سینما

Writing scripts based on literary works is a significant aspect of the film industry. Considering the success of adapted screenplays, it’s evident that the main factor in creating an outstanding adaptation is the author and screenwriter's mastery of story elements. A screenwriters attempt to develop the story, characterizations, and writing dialogues in an adapted screenplay is substantially dependent on the expertise of the original author on the details of the story’s elements and his precision and subtleness in executing them. In this regard, the present research was written to investigate and apply the elements of Plot in two contemporary creative works, including the short story "I am the Killer of Your Son" written by Ahmad Dehghan and the adapted screenplay. "The Reward of Silence" written by Farhad Tohidi. In this research, using the descriptive-adaptive method, the elements of the plot, including the inciting incident, complications, conflict, climax, and resolution, have been examined and discussed. The result of the research shows that the Plot archetype of "sacrifice" in the literary text has turned into the Plot archetype of "search" in the script. Therefore, it leads to the conclusion that as the success of "The Reward of Silence" testifies, the "I Am the Killer of Your Son" author`s mastery of the Plot elements, plays a remarkable role in the process of adapting a literary work into a screenplay

Russian Literature Masterpieces in the Mirror of CinemaAbstract:Cinema, initially emerging as an industry, rapidly approached literature by employing some of its features and elevated its position to an artistic status. The aim of this correlation and coherence was to ensure that a cinematic work would be successful in leaving a lasting impact on the audience. Therefore, adaptation has become an important and established art in filmmaking. The history of cinema has witnessed numerous adaptations from a single source, and some works by certain authors have been more suitable for transformation into films. Russian literature is no exception to this rule, and due to its extensive literary richness and depth, it has always been a source of inspiration and adaptation for filmmakers.This article examines four literary works that have been adapted into films, considering them as among the best of Russian literature of the 19th and 20th centuries. The main objective of this article was to determine the position of these works in the history of cinema and to understand the influence of the high quality and authenticity of these works, ultimately deciphering what had had translated them into the language of cinema.Keywords: Cinema, Literature, Mutual Influence, Masterpieces, Screenplay.

Shahriar Mandanipour is one of the contemporary writers who was experimental in structure and form. For this reason, the reader is challenged with spaces in his stories that are essentially an arrangement of mixed and various spaces. Dealing with this type of space in a theoretical and sometimes practical way can be observed in Michel Foucault's approach, which he calls it heterotopian or other spaces. In this regard, this study first describes these types of spaces through writings of Foucault and other thinkers who have explored in this field. Then, it analyzes these spaces in the fiction of Mandanipour including Mummy and Honey, Midday Moon, Violet Orient, and Ultramarine Blue. This study concludes that Mandanipour, by bringing up such spaces in his stories, points to the hidden truth behind the homogenous structure of one space. Moreover, introducing a new way and knowledge beyond the limitations in homogeneous spaces, heterotopian spaces help the characters from the limitations not only in understanding themselves but also the world.

One of the most contemporary and significant areas of research in literature and the arts that has attracted significant attention of critics and researchers today is the field of "interdisciplinary" studies. In this research field, comparative literature studies within the American school are considered a subset. This field emphasizes that to better understand and comprehend literary productions and phenomena, it is necessary to establish connections between various forms of art and consider their relationships with social and cultural backgrounds. The fundamental principle is to move away from a biased view of literary texts and establish connections between branches of the humanities so that we no longer would witness the isolation of these sciences from artistic branches. Recent experiences and research have shown that a work of art can both influence and be influenced by other artistic branches. This theory is the result of the efforts of "Rene Wellek," a prominent theorist in the American school of Comparative Literature. In this research, in addition to the discussion of interaction between two branches of art, the discussion of "adaptation" is also our focus. Although most research on literary adaptation has been in the context of cinema adapting literary narratives, this field has broader implications. What is under scrutiny and examination in this article is the analysis of the function of "poetic words" adaptation in a mythological poetic work and its cinematic representation by a poet-director. Furthermore, we will examine the structure of the poetry and cinema of "Sohrab Sepehri" and "Abbas Kiarostami" in terms of external and internal levels of an artistic work, considering poetic and cinematic elements in both works for comparative analysis. 

The approach adopted in this research is a descriptive-analytical approach. The data from the two works under study have been examined in terms of form and content. It is natural that the interdisciplinary approach employed in this comparative study is grounded in the American school of Comparative Literature.

