جستجوی مقالات مرتبط با کلیدواژه « iranian cinema » در نشریات گروه « علوم اجتماعی »

The most basic issue in this article is to understand how the hierarchy of authority in the family and its changes are represented in social melodrama films with family themes that were best sellers in the period from 2008 to 2018. In the current study, based on contemporary approaches in the field of sociology of gender, an attempt has been made to consider power and culture as the key elements in the analysis of films, beyond male and female, to understand power relations in the Iranian family. To analyze this issue in the period mentioned in the research samples, John Fiske’s semiotics model has been used so that while describing the distribution of family authority in these films, we can take a long look at the hierarchy of family authority and its changes. The results indicate that during a decade, we initially see the presence of hegemonic and less hegemonic masculinity and emphatic femininity in these films. In the middle of the decade, the presence of resistant women is more visible, but at the end of this decade, i.e. from 2016 to 2018, hegemonic men and emphatic women are the most important pattern of distribution of authority in the family in these films. What is important in this article is to pay attention to a different aspect compared to the results obtained from previous studies.

Mainstream cinema seeks to naturalize and project as real what comes from an ideological and imaginative framework. Met-films, on the contrary, are meant to highlight their own artificiality and imaginative nature through their particular focus on the movie production process.The two dominant views with respect to the moral association between “the self” and “the other” in the history of western philosophy, are represented by Jean-Paul Sartre and Emmanuel Levinas. From Sarte’s standpoint, that association is characterized by conflict. Levinas, on the other hand, raises the concept of asymmetrical and infinite responsibility, introducing moral heteronomy. If mainstream cinema represents the dominant discourse on the association between “the self” and “the other”, then the question is whether the self-reflective qualities in the Iranian meta-films have created variations in the representation of “the other”? To address that question, the present research has put the spotlight on such meta-films as “Under the Olive Trees” (1994) by Abbas Kiarostami, “When We Are All Asleep” (2009) by Bahram Beyzaei, Mix (1999) by Daryoush Mehrjouee, and “Smell of Camphor, Scent of Jasmine” (1999) by Bahman Farmanara. Relying on descriptive analytics, the study bases its review on Norman Fairclough’s Critical Discourse Analysis (CDA). The research concluded that those meta-films have their own different individual treatment of “the other” as the obstacle on their path toward creativity. When it comes to this, Kiarostami and Beyzaei have resorted to heteronomy, while Mehrjouee and Farmanara — despite appearing critical and intellectualist — do reproduce the dominant discourse.

Cross-dressing has become a filmmaking strategy for the representation of women. The increasing trend of the use of cross-dressing in Iranian cinema has raised the question of what is the purpose of cross-dressing in Iranian cinema and how is it represented. To achieve this goal, by adapting theories in the field of women's studies and representation, the method of narrative analysis has been used and 18 films which were made in Iran's post-revolutionary cinema between 1978 and 2022 have been selected by purposeful sampling. The findings show that, unlike the optimism of previous researches which have considered this characterization as a deficiency of the ruling discourse, the female character is represented in two ways: a gentle woman and a coquettish one. With the way they walk, use hand gestures, sweet laughs, and repeatedly touch their face and make-up, these women exaggerate flirtatiousness to achieve their deceptive goals. Men's incentive for cross-dressing compromise hiding their identity for escaping from trouble, provoking other men, revenge, utilitarianism, and deviance. Cinematic arrangements also reduce these women to a sexual objects. Films turn to cross-dressing to arouse the emotions of the audience to escape the family and social reality. Finally, this representation has led to the reproduction of gender stereotypes in the Iranian society, i.e. the duality of modern-traditional women.

This study seeks to understand the ways of constructing and representing the divorced female subject in Iranian cinema of the last decade. The research has been done by using the method of semiotics and combining the approaches of Barthes, Fisk, Selby & Cowdory and the theoretical framework based on Subjectivity from Althusser's point of view and Hall's representation. Using Purposeful sampling, three films (nahid, rage khab and inja bedoone man) were selected for analysis. The results indicate that the lower social class, being exposed to be judged, people's biased view of divorced single women, society's indifference and society's suspicion of independent and divorced women, the reproduction of a cycle of violence by them and society, Behavioral, living, economic, and unhealthy behaviors and showing the recovery of femininity in environments such as the kitchen are among the most important ideological codes that have found meaning in these films. Adherence to ideology (patriarchy) is also so blind that women, as subordinates, internalize and reproduce it themselves, like the landlady in rage khab. Also, the patriarchal ideology is so ingrained in the people of society and in the daily relations of people, tradition and family that the divorced woman becomes the obedient subject of ideology and acting against it leads to questioning by individuals that becomes fascinated by ideology.

