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

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.

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.

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.

Although the postmodern narrative structure is influenced by postmodern philosophy and worldview (especially Nietzsche’s philosophy) in the criticism and satire of modern reason and humanism, the final postmodern structure cannot be reached by simply repeating philosophical slogans about the intellectual impulse of modern man. The present study, with a critical analysis of experts’ views on identifying and adapting postmodern literary and cinematic examples, claims that many works known as postmodern fall into the category of pseudo-classical or pseudo-modern works. Based on the results obtained as a result, examining the common principles of classical and modern with the common principles of postmodern in eighteen cases, the most important feature of postmodern literature was to draw the readers’ self-conscious attention to the fact that the work is fake to challenge the relationship between reality and fiction. The few postmodern films can also be summarized in ten titles, but by reducing the ten characteristics, the lack of originality along with self-disclosure and reference to the past can be mentioned as the three main components of postmodern works in cinema.

Abstract
Problem statement: In addition to providing a new definition free from traditional constraints, critical theory scholar Jean-François Lyotard specifies new components for postmodern works of art by characterizing modernism and postmodernism as two oppositions to realism. Furthermore, thanks to Kant’s reflective judgment, Lyotard views event in a way that challenges the genres of the dominant discourse and results in the creation of a new discourse in a postmodern work of art; a discourse that requires a different way of perception than what was previously the case. In his writings on acinema, he views motion as the basic building block of cinema and believes that acinema eliminates all motions that are necessary for the creation of a filmic work. This study attempts to elucidate the new connections between event, acinema, and postmodern art in Lyotard’s notions, and answer “How can the event, in Lyotard’s opinion, be effective in the birth of postmodernism as two conceptions of ahistorical and acinema that contradict cinema?”
Research This research, while formulating the relationship between the two concepts of event and acinema as two important components of artistic and cinematic critique according to Lyotard, aims to demonstrate how postmodernism manifests as a stylistic and broadly non-historical matter in cinema, and how Lyotard’s acinema is realized.
Research This descriptive-analytical research conducted a desk study to collect data.
With the occurrence of the event paradigm in films, the genre inherent in each work becomes blurred, and new and unexpected genres emerge. As a result, the display of the impossible becomes possible, and acinema emerges in contrast to cinema. In this way, postmodernism is revealed not as a historical period, but rather in a stylistic form.

During the second Pahlavi era, the cinema industry in Iran adopted a distinct approach to regulation and control, guided by cultural policies deeply rooted in their perception of Iranian culture. This approach utilized legal mechanisms that were under the influence of political power. The government's cultural policies during this period were aimed at shaping the cinema of that time, exerting influence over public culture in alignment with their own ideals. Thus, this research aims to identify the legal tools employed by the government during the second Pahlavi era to implement and adapt these policies. The research hypothesis posits that the political power at that time exerted a specific direction on cinema, extensively utilizing censorship and various forms of surveillance in the films produced during that era. The research methodology employed is descriptive-analytical, and data collection relies on documentary and library sources. By examining the policies and cultural rights of that era, it is suggested that the government sought to guide the cultural lifestyle of the population through both positive and negative monitoring methods, utilizing legal instruments that were under the control of their cultural policies.

Metafiction is one of the methods of postmodern literature that entered Western fiction writing in the 1960s, and its first signs were seen in Tristram Shandy 's novel by Laurence Sterne in the 18th century. The success of postmodern literary genres such as metafiction led to their entry into the field of cinema, and many screenwriters and directors were inclined to use these techniques. In recent years, Iranian cinema has also tended to produce more works with a postmodern approach. Considering the importance of studying postmodern art in the field of cinema and the tendency of artists towards new techniques, this research tries to explore postmodern approaches, especially in the field of metafiction with the theory of Linda Hutcheon, in the 1390s of Iranian cinema on the two films “A Dragon Arrives!” Directed by Mani Haghighi and “A Hairy Tale” by Homayoun Ghanizadeh. The research is descriptive-analytical and the film content analysis method is used based on library sources. The main feature of metafictional works is the contradiction in their narration. This paradox means that the author of the story must constantly convince the audience that they are reading or seeing a work of fiction (imaginary) and on the other hand, he must make the audience believe this work of fiction. Short circuit is another feature of these stories that the writers allow themselves to enter into the narrative and be with the audience and its characters. Intertextuality is also one of the things that can be traced in all postmodern literature, including metafiction. Mani Haghighi in the movie “A Dragon Arrives!” tries hard to create a real and imaginary situation for his audience based on Linda Hutcheon 's historiographic metafiction and by entering the story as a writer himself, he changes the process of narration from documentary- like truth to a fantasy police movie. In his first cinematic experience, Homayoun Ghanizadeh also tried to use the characteristics of metafiction in the movie “A Hairy Tale”, taking into account postmodern narratives in theater and literature. The characters of the film are constantly going back and forth in different intertexts, and the border between reality and fantasy is blurred in the barber shop scenes. Postmodern art is one of the most important approaches in contemporary art, and studying and knowing their elements will help writers and directors to create better narratives.

