ramtin shahbazi

This study explores the impact of innate symbols on cinema audiences, analyzing viewer responses based on Shahid Morteza Avini’s theory of Innate Symbolism. Avini’s approach to symbolism in art suggests that certain symbols resonate deeply with human nature due to their connection to intrinsic human disposition and divine nature. These symbols possess a unique capacity to convey profound spiritual truths, making them universally understandable across different cultures and times. This research aims to assess how such symbols influence audiences and communicate spiritual ideals through cinematic works.Background and Theoretical Framework: The study is grounded in Avini’s Innate Symbolism theory, which underscores the spiritual power of symbols closely aligned with humanity’s divine essence. Avini’s theory differs from Western approaches, which often emphasize constructed meanings; he argues that innate symbols tap into humanity’s natural disposition toward the divine (fitrah), making them universally relevant. This universal appeal allows innate symbols to evoke moral truths, inspiring audiences to reflect on fundamental human values such as courage, humility, and sacrifice. 

The research seeks to assess how innate symbols in cinema influence audiences and communicate ethical ideals central to Avini’s philosophy, with particular emphasis on the Perfect Human ideal. Utilizing a qualitative approach, the study focuses on three films by Iranian director Ebrahim Hatamikia—The Bodyguard, Che, and Damascus Time—which prominently feature themes aligned with Avini’s ideals. These films were selected due to their use of symbolism to illustrate universal virtues and their narratives that deeply resonate with Avini’s spiritual and ethical principles. Data were gathered through a combination of semi-structured interviews and surveys administered to diverse audience samples. The selected respondents viewed the films in controlled settings, allowing for focused analysis of their reactions and interpretations. By investigating how audiences interpret and respond to symbols such as self-sacrifice, bravery, and devotion within these films, this study aims to determine the effectiveness of innate symbols in conveying Avini’s ideal of the Perfect Human. Respondents were asked to reflect on the character traits, moral dilemmas, and symbolic representations presented, which allowed for a nuanced examination of how these elements influence audience perceptions of virtue and spiritual elevation.

The findings reveal a significant alignment between the symbols recognized by the audience and the symbolic intentions embedded by the filmmakers. Viewers consistently identified core themes such as self-sacrifice, courage, spiritual devotion, and moral integrity as defining characteristics of the Perfect Human, corresponding closely with Avini’s portrayal of a spiritually anchored individual. These themes were not only recognized but often emotionally and morally internalized, indicating a deep resonance that transcended personal or cultural variation.Self-sacrifice, portrayed repeatedly across the films, was widely interpreted as a manifestation of moral commitment to a higher cause—whether national, religious, or spiritual. Audiences perceived these acts as expressions of transcendent purpose, elevating the characters beyond mere heroism to spiritual exemplarity. Courage was viewed not merely as physical bravery but as moral resilience, involving a steadfast commitment to truth and justice in the face of adversity. Such portrayals echoed Avini’s view that courage, when rooted in faith, becomes a divine attribute rather than a personal trait.Spiritual devotion emerged as a particularly potent symbol, with viewers describing characters’ inner struggles and faith-driven decisions as deeply moving and spiritually authentic. This reaction confirms Avini’s assertion that symbols of devotion activate a shared spiritual longing present across humanity. Likewise, humility was interpreted as an essential virtue, especially when represented through characters who avoided self-glorification, reflecting purity of intention and moral sincerity. These symbols functioned not as abstract ideals but as narrative forces that prompted viewers to reflect on their own moral choices and aspirations, generating deep introspection and ethical engagement.

In conclusion, the findings of this research support Avini’s theory that innate symbols possess a unique power to convey spiritual and ethical values across cultural and individual boundaries. By focusing on symbols that are embedded within the structure of human nature, filmmakers can inspire audiences to connect with universal ideals and explore their capacity for moral and spiritual growth. The analysis of audience responses to Hatamikia’s films suggests that symbols such as self-sacrifice, humility, spiritual devotion, and moral courage are not only recognizable but deeply impactful, evoking a shared moral consciousness among viewers.This study thus underscores the potential of cinema as a transformative medium, one capable of transmitting Avini’s concept of the Perfect Human and fostering a unified moral imagination. It highlights how symbolic storytelling, when aligned with fitrah, can become a form of ethical pedagogy and spiritual engagement. Ultimately, this research affirms the enduring relevance of Avini’s theory of Innate Symbolism, offering valuable insights into the role of film in cultivating a deeper connection to transcendent truths and universal human values.

