سینما

Cinema was initially silent and without the presence of verbal dialogues, it solely conveyed meaning to the audience through images. Thus, during this period, and even afterwards, the dominant expressive element in cinema was the image. The rules that were established in the foundations of visual arts were the same fundamental principles applied in the art of cinema. Cinema, built upon the scientific achievements of visual arts, formed the basis of the visual composition and the undeniable connection between these two artistic domains. Therefore, filmmakers who remained faithful to the rules and principles of visual arts or utilized them achieved significant success in incorporating aesthetic elements in their films. The main question of this research is, what influences has cinema accepted from the basics of visual arts in its framing? The research method is descriptive-analytical and its approach is historical. It is also a method of collecting library information and direct observation of works. According to the investigation and study of the history of cinematographic works, it can be said that the basics of visual arts are the inspiration of cinema, and by applying similar rules, cinema frames its works both visually and in terms of content. . In this research, a list of influential films and directors in the history of cinema from different countries and in different periods of time, in which there is a trace of visual arts before it, has been selected in order to be better and more comprehensive. It is possible to reach a complete summary of the influence of visual arts on the images of cinematographic works and analyze them.

Although photographs have a powerful referential aspect, such that a person recalls the associated reality upon seeing them, they also possess a semiotic function and can thus convey various meanings. Similarly, cinema exhibits this characteristic. Hence, the application of semiotic tools can facilitate a comparison between the two media of cinema and photography, revealing their similarities and differences. This research seeks to answer the main question: What is the function of signs in photography and cinema based on Roland Barthes’ views? This question facilitates a comparative study of the similarities and differences between photography and cinema. The research method is descriptive-analytical with a comparative approach and semiotic theoretical foundations. Library sources are used to gather information. The comparison will be conducted using a lens comparison method. All relevant photographs in the photography section are selected from the book “Camera Lucida,” and the photographs related to cinema are selected frames from the film “Inside the Yellow Cocoon Shell”. The article aims to use a comparative tool to analyze and compare cinema and photography. The research shows a 72% similarity between photography and cinema when applying Barthes’ semiotic tools from “Camera Lucida.” This similarity arises from the examination and comparison of two essential elements of the sign in photographs, namely the Studium and the punctum, with the Studium including more implicit and explicit connotations. Whereas punctum’s connotations are primarily based on personal experience.

Problem statement: 

The initial phase of design is a complex, crucial, and ambiguous stage. Researchers suggest that designers rely on very simplistic thoughts at the onset of design to narrow down the chain of possible solutions, referred to as primary generators. Primary generators have various sources, one of which is cross-disciplinary references; cinema, in particular, provides a vast array of unexplored spaces. Therefore, the question of this study is: how can cinematic works be considered a source for the formation of primary generators?

This study aims to explore the role of cinema as a formative source of primary generators, thus establishing a credible resource to facilitate the initial design step, which often faces numerous complexities.

The present study first elucidates the concept of primary generators based on existing theoretical discussions in library sources. It then employs qualitative research methods and content analysis of sequences from selected cinematic works to assess the potential of cinema as a source of primary generators.

After gaining insight into the concept of primary generators, a categorization was provided, along with theoretical evidence from cinematic texts for each category. Four distinct viewpoints were adopted based on this categorization, including existential (human life), metaphorical-philosophical, environmental, and formal aspects, with examples from cinematic works presented for each. These findings demonstrate that cinema is a significant source of primary generators and can inspire a wide range of primary generators.