One of the main areas that can be changed and transformed into the world is clothing, which has seen more changes in women’s clothing compared to men’s clothing due to the daily supply of styles and designs for women. In every period of history, clothing has undergone many changes and changes, but during different periods and with the development of technology, many changes have been made in the field of clothing and clothing. Paying attention to the style of the cover is what the code of clothes or type of cover means. The way people are depicted in Iranian movies and series is related to the category provided by the type of coverage. In the 70s, there was another transformation in Iranian fashion, and in the 80s, due to the Internet and the opening of a huge window of communication with the youth, Western fashion took on a massive and irregular transformation. Women’s clothing is a component of social class identity. The definition of women’s clothing as a norm is based on the studies and surveys conducted in this field. Women’s clothing in Iran has undergone changes after the revolution. From the 70s onwards, with the revolution in women’s clothing, the shortening of coats, the addition of chucks, the use of decorations, short models, the complete removal of buttons, etc., in the decades after that, is considered one of the most significant changes in women’s clothing. These developments occurred in line with various social events, the most important of which are after the revolution, the imposed war the change of governments and political relations with the West, and the spread of the Internet, social, and satellite networks. The current research shows that the political, social, and cultural developments have had a significant impact on the presence, activity, and clothing of women in post-revolutionary cinema, and the history of cinema indicates that the manner of covering and representing the image of a woman is closely related to the role of that character in the film. It is also a crucial component of filmmaking.

Pedro Almodóvar is a renowned and influential director in contemporary Spanish cinema whose works have a unique style and aesthetic presentation. Almodóvar has frequently stated that his films are inspired by various sources. This Spanish director drew inspiration for his works from various movies, TV programs, paintings, and literary works. Meanwhile, film references and scripts play an important role in his works, and he is one of the directors whose works incorporate a combination of such texts. Thus, “intertextuality” is one of the topics that can be properly examined in this Spanish filmmaker’s works. This research investigates intertextuality in Almodóvar’s works and answers the following question: “How are Pedro Almodóvar’s films created through their intertextual links with other films?” A descriptive-analytical method and comparative method were used to address this question. In addition, Gérard Genette’s theory of intertextuality has been used to analyze and categorize such intertextual relationships. The statistical population of this research consists of Almodóvar’s feature-length films produced during the 1980s, which are regarded as his most renowned works. The results demonstrate that the various cinematic texts mentioned by Almodóvar, such as cinematic excerpts, script titles, and cinematic allusions, within Genette’s theory take on the roles of para-texts, quotations, cinematic references, and inter- and intra-authorial allusions, which, in addition to their conventional functions, have a metaphorical function.

Using visual signs in the design and architectural landscaping of the scene in the Marvel cinematic universe creates the concept of the place and brings metaphorical and implicit messages during an adventure story. Considering the semantic concepts and ideas of architecture and the development of design methods in the contemporary period, this topic can create a proper connection between the identity-building elements of architecture and the identity-giving scenes of the superheroes of the story, while expressing the story powerfully. This study was an attempt to identify explicit and implicit signs in processing and measuring the compatibility of common architectural indicators in buildings related to the superheroes of the story and characterizing the content of Marvel cinematic universe. Thus, the primary question of this study is what is the compatibility of architectural signs in story scenes with the characterization of Marvel superheroes?  For this purpose, the present study’s method is descriptive in nature and relies on content analysis in a qualitative-interpretive paradigm and semantic and linguistic semiotics. It tries to read the meanings and metaphors, and the implicit link in the ideas and concepts of design in the housing building or the primary centers of activity in Marvel cinematic universe. The results show that each superhero created by Marvel, with a unique personality and special abilities, takes its own story path. In this regard, based on the characteristics that the writers have created for the afore-mentioned characters, in addition to the synergy of people together, formal, functional, and conceptual commonalities can be seen in the emergence of the design concepts of the houses of Marvel superheroes and their primary activity centers. This issue has been changed to some extent by the differences and the unique characteristics of each character or place by referring to adjectives such as "breeze and brave", "powerful in the sky", "hidden and powerful", "optimal and efficient", and having "power", "speed", "boldness", "flexibility", and "having high knowledge and intelligence". Therefore, while maintaining great diversity, the common activities of the characters have helped form a certain identity.