The concern of the caveman has always been to capture the spirit of animals to succeed in hunting them. Even art in the Stone Age began with realistic depictions of animals on cave walls because the caveman believed that by embodying the animals through painting, he could reach their spirit. They saw their survival in the survival of animals, and as Gardner points out in the book "Art Through the Ages," they did not set a boundary between imagination and reality. The primitive man believed that by incarnating the bodies of animals, he could possess them. In today's era, animals play an important role in our livelihood and imagination, and each of them is a symbol or source of truth in our lives. Many examples of the complexity of human and animal lives can be found in cinema, as animals include the first images of human life.The appearance of physicality in a sociological, cultural, or historical sense can be found in various forms and to varying degrees in all cinematographic works. At the same time, the body in its phenomenological sense is less treated in the art of cinema. However, in some works, the body has been specially and independently studied and analyzed. How a person communicates with himself and the world around him through his body, how others perceive him with the effect of his body as an object, where his position is in the living world, and what his body's overall approach is in facing existence are the fundamental questions of this study.The bodies of animals, as active subjects and objects in artistic creation, are accompanied by special meanings and codes. Merleau-Ponty, as a philosopher who created the theory of embodied perception, not only placed the human body and its complex relationship with self and existence at the center of his phenomenological studies but also paid special attention to the bodies of animals.According to him, just as we can understand people's intentions or communicate with them through words or gestures, animals are not exempt from this rule. He considers animals, like humans, to be beings without a guide thrown into this world. Animals also face deficiencies or limitations due to their physical conditions. Just as animals played a fundamental role in the lives of early humans and engaged with the imaginations and realities of the early world, in today's era, animals also play an important role in our livelihoods and imaginations, each symbolizing or being a source of truth in our lives.In the cinema, many examples of the complexity of the lives of humans and animals can be found, because animals include the first depictions of human life. The film "The Cow" by Dariush Mehrjui is an example of the complexity of two corporeal beings (humans and animals) that can have similar perceptions of existence.The closeness and coexistence of Mash Hassan and his cow can be an example of the importance of the incarnation of animals for cavemen. As Merleau-Ponty admits, our knowledge of the behavior of animals as corporeal beings is limited, and according to phenomenologists, this issue can be reconsidered. From this point of view, the comparative study of Lascaux cave wall paintings and the film “The Cow” and the analysis of the behavior of primitive and contemporary humans can reach new approaches to the complex and physical relationship between humans and animals.By comparing the cave paintings of early humans and Mehrjui's film "The Cow," one can understand the extensive relationship between humans and animals from ancient times to the present. Mash Hassan's goal in imitating the cow's physical actions is very close to the goals of the cave-dwelling human (hunter-artist), and both use private bodies to capture the spirits of animals. Both see their survival in the survival of the herds.Mash Hassan's cow, like the painted pregnant cows, is a symbol of the people's belief in the fertility of livestock. Anything viewed from a human perspective inevitably takes on a human form, especially animals, which are also living beings with bodies. The phenomenological closeness of Mash Hassan to his cow stems from a reality rooted in prehistoric times. This close relationship may be because all material beings strive to achieve coherence in their world through sensory perception.Bodily perception was the only means of communication between subjects/objects before the invention of writing. It also allows humans to rediscover within themselves fantasies and dreams, patterns of magical behavior, and ambiguous phenomena, and to better shape their personal and social relationships and find diverse forms of perception.

