Considering the great attention contemporary film theories devote to the corporeal dimensions and tactile aspects of watching movies, the potential of baroque art to construct the cinematic space cannot be ignored. Based on the baroque art, cinema rather than ensuring a superior position and an optical domination of subject/observer over images creates a territory in which the audiences are invited to immerse themselves in the film’s space and are allowed to coexist with filmic bodies. In this kind of viewing, the observers cannot look at characters and spaces separately, and the spatial folds would draw them into corporeal/sensual labyrinths of the film. Due to the fold relationship between the spectator’s inner space and filmic space, a sort of intertwining link is emerged. Therefore, any action from one side is followed by a reaction from the other side. The physical movements of the characters and the dynamic relationship between space and body in the baroque cinema, interacting with the audience’s sensory responses, can arouse an internal emotion in the viewer. Merleau-Ponty’s phenomenological perspective and the concept of “intertwining”, along with Deleuze’s philosophy and the notion of “Fold”, can help us analyze the experiences of watching baroque cinema. We argue that cinematic experience might be considered as the process of the dynamic interaction between these “intertwining folds”. In the interactive process of these folds, the bipartite act of internalizing and exteriorizing takes place. In the internalizing process, the filmic spatial territories )merged with sensual/corporeal territories of the characters( penetrate through the observer’s inner space. In the exteriorizing process, the viewer projects his own spatial perceptions )affected by memories, desires, and dreams( onto the world of the film. Through this exchange, the audiences give their emotions to the characters and accordingly the film finds its emotional space through the spectator’s body. In contrast to the voyeuristic and panoptic control of optical pattern, baroque cinematic experience could be considered as a state of “assimilation into the cinematic collective sensuality” while submerging “oneself” in the sensuality of cinematic geography in a state of Dionysian ecstasy. The members of the audience that are engaged with the chaos of cinematic sensual-spatial energies, experience a kind of sensory-corporeal expansion in connection with the bodies and spaces which are extended through gestalt geography. Being attracted and absorbed, a viewer who has been immersed in chaotic energies of bodily movements and sensual flux, experiences a manner of spatial displacement, a sense of inability to coordinate navigation, the spatial exploration beyond the boundaries of “selfness” and “subjectivity”. The centralized space of subjectivity is shattered and the subject thus is dispersed throughout the sensuality of cinema’s fluid geography. Experience of baroque cinema seems like freedom from the limits of individualists “self” that is disjointed from others in order to experience a sense of connection with “others”, and to form a continuum of togetherness. Chaotic and intensive sensual cinematic geography, dissolves territories of “individual subjectivity” in the space of “collective sensuality”, and creates a sense of inter-subjective coherence.

In the wake of anthropocentric thinking of Descartes, human and the world surrounding him or her, divided into two separate component. Highlighting the optic phase of contemporary environment, this separation become more obvious. Lots of phenomenologists like Merleau-Ponty try removing this separation, he considers the body as a primary factor in defining space. A phenomenological approach to the cinematic experience focuses neither solely on the formal and narrative features of the film itself, nor solely on the Spectator’s psychic identification with characters or cognitive interpretation of the film. Instead, phenomenological film analysis approaches the film and the viewer as acting together, correlationally, along an axis that would itself constitute the object of study. Phenomenological approaches to film are useful in that, rather than strictly opposing approaches based on optical vision, distance, and ‘the gaze’, they complement existing theories. From a phenomenological perspective, it is the body with its expressive and perceptive qualities that constitutes the necessary condition for looking, identification, emotions, and pleasure. Film phenomenology has appeared again in two approaches after a long gap that has been set through beginning semiology in film studies, the first approach is relied on Husserl’s phenomenology and the second is relied on Merleau-Ponty’s phenomenology and his embodiment perception. We follow the second approach in this paper and focuse on Vivian Sobchak’s theories that is abstracted and relied on Merleau-Ponty’s phenomenology of perception. In Sobchak’s theory a film is experienced and understood for what it is: a visible and centered visual activity coming into being in significant relation to the objects, the world, and the others it intentionally takes up and expresses in embodied vision. Sobchack established his studies based on three model that helps us in figuring out the body of film. Our purpose in this paper is recognizing and analyzing the film body in Abbas Kiarostami’s cinema. This research has a qualitative approach and with the philosophical framework of phenomenology beside that, help of the research model abstracted from theoretical foundations tries to recognize and analyze film body and embodiment perception of it in Kiarostami’s cinema. On the whole, the research showed that the film body in Kiarostami’s cinema is so similar to human body in perceiving and expressing the surrounded environment. As Kiarostami’s ideology and theory in minimalizing and even eliminating any unnecessary objects from his films, he tries to eliminate any unnecessary objects in fusion of film and human body. As we have reached in the third model of Vivian Sobchak’s theories about film body, the camera and the hermeneutic opaque relation of human body is so essential in analyzing and recognizing film body. Our research shows that the third model is the best model for analyzing the film body in Kiarostami’s cinema. As we have pointed out the body of film in his cinema acts like the human body and the fusion of them is undeniable. The subjective angle of his camera and multi sensational space of his movies are vital component in fusion of film and human body.

