جستجوی مقالات مرتبط با کلیدواژه "فیلم نامه" در نشریات گروه "علوم اجتماعی"

Bahram Beizaie has a special attention to Iran’s honorable old ages. He chooses one feature of the golden age “matriarchy” period and shows that in some of his plays. The purpose of this research is to talk about the dependence of heroines and Iranian goddess, and to analyze this dependence in some of Beyzaeis’ works. Plays and screenplays that are considered in this study include: “Saljuk istgah”, “Parde nei”, “Parde khane”, Shabe 1001(1)”, Shabe 1001(3)” and “Fath name kalat”. The research is descriptive - analytical, so that at first, Beyzaeis models in merging heroines and goddess would be specified and then his works would be analyzed based on this idea. Conclusions show that beyzaei uses the goddess of “kindness”, “birth”, “love”, “courage” and the most important one the goddess of “wisdom” to create his heroines. According to these analyzed works, wise goddess that one of the instances is goddess “Chista” has the most presence in Beizaeis works even more than “Anahita”.

The "alien - enemy" archetype in cultural history of Iran often emerge in different forms and examples of hostility and alienation such as Tatar and Mongol. Mongol savagery and brutality on Iranians, was so severe that after a hard attack and murder and plunder, for centuries, they were an example for each type of attack. Gradually Mongol's attacks changed from historical form and remain in a mythical way in our literature and culture. This article describes, how the myth of Mongol formed in our cultural history and signifies in particular, in the works of "Bahram Beyzai". The main feature of his fctional narratives is an active participation of women in the context of the narration. The purpose of this study, is analyzing the struggle of "champion- trickster" women, against the myth of the Mongols, in the "Bahram Beyzai" narrations. Plays and screenplays that are considered in this study include: ” Fathnameye kalat”,”mire kafanpush tales”, “ayyare tanha”,”ayyarname” and “tarajname”. The research is descriptive- analytical, so that at first we will express the way that Beyzai uses to describe myth of the Mongols, then five works that in particular, are about women's struggle with Mongol in the narrations, would be analyzed.

This paper studies the religious expressions in scenarios sent to the first religious short film festival of "Rouyesh". To this end, after reviewing the literature, Leoba's definition of religion by some modification is selected and based on it we recognize four dimensions for religion: theoretical, religious experience, behavioral and institutional. Sample population is all of scenarios sent to the festival which we select 158 scenarios by random systematic sampling with 95% confidence interval. The method of research is documentary and the technique of content analysis is used to investigate religious symbols in these scenarios. The results show that the religious experience dimension of religion has the lowest appearance in scenarios and the institutional appearance of religion such as religious norms or religious buildings and means have the most presence in religious scenarios. This means that the scenarios perceived as religious almost include institutional religious norms and buildings rather than religious experiences or moral values.