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 This issue, regarding Killers of the Flower Moon, pertains to the filmmaker's historical reference to the Western genre.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.

Fictional movies are simulated versions of real life, and recognized as a popular genre. This genre of media productions affects audience's opinions, models, values, norms and roles in different areas due to the known mechanism of identification, and is considered a tool for influencing the audience and injecting value-related concepts and themes in their mind. Fictional movies are mostly popular due to their narratives; Narratives help producers avoid direct method of conveying messages to audiences and aid the media in reaching its defined objectives. Thus, the constituents and implicit and explicit concepts of narratives should be scientifically analyzed. Narative analysis as a qualitative research methodology provides the researcher with such a necessary means. This methodology helps the researcher extract hidden facts of the text and present a general interpretation. Therefore, the present article chooses and analyzes the fictional film "blind spot" due to its content and structural characteristics; in addition to introducing the structure of the film (based on Gerard Genette model), its implicit and explicit meanings (based‌ on Roland Barthes model) are also extracted.

The purpose of this research is to study Postmodern elements in the Iranian movie «Close-up» (1990) by Abbas Kiarostami. The application of such strategies as intertextuality، the destruction of grand narratives، the death of the author، short circuit and some others have made the film a Postmodern production. The author would apply different theories by Kristeva، Lyotard، Lewis، Hutcheon and Lodge for this purpose. The movie is a kind of «movie-about-movie» and the story happens in a space between a film and a documentary. It raises some questions about the nature of «reality» and representation of reality. In other words، the movie is an example of the mingling of reality and imagination in a postmodern world. In this movie، the border between real life and cinema disapppears not only for the audience but also for the characters. One other important postmodern quality of the text is «the destruction of grand-narratives». The movie lacks a coherent and well-defined plot and the audience faces a fragmented narrative.

This research focuses on the narration of social harms within the Iranian contemporary cinema (in 40s to 80s).The research methodology used here is of qualitative nature and an exploratory research that uses a Thick depiction of the phenomenon being studied. Data gathering and sampling is based on a targeted qualitative approach. Therefore, movies produced since 40s to 80s which showcase social problems and harms are targeted and in each decade 10 films with using targeted sampling are chosen as examples.In order to break down and analyze the data’s using discourse analysis method of “Ruth Wodak” and “Paul Gee” each film is divided to different language genres and 7 questions that Paul Gee has brought up for discourse analysis are answered. And also for each film an analyze is presented and social harms which are mentioned in each film are separately written in a different chart.The most important finding of this research is that Iranian cinema (since 40s to 80s) has depicted varying narrations of social harms based on the economical, social, political and cultural setting of the society.

Image is rooted in the viewer’s desire to gaze. A narrative film, with all its visual capacities, draws the desire for viewing towards the main plot of the narrative; this is done by objectifying the plot as a visual object, making it spectacular in order to respond to the audience’s desire to gaze. This visual object, dependent on textual desire of the film, can be portrayed (as) - faces, iconic characters, places & objects, abstract visual elements which symbolize a special concept – in different shapes. However, a group of films based on religious issues which portray Saints, the desired object of gaze is eliminated from the visual realm. This would help to organize the desire of gaze around their iconic absence. The latter causes a special circumstance for the viewer and his psychological situation in confronting the images. This is the core axis of the present research which tries to give its explanations & analysis based on Lacanian psychology. The related critical framework of object  a  is the centre of focus in this research; this is done by explaining meanings such as textual desire, gaze and object a, while giving comparative analogy. The position of viewer and his confrontation with present & absent object and finally the effect of object’s absence on viewer are studied.

Image is rooted in the viewer’s desire to gaze. A narrative film, with all its visual capacities, draws the desire for viewing towards the main plot of the narrative; this is done by objectifying the plot as a visual object, making it spectacular in order to respond to the audience’s desire to gaze. This visual object, dependent on textual desire of the film, can be portrayed (as) - faces, iconic characters, places & objects, abstract visual elements which symbolize a special concept – in different shapes. However, a group of films based on religious issues which portray Saints, the desired object of gaze is eliminated from the visual realm. This would help to organize the desire of gaze around their iconic absence. The latter causes a special circumstance for the viewer and his psychological situation in confronting the images. This is the core axis of the present research which tries to give its explanations & analysis based on Lacanian psychology. The related critical framework of object  a  is the centre of focus in this research; this is done by explaining meanings such as textual desire, gaze and object a, while giving comparative analogy. The position of viewer and his confrontation with present & absent object and finally the effect of object’s absence on viewer are studied.