It is necessary to juxtapose two works under examination to determine in which part of the cinematic film this adaptation and reception of words has manifested.
The language of poetry is a language that every reader or listener immediately perceives its structural and semantic differences with an ordinary language (everyday language) after reading it or listening to it. In other words, readers and listeners easily discern that both in terms of the words that reach to their ears and in terms of the thoughts and perspectives conveyed them differ from other discourses. This concept is clearly articulated by "Aristotle" in his discussion of the essence of poetry. He states, "Poetry is a craft that imitates through words (imitation of nature, mimesis). Now these words may be in prose or in verse." The understanding of words is the most important factor in understanding and interpreting a poetic work, and indeed, in any literary work. Because these words are essentially the products of the poet's mind that signify the intended meaning separately. The more diverse and rich the meanings of these selected words, the more diverse and beautiful the poet's imagination and thoughts.
Today, all theorists agree that cinema, like other arts, has its own language. This means that there are parameters and conventions that help us understand the intended meaning of a film. Some critics view the language of cinema as a collection of images of humans, places, and other subjects that essentially convey the sentences of the text and must be understood and interpreted alongside other sentences to decipher the meaning of the film. It should be noted here that although cinema is understood as a language, comparing it with the language of text (including words, sounds, and sentences, etc.) is a futile endeavor. Therefore, we should speak of "the language of images" for cinema. This visual language has succeeded over the past century in establishing a special place among humans. During this journey, cinema, as the seventh art, has successfully utilized this visual language and enamored humanity with its mode of expression on the Earth. Certainly, what concerns us regarding the "language of cinema" includes aspects such as image processing, scenes (editing), lighting, framing scenes, the relationship between sound and image, and so on. All of these are visual aspects of the "language of cinema." Of course, it is also important to note that other characteristics of this language are related to the narrative and the structural composition of the film.
Furthermore, the content is the inner aspect of any literary work, which can never be one-dimensional. Even if the creator of the work has created it for a single theme, readers and critics can extract different meanings from it, in line with their own perspectives. This behavior is more pronounced in the context of "literary adaptations." In the two works discussed in this research, Kiarostami, as a later creator, has freely adapted under the influence of Sepehri, an earlier creator. This adaptation can be compared with the words and concepts of Sepehri's poetry and reached a unified viewpoint. The concepts of "home," "friend," "passerby," "rider," and "love," which we have compared, form the foundation of both works.
In Sepehri's poetry, the content has a spiritual and elevated aspect that, with its specific symbols, steps into the realm of symbolism to indirectly interact with objects in the service of its abstraction. Kiarostami, on the other hand, creates a poetic, down-to-earth, and realistic theme that can present these two fundamental concepts, "love" and "friendship," in their most elementary form, in the form of two children, to the audience's gaze. Indeed, he has succeeded in this regard. Additionally, the concept that these two great men have left behind regarding the "tree" throughout this poetry and film is another content that attracts the audience. It is not easy to overlook Sepehri's mystical and mythological view of the tree, just as in Kiarostami's cinema, especially in the film "Where is the Friend's Home?"; "In Kiarostami's cinema, the tree evokes meanings of eternity, rejuvenation, and rebirth.

In this research, it becomes evident how Kiarostami, with precision and artistic skill, borrowed from the external and internal layers of Sohrab's poetry, transforming it into a visual and direct work with no ambiguity. This borrowing in the realm of cinematic "space-making" has been so successful that words such as "horizon, sky, light, tree, pause, rider, alley-garden, alley, fear, solitude, fountain, myths, flower branch, and transparency," along with the combination of "fluid intimacy of space," are all parts of Kiarostami's film, serving as cinematic vocabulary.
In the aspect of "form", Kiarostami has developed an internal structure that aligns with Sohrab's poetry. The initial and concluding symmetry of the film and the narrative journey between two essential points in the film are equivalent to the two key interrogative sentences in Sohrab's poetry, which are placed at the beginning and end of the poem. The main essence of the poem, with its narrative quality, flows through this interval, and all scenes and sequences are shaped based on Sohrab's poetic content.
Moreover, in the "narrator" aspect, both artists have utilized a knowledgeable and outward-speaking narrator. This knowledgeable narrator in Sohrab's poetry narrates the affairs and actions of the "rider," while in Kiarostami's film, it transforms into the camera, accompanying the main character (Ahmad) everywhere, ultimately becoming another narrator like music, evoking the mystical space of Sohrab's poetry.
Finally, the discussion revolves around the "theme" and "content." Kiarostami, with his earthly interpretation of Sohrab's spiritual and mystical poetry, interconnects the characters of the "rider" and the "passerby" from Sohrab's poetry through the motivating force of "love" in his film, arriving at the fundamental question of the poem, from his own perspective: "Where is the Friend's Home?" He also transforms elements such as the "tree," which in Sohrab's poetry has a mythological dimension, into a philosophical and humanistic concept.
This comprehensive approach illustrates Kiarostami's masterful adaptation of Sohrab's poetry into a cinematic masterpiece, shedding light on the intricate layers of meaning and artistic choices made in the process.

