جستجوی مقالات مرتبط با کلیدواژه « فیلم داستانی » در نشریات گروه « هنر و معماری »

Evaluation is one of the most crucial pillars of art criticism. As Carroll asserts, the critique process is incomplete without evaluation and should not rely solely on description and interpretation. In his book "On Criticism," Carroll addresses the key issues that a critic must consider when evaluating artistic works. The critique process envisioned by Carroll establishes a dialectic between achievement value (objective aspects) and received value (subjective aspects), ultimately deriving the final criteria through this method. This research aims to identify the fundamental elements of Carroll's evaluative criticism theory and demonstrate their practical application in the realm of fiction film criticism. Consequently, after establishing a connection between these components and their cinematic counterparts, an opportunity for the systematic critique of fiction films is created. To this end, the essential elements of Carroll's theory applicable to fiction film criticism are employed, followed by the presentation of their theoretical instances in the context of film. Subsequently, to achieve a detailed and systematic application, the film Killers of the Flower Moon is critiqued as a case study. This research is conducted using a descriptive-analytical method, relying on library resources and Carroll's theory. The main components of Carroll's theory that can be inferred for fiction film criticism include: first, Success Value, which is evaluated concerning stylistic and textual techniques and the filmmaker's tendencies towards possible innovations. This issue, regarding Killers of the Flower Moon, pertains to the filmmaker's historical reference to the Western genre. The second topic concerns artistic techniques, which find relevance under the discussion of genre in cinema. Due to overlaps with the third topic—narrative and characterization—they are analyzed together. The results concerning Killers of the Flower Moon indicate that some weaknesses arising from characterization and dramatic effects, combined with neglect of certain genre-specific traits, lead to a negative evaluation of the film. The fourth topic is the evaluation of the work based on the filmmaker's intentionality, where the filmmaker also fails to achieve some of his objectives, such as depicting Native American independence and making certain scenes impactful. Overall, according to Carroll's theory, after examining the main evaluation points, the film's overall evaluation can be considered negative.

From various viewpoints, you can go to the narration of the fictional film and analyze it. A critical outlook in this area is to address elements that may be effective in publishing. Mise-en-scène and editing are two crucial elements that influence the formation of the narrative. Each of these two elements contains components that can determine this element’s position in the edition. In this research, the position of mise-en-scène and editing in the narrative of a fictional film is investigated based on the components of the narrative type, story elements, plot, time, place, rhythm, fictional character, and representation. The goal is to determine how mise-en-scène and editing are placed in a fictional film’s narrative and compare them. On this basis, the main question is: what is the position of the production and montage in the narrative of a fiction film? Current research is of a fundamental kind, and its nature is descriptive-analytic. Information was collected using a library methodology. The analysis was done using a qualitative method. The analysis made in this article is based on aesthetics in the context of film studies. This research shows that the position of staging and editing differs regarding narrative type, historical elements, plot, and time. Despite this, they share the exact location, rhythm, fictional character, and representation. Editing in more components has a necessary and unconditional status, which is seen as more efficient in the narrative.

Postmodernism, influenced by the socio-cultural atmosphere of the era, has affected films and in particular, the narratives have seen some radical transformations. The ending sequences have also evolved to have the previous patterns and new ones. In this article, we will first examine the bearings and importance of the final sequences and the ending of the films in different periods of the history of cinema and how films end regardless of their genre, style, and period in which they have been made. Therefore, we look at how the postmodern discourse penetrated the world of postmodern cinema and merged it with different styles of the previous eras. Subsequently, along with the intellectual content of the postmodern era, we now can see an aesthetic form that affects the laying out of the ending sequence and denouement, generally resulting in the form of mixture of the codes of the previous periods and a new particular one. In this regard, by examining "Mulholland Drive", which is considered to be one of the early examples of postmodern films with unique endless endings, we see that sometimes postmodern films do not retain any predetermined pattern for their closure. This lack of modeling that brings us to unchartered territories shows that in an endless (not just open endings but ones with more questions to solve) way, the audiences are left to ponder and question the whole film. Fredric Jameson refers to this pattern as endlessness and considers it be one of the characteristics of postmodern cinema because not only is it contradictory, but also this contradiction can be seen as a problem arising from the totality of postmodern human life as a whole, in which human beings experience a complex life in the last period of capitalism and into a postmodern world depicted in the films. According to Jameson's theory, just as the political and social structure of life in the postmodern period is invisible, the endings of postmodern films are also not vivid and audiences are unable to find any endings. We have applied this theory to the film "Mulholland Drive" and shown that its endlessness coincides with the film’s structure and narrative.