Cinema has been constantly interacting with architecture since the early days of its formation. One of the fields of this interrelation is the exploration of concepts that exist in the theories of cinema and can betraced in the realm of architecture. The “distancing effect” concept, also known as estrangement oralienation effects, and V-effect (Verfremdungseffekt in German) which has influenced many theorists of cinema and filmmakers is one of them. This concept can be defined through an example. While watching a drama, individuals experience sensory and emotional tensions,identify themselves with the actors, and perceive everything as reality. However, this process is disturbed by the “distancing effect”. They become aware that they are watching a performance, and therefore they are separated from the belief that the events are real, viewing the work with a distant and analytical perspective, away from emotional conflicts. In this way, imaginations and illusions dissipate, and the audience remains fully alert with a seeking and active mind,ready to think. The “Distancing effect” has been developed in many art forms to break simple immersion and identification,provokig self-awareness, social awareness, and reflection. The focus of the present article is to explore “distancing effect” concept in architecture, with the aim of interpreting its manifestations in architectural works. The research method is qualitative, based on theoretical discussions in library resources, where “distancing effect” concept has been explained. Cinema has been employed as an intermediary domain for a better explanation of “distancing effect” approaches, allowing architectural instances  be identifiedmore easily. The contents of  sequences from selected cinematographic works have been analyzed. By adapting them to the world of architecture, examples of this concept have been illustrated in architectural works. In this article, five categories of insideness and outsideness, main narrative and sub-narrative, objectivity and spatiality, parallel narrative, and anachronism are summarized, which can lead to the “distancing effect” in both architecture and cinema. In conclusion, it became clear that the “distancing effect” concept is not solely dedicated to literature or dramatic arts, but it can also be revealed in the field of architecture. various works of cinema and architecture from a wide geographical range are presented as instances of the “distancing effect”. As demonstrated, different famous filmmakers such as Antonioni, Tarkovsky, Kiarostami, Wajda, Wenders, von Trier, Mankiewicz, Bertolucci, and others used the “distancing effect” in their works. Notebly, Brecht theorized his concept in the twentieth century, yet many of the buildings discussed in this research belong to an earlier historical period. This indicates that many architects have (un)consciously used this concept in their works as they want to invite individuals to think, explore, be active, interpret, and be aware of what they are observing. Ultimately, it can be articulated  that the work of architecture plays a more significant role, it is not merely a space to provoke our sensations, but also a universe for deep contemplation and thought.