Description plays a fundamental role as a basic element in creating space, expressing details, illustrating and making the story real. Since description has the capacity to create dynamic images and show character, place, time, as well as advance the story to create a space beyond the story and increase the dramatic aspect of a fictional work. In this way, the dramatic capacity of a work can be examined and evaluated. Therefore, in this research, the novel " The Seluch's vacancy " by Dowlatabadi, which is a realistic novel full of detailed descriptions, has been examined in order to match the descriptions of this story with the shots that are used in the cinema, its dramatics aspects turn out that it can be used in a movie adaptation. The method of research is library and documents, which has been done by descriptive-analytical method. The results of this research make it clear that the element of realistic description in this novel can be well transformed into cinematic shots and the Editing, which is a completely cinematic method, can be seen in the shots created by the description in the text of the story, and this fictional work has a dramatical capacity and provides the possibility of its cinematic adaptation.

From the period when cinematic screenplays took on a dramatic course, fiction and literature greatly influenced screenplays, but from the 1980s onwards, cinema influenced fiction and led to its visualization. Writers after this period have stronger visual aspects of their stories than pre-cinema writers; Because the desire to see narratives in a broader and more exciting dimension encouraged them to write screenplays. Among these capabilities, which are considered by novelists as a technical model in illustration in modern fiction, are cinematic compositions. Composition allows the illustrator to select, distinguish, and limit the subject of the image to show what is most perceptually and emotionally important to the audience ʻAicha Arnaout, a Syrian-Albanian poet and writer with a background in acting in cinema and theater, is one of the novelists who has taken a conscious approach to this cinematic technique in the novel " I lead you to  my other". This research tries to explore the meaningful reflections of shot composition in this narrative of her in a descriptive-analytical manner. The results show that with various framing effects such as deep framing, wide curtain method, multi-frame, out-of-frame framing and moving framing, Arnāʼūṭ tries to show many aspects of the story through the frame and the narration of the image. In this way, the audience will be able to face the details of the story in a more comprehensive way

Intertextuality as one of the methods in art criticism has been considered in recent years. For this critical approach, which seeks to examine the effects of texts on each other, various methods have been identified, the most important of which can be seen in the views of Bakhtin, Kristeva, Barthes, Genette and Rifatter. Gerard Genette, meanwhile, has carefully described the various types of intertextuality, namely "Arch textuality", "Paratextuality", "metatextuality" and "hyper textuality". Jamshid Khanian is one of the well-known writers of children and adolescent literature who pays special attention to the choice of subject and narrative methods. For this reason, his works are always considered by critics and audiences. He has researched the relationship between cinema and literature, and in choosing the subject, theme and characters of some of his novels, he has been influenced by selected works of Iranian and world cinema. This descriptive-analytical study seeks to examine the intertextual relationship between the two novels "The Dwarf Emperor of Lilliput Land" and "Edson Arants Donasimento and His Himalayan Rabbit" and two world-famous works entitled " The fabulous destiny of Amelie Poulain " and " Inglorious Basterds ". The results show that there is a relationship between Khanian's novels and the mentioned films in terms of selecting the main and sub-characters and their actions, narrative methods, elements and objects. A relationship that can be evaluated under the two types of "Arch textuality" and "hyper textuality".

Taboo is a part of language that is studied in sociolinguistics. It means all forbidden words, expressions, and actions. Compared to other taboos, sexual taboos have always been more prohibited and their use in Iranian cinema is against the culture of Iranian society. Considering that comedy movies have a significant effect on changing the discourse of any society, the purpose of the present study was to investigate sexual taboos and their correlation with movie sales. In this research, 51 best-selling Iranian comedy movies released between 2012 and 2018 were viewed in their entirety and sexual taboos were extracted and placed under different topics. The research results showed that sexual taboos were used under the topics of sexual organs, sexual acts, sexual profanity, sexual clothing, sexual market, and physiological conditions. Also, the results indicated a positive and significant correlation between these movies and box office sales.