One of the pieces of equipment used for women’s role-playing in the performing arts is for their faces to be displayed with various makeup products/forms of makeup as required by the film script. Social, cultural, and ideological norms as internal deterrents and societal and governmental demands as external deterrents may force actors/artists to comply with certain requirements/requisites. One of these factors that may act as an internal deterrent for a Muslim actress and as an external deterrent for an Islamic government are the laws pertaining to hijab. Due to the existence of such factors, specifically about wearing wigs instead of headscarves or other Islamic head coverings/veils, the question arises as to what the Islamic ruling about covering a woman's natural hair using wigs is? In order to address this query with jurisprudential methods, this article investigates the possibility/hypothesis that if wigs are religiously an example of adornment or cause the displaying of the woman’s own natural hair due to being too similar to natural hair, they should not be used in the performing arts.

Culture is a dynamic and continuous set of codes. Every text has a network of codes in its heart and thus introduces the culture that emerges from it. This complex system of codes is built in different layers and produces meaning based on the interaction of these layers during reading and studying. But in the meantime, apart from culture, text, and author, another factor is also influential in the production of meaning: the audience. The work of codes within the text only begins when it engages with the mind of an audience. When facing an architectural sign, the audience's mind does not lead to only one signified. Each element of a building produces different meanings in different layers. In this study, these layers were the following: functional, environmental, aesthetic, and phenomenological. The functional layer refers to the primary use of the audience; the environmental layer is focused on the essential relationship of the elements with humans and the surrounding environment of the building; the aesthetic layer focuses on the way sense is produced through elemental art; and the layer of phenomenology is related to the platform that each building provides for understanding man and his relationships with the surrounding world. The meanings created in these layers in a hermeneutic process leads to an indeterminate meaning. The main question of the present article is how the cultural implications of architectural building elements interact with each other in different layers. In this regard, the architecture of Mellat and Astara cinema campuses were examined as a text under four functional, environmental, aesthetic, and phenomenological layers. Each building was analyzed in three stages open, central, and selective coding. The results showed that Mellat campus has led to the complete integration between the four layers and the strengthening of the meanings of each layer by the other layers and the achievement of a new definition of the architectural and artistic space. In Astara campus, it has led to focusing on the functional dimension of cinema and neglecting the communication between layers and the lack of satisfaction of the audience from being in the artistic space. The most important components of interaction between layers are the importance of creative form and the expression of different ideas, the prominence of architectural elements, the importance of the relationship between humans and the surrounding space, and a limited adaptation of form and function. The interaction of semiotic layers in the studied buildings presented some important results 1- The content of each building plays a fundamental role in the way the layers interact. The commercial complex has economic content, the cinema campus has art content and the mosque has religious content. This content acts as a central tool for bringing the layers closer together. In cinema campuses, artistic content increased the importance of sense. In such a way that the layers of environment and aesthetics and phenomenology interacted with each other based on this idea. 2- The layers of aesthetics and phenomenology, as expected, have a lot of interaction with each other, and in a way, the understanding that is created in the audience's mind in the field of phenomenology is a complement to the production of aesthetic implications. Therefore, these two layers can be studied in future research on religious buildings. 3- Although the functional layer is less important than the others in appearance, it is the foundation of any understanding that comes from the building because the function of each architectural element is the first interaction of the audience with that element and the underlying understanding is built in the first encounter.