The present study aimed to identify the key factors in film production in Iranian cinema with a family consolidation approach. The research was qualitative and was conducted by content analysis method. The study population was all experts in the field of cinema, including directors, producers, managers of related institutions. In order to select individuals for interviews, the purposeful method of snowball was used and 14 people were interviewed with a theoretical saturation approach. Research data were collected through semi-structured interviews and analyzed with content analysis and coding approach. The validity of the data was obtained by the method of pluralism in the way of doing work, researcher and participant. The findings of the study led to the identification of 81 open codes and 17 central codes, it can be said that it is necessary to study and consider all the key and influential factors in the production of movies in strengthening the foundation of the family; Therefore, cultural officials and decision makers and policy makers in the field of film production should try to develop a codified and workable program for the identified factors and with the help of all cultural stakeholders, especially filmmakers, take steps towards its maximum realization.

Death in any cultural realm will not be interpreted as a purely biological event. What, the cultural world around man is always mixed with a constructed meaning system, which, in addition to the choices of people, is a transcendent source of meaning through which every event, natural or human, will be interpreted and interpreted. in the new world. The bed of the new world is made up of cities where death has become a marginal matter with the least image for humans. The era of the Corona epidemic once again brought death to the table of human time, but before that, it was art that tried to revive the cultural view of death for humans in any society by creating images. Finding the meaning of death, the manner of dying and its rites, in the modern world, has distanced itself from the neighborhood, family and city and defined itself in the frame of cinema and television.It is natural that "death" as an inevitable and certain matter has an important position in the semantic system and cultural realm of a society. What, the human species as a creative and self-aware being will gain an identity for itself in this realm of meaning and will define its "life and death" in it. Therefore, death will be closely related to the land in which the inhabitants live. A relationship that, if broken or caused any kind of disturbance in it, will be the source of many existential crises. In these lines, an attempt will be made to analyze the two films "From Karkheh to Rhine" by Ebrahim Hatamikia and "A Little Kiss" by Bahman Farman Ara, according to Martin Heidegger's theory about "Death", "Boom" and "Identity". Let's examine the above three issues.

Masoud Kimiaei's cinema has been reread and interpreted many times due to its social and hero-raising approach. Male and female characters in alchemy films establish significant relationships with each other and with their living environment. In these works, the characterization of women is controversial in many ways. In fact, the female characters of Alchemy cinema, while they have a dramatic function, but it seems that their identity is defined next to the identity of the male heroes. In other words, in his works, the woman is in a secondary position and the man becomes a privileged character. The women in these films do not have an independent female character; And most of these women, depending on the man, assume single and identical roles such as ethereal lover, patient lover, honor, kind wife or mother, etc. and they have an objective appearance in all the works of this filmmaker. In the last few decades, gender studies have become one of the thought processes and the category of gender has been placed in the center of these studies in society, culture and art. The distinction between sex and gender is one of the most important topics in the social discourse of the 20th century. Gender is a structural and social phenomenon that is built in society over time. It seems that the alchemical approach towards women can be interpreted from the perspective of gender and of course gender reversal. The current research, which was conducted in a qualitative and descriptive-analytical way, with the help of library sources and watching the film, analyzes the approach to the characterization of women in alchemy cinema by explaining the category and theory of gender. Male and female characters in alchemy films establish significant relationships with each other and with their living environment. In these works, the characterization of women is controversial in many ways. In fact, the female characters of Alchemy cinema, while they have a dramatic function, but it seems that their identity is defined next to the identity of the male heroes. In these works, the characterization of women is controversial in many ways.

