nariman khalili

In this article, films with the themes of homelessness and fear of consciousness in the thought of Suhrawardi and Heidegger are analyzed by asking the question of what is the origin of these themes. Descent and existence seem to be the beginning of the problem. The purpose of this study is a comparative study of Enlightenment and Heideggerian thought in the works of Fereydoun Rahnama and Michelangelo Antonioni. To analyze these themes in the field of cinema, Henry Carbon's phenomenological approach has been done by analytical-comparative method. The reason for choosing Carbon phenomenology as a student of both schools of thought is that his phenomenology is a combination of phenomenology and interpretation. Suhrawardi's anthropology has led to one of the most basic themes of carbon, namely, "Nostalgia" The present study shows that the original choice of "being of me" by Dasein and the epistemology of "return to me" by the earthly self will be the reason for the accompanying aesthetic basis of historical and meta-historical course in these two cinematic approaches. In this article, based on the origin and function of the concepts of "Dasein" and "descent", "existence oriented to death" in films with the theme of Anxiety and "existence oriented beyond death" in films with the theme of Nostalgia have been interpreted.

In this article the epistemological foundations of estrangement of consciousness in Sohrewardi's thought are analyzed by asking the question of what is the origin of these foundations. Illuminative knowledge is knowledge in presence and is the opposite of acquired knowledge. Sheikh Ishraq considers that the inference and opening of what science is? What its foundation is? And how it is understood? By referring to the knowledge in presence. The present study shows that the guide and common point of aesthetics of agent of species and the epistemology of "return to me" by the earthly self will be in the meta-historical process. Sohrevardi's anthropology has led to one of the most basic themes of Corbin, namely the estrangement of consciousness. In this article, based on the origin and function of "fall down", the existence focused on the other side of death has been interpreted in the movies with the theme of estrangement of consciousness. In the narratology of films with the theme of stranger consciousness it was found that in the three - dimensional unity of story (narrator, narration and the object of narration) the narrator is the subject and also the theme and object of epic. To analyze these epistemological foundations and aesthetic accessories, Henry Corbin’s phenomenological method has been used

The aesthetics of Iranian cinema based on illuminated stranger consciousness under the title of exemplary cinema is the subject of this article. How the concept of stranger consciousness which means reminding human of his homelessness is created. Escape to the world above in traditional art is the beginning of our reflection on the connection between illuminated aesthetics and cinema. With Sohrevardi's objective aesthetic approach and with exploring beauty from premiere hypostase de la lumiere des lumieres to the world and confinement of human in exile under the management of the lord of all kinds, one can analyze exemplary films in the Iranian cinema. In this article the theme of homelessness in the Iranian cinema with reference to sheikh Ishraq 's allegorical treatises and with the help of Henry corbin's interpretation and phenomenology has been examined. On the basis of descent and enlightment, in the narratology of films with the theme of stranger consciousness it has been revealed that in the three – dimentional unity of the story ( narrator, narration, and the subject of narration), the narrator is the subject, object and the theme of the epics