Montage is a process through which modern artists were able to cut out pieces of the reality and to establish new links between them in order to reinvent the reality and to create new relationships, juxtapositions and meanings. The juxtaposition of two pieces which can not have any relation in terms of spatial and temporal dimensions gives the audience a shock and invites him to engage in the meaning-making process. For the prominent filmmaker of the Soviet Cinema, Sergei Eisenstein, montage had something far beyond its mere technical sense. Realizing the inherent affinity between montage and the spatial/temporal fragmentation and chaos of modern metropolis, he introduced montage as an efficient tool for capturing the experience of modernity. Montage transformed the traditional concepts of body/space relation, and gave cinema the ability to fragment space, time and human body to pieces. Lev Kuleshov was one of the first and most important directors who by dismembering the different parts of human bodies, spaces and landscapes, and then by combining and giving the arbitrary structure to them, created an illusion of continuity, and invented his own cinematic “artificial landscape” and “creative geography”. The term “creative geography”, has an obvious implication to rooted liaison between the film theory and the physical environment, and also considering the body as a landscape in montage theory. Montage has provided this opportunity for filmmakers to form their own cinematic city by dismembering and mutilating of space, time and the human body, and establishing a new link between them, and inviting the spectator to walk in spaces of this cinematic city. Directors utilized real locations for shaping their own filmic topography and encouraged the audience to imagine the geography of this reel city by inventing their own mental map. In cinematic city, however, because of fusing indoor and outdoor spaces, a kind of spatial fluidity emerges, and conventional sense of division between street / house, public / private is disappeared. In this eccentric city, the human body is converted to a kind of landscape, a strange territory. Referring to interaction between the audience’s body and the spaces of the cinematic city, Giuliana Bruno emphasizes that the boundaries of the body and city getting intermingled and flowing into each other. In this filmic scape, an intense desire will be emerged within the viewer because of his/her intertwining with these cinematic fragments. The audience’s body as an embodied subject in the film’s haptic space, constantly is exposed to mutilation and disintegration, because of momentary decomposition and explosion of filmic spaces and bodies. The spectator’s fragmented body blends with dismembered bodies and fragmented spaces of the film, and their combination brings forward a space that can be called the intertwining geography of dismembered bodies and fragmented spaces.

Problem statement: There are certain historical and social ties between architecture and cinema, the seventh art, which is the outcome of other arts, including literature, painting, and architecture. Among them, architecture plays a more active role in cinema. Cinema granted the man’s ability to experience a new world from a fresh view and a fresh landscape. This possibility that movies (cinema) could reveal a direct experience of the relived space is an issue that is worth being examined from the point of architecture. The medium of cinema especially autobiographical movies for representing the living space and the memory of experiencing that space from the view of the director to understanding the mechanism of spatial memory in the mind of addresses (viewers) and architecture attaches great importance. Andrei Tarkovsky’s movies, have been based on the biography of the director and express the poem of his existence; Nostalgia Movie, have been put forward as a case study. The query of the research is how the meaning and spatial memory have been transferred through the medium (movie as a visual representation of the place of life) of the autobiographical movie of Andrei Tarkovsky.
Research

This study attempts to investigate the meaning and spatial memory and living spaces in the Nostalgia autobiographical movie from the phenomenological view.
Research

The method of research is qualitative and also descriptive-analytical and phenomenological. Phenomenology deals with the animation of cinematic films rather than interviews. The present study of films is based on studying “descriptive-visual phenomenology” of the experience of the space.