Abstract  Movie and cinema consumption is not separate from social and cultural determinations. The purpose of this article is sociological explanation of movie and cinema consumption in Isfahan. The theoretical framework of the article is based on Pierre Bourdieu's cultural theory and adding some neglected variables in his thought. In order to achieve the main objective, the survey method is adapted in the positivism paradigm. The statistical population includes 1,972,660 people, the sample size is equal to 401 people, and the sampling method is quota one. Simple and multiple regression models with hidden variables, Pearson correlation coefficient and correlation model, analysis of variance or ANOVA test, and independent samples t-test were used to test the hypotheses. According to the results of this research, cultural capital and its components (objectified, embodied, institutionalized), cinematic knowledge, reference groups, and economic capital have influenced the consumption of movies and cinema, but the variables of gender, ethnicity, marital status, and level of education have influenced the consumption of movies and cinema did not have a significant impact. The variable of cinematic knowledge had a partial mediating role in the relationship between cultural capital and movie and cinema consumption, but the variable of cultural capital as a mediator had no role in the relationship between economic capital and movie and cinema consumption. According to the general model of the research, it can be concluded that in general, 40% of the variance of the movie and cinema consumption variable is explained by the independent variables of this research.

The present study explores the narrative put forth by the Iranian cinema about social harms during the 70s in Iran through analyzing two films in particular "Two Women" and "Under the Skin of the City." The research method of this study is of descriptive-exploratory type, seeking to offer a thick description of the phenomenon under investigation. The study draws on discourse analysis method to analyze the data. To this aim, the films under discussion were categorized into genres or linguistic functions utilizing Ruth Wodak's discourse analysis method. Within each linguistic function, we addressed and answered seven key questions based on Paul Gee's discourse analysis method. The conclusion furnishes an account of social harms depicted in the movies "Two Women" and "Under the Skin of the City" based on the context and conditions of Iranian society throughout the 1990s.The findings of this research indicate that the films from the 70s address various social issues. These issues include the confrontation of two discourses of traditional and modern, resistance of the patriarchal discourse against the discourse of enlightened women advocating for social freedoms, the existence of a class divide between the affluent and the poor in society and more.

In the book "Secrets of Separation: Asghar Farhadi's Cinema", Saeed Aghighi evaluates the narrative structure of Farhadi's films one by one, from his first film to The Seller. In his book, he focuses on introducing and analyzing the narrative patterns of stories and criticizing the characters in Asghar Farhadi's films, and comparing them with classical patterns and realistic modern cinema. In addition, it has a brief overview of visual elements, and principles of filmmaking, as well as some psychological and especially sociological analyses related to Asghar Farhadi's films. The lack of coherence, especially in the large volume of descriptions and the dispersion of analytical materials, in addition to technical-specialist defects, such as not observing the modern principles of book writing, the variability of written grammar, and the use of inappropriate specialized terms, along with the unscientific nature of research theories and assumptions, and Also, the lack of theoretical foundations does not raise the criticisms of this book to a level between a number of relatively good journalistic reviews and a number of incomplete expert analyses. Another problem of the book is the author's focus on the theme, narration, characterization, etc. in such a way that the content related to the visual presentation of the filmmaker does not have the necessary quantity and quality, and it does not seem to satisfy the audience looking for these topics.

Although extensive efforts have been made in the past four decades to transfer cultural values through cinema, due to the lack of a clear strategy, this has not been achieved. Therefore, we aim to provide a strategy for using cinema in religious promotion and transferring cultural values in this research.

To conduct this research, first, using exploratory studies, the strengths, weaknesses, opportunities, and threats in this field were identified. Then, these factors were evaluated by a questionnaire distributed among 40 experts in the field of cinema. The validity of the questionnaire was confirmed using formal validity method and its reliability was confirmed using Cronbach's alpha coefficient. Finally, the data were analyzed and the strategy was presented using SWOT matrix.

The evaluation of internal and external environment demonstrates that there is a strategic position for Iranian cinema in religious promotion in the defensive region. Therefore, the WT (defensive) strategy is introduced as the main strategy in this area. This includes creating films with religious themes regardless of political issues and sectarian differences, employing "specialized" managers committed to religious and ethical values in cinema-related organizations, and more.

By using defensive strategies, we can reduce internal weaknesses and external threats and create opportunities for using the potential of cinema in religious promotion.

