جستجوی مقالات مرتبط با کلیدواژه « Farhadi » در نشریات گروه « علوم انسانی »

Deception is one of the important moral and social themes that has become a problem in our society. Because media is effective in social construction of meaning, this article attempts to examine what the media has to say about deception in society by examining the works of an Iranian cinema elite who has focused on the deception issue. From Barth's perspective, the media is mythical and imposes ideological issues on society as natural matters. The rigid approach to Stuart Hall's theory of representation also holds that the media is not a reflection of reality and that the social is based on personal ideology. Using qualitative and quantitative content analysis, this article seeks to see what myths and deceptions Farhadi is creating in Iranian society. Quantitative content analysis revealed that Farhadi, of the six components of deception, focuses mostly on "lying" and "secrecy" in his films. Qualitative content analysis showed that "socio-cultural conditions in Iran", "religion and law", and "type of governance" were among the components that were repeated in his works and represented as deceitful factors.

In case, based on the theory of conceptual metaphor, we consider the foundation of human thought as metaphorical and consider language as only one of the representations of conceptual metaphors, we should be able to consider conceptual metaphors in other representations such as still and moving images, sounds, music, etc.Accordingly, in this research work, the metaphorical conceptualizations of the Salesman film are examined based on the conceptual metaphorical theory of Likoff and Johnson (1980, 2003) and the theory of Forswell Multidimensional Mkkketaphor (2006, 2008). For this purpose, linguistic and non-linguistic representations of conceptual metaphors are analyzed in different sequences of this work. Examination of the data reveals that conceptual metaphors are widely used in this film. Some of these metaphors, such as the Iranian film “ Salesman” as a play about US made film “ The Death of a Salesman” or Tehran as New York in the 1940s, pervade the entire narrative of the film and conceptualize the similarity of the social conditions of the two societies.  And some, such as Emad as Mash Hassan or Emad as an animal, have been used to characterize the roles.

This essay examines the fundamental assumptions in representing women's in Farhadi cinema in the context of Emmanuel Levinas' thought. Levinas' opinion has always been accused by some of the thinkers who have had a traditional view of women. By looking at the works of Farhadi, one can look for a similar look. Although Farhadi cinema is often associated with ideas about the different depiction of Iranian women, this is an analytical study of how the male subject of his work works with this aspect and how women are sacrificed and, at the same time, The beginning of the problem has been identified. The similarity between Farhadi's look to the woman and what Levinas interprets from femininity brings to a bigger question. The results of this study show how much of the emphasis today in Iranian cinema on the victimization of women is itself an intervention in the construction of an image of women that has created a male interventional subject and how this approach can be a way to get out of this intervention and show. A way of communicating between the subject and the other that does not lead tothe subject violating the Otherness of the other a priori.

 

Bertolt Brecht wanted the theater to become a forum for dialogue rather than a platform for delusions, and to develop a new concept of theater creativity known as "Westernization" or "APEC Theater" which aims to stimulate the cash circle in the spectator's mind. This concept is based on the idea of "making what is strange" and this turns it into a poetic act. Brecht intended, from this concept, to extract emotion from theatrical production and to distance the viewer from the characters of the play and the actors' departure from their roles, and then the truth becomes easier to understand. Asghar Farhadi is considered one of the most important Iranian film directors, and he is one of the few who owns a style of their own, and The Salesman  is one of his most important films as we in this article seek to show the way this film took in order to find positive and interactive viewers through two main axes: characters and their conversations as well as direction. Here we can see the way the audience is formed. By extrapolating this film with the opinions of Brecht, and the reasons for the influence of the film "Froshendeh" or Salesman, on the audience, it will be analyzed through the concept of divergence and identification. It seems that Farhadi like Brecht uses the same indirect methods, to reach effective and active viewer and forcing the audience to think. But, of course, Farhadi's style does not contradict the audience's identification with the characters of the film, in addition to creating a special and modern type of divergence in his own way through camera movements, decoration, decoupage, film framing, and narrative. Because in the present era with ordinary subjects and a normal treatment of the story, this does not force the viewer to think.