A technical image, such as a photograph, is produced by a device, which is an entity designed for specific functions, having supplanted and emulated human manual labor. Engaging with a device limited to generating technical images can quickly become repetitive and dull, prompting professional photographers to experiment with their equipment in a manner termed "photographic play." This playful approach has a significant affinity with Jacques Rancière's theory of artistic regimes. Play can be interpreted as a strategy through which subjects marginalized from the dominant social and political landscape can reclaim their position. The aesthetic regime intended by Rancière can also be seen as the collapse of the common symbolic system of art, through which the dignity and position of the subjects of representation were determined, and it is obvious that photography also emerged from the same common representational system and belonged to that system. The aesthetic regime of the arts removed the correlation between the theme and the way of representation and gave value and importance to the mundane, and in this structure, photography was no longer imitating the arts but was rather in the process of self-constructing the matter. The shift from the representational regime to the aesthetic regime in photography is facilitated by challenging the distribution of the sensible—a concept that defines the extent to which the everyday can impact society. Photographic plays focus on the everyday elements that lie outside the norms and conventions of representational art and reintegrate them into the distribution of the sensible, thereby disrupting the conventional representational order. Photography can only assert its presence among the arts by moderating the everyday and challenging the distribution of the sensible. This descriptive-analytical study seeks to explore how individuals and objects can assert their presence in society through the concept of play, which disrupts the existing aesthetic order and the rules of the distribution of the sensible. It aims to answer the question: How do photographic plays achieve presence in the aesthetic regime envisioned by Jacques Rancière? How can the concept of the distribution of the sensible be equated with the concept of play? The approach to answering these questions is informed by Rancière's theories on the distribution of the sensible and Vilém Flusser's concept of play. These concepts are applied to examine two case studies in Iranian photography from the late 1990s. The findings of this research can be summarized as follows: In photography, the transformation of the every day, achieved by disrupting the conventional representational order, has a significant potential to be present in Jacques Rancière's aesthetic regime. The concepts of play and challenging the distribution of the sensible converge towards a single goal in two distinct domains; in photography, one pathway to achieving Jacques Rancière's aesthetic regime is through the use of photographic play.

For Gilles Deleuze, time in cinema has two main moments; on one hand, it can appear only as a platform for the action of subject, and on the other hand, it can overcome the limitations of recognition by freeing itself from the subordination of the action and give a deeper view of the reality of the object. By proposing the concept of time-image, Deleuze shows that the virtual forces of time remove thought from the sensory-motor schema of cognition and bring it to a state of the unthinkable so that the new image of thought can be recovered in its becoming. This descriptive-analytical article with a qualitative nature examines the time-images in four films of Mohammad Reza Aslani using the library method and image study according to Deleuze’s approach. Considering the hypothesis of the non-chronological presence of time in the narration of these works, the question is how time-images expand the different aspects of the original form of the image and invoke its multiple possibilities. The results show that in the mentioned works, time reproduces the different by passing the image from its apparent function. What happens is the resurrection of an image that, not as a repetition of the identical, but as an image of the possibility of what was in its novelty, returns the new in the structure of cinema and thought to re-establish our links with the world, according to Deleuze.

Rafi Halati and Moez al-Diwan Fakhri are two playwrights of the Pahlavi era who have tried to adapt many of their works and present Western works from this point of view on stage for Iranian audiences. This happens at a time when Iran tries not to act passively in dealing with Western theater and achieve a self-imposed image of this form of theater. In the Moscow-Tartu school of cultural semiotics, what the state and thought have addressed in their practice is called cultural translation. Therefore, to show the "action" of these two playwrights as the theoretical basis of cultural semiotics, and according to the method that this form of semiotics provides, the amount of cultural "Accept" and "Ignore" in the texts will be studied. As a study example, the two plays "Esfahani Cholman" from Halati, which is a cultural translation of "One Servant and Two Masters" by Carlo Goldoni, and the play "Abdullah" from Fekri based on the play "Ernani" by Victor Hugo are reread. This research, which is based on the practical purpose, based on the method of collecting library information, based on the qualitative method, and based on the nature of a mixture of two descriptive and comparative methods, try to answer the question of a state of mind to accept and how has the cultural ignore of their time acted in the face of western texts? This research aims to find and clarify a part of the history of Iranian dramatic literature based on the method of cultural semiotics.