"Jealousy" is a kind of cultural feeling and value in the Iranian family system. As cultural change has taken place over the past few decades, women's exposure to this notion has changed. This article seeks to interpret women's understanding of men's jealousy, and to this end the audience is based on the "Mali And Its Untraveled Paths Film". The data collection tool was semi-structured interview. To achieve the goal, the method of narrative analysis is used and the analysis technique is the method of William Lebow.Given that women's interpretation of Jealousy is narrative, the findings show that women perceive Jealousy as a "necessary support."; That is, comprehensive support that comes with trust, lack of respect, lack of skepticism, and lack of skepticism. Women find this kind of jealousy necessary for their lives because they see it as a symbol of love and affection for their spouse. For women, men see jealousy as a kind of control over women and the result is violence. This asymmetry in understanding Jealousy for couples is a crisis. Audience reading is also a dual film. Some narrators sympathized with the character of "Malihea" in the film because they had lived through her life, while others considered the film exaggerated. This shows that the audience's perception of the film is inspired by their real-life experiences.

For many years cinematic apparatus has been brought into focus by theorists such as Jean-Louis Baudry, Christian Metz, Jean-Louis Comolli, Paul Narboni, Laura Mulvey, and Thomas Elsaesser, but it has yet to be given a clear definition. Views of the pundits give us the impression that the cinematic apparatus is an ideological device with a technology-dependent process which leaves psychological impact on the viewers. The cinematic apparatus, which is the raw material of cinema, completes in the viewer’s mind.A mutual relationship in cinema hinges on constant environmental changes which are influenced by technology, ideology and media literacy. It has changed over the course of cinematic periods depending on the creativity of the author and the viewer’s media literacy in line with technological advances. Iran’s progressive cinema has a history of more than a century. This paper, pursuing a practical goal, has taken into account the role of the cinematic apparatus in reflecting and forming the community around us. It tries to shed light on the approach of the audience to the reflection or formation of social phenomena affected by the apparatus in the Iranian cinema. Drawing on the qualitative research and directed content analysis, the scholar has gathered information from library-based resources and audio-visual records and archives. The researcher has divided the Iranian cinema into seven periods and analyzed each period separately. The research result shows that the Iranian cinema which has been affected by apparatus has played a different – albeit relative and fragile – role in the reflection and formation of society in various periods.

Various studies in the field of cultural values ​​in Iran have addressed this issue from different perspectives, but it seems that a comprehensive classification of traditional and modern values ​​in Iranian society has not been done. The main finding of the review of research related to the research topic shows the duality of values ​​(traditional and modern) in Iran. In the present study, by identifying the cultural values ​​represented in the content of movies and using the theories of Allport, Rokic, Schwartz circular structure, Rafipour theory, John Stewart and Hall theory and through the method of discourse analysis, the values ​​studied. Is. By describing, interpreting and explaining the cultural values ​​represented in the content of cinematic films in the decade before the Islamic Revolution of Iran (films along the night, Qeysar, Toghi, Gao, Soteh Delan, Ganj Qarun) Dialogue of films through the values ​​of power, success, pleasure Demand, arousal, independence, cosmopolitanism, benevolence, traditionalism, conformity, security, legitimization of wealth, religious values, national values ​​have been studied with maxqda software. According to the results of this study, the intertextual similarities of the values ​​of cultural discourse represented in the films of a decade before the revolution are benevolence, power, traditionalism, hedonism and religious values. Examining and analyzing the films made in these days, it can be said that the films of this decade have been in the direction of benevolence, traditionalism and religious values.

The purpose of this study is to compare the cultural discourse that governs the cinema of the decade before and after the Islamic Revolution of Iran. The research approach is qualitative and the main method is discourse analysis. The statistical population and sample content of his post-revolutionary films were the dialogues of 12 films through the values of power, success, hedonism, arousal, independence, cosmopolitanism, benevolence, traditionalism, conformity, security. Orientalism, legitimation of wealth, religious values, and national values have been studied with maxqda software. According to the results of this study, the intertextual similarities of the values of cultural discourse represented in the films of a decade before the revolution are benevolence, power, traditionalism, hedonism, and religious values. Intertextual similarities the values of cultural discourse represented in the films of a decade after the revolution are benevolence, power, and traditionalism. Discourse values Inter-discourse, benevolence, traditionalism and religious values are more prominent in the films of a decade before the revolution. The discourse values of inter-discourse, benevolence, traditionalism and conformity are more prominent in the films of a decade after the revolution.

