فصلنامه مطالعات فرهنگی و ارتباطات
پیاپی 45 (زمستان 1395)

Globalization is a multidimensional phenomenon in which all of its component could influence the family. Today, family is subject to change more than the past. The present study is aimed at finding how citizens of the Iranian city of Zanjan interpret the family change influenced by the globalization. The data was collected qualitatively using a social interpretive approach and the ethnographic methodology of the study was conducted via in-depth interview methods centered on a purposeful sampling comprising members of 35 families in Zanjan. The aforesaid data was then analyzed by using a thematic analysis. The results revealed that globalization leaves dual consequences on the structure and function of the family, and people treat the global elements differently. Zanjan’s families, are also affected by these changes, although to a lesser extent. Meanwhile, communication technologies cushion the development of changes. Therefore, globalization is not only an external force affecting us but also enjoys a relationship with us, and this interaction is different in societies based on the historical and socio-economic background as well as the cultural values of every community. Accordingly, Zanjan’s families, by opposing globalization, experience Iranian-Western changes which are different from family changes in other effective communities.

Mohammad Taqi Bahar (Malek o-Sho’ara), journalist, scholar, literary figure, and politician, is a prominent figure in the contemporary history of Iran. By publishing Nobahar newspaper he managed to have a significant impact on the social and political movements of his time. This research conducts a discourse analysis study on his editorials during the tripartite eras of the publication of Nobahar (Iranian Constitutional Revolution, Reza Shah’s reign, and the aftermaths of the Anglo-Soviet invasion of Iran). According to the findings of this study the two main discourses present in his articles are “Iranian nationalism” and “political modernization”. Furthermore, the results show that the discourse of “Iranian nationalism” is marked by components such as historical glory, independence, and hatred and aversion towards aliens; and the discourse of “political modernization” is identified through an interest in the components of Western civilization, modernity, intellectual revolution and reforming the power structure.

The purpose of this article is study discourse analysis of AIDS representation in Iranian film industry, so we have studied an Iranian movie, “Barefoot in Paradise”, as a case study. For this purpose, we have used Althusser’s concept of ideology and its effects on Laclau and Mouffe, and Cindy Patton’s concept of “AIDS invention”, and we have reviewed bio-medical and bio-medical-socio-psychological discourses. Finally we have tried to analyze the semantic structure of AIDS in the discourses existed in the movie. Two rival discourses have been recognized in this movie by using Laclau and Mouffe’s methodology, which are in semantic and semiotics discussions. The central signifier of one of these discourses is that the patient affected by Aids is guilty and another one emphasizes that these patients are human and interacts with them from this point of view. These kinds of semantic oppositions show that there are lots of conflicts in the areas of health and medicine and also indicate that many discourse oppositions will be formed when we react upon a disease. Finally, although discourses are challenged in this movie, it is the main stream.

This a research in communication science and fiction literature interdisciplinary studies. It interprets novel media functions and its influence on novel reader social networks; this study shows that how novel provided opportunity for spending leisure and escape the painful realities of life. The novel as a literary text caries inevitably traces of ideology. It is not only influenced by social situations but also interprets them. To investigate this issue, 11 writers, literary critic and prominent Iranian journalist chose thirteen effective novels through published novels after the coup of 1953. The choose of these novels is due to the profound influence of political climate of this period on literature, these kinds of novels fill critical press vacancies and as a substitute media, have proposed Iranian middle class elites thoughts about law, industry development, religious and cultural reforms. The purpose of this research is not to deny the form importance in novel and to endorse committed literature, rather it matches novel and social media features from two perspectives of social functioning and identity scales. This research using three methods of qualitative content analysis, deep interviews, and a library sources analysis, show that novel from first viewpoint involve six identical criteria communication elements like author, encoder and etc. And also from contend viewpoint, contrapuntal nature, multi-concept, dialogue centrality of the novel caused to its favorable logic to society logic.

In this research, we try to analyze the formation of audience in Rap-e-Farsi. But, we focus on the cybernetic aspect of audience’s presence. For this reason, we interviewed with seven rappers, one producer and a manager of one of the most popular rap page in Instagram. This is a qualitative method with the strategy of grounded theory. Then, we coded data and sorted themes by NVivo. Finally, we achieved a map of relations in which audience is as an informed subject, juridical subject, distributive subject, legitimizing subject and creator of informed society. This map defines the process of construction of Rap-e-Farsi audience in cyberspace. Informed subject, juridical subject, distributive subject, legitimizing subject and creator of informed society. Informed subject, juridical subject, distributive subject, legitimizing subject and creator of informed society. Informed subject, juridical subject, distributive subject, legitimizing subject and creator of informed society. Informed subject, juridical subject, distributive subject, legitimizing subject and creator of informed society.

The present study analyzes a group of animated and live-action movies which are produced in United States of America since 1940’s. The selected movies –which include about 80 items- have earned great amounts of money in Box-Office or have other distinguished characteristics and are produced by dominant companies. The movies have been analyzed in a modern mythological perspective. Roland Barthes’ and Umberto Eco’s attitudes have been applied for describing modern myths. The presentation of these parameters (hyper-reality, vaporization of history, reductionism, and reification and…) in the selected movies will be discussed. The findings present that the myths adjust themselves with the time and space they are born in, and at the same time they hold their common properties in different circumstances. Among all the modern myths, animated movies have a strong ability to hide their deceptions behind a mask of innocence and honesty which makes the revelation so tough but of course not impossible.

The aim of the present study is an analysis of the socio-political currents affecting the formation of "Kurdish Cinema" in the Reform era. For this purpose, the present authors, based on their proposed model, that is a local version of the theories of Smith, Lovell, and Huaco in the emergence of new waves in cinema, investigate the development of "film in Kurdish language" in the context of intellectual cinema of Iran. Finally, based on Bourdieu's theoretical concepts, the most distinctive elements of this stream from the intellectual cinema of Iran and the creation of a regional field under the title of "Kurdish Cinema" are studied. This study shows that in the first half of the nineties, with providing structurally appropriate conditions for the formation of recent cinematic movements, at first, ethnic cinema in Iran, and then, film movement in Kurdish language were formed which later the filmmakers, while maintaining commonality with the Iranian cinema, through highlighting the characteristics of this new genre in their films and also through inclining to co-produce film with the autonomous region in Iraqi Kurdistan, Europe and being in line with similar movements in Turkey, could distinguish themselves from it and create necessary capital to create a regional Kurdish cinema.