The studies show that from the point of phenomenological, architecture through the medium of cinema in Andrei Tarkovsky’s autobiographical movie, when the producer has a deep understanding of space and architecture, and the space of movie is the outcome of his life, these meanings would be understood, decodified, and experienced by the addressee. The subject of the Nostalgia movie is homesickness and eagerness for a childhood home. The house is the first place that contributes to experience in the first years of life and stays in human spatial memory. The way of evaluating other spaces somehow depends upon this early view. With a glance at this movie, Tarkovsky’s shining pure poetical architectural images are a solution to the stammering language of architecture in contemporary era, which ignores the expansive man’s emotions.

Since the middle of the twentieth century, managers of enterprises have been encountering enormous changes in all aspects of business and manufacturing environment. Also, a structural change has appeared within the filmmaking management requirements which differs totally from what has been before. On the other hand the filmmaking industries are a vital sector of the economics in many advanced countries. As a consequence, this has got them involved in looking for new methods and approaches which will be able to assist the decision process within the competitive surroundings. With regards to the above, the central question of most societies working on organizing and planning the filmmaking projects has come around how to respond to new themes within a modern area in which the investors, producers as well as the audiences find a good track of deed dealing with their own specific interests. The core study of this research proposes a new method of locating the crew aptly with the existing tasks within a filmmaking project which is organized based upon post-studio fashion of producing films. The main outcome of this study is an innovative fuzzy model which integrates consistent features for hierarchical searching the choices of decision through the existing "positions” and a given number of accessible people, enumerating a number of combination of “task- person” as paired options by a responsive mathematical model of people’s various capabilities and ranking them based on producers’ desired criteria, and then finally selecting an optimum collection of options by a fuzzy genetic algorithm (FGA). To show the working structure of the method in the real situation, a numerical simulation is developed in addition.

Cinema, as a modern media and one of the most affective forms of contemporary human’s art, has extended its areas and spheres of explorations effectiveness. One of these areas, which have entered into the set designing, is the aspect of traditional arts. With this way of set designing, one can make a film with a national and traditional point of view. In each country, traditional and ritual arts (as old forms of art) and cinema (as a modern art) are produced from history, historical activities, plural experiences and that nation’s beliefs. These elements have emerged in the culture. Hence, ritual arts in set designing for the films can be an important field of analyzing and studying in cinema studies. Cinema, as an art, has become a way of imagination to illustrate all things which are in human’s mind. Actually, Cinema has experienced many fields; from psychology to sociology and from philosophy to rituals. So the filmmakers who have a dominant attitude in an ideology, have used this mean to illustrate their thoughts. Spring, Summer, Fall, Winter and Spring (2003) is one of this type of films. Kim Ki-Duk considering Zen intellectual foundations has organized the elements of the film. Cinema with an extent of expression can belong to the sources of eternity and the transcendental realm, just like ritual arts. With this attitude, Spring, Summer, Fall, Winter and Spring is in search of exposure mysteries and visual codes to express ontological questions and raising the sense of existence. To reach this aim, Ki-Duk has used the traditional handmade creations in a way of metaphor, symbols and visual similitude and has created foundations based on colors, light and visual compositions, accompanied with music. This essay is attempting to study on the functions of Zen traditional and ritual handmade creations in the film Spring, Summer, Fall, Winter and Spring directed by Kim Ki-Duk; Korean filmmaker. This paper has descriptive-analytical method and we are trying to study and analyze traditional and ritual handmade creations. The results show that the traditional and ritual handmade creations in this film have several different functions. They have used not only as decorative elements but also as elements which make a believable space of a Korean position for audience. In some sequences they also have used to respect the traditions and this is a nostalgic attitude. Given that Spring, Summer, Fall, Winter and Spring is a transcendental film, we have to notice that the main function of these elements, based on Zen ritual, is a symbolic function. And this is because of eastern traditional thought of filmmaker; Kim Ki-Duk. So this function is preferable to the other ones. In other words, Kim Ki-Duk with an eastern point of view has acted to make an internal relation between these traditional and ritual handmade creations which are made by human and transcendental affairs.