From the period when cinematic screenplays took on a dramatic course, fiction and literature greatly influenced screenplays, but from the 1980s onwards, cinema influenced fiction and led to its visualization. Writers after this period have stronger visual aspects of their stories than pre-cinema writers; Because the desire to see narratives in a broader and more exciting dimension encouraged them to write screenplays. Among these capabilities, which are considered by novelists as a technical model in illustration in modern fiction, are cinematic compositions. Composition allows the illustrator to select, distinguish, and limit the subject of the image to show what is most perceptually and emotionally important to the audience ʻAicha Arnaout, a Syrian-Albanian poet and writer with a background in acting in cinema and theater, is one of the novelists who has taken a conscious approach to this cinematic technique in the novel " I lead you to  my other". This research tries to explore the meaningful reflections of shot composition in this narrative of her in a descriptive-analytical manner. The results show that with various framing effects such as deep framing, wide curtain method, multi-frame, out-of-frame framing and moving framing, Arnāʼūṭ tries to show many aspects of the story through the frame and the narration of the image. In this way, the audience will be able to face the details of the story in a more comprehensive way

From ancient times, poets and writers have used rhetorical techniques and indirect expressions to convey their concepts. The use of these techniques is one of the fundamental differences between artistic language and other common language types such as scientific language, that is the language that tries to convey the concept to the audience with the most explicit terms and far from ambiguity. In cinema as a modern art, which has a deep and inseparable relationship with literature, figures of speech always help cinematographers to convey the concepts. The cinematographers, knowingly or unknowingly, supported by the linguistic and literary culture in which they have been raised, use these devices to illustrate their purposes.
The role of literature in cinema can be examined at three levels of language, image, and content. This study, focuses on the images and the case of “Taste of cherry” directed by by Abbas Kiarostami as one of the most prominent Iranian artists in cinema in order to use the images, their role in conveying the concepts and figures of speech used in the film. Investigating figures of  speech in the image of a cinematic work makes the audience closer to the intellectual world of the filmmaker, reveals how his works interact with written literature, gives a deeper understanding regarding the link between the two arts, and shows the influence of the past written legacy in the cinema, as the most recent human art.

Persian literature, especially Sufi literature, as a mirror of human thought and behavior, functions as the source of a lot of seven arts, specifically cinema. Dariush Mehrjui, as an Iranian filmmaker, has been able to establish a new philosophical thinking in cinema. Although cinema is an imported product and is not that much old in this ancient land, the precious heritage of Iranian Sufism, which is a symbol of our rites and traditions, can be considered one of its main sources. Although some of the people well educated in cinema have a certain opinion about its origin and find its roots in the Western world, there are filmmakers who are familiar with artistic and human concepts and who are not intimidated by the West, but are trying to give their art a local color. Dariush Mehrjuim, the Iranian filmmaker who has studied philosoiphy in the West, has been the founder of a new way of thinking in cinema. In this research, we have adopted content analysis and an intertextual approach to explore Sufism, as the hidden layer of the film called Hamoun, through symbols and signs. Finally, we came to the conclusion that modern man needs to pay attention to his past traditions and customs to acquire deeper knowledge and know himself. Therefore, Mehrjui finds common ground between Iranian Sufism and Western philosophy, especially some of the key principles of existentialism, which considers pragmatism and human agency very important to achieve excellence and a better. Similarly, Sufism emphasizes special human capacities and following a path based on one’s own abilities, to reach true happiness and perfection.

At the beginning of the twentieth century, the human worldview is undergoing transformations under the influence of the First World War, and subsequently the art of this age is also transformed. Human in this era, the human being is the dying and the mutilation and the anxiety in his being shadowed. This process in art is Expressionism, which, as an artistic school, represents the state of the art and presents works of art that reveal differences with the works of earlier periods. This article attempts to explore the components of Expressionism school in romania in Hamnavayi-e Shabane-ye Orkestr-e Chubha by Reza Qasemi using library resources and descriptive-analytic methods to help better understand the expressive aspects of the story. Introducing more of this work as a different model in Persian novels. The results show that the author is from factors such as expression of fear, psychological problems, confusion, faiths and beliefs, Romance and dealing with such puzzles as prediction, creating a crisis of identity, distortion of reality, seduction, emphasis on dismembering the form, and neglecting the rules of writing, and using some of these components of the teachings of the expressionism school which has been implicated in playwriting, and in particular the expressionist cinema of Germany; The fear of death, the use of the capacity of dark spaces and lighting, the disturbance of the narrator's personality by his shadow, and its consequences that lead to problems such as self-destruction and the identity crisis; In addition, the footprint of the writer's half-way to the expressionist painting is also evident in the novel, which has a special effect on Qasemi's work.