After the invention of photography, followed by the birth of cinema, both arts experienced growth and evolution over less than a century. The techniques and themes guiding cinema emerged. This new art form surpassed other arts in attracting audiences and gradually became the most influential art of its time. Cinema was not only indebted to photography but also to literature, painting, theater, and music. However, the direct connection between photography and cinema through recorded images made the interaction between the two more prominent than with other arts. Additionally, contemporary intellectual movements that coincided with the birth of cinema created unique theoretical discussions, leading to the development of photography and film theories.This study aims to demonstrate the influence of cinema on contemporary photography and to explore why this influence occurs, utilizing theoretical studies conducted in this field through descriptive analysis of written and visual sources, with an emphasis on the views of thinkers such as Walter Benjamin, particularly in his essay The Work of Art in the Age of Mechanical Reproduction, Henri Cartier-Bresson and his theory of The Decisive Moment, as well as more recent theories such as Gilles Deleuze's The Time-Image. Intellectual movements appear to have shifted the influence of cinema on the arts, redirecting it toward cinema's impact on other art forms. At the beginning of the 21st century, following the intellectual developments of the late 20th century, cinema's trace is evident in photography. Examining these developments, factors such as time, stillness, framing, movement, continuity, and sequence reveal that a new visual language has been established in both cinema and photography. By observing the earliest cinematic works following the invention and emergence of cinema, one can discern the role of photography in this new form of artistic expression, both in the technical aspects of cinema's creation and in the themes presented in films.Many filmmakers have created films influenced by individual photographs or collections of photographs by renowned photographers. John Ford, for instance, developed the unique mise-en-scène of his films under the influence of Edward Curtis's collection of American photographs. Filmmakers such as Stanley Kubrick, Nuri Bilge Ceylan, and Abbas Kiarostami are notable for integrating photographic elements into their cinematic works. Conversely, with the evolution of photography tools from analog to digital, the methods of creating photographs have also transformed, resulting in a diverse range of photographic styles that have been significantly affected. These changes evoke connections to Cindy Sherman’s work, as many artists incorporate cinematic concepts as a structural framework and utilize photography as a new medium. Meanwhile, certain works have transcended mere documentation of reality and seem to approach cinema more closely than other media in their search for novel forms of artistic expression, as seen in the works of Hiroshi Sugimoto and Denis Darzacq. This raises the question: Are these influences one-directional, or is there a two-way interaction between cinema and photography? If such an interaction exists, which ideas have shaped and expanded it? Furthermore, in light of cinema's influence on photography, what vision can be anticipated for the future of both media in the 21st century? This research aims to address these questions by drawing on new schools of thought and analyzing contemporary visual arts. Answering these questions will ultimately clarify the main goal of this study, which is to identify the reasons behind the influence of cinema on contemporary photography. This research employs descriptive and analytical methods to examine how cinema and photography interact and how their new forms emerged at the end of the 20th century and the beginning of the 21st century. To achieve this, the study focuses particularly on the works of photographers and cinematographers after 1980, using both written sources from libraries and image resources from various archives. The selection of artists and works has been conducted through non-random, purposeful sampling. In discussing the interaction between photography and cinema, the period from 1980 to the present is considered, focusing on the ideas that have had the greatest impact on significant shared elements such as time, stillness, framing, movement, continuity, and sequence. These elements have contributed to establishing a new form of visual language in both cinema and photography. David Bordwell, a noted cinema author and researcher, asserts that philosophical and structuralist approaches cannot be simultaneously applied in cinema studies. Although this research provides a suitable context for post-structuralist analysis, a philosophical approach is chosen to allow for a broader exploration and the incorporation of various theories. Theories such as Henri Cartier-Bresson's The Decisive Moment, Gilles Deleuze's Time-Image, and Dudley Andrew's collection of contemporary theories are pivotal in understanding the influence of cinema on photography. It is important to note that the roots of this perspective in photography—and subsequently in cinema—are significantly influenced by Walter Benjamin's ideas, particularly following the publication of his essay The Work of Art in the Age of Mechanical Reproduction. In this essay, Benjamin argues that technical reproduction holds value for two main reasons. Firstly, the reproduced work gains independence from the original; he provides the example of photography, where aspects of the original can be captured by the lens in ways that human vision alone cannot achieve, such as through zooming and angle discovery. Secondly, Benjamin notes that a reproduced work can sometimes surpass the original in terms of its condition. In his A Short History of Photography, he highlights how photography can reveal angles that are not apparent when viewing the original piece, exemplified by architectural photography. In What is Cinema? (2010), Dudley Andrew expresses his concern over the transformation brought about by the shift from analog to digital, fearing the loss of the film’s unique characteristics. He suggests that film is no longer merely a modern medium but embodies modernity itself and has become entirely historical. Deleuze made significant contributions to cinema theory through his works Cinema 1 and Cinema 2. Unlike the dominant theories of cinema before 1980—namely, the realist and phenomenological approaches (the latter of which emphasizes subjective perception as a reference model, based on André Bazin’s ideas) and the linguistic approach (which equates images with forms of expression, as seen in Christian Metz's psychological analysis)—Deleuze uncovers the essence of cinema and articulates the unique state in which cinema can reflect on images as independent entities. In Image-Movement, Deleuze examines the relationship between montage and the shot, as well as the connection between cinema and narrative. In Image-Time, he explores the leap in post-war cinema and the break between classical and modern cinema. Deleuze, in his analysis of image movements, emphasizes the equality of movement and light, considering images as perceptions independent of the human gaze. He views perception as conscious only when it retains the useful aspects of objects and conscious perception is linked to action. He observes that classical cinema (including both the Soviet Union and Europe) is structured around the link between perception and action. When this link is broken and perception becomes associated with images of time and thought, the shift from classical to modern cinema occurs, exemplified by Italian Neorealism and the French New Wave. Deleuze uses these points to connect Bergson's philosophy to cinema, asserting that, after this rupture, cinema becomes about "seeing to see" rather than "seeing to act." Time and movement are distinguishing features that separate cinema from photography. However, their use in contemporary photography has transformed its nature, making it distinct from traditional photography. While it might seem that movement and time are characteristics that differentiate cinema and photography, later theories, such as Deleuze's, propose that movement and action no longer define time and space. Deleuze considers time as independent and absolute, not subordinate to movement. He believes that, in cinema, time is layered over scenes and characters, diminishing the significance of recording natural movement. Modern cinema, influenced by these theories, has evolved to perceive time as more than just recorded duration. Although time is often seen as an element uniquely belonging to cinema, photography during this period also developed in a way that treated time as incidental. This notion manifests in photography through stillness, or the suspension of time. Beyond the concept of time, examining other characteristics shaped by cinema—such as framing, storytelling, and narration—helps explain why cinema has influenced contemporary photography.