Films are influenced by the practice of political discourses in representing reality. The ruling discourse is to represent its desired patterns of action and life, and cinema is one of its meeting places. The way characters and their lives are portrayed is directly related to cinema’s dependence on the dominant discourse. Between 2005 and 2013, the discourse of justice gained hegemonic power in Iran. The discourse was not directed at the elites, managers, or political and civil society organizations, but at the masses. The cultural politics of the discourse were based on the dissemination of Islamic values in all fields, including the arts. Therefore, the expansion of justice in film also meant indebtedness to it. In this article, we aim to investigate the representation of classes, including the lower classes, in Iranian cinema during the first presidency of Mahmoud Ahmadinejad. The present study aims to examine the representation of different classes within the discourse of conservatives, using the method of narrative analysis and focusing on Chatman’s theory. Chatman (1978) assumes that narrative has two basic elements: “story” and “discourse.” The “story” is the content of the narrative and the “discourse” is the form of this expression. According to him, the story is composed of actions, characters, productions, things as well as cultural codes, and the discourse includes the structure of narrative transmission and cinematic manifestation. For this purpose, 67 films screened in Iran between 2006 and 2010 were selected as a sample. The results show that Iranian cinema films represent five categories: modern upper class, traditional upper class, modern middle class, traditional middle class, and lower class. These classes are distinguished vertically according to the “representation of wealth” and horizontally according to the “social values”. On one hand, the upper, middle and lower classes are formed by the distribution of wealth. The values separate the classes into two traditional-modern areas, and thus the traditional-modern classes are separated at both the upper and middle levels.Results & At the level of film discourse, the classes with traditional characteristics are closer to the neoconservative discourse, and at the level of fiction, their narrative is supported by this discourse. As the mainstay of a just discourse, the lower classes are portrayed as warm, family-oriented, hard-working, and sacrificial individuals who are constantly struggling with problems. These problems are imaginatively resolved at the end of the films’ narrative. Finally, the dominant discourse has shirked its responsibility to distribute wealth equitably by reducing the basic problem of this class, poverty, to other things like marriage. In addition, by redefining the concept of justice, as well as constructing the subject of the lower class as a victim of social conditions, the discourse attempts to unify the various spectrums of tendencies and tastes in this class. Finally, the discourse of justice uses the medium of cinema.

Lived experience in the life-world is an interdisciplinary concept, according to which the sociological understanding of films is made possible by a phenomenological approach. In this research, we extended Husserl's life-world notion to the world of films and reached the concept of "the symbolic life world of films". Film is a social production and plays a role in the construction of the social world. Therefore, it can be said that the world of everyday life continues in the world of films as well. In this world, intersubjectivity takes on a symbolic aspect, that is, the characters’ lived experience is expressed in cinematic language. In the symbolic life-world of films and the intersubjective relationships of characters, the themes related to the embodiment and self-experience can be described phenomenologically. The main purpose of this research was to study embodiment and self-experience in the narration and actions of male and female characters in Iranian cinema from the 1980s to the 2010s. The main question was how embodiment and self-experience of the subjects are were constructed in the intersubjective relations.  

This research was done with the aim of understanding embodiment and self-experience in the symbolic life-world of films through the method of descriptive phenomenology and thematic analysis. To this goal, 6 Iranian films were selected from the 1980s to the 2010s by using intensity sampling, in which the embodiment and self-experience of the subjects were portrayed as philosophical and problematic ideas as follows: Maybe Another Time, Hamun, Passengers, Unruled Paper, Bright Nights, and Subdued. After selecting the samples, deep observation and coding, as well as other analytical steps, were performed. The key sequences and dialogues of each film were selected and compared after several observations. By replaying and watching the films in slow and fast motions, we were able to obtain the data that might have been overlooked in real observations. Due to the in-text nature of this study, we sought to extract meanings and concepts by coding the internal space of the images. In the theme analysis, we sought the general structure of meaning, not fragmented themes and categories. Therefore, the findings of this study included the themes that showed the general semantic structure and context of the subjects under study. 

