how are some Japanese traditional elements and concepts incorporated into the anime in the form of modern pictures? This research is of descriptive-analytical type, and Library and Internet resources have been used to collect information and data. According to the available findings, it can be said that: The Japanese director Isao Takahata used pictures related to some of the traditional elements in traditional paintings and illustrations, as well as popular beliefs in his native Japan, to make the Tale of Princess Kaguya anime. And uses them explicitly and implicitly as Gerard Genette puts it in his definition of intertextuality. And uses traditional concepts in the form of modern pictures in the field of anime To influence the domestic and foreign audiences and introduce the traditional concepts unique to their country to them. These concepts can be found in areas such as the type of clothing and makeup, the personality of Princess Kaguya, lifestyle, and the field of religion.