Many researches have been conducted on the relationship between cinema and architecture, often trying to understand why and how to show the history and style of buildings or urban spaces in the film. In the present research, the main goal is to reverse the trend and study the impact of architectural and urban spaces on the story and atmosphere of the film.

In the past few decades in Iran, the term ‘Iranian-Islamic’has referred to a type of architecture and urban planning that is often derived from local elements, complete with traditional signs and built in line with Islamic and local thinking. On the other hand, one of the most important elements involved in the form of films is the scene or the location, which is selected and designed according to the genre and story of the movie. The location and the scenes in which the film sequences are processed, help to create an atmosphere and mood for the film and play an important role in providing the correct sense of the story to the viewer. What is addressed here, using categorical content analysis, is the ways of representing the Islamic-Iranian architecture and urban planning in Iranian post-revolutionary films; those which have used location and scene to create meaning and concept related to their story. This is discussed in terms of the six categories of representation, extracted from Stuart Hall’s theories and quantified and scored according to expert opinion in both cinema and urban planning. In other words, the analysis is focused on which of the examples has the strongest association between the architectural-urban space and the story. The research method is basic in terms of purpose and converting qualitative data into quantitative.

According to the results, the location is one of the most important tools that helps the filmmaker in creating the desired mood and impact on the viewer. Therefore, an urban-architectural space based on the story logic and used with the right thinking and method, will create the desired feeling for the viewer, and create a better atmosphere. The analysis of the example showed that the films Hamoon, Pary andNar-o Ney in which all six aspects of the representation of the urban space are included scored higher in terms of qualities sought in this research.

Holy sites have a special sanctuary in cinema; for example churches or mosques; they each assign functions to themselves. To focus on this position can be counted as a relevant research field (in both cinematically and historical background of these holy sites). Although mosques are a place to worship and pray, but in Iranian cinematographic films, they have different functions in various fields like devotional, social or even sometimes economical. The aim of this research is to demonstrate what are the artistic features of mosques in Iranian movies and what social functions do they have? Besides these, it is also important to pay attention to the appearance and physics of these places. For example although it has a well-known identity in the point of exterior and interior architectural view, which has had a tune of change throughout time, but its functionality still stands with saving the primary philosophy. This meaning is other than the functions that were mostly social in nature and changed later on. This comparative research has been carried out by both survey and descriptive-analytical methods & has examined the cinematographic works from this point of view, in two periods before and after the Islamic revolution in Iran. In the examined examples of movies, the key works of both periods have been selected. The main question is: How can we study or examine the physical & functional capacities of mosques in Iranian cinema and achieve a comprehensive and correct analysis in this regard.