Representation is a process through which artistic and philosophical movements throughout history have expressed realities or imaginings, either directly and naturalistically or indirectly and abstractly. The concept of beauty within this process varies according to each movement's definitions and understandings of human nature and existence. This study examines the evolution of avant-garde movements following the invention of photography, the birth of cinema and animation, and the World Wars, which served as pivotal moments in the transformation and redefinition of representation in art and beauty during the Pop Art era. This era marks a significant departure from classical aesthetics spearheaded by avant-garde movements, where popular culture emerged as a vital source of inspiration and artistic creation. The research delves into the origins of Pop Art movement, which emerged as a response to growing division between subjective perspectives of avant-garde artists and the general public. This divide created a need to explore the structure of experience and its role in shaping popular culture. Central to this exploration are the theories of John Dewey, a leading figure in the philosophy of pragmatism, who emphasized the importance of aesthetic experience and popular culture as influential forces in the artistic process of this era. Dewey’s theories provide a framework for understanding how art can engage with everyday experiences and contribute to the cultural landscape. The study further investigates the evolution of aesthetics in experimental animations produced by the National Film Board of Canada (NFB), recognized as one of the most influential institutions in the development and growth of experimental animation. The analysis is conducted across three distinct strands: abstract animations heavily influenced by Modernist art, particularly by avant-garde painters who were pioneers in experimental animation; transitional animations that serve as a bridge between Modernist aesthetics and Pop Art, blending elements of high art and popular culture; and animations that achieve a unified aesthetic by integrating the formal and thematic elements of Pop Art with Dewey's concepts of everyday aesthetic experience. This research explores the reasons and mechanisms behind the shifts in aesthetic criteria and their impact on the experimental animations of the NFB. By analyzing and comparing the formal and thematic characteristics of selected works from each strand, the study identifies specific criteria that illustrate how Dewey's aesthetic theory of everyday life has transformed NFB's works from abstract creations into works deeply embedded in popular culture, yet still influenced by the formal elements of Modern and abstract art. The study employs a descriptive-analytical approach, reviewing the development of Pop Art, the capabilities of experimental animation as a pioneering branch of visual arts, and the supportive environment provided by the NFB. This environment has enabled the integration of diverse cultural influences through the work of artists with unique techniques and styles. The analysis concludes by determining the extent to which Pop Art has influenced these animations, demonstrating that contemporary art and beauty emphasize a direct connection between art and everyday life, highlighting human experience and popular culture as the primary sources of artistic expression.

Dialogue writing methods in dramatic theatrical text is considered one of the most challenging fields of study in dramatic literature. Its a relationship with performing arts on the one hand and language studies on the other hand. The scope of the discussion about the subject is also wide in the field of interdisciplinary studies. Based on this, it can be claimed that the linguistic turns of the 20th century also affect the fields of dramatic dialogue writing. One of the language philosophers who played a major role in this linguistic turn is the late Ludwig Wittgenstein. With the idea of ​​language games, he brought expanded the fields of meaning making of to language bringing with it into new contexts. One of the elements that can be considered as a common point between art and language in this regard, is the field of imagination. Imagination is also a language game that is used and manifests itself from the presence of language users. The purpose of this research is to know the method of developing and expanding the way of dramatic dialogue writing using the idea of ​​the language game of imagination according to Wittgenstein. To understand this method, this article has chosen the play The Death of Yazdgerd by Bahram Beyzai. The question is, how did Beyzai benefit from the language play method of imagination in expanding the dramatic language of the text of The Death of Yazdgerd? The hypothesis can also be defined in such a way that it seems that Beyzai in the language game of imagination has chosen network methods to expand the language of conversational writing. The current research is based on the practical purpose, in terms of the library information collection method, which is based on the qualitative method and based on the descriptive nature. The descriptive method is the method proposed by Wittgenstein in dealing with language as a philosophical concept. The result is that Beyzai has used denial, acknowledgment, and the method of understanding-aspect to shape the basic rules of his language game, in order to deeply doubt the secondary grammar of his language, that is, due to the doubt he created in his representational position doubts about the date of Yazdgerd’s death.