With the advent of cinema in the digital age, this art has become the best medium to represent the advancement of technology. Many science-fiction films on the subject of machines and robots have taken on a more realistic form, and the scientific part of this type of film has dominated the imaginary part. One of the critical events in the science-fiction genre that underwent this transformation is the relationship between man and machine in this genre. At the same time, the advancement of scientists in the self-awareness of artificial intelligence has brought their biological structure very close to that of humans. On the other hand, in the world of technology, scientists have taken great strides in making machines more intelligent. According to many, the goal of artificial intelligence development is no longer to achieve human biological intelligence or robot-child simulation. For them, machine intelligence, along with improving the quality of human life and speeding it up, means experiencing human life with intelligent beings. Many human biological and cognitive features, both objective and subjective, were simulated for artificial intelligence. The result is evident in the representation of the machine-human interaction in cinema. Confrontation and the war between machines and man for survival gradually gave way to the Cold War for existence or friendship and emotional relationships. Suppose, in the past, artificial intelligence and intelligent machines were considered a competitor to intelligent human life in future scenarios. In that case, the theories of artificial intelligence scientists, the economic plans of technology investors, and the imagination of writers and filmmakers are the closest competitors to human aesthetic life. In the present study, using a descriptive-analytical method by examining the theories of prospective researchers in the field of artificial intelligence as well as scenarios predicted by scientists and represented in three works, "West World," "Ex-Machina," and "Devs," the effects of machine self-awareness theories on the representation of the human-machine existential confrontation is determined. It is concluded that the encirclement of artificial intelligence in the production of films and TV series can provide them with stories and images and also affect the aesthetic sense and emotions of the audience. Although this influence was initially evident in science-fiction films and their audiences, today, it can also be seen in other cinematic genres.

The relation between film and philosophy is one of the relations that has always been considered by film theorists and philosophers. In other words, the film's ability in displaying philosophical concepts and philosophical thinking through films is one of the most significant case studies in this field. Martin Heidegger can be considered as the greatest philosopher of the twentieth century. His interest in art and its usage to indicate concepts such as Existence, makes Heidegger a distinguished figure among his contemporaries. But his thoughts about death and non-being versus existence are very interesting and worthy of attention. Heidegger considers death to be one of the most important abilities of Dasein and believes that it is only with death that Dasein can think of itself as a whole. Abbas Kiarostami is one of the directors who has received diverse readings on his movies and each of them has demonstrated the richness of his works more than before. Death is one of the concepts that apears in Kiarostami's most important works. It can be clearly seen in movies such as Koker Trilogy and Taste of Cherry. Kiarostami's different outlook and point of view, unique use of stylistic and thematic elements, the way of narrating the story and the way in which characters confront death have led this concept to go beyond its apparent meaning in his movies.This research by examining the most important and fundamental elements of understanding the concept of death in Heidegger's philosophy, namely Dasein, anxiety or fear-consciousness, fall and authenticity, death and the meaning of life in Abbas Kiarostami's cinema, indicates that all the elements related to death in Heidegger's philosophy can be traced in Kiarostami’s exemplary movies, Taste of Cherry and The Wind Will Carry Us; and a reading of Kiarostami's works through Heidegger's philosophy can be offered. In other words, the concept of death in Kiarostami's works is completely applicable to the concepts of Heidegger's philosophy. Taste of Cherry depicts the movement towards death and the diret encounter with it through the character; on the other hand, in The Wind will Carry Us, all the elements related to death in Heidegger’s philosophy appear gradually through the progress of the plot.

Julia Kristeva's concept of Abjection recognizes the relation of the subject with the objects in its environment. What is the cause of the rejection of the subject and its transformation into the Abject object is based on the separation of the child from the mother’s body and the way he/she transforms the mother into the Abject object towards the path to the symbolic, and then an action to draw protective borders for the not-yet-subject. Hence, in order to dominate one sex, the structure of today's societies, marginalizes the subject by the rules based on traditions and makes it a second sex /Abject object. What is considered in this article is the categorization of the subject in societies based on the position which is defined by the symbolic order, which leads the second sex to the status of the rejected and this is reflected in some Iranian movies in the 1390s. In this descriptive-analytical research and based on Kristeva's ideas about Abjection, the common aspects in the subjects of the Iranian movies of this decade are analyzed based on the pattern of the rejection of the horrible subject in patriarchal societies and the Abjection is considered as the basis for rejecting the threatening subject. On the other hand, the two aspects of motherhood and femininity in the subjects of the movies will be considered and the opposition of these two aspects based on the Abjection and the emergence of the Abject object in the symbolic structure will be described. In this article, the conflict of the rejected objects in the dominant structure in order to reclaim the lost rights and the status that has been taken by the symbolic order will be analyzed in these movies: Tales (1390), Nahid (1394), Subdued (1394), Helen (1394), Gilda (1395), Orange Days (1396) and Shirin’s Palace (1397). In this study, for the first time in Iran, the approach of rejection based on Julia Kristeva’s ideas is analyzed in relation to femininity and motherhood as reflected in Iranian movies in the 1390s. To do so, Kristeva's Abjection is used to consider the rejected women in primitive societies to be mysterious and threatening elements and from the perspective of a subject in today's societies as a disruptor of the tradition, and thus the distinction between femininity and motherhood in traditional Iranian society is analyzed.