One of the scholarly approaches employed in interpreting the content of visual artworks is the iconological approach. Iconology, a branch within art history, meticulously examines the content of artworks through their form. Erwin Panofsky, through his endeavors in studying Middle Ages and Renaissance artworks, pioneered the method of iconology. In this approach, he designates the unit of meaning production in works of art as an icon, dividing the understanding of the icon's meaning into three stages. The initial stage is pre-iconography, representing the fundamental comprehension of an icon in a visual text. At this stage, the icon's appearance is considered in relation to its potential representation in the real world. The second stage, iconography, involves the investigation of the symbolic relationship between the visual appearance of the icon and its conventional attributions outside the work. The concluding stage of iconology involves interpretation, delving into the cultural and social factors that contributed to the formation of the icon and the attributed meaning, taking into account the symbolic values of the society. While primarily applied in the analysis of visual artworks, the iconology approach can also be adapted for the examination of cinematic works, provided it adheres to its prerequisites. By examining the recurring characteristics of the film noir genre and its established portrayal of women, it becomes plausible to analyze films within this genre through the iconology approach.In the early 1940s, the Hollywood studio system produced a series of films that garnered widespread acclaim. Coined as film noir when exhibited in France, these films initiated significant changes within the crime film genre. Film noir, particularly through alterations in visual style, critique of post-war American values, portrayal of new psychological character types, and an obsessive focus on gender issues, often depicted female characters as seductive, mysterious, treacherous, and from affluent backgrounds, leading male characters to ruin. Despite the recognition of genre characteristics in film noir research, a scholarly examination of the recurring female character, a pivotal element in this genre, is notably absent.This study aims to address the factors contributing to the formation of the recurrent female character in Hollywood film noirs. By substantiating the existence of this character and exploring the reasons behind its formation and repetition, the research seeks to enhance our understanding of film noir and its impact on global cinemas. Additionally, this investigation can pave the way for employing the iconology approach in the analysis of the female icon in cinema and broader gender studies within this artistic domain. The research focuses on investigating the factors behind the recurrent female character in film-noir works of the 1940s. The article introduces the iconology approach briefly and proceeds with an iconological analysis of five notable film noir works, emphasizing the female characters in these films. Due to the significance and influence of films in this genre, the study concentrates on five exemplary works, scrutinizing the leading female characters in chronological order of production: 1) The Falcon of Malta – recognized as the first film noir; 2) The Big Sleep – notable for the presence of Philip Marlowe and directed by Howard Hawks; 3) Double Indemnity – significant for establishing basic noir characteristics; 4) A Lady from Shanghai – important due to the presence of Rita Hayworth; and 5) From the Heart of the Past – acknowledged as a stabilizing film in the film noir genre.The central question driving this research is the elucidation of the factors contributing to the recurrent female character in 1940s film noirs. The research commences by describing the image of the female character in film noir, focusing on five specific and genre-defining cases. This initial description aligns with the first stage of the iconology approach, pre-iconography. Subsequently, in the iconography stage, a reevaluation of established conventions for this icon is conducted through the reexamination of other texts. The final stage involves an analysis of the social and economic conditions between the world wars, asserting that, in addition to economic crises and unemployment leading up to the Second World War, women's evolving roles in society influenced the visual representation of their characters. The study also addresses the impact of the genre category and the studio system in Hollywood, highlighting the audience's influence on films during this period. Furthermore, the research incorporates insights from Kristeva's theories, suggesting that the recurring female icon serves as a defense mechanism stabilizing the prevailing masculine identity in American society.

As one of the schools resulting from realism, magical realism in world literature has had many effects on other arts. Cinema, as a medium that has used literature as one of its main sources since its birth, was also influenced by this school. The new wave of Iranian cinema - as an intellectual trend compared to the commercial cinema of Iran - also used literary sources of Persian texts and many valuable films of this wave are literary adaptations. The purpose of this research is to identify the elements of magical realism in new-wave films. In this sense, five films from the new wave cinema before the Islamic revolution have been selected and the characteristics of magical realism in these films have been searched in comparison with their literary sources. The selected statistical population is all from the literature of the forties and fifties. The method of this research is basic in terms of the goal and the descriptive-analytical method has been used to study case samples. In the rest of the article, the elements of magic realism such as the intermingling or juxtaposition of reality and imagination, the artistic rotation of time, complex narratives or plots, the diverse use of dreams, legends, and fairy tales (in the context of the story), expressionistic and surrealist descriptions, surprising ideas and beliefs, The elements of surprise and sudden shock, terror and inattention (some events) which are the characteristics of magical realism, have been searched for in movies and adapted with these elements in literary sources. At the end of this research, it was found that except for the elements of dreams, legends, and fairy tales, traces of other elements of magical realism can be seen in new-wave films.

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.