The Qajar’s collapse and the rise of Pahlavi was a beginning of a new cultural system in Iran. Modernism and other debates derived from it such as Nationalism, Secularism and Archaism led to lots of cultural transformations that its important part was a tendency towards western culture: But despite of this tendency towards the modernity and western culture, this era was a beginning point for the traditional arts, especially for Iranian paintings. Now the question is which factors, in the Pahlavi’s modern cultural atmosphere, intensified paying attention to Iranian paintings and made a new wave of stylistic transformations in it? with this question and the aim of recognizing the process of renovation and transformation in the First Pahlavian era’s Iranian paintings, this article deals with the factors which influenced on the transformations of the First Pahlavian era’s Iranian paintings. This article, in order to draw a Semiosphere uses the Yuri Lotman’s Semiosphere theory which led to design a pattern of an Iranian painting’s semiosphere with a core which is Iranian painting’s Isfahan school and its margins that are such factors as being affected by the European paintings, Individualism and getting influenced by the dominant semantic horizon of that era. Based on this pattern, First Pahlavian era’s Iranian painters taking Isfahan school as a core tantamount to an original and national element, made a set of transformations in the Iranian paintings of that era which all of them were based on First Pahlavi era’s various cultural debates. Meanwhile this accompaniment of Iranian paintings with the debate of Pahlavi Modernism in the shape of being affected by the Europian painting, Individualism and dominant semantic horizon made so many changes in the form of Iranian paintings which led to the prosperity and legitimacy of this type of art in First Pahlavi era. Iranian Paintings’ semiosphere in Pahlavi era is based on the Safavi era’s Iranian paintings specially based on Reza Abbasi’s works. But in this era this type of Paintings added some new elements to the old one. So, some radical changes have occurred in the revived version of Iranian paintings that couldn’t be seen in the past. The faces of characters have been altered to the Iranian faces instead of Mongolian ones. Under the influence of the Government’s attitude as an anti-religious one, religious themes were not be chosen by artists to be drawn. In the Pahlavi Iranian Paintings, yet the link between literature and Iranian Paintings is seen. The paintings drawn for the Khayyam, Hafiz and Ferdowsi’s poems or verses are the best examples to indicate this link. In this era, artists were under the influence of the western style of paintings and as a result some factors were added to the Iranian Paintings such as Perspective. Presence of tourists and artists’ journeys to foreign countries, specially to Europe, added these events to this traditional art. Besides, there was a real tendency towards Iranian culture, literature and art in Europe which made the Iranian people interested in their culture and art as well. Under the influence the influence of the layers of cultural sphere of the first Pahlavi era the layers of the Iranian paintings of this era were shaped and each factor was derived from the cultural elements of this era. Art in each historical era is fully under the influence of the culture and this fact is undeniable. Cultural atmosphere of the first Pahlavi era was fully under the influence of western Modernism; So, any artistic updates which occurred in this era was under the influence of this factor. Reza shah wanted to build a modern country as a result any type of art produced in this country should have become updated with some new elements which should be added by the artists. In Iranian Paintings, the first on who did this job in first Pahlavi era was Hadi Tajvidi and we can say that he was the founder of this type of Iranian Paintings. But unfortunately, he died soon and his students became the followers of his painting style. They did great. They became famous all over the world, specially in the second Pahlavi era. Via their artistic works, foreigners became interested in this traditional art which belongs to Iran. Iranian Paintings in the first Pahlavi era became revived and has so many fans. This fact was under the influence of cultural atmosphere shaped by Reza shah’s Government, but this couldn’t last too much cause in the second Pahlavi era the cultural elements totally changed and in the cultural sphere of that era the Iranian paintings couldn’t follow the pace of growth started in the first Pahlavi era.

Nowadays, many of the television series are location-based, and they have only a main fixed place. In some successful series of this category, it seems that the fixedness and lack of variation of the place (location), Not only doesn’t prevent the emergence of narrative, meaning and significant facilities related to the location, it also provides new opportunities. The main aim of the current study is to identify the semiotic-phenomenological aspects of place Transformation in location-based TV series. Therefore, the "Khane Sabz" series served as the research sample in order to answer the question of how a fixed place in a TV series can undergo different meaning changes and transformations. The research employed a Paris school semiotics method. Data collection involved taking notes from library resources and textualizing the research sample. The findings show that the place can take on multiple metaphorical attributes and undergo different transformations in despite its fixedness. Moreover, place in such a series can progress towards a transcendental state; and by transitioning into space, it can endow the series with varied phenomenological and significant effects, such as the quality of genius loci.