Animation is one of the most popular cinematic genres for people of different age, intellectual and cultural levels. Adaptation of literary texts is, also, one of the flourishing areas for making these works, which in line with its global flow, in Iran, considering the rich and great Persian literature, has the capacity to be given more attention. With this approach, mystical works, and especially Attar's poems, are one of the desirable contexts/areas for adaptation. In the Indian Sarpatak in Elahi Name and similar examples, this type of work is suitable for making adaptive animation, providing the ground for its dramatic exploitation, emphasizing capacities such as the story, and theme, which are standard and expandable, different  kinds of storytelling techniques, the presence of lovely characters and the possibility of of expansion with a focus on description and dialogue. In addition, the text and the use of crisis points and peaks, action-oriented and suspenseful conflicts, and, finally, the ability to create different kinds of interesting scenes and situations suitable for animation space could be some potentials in this respect... Such anecdotes and similar examples in the mystical works of classical Persian literature can be considered as suitable frameworks for making adaptive animation.

Linguistic representations of conceptual metaphors have been studied in numerous Iranian and non-Iranian researches; however, few studies have been devoted to visual representations of metaphor. In the present research, based on the theory of conceptual metaphor and metonymy as well as multimodal theory of metaphor, the metaphorical and metonymical conceptualizations of the film of "the Snow on the Pines" were studied. To this end, all the scenes and dialogues were analyzed and the metaphors and metonymies, which were directly or indirectly related to the main theme of the film, i.e., infidelity and love, were scrutinized. The findings showed that some metaphors like SADNESS AS DARKNESS and EMOTIONAL RELATIONSHIP AS NUTRIENT were mainly mono-modal and only represented via the visual signs. On the other hand, some metaphors like LOVE AS JOURNEY, CONTROL/POWER AS UP, and LACK OF EMOTIONAL RELATIONSHIP AS SNOW were multimodal and represented by a combination of visual and spoken or visual and written signs. Moreover, in the present film, the metonymies of EFFECT FOR CAUSE and POSSESSED FOR POSSESSOR played a significant role in forming metaphorical conceptualizations.

In this research at first step the concept of magical realism and its characteristics are explained from literature perspective. Afterwards the theory of Gilles Deleuze on time and crystal-time and Related time structures are described. Then the concept of Time in magical realism literature and its effect on narrative patterns are explained as well. After that it comes the analysis of some of contemporary films influenced by magical realism which have a modern narrative structure in order to formulate time patterns for reading and analyzing time in this kind of films. Magical realism or magic realism is a genre of narrative fiction and, more broadly, art that, while encompassing a range of subtly different concepts, expresses a primarily realistic view of the real world while also adding or revealing magical elements. Films has been analyzed from this stand point of view. This research seeks to discover how and with what tools the films depict this duality of time and which narrative patterns are used for this purpose.

This article is aimed at a cognitive analysis of meaning construction in the movie discourse based on Fauconnier and Turner’s (2002) conceptual blending theory. The present research used a qualitative content analysis methodology with a descriptive-elaborative approach to survey the mapping procedures and the constitutive elements of the conceptual framework of the movie Salesman, an Iranian film directed by Asghar Farhadi. The conceptual blending theory illustrates a system of background cognition including the categorizations, mapping, structural projections and dynamic mind stimulants. Accordingly, the presence of multiple inner layers and various vital relations such as identity, cause and effects, changes, time and representations made Salesman a blended mirror structure where a blended concept of loss is projected. The findings of this study emphasize the necessity of the focus on mind in discourse studies showing that the extension of the conceptual blending theory to analyze the discourse of movies can enrich the meaning construction affairs in the film and cinema industry. key words: conceptual blending theory, vital relation, discourse, movie, seller

Literary works are valuable sources that manifest in various forms in different artistic areas. One of these areas is where literary texts are used in order to create films, a procedure known as adaptation. Adaptation here means using a written text partially or fully in order to create a visual text, and several scholars maintain that this procedure takes place in three ways, namely free, faithful, and word-for-word. Other approaches have also been put forward. The current research looks at adaptation, focusing on both the narrative text and the visual text. Considering the visual text, three approaches to cinematic adaptation have been introduced and illustrated with examples from the Iranian cinema. Considering the narrative text, two approaches to the analysis of adapted works have also been reviewed. The current paper aims to address the shortcomings of approaches to the analysis of adaptation and put forward a new perspective that gives more weight to the elements of the literary text.