The presence and application of semiotics in our surroundings are evident. Signs are used extensively throughout life, including in art. One of the prominent areas of their use in art is cinema and the film industry. Utilizing signs in this field not only aids in conveying concepts implicitly and indirectly but also serves to express various ideologies. Thus, interpreting works from this perspective can significantly help us understand and grasp the main concept.Mani Haghighi, the director of the film "A Dragon Arrives", has used his artistic and philosophical background, as well as his knowledge of semiotics, to provide an opportunity for us to explore signs and embedded concepts within the layers of the film. 

This article aims to introduce readers to the main ideas of semiotics and to analyze the film "A Dragon Arrives" from a semiotic perspective, allowing for a better understanding of the signs and the film itself.

The research method in this study is descriptive-analytical and aims to discover and explain the relationships between phenomena and signs present in the film. This work was conducted using library methods, supported by articles, existing books, and by studying visual information. 

The findings of this research indicate that the director has used various signs, from character creation to the underlying layers of his work, to convey concepts. Even the environment in which the film's world is being shaped has been chosen with consideration of these tools, that is, signs and implicit concept conveyance.In the film "A Dragon Arrives" signs are extensively used and can be seen and interpreted throughout the entire story. Certainly, this extent of sign usage, as well as the methods of their use—especially those with metaphysical properties and drawing from local or historical traditions—are very influential in the storyline or, better to say, in the understanding of the story. Upon initial viewing, the film may come across as a complex crime drama with a non-linear, postmodern narrative. However, a closer analysis of the film reveals themes such as alienation, ignorance, superstition, and most importantly, the concept of death. Death is sometimes portrayed so alien and majestic that it has transformative effects on lives like an earthquake, sometimes so soothing that escaping it becomes difficult, and sometimes so ordinary and insignificant that it seems no one notices it.Moreover, analyzing the reactions of different character types to the same issue and their various responses becomes easier after interpreting the signs. This makes the characters’ developmental trajectory, collapse, and growth throughout the story more tangible, providing valuable information to the audience, especially considering that individuals might encounter and interact with such characters daily. Additionally, the use of signs and their application to define a multi-layered and complete story signifies the director’s mastery and skill in his craft. The issues raised in the film cannot be easily overlooked, and each can be the subject of extensive discussion, which alone is a valuable act of reminding the audience.Mani Haghighi's "A Dragon Arrives" stands as a testament to the director’s ability to intertwine semiotic elements with cinematic storytelling. The film becomes a fertile ground for semiotic analysis, offering viewers a layered narrative rich in hidden meanings and symbols. By delving into these layers, one uncovers a deeper understanding of not just the film but also the broader implications of the signs and symbols in our everyday lives. The use of semiotics in this film is not merely a stylistic choice but a profound method to engage the audience on a more intellectual level, prompting them to reflect on the underlying messages conveyed through the narrative.In conclusion, the application of semiotics in cinema, exemplified by "A Dragon Arrives", highlights the significance of signs in enhancing the depth and meaning of a film. The director's adept use of semiotic elements not only enriches the narrative but also invites the audience to engage in a more thoughtful and analytical viewing experience. By recognizing and interpreting these signs, viewers can gain a deeper appreciation of the film's themes and the director's artistic intentions. This approach underscores the importance of semiotics in the broader context of art and communication, offering valuable insights into how meaning is constructed and conveyed in various forms of media. Thus, the study of semiotics in films like "A Dragon Arrives!" is crucial for both filmmakers and audiences, fostering a richer understanding of the intricate layers of meaning that lie beneath the surface of cinematic works.

The concept of love has been challenging human logic and emotions since ancient times. Despite all studies and experiences, this concept still does not have a comprehensive definition in the world but it includes many humanistic issues and relationships. Scientists of various theoretical and practical sciences have been dealing with this topic for a long time, and in this research, the ideas of two of them have been reconciled. These two scientists are Wong Kar Wai, a renowned Hong Kong director known for his distinctive work style, and Abul Fatah Ahmad bin Muhammad bin Ahmad Ghazali, a great mystic from the late 5th and early 6th centuries. According to different requirements, the views on love are various, including religious beliefs, geographical conditions, intellectual development of the society, etc. It seems that these two thinkers, despite several centuries of time gap and thousands of Kilometers of spatial distance, have many points in common in this case, which can be due to the Eastern view (in the general sense) of love, but the reasons of these similarities are not the subject of the present discussion. This research aims to write dramatic texts (both plays and screenplays) that are deeper than the texts which are on the surface and so-called body, especially about love, which is the subject of Persian classical literature, for example, the prose of mystical messengers can be helpful in different ways. This research uses the library method and deductive reasoning with the movie script to demonstrate that elements within our classical literature, while not inherently dramatic, can serve as a solid basis for developing successful dramatic texts.