Flaneurie is an innate component of readings on modern urban life which has come to the heart of critical discourses owing to the writings of Charles Baudelaire in the nineteenth century and the works of Walter Benjamin in the twentieth century. Since the 1990s, new perusals of the flaneur have made it yet again an appealing concept in academic studies which is modernized through blending with the recent subjects and is no longer confined to Europe. This dissertation begins its arguments by iterating Baudelaire's narration of the flaneur. After going over Benjamin's notes on flaneurie and a brief description of Iran's society and cinema concerning urbanism and modernity, the presentment of Benjamin's flaneur in Iranian works of cinema from 1990 to 2017 is specified. To do so, the evaluated films belong to pseudo-genres like “urban films”, “street films” and “social films. “This research assays the embodiment of Benjamin's flaneur as the characters of films and with a statistical view it can be said that although what is known as the “flaneur” by the Iranian film critics has similarities to that of Benjamin’s, they're fundamentally distinct; distinctions that based on the means of production, censorship, pre-revolution cinematic movements, and the Iranian modernity in a broad view. These differences make it necessary to construct a new definition of the flaneur to separate it from the ideal type of it, a definition which is upon the common qualities and motifs of said films. This definition of the cinematic flaneur is an attempt to demonstrate that Benjamin's vision of flaneurie is absent in the Iranian cinema except for some rare occasions and that the film critics and filmmakers, for years with an inaccurate terminology and an askew hermeneutics of this tremendous concept, have turned it into a conserve and dissimilar matter.

Cognitive theory is one of the most important contemporary theories in the field of cinema and media trying to evaluate the audience's perception in the face of film by combining cognitive, philosophical and cinematic achievements and with this approach, while opposing the psychoanalytic and classical theories of cinema, to focus its attention on the mental activity of the audience while watching the film.By focusing on how the viewer perceives cinematic images and the narrative, to prove that the audience is engaging in a conscious activity. This article, firstly by explaining and examining the cognitive patterns of scholars such as David Bordwell and Gregory Currie about perception and the analysis of contemporary imaginative theories, intends to assess the perception and function of the imagination through the audience's encounter with the Surrealist film Easerhead 1977. In this study Questionnaire survey has been adopted: Fifty participants were classified based on education and age and were randomly divided into two groups and answered the questions. The findings prove that Bordwell’s cognitive theories are sporadically formed but do not lead to the perception of the narrative, but according to the characteristics of the imagination, they can be expanded in a cohesive and integrated form. in contrast, Curry’s cognitive theory leads to an understanding of narrative in an experimental state, since imagination plays a key role in his theory, it is possible to revise this theory in a new and more complete form.

In Iran, TV commercials are considered as the most popular means of advertising. Television commercials can be studied and analyzed from different dimensions. It can be assumed that the IRIB intends to reflect and recreate religious and moral values ​​in all its activities and programs, including commercial advertising. Therefore, the main purpose of the present study is the semiotic analysis of the commercials of the One Sima network from the perspective of religious values. The research method is qualitative and John Fisk's semiotic method has been used specifically. The study population in the present study includes commercials of One Sima network in the period of April and May 1399, which have been extracted separately. The total number of advertisements in April was 43 and in May it was 62 and the research sampling method was purposeful sampling. In this study, 22 ads were selected that contained religious values. In order to semiotics the mentioned ads, coding tools were used and in order to analyze the data, the John Fisk approach was used. Based on the findings of the present study, the religious values ​​extracted from the TV commercials of the Islamic Republic of Iran TV in April and May 2016, including helping the poor and paying alms, paying attention to home and family and respecting the elderly , The value of work and national effort and self-confidence, parenting and spending time for children, the category of helping the spouse, work conscience, the category of worship, faith, piety and righteous deeds, saving, truthfulness, paying attention to health advice and health and the value of counseling . Therefore, it can be said that commercials have the capacity to represent religious values, so this media tool can play an important role in transmitting religious values ​​in Islamic society.

Decoupage, apart from its known principles, can be considered as the exclusive way that, beyond the technique, creates a situation before the rules and contractual frameworks between the director and the text narration. This research has been carried out to objectify the imagination and imagery based on the narrative in the mind of the creator of the work focusing on a fundamental purpose and the main issue which is the functional study that the decoupage process uses. The research method is qualitative with an approach of cognitive sciences and based on the theory of material attraction using library resources and audio-visual archives. To make the discussion feasible and revealing, the researcher has carefully studied and analyzed the works of three different directors made in various countries and different years of Kafka’s ‘The Metamorphosis ‘ story in a case study. The research findings indicate that the scene is formed in the executive state which is completely Influenced by the momentary mental conditions, it depends on the lived experiences, the material ahead, and the director’s abilities. The result of the research shows that the director, by choosing the style of the desired cinema, uses the available capabilities and facilities, and in the executive situation creates scenes that, while being taken from the cinematic style, belongs to him. Therefore, his work makes him different from others.