The results revealed that in the studied films, the characters were in crisis in their interpersonal relationships and thus constructed in the form of self/other duality. This duality was the fundamental form of the subjects’ experiences, in which the self and the other were constructed in the intersubjective realm. The social context, in which the films had been produced over the 4 decades (the 1980s to the 2010s) constituted a specific gender structure.The embodiment of the subjects was constructed in the context of actions and role performances, whether in the form of a female or a male body. The embodiment and self-experience of the gendered subjects were based on a priori patterns in the collective intersubjective space that pitted them in opposition to each other, the most important form of which was confrontation of a man and a woman.The subject experienced himself in the self/other duality and the embodiment was a mediator for self-recovery or transformation in the other. In the 1980's, this duality had an individual form; the female body had no independent domain and was formed in another absurd (male) mental framework. The female body was an object that was extinguished under the gaze of another person and self was recovered by another one. In the 1990s, the self/other duality was drawn into the collective realm and the subjects were constituted in the form of duality of technique/collective intersubjectivity. The body and the self were recovered in the collective intersubjective frame and the nature of the technique was revealed in the forgery of the subjects. In the 2000s, the embodiment of the subjects was drawn into the realm of confrontation/transition; the embodied action of the woman passed through the absurd body of the man and left her in an abandoned world. In the 2010s, this contrast faded and the subjects were constituted in the form of co-embodiment. The collective bond merged with the fast-food physicality and sensitivity of the female body, while the subject experienced herself in the metamorphic form of the house. Contrary to the results of previous researches, which had a fixed and static understanding of the gendered body of the subjects and considered man as the dominant subject and woman as being subjugated to the patriarchal system, the findings of this study conducted through a phenomenological approach showed that the subjects were constructed in the form of a confrontation with each other.The dominant subject (male) in most films was in crisis himself and thus an absurd subject. The woman was also able to face, confront, and find transition from the man through her embodied actions.

Every policy- making system seeks to achieve goals at the macro and relevant levels. These goals are the result of the material and spiritual demands and values of society or policy- makers. One of the main tasks of political research is to identify and explain these demands and values in any field, even cinema. Because, in this way, the intellectual origins in the policies about the cinema sector can be  understood. Understanding of this in Iranian cinema is the aim of the present article. By using the concept and approach of "reference" in policy-making, this article seeks to answer the question "What are the references related to cinema policies in Iranian cinema?" For answering this question properly, institutional approach and "secondary research" method of the exploratory research should be used to identify and analyze  and the assumptions of the reference in the paradigm of modern government. Therefore  the reference can be identified in policies of Iranian cinema. Comparing the dimensions of policy-making in them, we find out that the policy-making reference in the Iranian cinema is significantly influenced by the general reference of macro public policy-making in the country. This has many ambiguities due to lack of political stability and life of cinema in this situation, is highly on the government and is influenced by policies that strengthen government care, rather than relying on the relationship with the audience.

Iranian cinema has a governmental origin and so far we can find all kinds of positive and negative confrontations between policymakers and filmmakers. An important part of these confrontations has been effective in identifying problems and shaping the agenda of policy makers in cinema. Important factor in the policy-making in an individual-centered system is the issue of personality that influences these confrontations. In this study, by asking the question of how the state acts as the main player in the policy-making process in the face of problems in the field of cinema, the dimensions of the problem and the policy maker’s personality are examined. And typology of the different types of responsiveness and expectation in the field of policy making has adapted by using a behavioral model in developmental psychology. In this adaptation, characteristics were drawn for the four types of "authoritarian", "authoritative or decisive", " unengaged” and " permissive " in the field of policy-making, and then by using a survey method and designing a closed questionnaire, Necessary data were collected from 53 people related to Iranian cinema. The findings of the study indicate that the general approach of policy makers in Iranian cinema in choosing a problem or solution is based on "the urgency of the problem" and "external pressure" and "doing something in the management period". And, somewhat contrary to them, "Paying attention to the needs of filmmakers" is less of a concern for policy makers in Iranian cinema.