The Book of Swaneh is the first Persian written treatise that only talks about love and has had a great impact on similar texts in the future. Examining this book is not possible only by interpreting the meaning of the words, and due to the existence of mystical beliefs, it needs a mystical explanation, which Riazi and Mujahed have done. In this regard, articles have been written about Sheikh Ahmad's book and beliefs, which have been used for a correct understanding of her words, such as Sarati and Shakeri.

The movie "In the Mood for Love" is generally considered a successful movie in terms of reception by experts and critics, which achieves its purpose through the poetic use of the concept of love. This research is trying to express the beauty and potential of Eastern love (Whether Ghazali wrote it or Wong Kar Wai) and show its capabilities to create a magnificent dramatic work that can compete with Western versions. Meanwhile, their differences are also identified.

First, it should be determined whether these two texts are compatible at all, or in other words, whether they are congruent or not. For instance, it should be proved that Ghazali also talks about material love like Wai. Of course, Ghazali's intended love is more sublime, but according to himself, it also includes physical love for humans and has no limited direction. After proving compatibility, a comparative analysis has been done.

The results indicate that issues such as separation, connection, relationship between the lover and the beloved, destiny, and mechanisms of love are very similar in two texts. These similarities show their differences compared to Western and Hollywood love, which is the result of the way different cultures look at the issue of love. One is pure, sublime, spiritual and gentle, and the other is physical, humanistic, material, and wild.

The author can create a work that has something to say in the world of cinema and theater by using the capabilities of Persian romantic-mystical texts. The witness of this is the Wai’s movie, which is similar to Sawaneh in many ways.

This study and examination in the films shows the shape and model of women's clothing in different parts of the world with the weather,Culture, customs, and many variables are different, so we see the same model during different periods What is special is that we are not even in the same land, but we are diverse and different, and as the saying goes today, there is a style of clothing in every era It became fashionable that the most decisive and important elements in the clothing of women of that society are those with the background effects Like the white revolution and the unveiling of the hijab in Iran, the political and socio-economic conditions before and after the revolution Islamic Iran is the driving force of its influence on clothes and clothing. Conducting library studies of this research and study shows that Iranian cinema is one of the most important It is considered a powerful cultural and artistic tool in the multicultural world today by reviewing the contextual factors Influenced by the trend of fashion and westernization, it has been able to cast a shadow on Iran's fashion in all directions. to compare women's clothes in movies before and after the Islamic Revolution of Iran. From this research

Cinema and architecture are two well-known arts with significant similarities in creating art and space. Hitchcock's cinema is one of the strong foundations of world cinema in film genres, including the crime film genre, in which the commonalities of cinema and architecture are also obvious. Criminological dimensions and angles in criminal genres are some of the components of cinema that have not been investigated so far in the form of common relations between cinema and architecture. For these subjects, insecurity has been one of the most enduring concerns in urban life over time and crime is one of the most enduring urban challenges and is a priority category in the quality of life in urban spaces. Meanwhile, various changes have been made in the field of criminology, environmental criminology, and situation-based prevention approaches. Place-oriented and micro-centric analysis of urban crimes is one of the new operational strategies to prevent crime. The categories of "place" and "place management" are among the central concepts in this new method of situational crime prevention. At present, concepts such as "place" and "place management" have found a valuable role in criminology, which is less considered in Cinema Studies. The purpose of this research is to discover the three-way relations between “cinema, architecture and crime” in the context of Hitchcock's crime cinema and with the help of the analysis of “Psycho” film as the most well-known crime Hitchcock's film, which third link of these relations can be interpreted with the “new criminology of place” idea.