In classical narrative cinema, only by logical and appropriate interaction between the elements of mise en scene and video edition, it is achieved the effective film narration. The both elements at the same time and in equal proportion are active in representing the action of script, but sometimes the action is more effective in format of narrative capacities of mise en scene and other times of edition. These elements are not against each other but are in accordance with each other. If the relation of these two elements was logical, each other''''s expressive capacities would be reinforced and otherwise it would be ended to weaken each other. The director''''s perception of action of script, his style features and the film genre are all effective in performing a special kind of relation between mise en scene and film edition. According to dominant theories of classical narrative cinema, it is impossible to regard these two elements as a substantive one, because mise en scene refers to whole that is seen in the frame and edition is known by its relation between scenes. Each of these two elements has their own unique expressive capacities. However it is proved that each depends on the existence of the other. So it can be achieved the more effective narration of story film, only through the logical and useful interaction between mise en scene and edition.

Among the cinematic works centered around the event of Ashura, the movie The Fateful Day (1995) by Shahram Asadi is a thought-provoking cinematic work. This study aims to analyze the interaction between the narrative structure and the visual style of the film in creating different meanings using Christian Thompson’s neoformalist approach and David Bordwell’s theories on the narrative of the story-telling film. The research method applied in this research is descriptive content analysis. The narrative expansion in the form system of The Fateful Day follows the pattern of the unique myth and the pattern of Search. The use of stylistic and narrative creative devices in the film has resulted in the harmony of mise-en-scenes with the stage goals and the overall texture of the work. The originality in the narration and the stylistic elements of the movie The Fateful Day (among the Iranian historical religious cinematic works) is the result of the innovative cinematic devices used in the movie. The most important of such devices include the use of narrative and stylistic expansion patterns fitting the work’s theme, application of subplots in harmony with the main plot, numerous functions of repetitive motifs in the objective and narrative context, appropriate rhythm of the music and image, and creation of implicit meanings. According to the results of this research, in historical cinema with a thematic focus on religious events, the correct formation of dramatic situations related to their corresponding historical situations, as well as the coherence of the concepts arising from the objective and narrative context of the film with the basic ideologies presented in the work itself are very important.

The function of game theory in film narration has rarely been noticed by film researchers. Even in sources in other languages, the use of generic games and other game theory concepts is less common. Since game theory tries to analyze situations in which the result of a strategy for one player depends on the decisions of other players, the concepts of this theory can be used to analyze the characters of a movie narrative. In a movie narrative, there are interactions and confrontations and conflicts between the characters of the story, which can be modeled in the form of a game. The purpose of this research is to model the confrontations of the story characters in a cinematic narrative. Since Christopher Nolan's movies contain complex confrontations between characters, two films of this director have been selected to examine the function of game theory in cinematic narration. In Inception, a game is formed between several characters of the film, and different games can be modeled in this film. On the other hand, the non-linear time structure in the confrontations between the characters in the film Tenet can help to analyze the film based on concepts such as reverse inference.Since the beginning of cinema, theorists have expressed different definitions and functions for cinema. People like Rudolph Arnheim believed that cinema should avoid reality and achieve a special mindset and art. On the other hand, directors like Sergei Eisenstein tried to produce new meanings by assembling scenes. In contrast, these theorists were realists. French theoretician Andre Bazen believed that cinema should be a tangent line on the edge of reality. Formalist and realistic theories have been discussed and investigated at length throughout the history of cinema. With the passage of time, new concepts and theories were introduced that can be used in cinema theories. One of these theories is game theory. In one definition, the movie can be defined and modeled as a game. In this definition, expressing reality or passing it is not the main issue, but the film remains like a game that must be played. This game can be played on two levels. Outside games in which the audience is invited to interact more, and in fact, to fully understand the story, a game outside the world of the film is formed between the audience and the filmmaker. On the other hand, there are internal games that explore the world inside the movie through games. Based on this, two Christopher Nolan movies, Inception and Tenet, have been chosen to be analyzed through the lens of games. These two films show more advanced and numerous games due to the complex interactions between the characters as well as the non-linear time structures. After examining these two films, some ways can be formulated to apply game theory to analyze a cinematic narration.

Film studies theoreticians have always had different views and definitions of “documentary” form. Different cultural and social factors have contributed to the construction of different expectations regarding the documentary form and have had various effects on its development in different periods. These expectations have had different effects on the modes of representing reality in the documentary form and have problematized its representations. Mockumentary is one of these problematizing forms which has had a rise in popularity in cinema and television but has been studied less than the other forms. This study uses the findings of a research with descriptive-analytic method to answer the main question about the alterations that the mockumentary makes to documentary. Initially, we look at the definitions and presumptions about documentary in order to clarify the different interpretations of this concept, and then we examine the different elements of the mockumentary form. It looks like mockumentary uses tools like reflexivity and parody to subvert documentary representations of reality and to present reality in a different mold. The purpose of this study is to analyze the position of the documentary form and the contexts of the emergence of many presumptions regarding this film form and the subversions being made in representation of reality from the perspective of the mockumentary form. The study demonstrates the means by which mockumentary transforms and subverts the documentary representation of reality and builds its own way of representation of reality without the common deceiving methods used by the documentary form.