The Eco cinema does not have a long life in the field of environmental criticism studies. In the same lifetime, there have been few sources, each of which has tried to come up with a definition, But in conclusion, it can be concluded that almost any film from wildlife documentaries to poetic fiction films that have used the ecosystem in their narrative expression can fit into this field. Iranian cinema is no exception to this definition. Therefore, in order to achieve a tangible analysis in this field, Henry Lefebvrechr('39')s views in the field of two rhythms of enviromental life have been expressed and then we have tried to find a connection between these two rhythms with aesthetic elements in a cinematic work to analyze cinematic works related to Provide the ecosystem. The present article refers to Henry Lefebvrechr('39')s theories about  everyday life and its relation to environmental conditions, which is based on the method of library information collection, qualitative method and descriptive-analytical nature, to answer the question that How does Sohrab Shahid Sales in the film »the Still Life«  and Abbas Kiarostamichr('39')s film film "The Wind Will Carry Us" create meaning from the contrast between the two rhythms desired by Lefebvre and highlight the environmental symbolic implications in this regard? It seems that in » TheStill Life « the ecological rhythm has become a kind of aesthetic rhythm, and in »The Wind Will Carry UsK, »ecosystem« has been found as a metaphor for the evolution of functional character. The result is that both films have proven the hypotheses and put the rhythm and socio-cultural way of life as a way to achieve an aesthetic look.

Coffee-house painting is one of the mos t important branches of Iranian folk painting which is mainly identified with the s tories of Karbala despite its martial and lyrical themes. The s tructure of coffee-house paintings is in harmony with the theme of the s tories they depict. In other words, the coffee-house painting are not a partial representation of an external object, but are generally recognized as portraits that depict various scenes of a given event by creating some sort of link between different events which have taken place at different times and places. In more concrete words, the painter depicts their favorite themes without regard to time, place, realism, or the rules and principles of perspective. These paintings are closely linked to another type of folk art, namely narrative and picture narration. The conceptual themes of these arts are about good and evil, as well as the narrative and depiction of heaven and hell. Accordingly, this s tudy aims to unders tand the conceptual relationship between the s tructure of picture narrator’s narrative and coffee-house painting and to compare the transformation of imagination in two areas of painting and drama. The s tudy seems to give rise to the manifes tation of a fresh look at the arts of performance and painting together. In this regard, by collecting information in a documentary manner and using a descriptive-analytical approach, while analyzing the visual elements of one of the works of coffee-house painting and, accordingly, citing the narratives of famous picture narrators, the research uses Gilbert Durand’s views regarding the nightly constellation of imagination and daily constellation of imagination to address the central issue of the paper which is the transformation of imagination between painting and dramatic action in picture narration. The inclination of Durand towards Eas tern Islamic mys ticism and her interes t in myth led to formulation of the hypothesis that there may be similarities between her view and picture narration. According to Durand, in addition to the results leading to the image which forms the imagination, the process of imagination begins from the moment of receiving the object to its formation in the mind. The act of narrating the picture narrative by displayer transmits it, with the help of human action, from the unconscious scope of the imagination diurnal regime to the imagination nocturnal regime which is conscious. That is, due to being performed in the presence of audience, picture narration is much more effective and influential. The result was obtained by the observation of the audience’s dynamic imagination through performance, the transformation of the regimes from diurnal to nocturnal in three types of picture narration and, finally, the observation of the nocturnal regime effectiveness compared to diurnal regime in picture narration.