The approach of this research is qualitative, and the research technique is “Semiotics” with the mixed approach of “De Saussure” and “Barthes” to identify the signs system and the semiotic analysis of architectural and urban spaces from the point of “criminology of place” approach.

The findings of the research indicate the existence of a group of “signifiers” and “signifiers” in the form of a “sign system” aligned with the semantic context of Hitchcock's crime cinema, which is supported by strong urban and architectural spaces. In addition, the architectural spaces of the “Psycho” film can be explained by theoretical literature on the criminology of place more than environmental criminology, theoretical literature which shows the maturity of Hitchcock and the pioneer of his cinema, with at least fifty years between 1960 and 2010 as a date of production of the movie and the date of birth of modern criminology of place.

In total, the results reveal extended two-way commonalities known between the two arts of cinema and architecture as a form of a three-level spectrum “cinema-architecture-crime” in the context of the crime cinema and a distinguished director named “Alfred Hitchcock”, in addition, fills the research gaps in this field and resonates “Hitchcock you don't know, yet” statement.

Traditionalists wrote and left behind many works on traditionalist art. Although their intellectual scope was broader than mere attention to art and covered vast aspects of life, what was important was their attention to art, which they discussed in details. According to them, an idea like, there is no place for art for art's sake; in fact, from the traditionalist point of view, art is a window into the Holy Land through the recollection of the infinite and absolute of this supreme truth. One of the most important features of traditional art is order and unity, which strive to correspond to the qualitative and so-called essential dimension of the cosmic image. By paying attention to these elements, traditional and sacred art evokes and expresses sacred matter, Sacred knowledge is central to traditional theory. Through the reflection of traditional art, which is an expression of the sacred, pop artists lead people towards the ultimate and eternal truth through the knowledge of the universal divine. This sacred matter must manifest itself in mystical form in the form of a work of art. In traditional thinking, it has the conceptual form of Aristotle and Platonism, the form is the expression of the essence of the object. In traditional art, objects must move from one another to reflect unity in diversity. Now this study will study the possibility of using elements of traditional art in cinema, a modern art form that still has many limitations in recreating traditional art.

This article examines the transformation process of Iranian melodrama in cinema from the perspective of analyzing emotional intensity and social interpretation according to Peter Brook's theoretical perspective and it was formed by qualitative analysis in library method. The upcoming study examines the role of emotional intensity in melodramatic storytelling, the techniques and strategies used in Iranian melodrama to evoke emotions, along with film examples to show their effectiveness and, in addition, how Iranian melodrama addresses social issues and critiques social norms with The use of allegory, symbolism and narrative tools has been investigated and by using the theoretical perspective of Peter Brook, it has revealed its relationship with the analysis of emotional intensity and social interpretation in Iranian melodrama. The findings show that the unique characteristics and roles of Iranian melodrama and its influence on Iranian cinema and society have been emphasized a lot.

The aim of this research is to analyze the hierarchical concepts of change from popular art (Kitsch) to architecture and semantic cinema in Iran with an identity-oriented approach, which examines the film Khaneh Doost by Abbas Kia Rostami. The general stages of the discussion deal with the common concepts in these two fields of art by explaining the model of the relationship between cinema and architecture and the definition of semantic cinema, and in the meantime, identity is criticized as an identifying element of art. The research method in this paper, considering that it focuses on component linkage, uses Pierce's logical method, which is applied in terms of purpose and based on analytical, descriptive and a combination of qualitative (from sample to theory) and quantitative ( From theory to example) And in terms of method on explaining the theoretical content of theoretical findings, interdisciplinary and case study has been done and Also, questions and interviews with experts in these two fields (cinema and architecture) are among the pillars of research. In the following, by using the film "khaneh doost" by Kiarostami (famous Iranian director and writer), an attempt has been made to analyze the concepts in question, where identity is the main issue. The transformation of a work of art from an inefficient and useless work into a semantic work has been criticized and the plot of this claim can be generalized in contemporary Iranian architecture.