The study of differences and similarities of a single story in two different media is a kind of inter-media study which can be defined under the modern comparative literature. If this comparison is done between a written story and an adapted movie, it will be considered as an adapted study. These studies can be divided into two types: traditional and modern. In traditional studies, critics compare a story theme in two media; however, in modern studies, the emphasis is on the nature of medium and its impact on the way of narration.
This research is an attempt to study the written story of Gavkhooni and the movie adapted based on it. The research question is which factors cause the writer’s and director’s method of expression will be similar or different. The research was restricted by selecting a structural element that is personality. The two core discussions of the research are the possibility of changing a written text into a cinematic one, and director’s creativity in using the signs of the guest media. The research concluded that sometimes the thematic (and less, literary) capacity of a text and the adaptor’s creativity (the cinematic aspect) have simultaneous roles (both influence and being influenced) in changing a literary text into a cinematic one. Of course, this does not mean to compliment or confirm a work but it is just a study of the kind of interaction existed between the two texts.

Phenomenology is a process whose main goal is to achieve a true knowledge of essences and essences, free from any presuppositions and prejudices; In such a way that the real existence of the existing being is allowed to appear on its own and the interference of the mind and its contents is removed from the way of the beings and by reduction or reduction, an authentic and real description of the existence of the beings can be achieved. Jafar Modarres Sadeghi is one of the prominent writers of contemporary Iranian literature who has had remarkable activities in various fields such as fiction, novels, as well as in the field of translating, editing and correcting classical texts. Although he is not officially a phenomenologist, He is a writer who is close to phenomenologists. This article seeks to answer the questions of what is Modarres Sadeghi's approach to death? Has phenomenology influenced the views and thoughts of Jafar Modarres Sadeghi? How is this idea reflected in Gavkhoni's novel? The method of this descriptive-analytical research is the method of using other methods.

This article tries to analysis an adaptation film "Bloody Cow" by Behrouz Afkhami from a novel by Jafar Modarres Sadeghi based on the intersemiotics and the pattern of Roland Barthes’ narrative codes. In the criticism of cinematic works, we pay attention to the aesthetic aspects, staging, visual elements of the film and the theme of the film, mainly, and its semantic and signs meanings, semiology components are paid less attention. In analysis of cinema, the semiotic approaches pay attention to examines, analyzes and interprets the act of signification and the process of textualization, and the film as a signal visual system, including "image", "index” and the "symbol". In the intersemiotics approach, base on Roland Barthes’ pattern of narrative codes, ie. hermeneutic, cultural, semantic, active and symbolic codes, it is possible to analyze the analysis of cinematic films, including the adaptation of "Blood Cow". The result of this research is that by examining the distinctive sign system between these two linguistic-literary text and the visual text, it is possible to analyze the intersemiotics between a literary-narrative text (in this research: Blood cow novel) and the adaptation-narrative film (in this research: Blood Cow film). The analysis of intersemiotics of cinematic works, including the adaptation film"Bloody Cow" base on these narrative codes, enriches textual and cinematic studies.

literary differences of different countries with each other. This provides opportunities for familiarity and cultural and literary exchange between countries; Of course, nowadays new methods of comparative literature such as cultural studies have been created which made it possible to conduct various comparative studies in the context of the literature of a nation. Nowadays reading novels in various societies is not only an entertainment aspect; Rather, it is a valuable tool that the writer uses in publishing social and political issues, thoughts and criticisms. In the upcoming research, a comparative study of common social themes in two works " The Accomplice" by Jafar Modares-Sadeghi and "In Doubious Battle" by John Stainbeck has been done in a descriptive-analytical manner. The comparative analysis of these two works shows that both authors have goals and hopes that have social and political roots, and these social goals form the main basis of the two works. Although these two novels are similar in social themes such as social movements, strikes, repression, discrimination and political issues, but the way they deal with these issues has differences in some cases, for example John Stainbeck explicitly Terry expresses the issues but Modares Sadeghi reflects the issues in the envelope. Most of the characters in both novels are people who are serious political and social activists in their lives; For this reason all the events of the two novels are formed in connection with a social challenge and the story moves around the axis of that event.