The main question that this paper pursues is how has Tehran been portrayed in the 1960 s through novels? And in general, what are the urban themes and components in the Farsi novels? Regarding the fact that in the given period, Iran is developing from a traditional society into a partially modern nation-state, therefore carrying all of its problems and contradictions .Six urban novels in the 1960 s have been studied using qualitative analysis. The novels presented a dystopian image of the city. In all these novels, the filthy city transforms the innocent into a heartless and brooding man. And at the same time it depicts a face of blase and sad person.we will describe this study by discovering five main themes: Urban spaces, social groups, human relations .social issues and finally, urban thoughts and attitudes. Among these themes, delightful spaces like the street played a key role in representing the Tehran city, and on the other hand, suffering spaces such as the hospital, asylum and psychiatric hospital depicted another form of the city. These dual aspects of the city, euphoria and suffering, have been replicated in other contexts and, in sum, have implicated the individual involved in the city in endless contradictions.

The later Wittgenstein believes that there are unlimited forms of language that can lead to language-games. In one of these forms of language-game, from the viewpoint of the later Wittgenstein, the verbal language in the recognition of communication not only represents thought, but in broader and social definitions, can serve as a sign for expressing power relations. This thought is reflected in the discourse between dominant forces in society. In this discourse, the power that takes advantage of verbal language is recognized as the center, who tries to impose its way of thinking on the margins. In the course of this language-game, however, the center is not fixed, and the margins periodically become the center and recreate itThe reflections of this theory can be explored in the performing arts form of Takht Houzi (also Siah-Bazi) as an Iranian traditional-ritual play. In this form, the master represents and acts as the center (power) that molds its superiority in a discourse with Black (Siah) Meanwhile, Black, as a marginal type from the traditional community, resists the center/master through verbal measures (known as the Kaka'i language). The paper aims to study the play that name Soltan and Siyah by Ali Nasirian, with the analytical-descriptive approach, first delineate the language-game theory of the later Wittgenstein, and then examine the verbal actions embedded in Takht Houzi to shows how social criticism is shaped by this notion and is represented by the margin-center game within the verbal language.

This research has been carried out to explore the process of object semiotization in TV series and intend to recognize the role of object conversion to sign in developing drama. Therefore, this paper analyzes ‘Khaneh Sabz’ (Green House) and the Big Bang Theory series. The series that most of their narratives occur in just one location and their structures take place in the same location over each episode, season and even after years. This research has been carried out based on a semiotics approache and accomplished through a literature review. This case study consists of selected location-based TV series focusing on the published books and articles for data gathering. According to the results, it can be stated that the process of object semiotization on TV series creates the potentiality that allows new signs to attend the syntagmatic axis. In the meantime, signs will be able to role-play in plot and associate with other drama elements. Also, it can bring a correlation between the signs and drama on the pragmatic axis. Applying object semiotization process to TV series initiates an arrangement and a code that series can use them regularly to create dramatic situations and develop drama during various episodes and seasons.

The relationship between a written text and a cinematic script is based on their inter-</span>lingual translation. </span>Written signs change to visual ones and some changes occur along the way: changes which can be studied and researched from both aesthetics and interdisciplinary points of view. </span>The theories of Yuri Lotman and his fellows’ </span>in cultural semiotics of the Tartu- </span>Moscow School provide a basis for such interdisciplinary studies. </span>They believed that a part of meaning production is formed amid “</span>the contrast between nature and culture”. </span>The perspective assumes culture as the sign of calm and nature as the sign of chaos. </span>Based on this theory a dialectics is developed between meaning-</span>making systems in art criticism and cultural systems. </span>Paying attention to this, </span>the present paper tries to re-</span>read culture and nature in cultural semiotics and explore the potentials of this topic for studying cultural translation (</span>adaptation) </span>of cinematic works, </span>seeking its patterns. </span>This is followed by a reading from Tennessee Williams’</span>s play A Streetcar Named Desire based on Tartu-</span>Moscow cultural school in which the contrast between culture and nature is studied using a comparative approach, </span>in the plays two cinematic adaptations A Streetcar Named Desire by Elia Kazan (1951) </span>and The Stranger by Bahram Tavakkoli (2013).  </span>Using library research and descriptive-</span>comparative method, </span>the research tries to cast light on translation mechanisms of “</span>culture” </span>and “</span>nature” </span>from the original text to its adaptations, </span>and how the semiological differences of “</span>culture” </span>and “</span>nature” </span>between the original and the adaptation help in meaning making.</span></span></div>