The eight-year war with Iraq has received much attention by cinema media activists, and they have depicted the themes of sacred defense in their works, both during the war and now after many years since that event, and it is attempted to represent and protect this epic of people. Making various works in the field of war genre bears witness to this claim. Some audiences imagine themselves as the main characters while watching the film. The audience gets immersed in the film and sometimes empathizes with the hero of the film and likes to build and advance the narrative of the film based on its own beliefs and desires. This viewer behavior between his real self and his favorite self, which is performed by the hero or the main character of the film, has created a special interactive relationship, and self-image. Replacing the viewer "himself" with "another" who is the hero of the film has existed in different periods of cinema style and various theorists have written about this topic, but it has been less studied and investigated in the field of sacred defense films. The researcher examines the situation and position of the audience in the filmic atmosphere of the sacred defense cinema. Thus, the main problem of the study is to analyze the function and role of the sacred cinema in creating an interactive relationship and replacing the audience's self-image with the other image and the main actors in the film space. The research method is qualitative based on the hermeneutic phenomenology method and based on collecting data from library sources, audio and video archives as well as unstructured interviews and purposeful sampling. The findings of the research show that the cinema of sacred defense has had various ups and downs due to economic, social conditions, extreme or negligent personal decisions of some managers, but because its subject is being inspired by the society and imagines a part of the national history of the people, its works have survived and have attracted audiences of different age groups, even those who have not experienced the war. Different generations of the sacred defense cinema have perceived the communication messages that are sometimes far from the goal that the filmmaker has referred and acknowledged, and sometimes it has been consistent with it, and the main cause is the conscious self-image of the audience. Sacred defense cinema has its effects on the perception of the audience and provides a fluid space for him to search for his beliefs and desires. Being affected by various contexts and circumstances, the audience sometimes watches it in order to escape and forget the problems and imagine their hopes and dreams in the course of the film, and sometimes they are affected by the event of the film and make their true selves based on it. This behavior creates a two-way and interactive relationship. The result indicates that the audience's self-perception is affected by identification, empathy, self-reflection, identification, self-awareness, immersion, agency, and otherness, which has been performed by various expressive methods in the historical periods of Iran's sacred defense films.

Semiotics is the science that deals with generation of meaning .A drama uses systems of signs and references to the out world in generation of meaning. One of the factors that are effective in establishment of signification in drama is the situation context that has close relationship with context because of the text references to it. The aim of present study is to assess how much the situation’s context is effective on audiences’ interpretation of what they see.
The present research is experimental study. In order to evaluate the aim of the study, the script, which have a little reference to the situation’s context and internal script context, was chosen. Selected context was carried out in two different external situation contexts. Study’s Subjects were divided into two groups and each group watched one movie randomly and responded to related questions.
Findings and The results showed that there was significant difference between two groups in perception of two films’ context. Furthermore, the study indicated that the factors which are related to film’s location are more effective on space movie's interpretation, whereas the factors which is related to film’s characters and their relationship are more effective on film’s interpretation.

Events such as war due to the ideals of a land, can be the formation and background of the memory of a city or country. In order to continue and transmit these memories, we must pay attention to the emphasis on the representation of urban spaces and identities that affect people and their mentality. In order to revive the spaces and emphasize the history of a city, events and especially events such as war, films play a planning role. In this regard, the present researcher has examined two films, "The Third Day", which narrates the resistance in the western regions of Khorramshahr in 1980, and "Standing in the Dust", which begins from the moment. The purpose of this study is to influence the elements and features of urban spaces in promoting war memories by movies. What a representation of the wartime period for the consolidation and continuity of urban spaces is reminiscent of a war event. Accordingly, first by using documentary studies and important libraries of urban spaces and cinema and communication with each other in the form of urban symbol, personality, urban functions, values, rituals, the voice of the city and nature. And was expressed based on important criteria and elements to revive memory in each field. Then, the amount of portrayal in the two films "Third Day" and "Standing in the Dust" was examined and according to the results obtained from the encounters with the representation of war, according to the ideology of directing has shown. Studies show that most of the urban spaces used in "Standing in the Dust" focused on urban performance with a duration of 1642, the film time and the highest in "Third Day". The time of the display of wartime spaces is related to the symbol of the city, such as the search to display the symbolic meanings of trenches, enemy tanks and martyrs in inducing the concept of war in the city, which is 677 seconds of the film. From the viewers' point of view, the symbol of the city in "The Third Day" is one of the most important in the inductions of the war, while the film "Standing in the Dust" refers more to the quality that has the natural characteristics of war and the performance of the city. Considering the comparison between the qualities expressed and the author in the movie In the Dust, it is important to pay attention to urban performances, which is also very effective in the eyes of the viewers of this movie, and in the third day movie, the symbol of the city is considered by the director. And the author is considered and is considered as an important symbol of the city by the viewers of this film. Interviews and hockey reviews of urban performance and war landscape symbols in the sequence of war genre films have a significant impact and based on this, map solutions to provide urban views from an urban planning perspective in these cases have been presented.