In this research, the literary adaptations and the adaptation techniques in the cinema of the eighties in Iran will be discussed and therefore, five cinematic films of the eighties (‘White Nights’, ‘Gav Khouni’, ‘I Saw Your Dad Last Night Aida’, ‘This is Winter’, ‘The Reward of Silence’) have been compared with the works of the fiction which the scripts of the mentioned films are based on, respectively. These works of fiction are: ‘White Nights’, ‘Gav Khouni’, ‘Nora's Dad’, ‘Voyage’, ‘I am Your Son's Murderer’. This research is aimed to study and analyze these fictional works with their adapted cinematic films in regard to the narrative axis of the work, the manner in which a cinematic film borrows from a fictional work, the manner in which the text markers of the story are turned into the movie pictorial signs and at the same time kept loyal to the origin of the work. Furthermore, the interpretative effort in converting subjectivity to objectivity and subject to object or Vice versa in the process of changing the script to the movie, has been analyzed in order to Indicate the extent to which the mentioned works were successful in adapting their designated novel or short story. Also this paper is aimed to answer a main question which is the defining the characteristics of a successful adaptation of a work of fiction into a movie and the features that should be chosen to make the adapted movie favored.

In the Iranian cinema, it is possible to find various films that have built their own structure on the depiction of the Boredom of their own heroes. In these works, there are passive characters rising from modernity that do not have affinity with the active characters of the classical cinema. Since these characters are a manifestation of modern human's condition, it is possible to recognize their characteristics by investigating about their encounter with the modern city. In spite of the fact that in the discourses related to modernity, flaneur is often considered as a person who warmly embrace the stimuli and shocks of the modern city, some theoreticians believe that flanerie might be read with what Simmel has regarded as a blasé characteristic of the modern subjects. From Simmel's point of view, the experience of a blasé person is a devoid of "qualities" that leads to a perception based on the "devaluating the whole objective world". Simmel's analyses and thoughts have left a great influence on the ideas of Walter Benjamin in his discussions about concepts such as distraction and boredom. Benjamin believed that when passing through the modern city, in confrontation with assault of the images, the eye would lose its ability to concentrate, and as a result a new kind of perception would emerge. A perception based on the movement of eyes between countless and diverse surfaces and images, which is associated with impossibility of contemplation and concentration: the distracted perception. The main point is that, despite the existence of films focused on the boredom, so far, less research has been done about Iranian cinema that focuses on how to display boredom and blasé, and to investigate the perception of the modern subject in confrontation with Urban modernity based on the ideas of Simmel and Benjamin. Focusing on Gavkhooni (The River's End) by Behrooz Afkhami, This paper attempts to investigate depiction of boredom and blasé in this film based on the ideas of thinkers such as Benjamin and Simmel. In most of the works that try to depict their character's boredom, this concept appears more at the narrative/fictional level, and the filmmaker is not able to convert the sense into cinematic matter. According to the discussed issues in the present article, Gavkhooni (The River's End) is declared as a specific example of Iranian post- revolution cinema, which succeeded in developing the boredom of the character/ narrator into the various cinematic levels. For example, the relation between boredom and narrator is reproduced in relation between him and the geography of the city of Isfahan. In order to visualize as much as possible, the aimlessness and bordem of the character which emerge as a result of daily routine that surrounded him, Afkhami creates a vague cinematic city which is far from real geography of Isfahan. As a result, and according to the findings of this study, it can be stated that Gavkhooni (The River's End) goes beyond mere displaying a narrative about the boredom and has succeeded to improve this sense based on the fundamental features of cinema art.

Implied author and implied reader are components of a narrative structure, playing a crucial role in illuminating hidden elements within a text. Therefore, studying these elements in literary works can expose the underlying layers of narration and open up new critical outlooks to the readers. Furthermore and in cases of cinematic adaptations, it explains whether this was the novel or the film that has managed to unravel narrative complexities of the other medium more successfully and better facilitate audience understanding. The novel GavKhuni and its film adaptation are among works in which the plot is not causal, but internal and fluid. Thus, the reader has to decode textual evidence in order to understand how conceptions and viewpoints are formed in characters. Afkhami’s adaptation of GavKhuni is totally loyal and all elements of the story are faithfully mirrored in the film. However, Afkhami has made use of these elements to present his own ideological concepts. Repetition is a method that both the author and the director have used to transfer their ideas to the audience. Using a descriptive-analytical methodology and a narratological and inter-disciplinary approach, the present research attempts to analyze the ways in which implied author and reader are represented in the novel and the film. Since the author and the reader of each era are thrown into their work and new meanings are discovered in fulfillment of their expectations, thus the audience of this novel and film would discover new meanings from out of the narrative text of GavKhuni as well as its adaptation.

Gabriel García Márquez is one of the most outstanding cultural, political and social figures in Latin America. Apparently Iranian writers have been greatly influenced by him and we can perceive the reflection of his words, his style, or in general, his voice in the works of many Persians writers. In this research we have done an intertextual-comparative-study on the reflection of One Hundred Years of Solitude in Mahta’s Balloon written by Jafar Modares Sadeghi. In this study we have taken advantage of Gérard Genette’s theories of transtextuality by elaborating on intertextual and hypertext approaches. The transtextual relations between the two texts are shown and classified by studying the similarities and differences between the characters and events of these literary works.