سینما

In recent years, the growing proximity of the two artistic disciplines of architecture and cinema, which are fully aware of each other's characteristics and mutual influences, has become a serious academic topic. Cinema, as a popular medium and an influential expressive tool, plays an important role in creating meaning, establishing a sensory connection with the audience, expressing narrative and characterizing through the elements of architectural atmosphere. This research seeks to investigate and explain the role of color as an element of architectural atmosphere and to analyze the dramatic function of color in Rakhshan Bani-Etemad's cinema and to discover the concepts and overt and covert themes of the film's text signs. In this study, using the qualitative content analysis method and the semiotic framework of Charles Sanders Peirce, the research findings are presented in a descriptive-analytical manner. The results of the study demonstrate that in Bani Etemad's cinema, color is not only used as a background to the story, but also as a factor involved in the process of the films, matching the behavior of the characters and the theme of the works, and confirming the emotions and even the perception of the specific meanings of each film. Colors are used based on semantic and semiotic purposes (symbolic) to achieve the dramatic narration of the story and the transmission of its hidden meanings, to define the performance and states of the characters, and to arouse the emotions of the viewer.

One of the defining characteristics of artistic products is their ability to reflect the realities of society. Due to their presence in society, artists unconsciously reflect their surrounding environment in their works of art. This issue has a more serious aspect concerning intellectuals who create works of art. Because they are self-aware and aim to enlighten others by expanding their thoughts and perspectives, they produce works that serve as a clear reflection of the political, cultural, and social conditions of their society at that time. This issue also requires examination and analysis concerning the artistic intellectuals of the second Pahlavi era, particularly the filmmakers of that time. The filmmakers of this era have distinct connections to the people and society of their time and are also influenced by revolutionary movements. The Islamic Revolution emerged in response to the prevailing conditions under the Pahlavi dynasty. The aim of this research is to analyze the political and social trends associated with intellectual cinema during the last two decades of the Pahlavi dynasty and to explore the potential interactions between the two. This study considers issues such as the possible impact of cinematic approaches, personalities, and themes on the articulation of the discourse surrounding the Islamic Revolution and the political forces at play. This article aims to address the question of how cinematic intellectuals responded to the Islamic Revolution of Iran between 1963 and 1978. The findings of this research can be summarized as follows: the cinematic works produced by the intellectual movement during this period were able to foster a parallel process of civil struggle that aligned with the Islamic Revolution. Initially, the convergence with the elements and discourse of the Islamic Revolution resulted in both harmonious and contradictory effects.

The study of the status of women during the four decades after the Islamic Revolution is evidence of serious and significant changes in their status and position in both the individual and collective spheres. From the day after the revolution to the end of the fourth decade of the revolution, women have experienced changes in their situation, which has led to the formation of a model of women in society, which is almost different from the model approved by the government. Among the fields that show the process of these changes and developments well are the two fields of cinema and music, which have been able to reflect the status of women in society during these four decades. Therefore, the present research answers the question that what is the relationship between the presence of women in the social arena and their presence in the two arenas of cinema and music? It proposes the hypothesis that the presence of women in the field of music and especially in cinema is a direct reflection of social developments, so that the study and investigation of the position of women in these fields is a good representation of their presence in the social field during these four decades.The result of the research shows that the presence of women in the field of cinema (more) and music (less) has undergone gradual but profound changes in both quantitative and qualitative dimensions during the rule of the Islamic Republic of Iran.

Cultural diplomacy is one of the major tools that includes academic, professional, cultural and student exchange programs, meetings and lectures, and a country can use it to promote constructive interests and cultural, political, etc. position in the world through constructive dialogue and creation. Use a positive self-image. The main purpose of this study is to identify and rank the components of cultural diplomacy in Iranian cinema. The present research is applied in terms of research purpose and descriptive-survey research. The statistical population studied in this research consists of experts and thinkers in the field of cinema and diplomacy. Snowball sampling method was used to select the sample. The results showed that according to the views of religious identity experts with a normalized weight of 0.360 in the first priority, the cultural dimension of cultural diplomacy with a normalized weight of 0.306 in the second priority, the technical dimension of cultural diplomacy with a normalized weight of 0.152 in the third priority, the political dimension of cultural diplomacy with Normalized weight 0.111 in the fourth priority, national identity with normalized weight 0.071 is in the fifth priority. According to the incompatibility rate of 0.05 in this ranking, there is a complete compatibility between the pairwise comparison of the models.

By recognizing the weaknesses and strengths of Iranian cinema, by preventing Islamophobia and anti-Iranianism at the international level, the fields of awareness and cultural promotion within the society can be provided. Iran and its distance from the desired situation are fundamental questions. In the study of representation of the above components, the mixed method was used, then a researcher-made questionnaire of 60 cultural components was identified and reviewed. The statistical population in the first phase of the research consists of a group of experts in the field of cinema and diplomacy. In sampling the snowball technique and then three types of Delphi questionnaires, pairwise comparisons and the status of cultural diplomacy components in the form of five national, religious, cultural, political and technical dimensions were used in Iranian cinema. Data analysis showed that the representation of the components of cultural diplomacy in Iranian cinema is far from the desired situation.

In this article, films with the themes of homelessness and fear of consciousness in the thought of Suhrawardi and Heidegger are analyzed by asking the question of what is the origin of these themes. Descent and existence seem to be the beginning of the problem. The purpose of this study is a comparative study of Enlightenment and Heideggerian thought in the works of Fereydoun Rahnama and Michelangelo Antonioni. To analyze these themes in the field of cinema, Henry Carbon's phenomenological approach has been done by analytical-comparative method. The reason for choosing Carbon phenomenology as a student of both schools of thought is that his phenomenology is a combination of phenomenology and interpretation. Suhrawardi's anthropology has led to one of the most basic themes of carbon, namely, "Nostalgia" The present study shows that the original choice of "being of me" by Dasein and the epistemology of "return to me" by the earthly self will be the reason for the accompanying aesthetic basis of historical and meta-historical course in these two cinematic approaches. In this article, based on the origin and function of the concepts of "Dasein" and "descent", "existence oriented to death" in films with the theme of Anxiety and "existence oriented beyond death" in films with the theme of Nostalgia have been interpreted.

The beginning of the 20th century coincided with the emergence of deep-rooted crises in social, political, and economic life in Russia. The scope of these crises was so wide that it led to the overthrow of the Tsarist government in 1917 after fundamental changes. The Provisional Government also lacked the necessary efficiency, and finally, after the overthrow of the Provisional Government in October 1917, the government fell to the Bolsheviks and a new history page was turned. In the early years of the revolution, Lenin in his speeches paid close attention to the cinema and after Lenin's death, Stalin also paid close attention to this branch of art. Stalin's cultural management had components and features that required a special kind of media management.

In this study, we seek to answer the question of how was Stalin's cultural management in Soviet political cinema. Then, using the descriptive-analytical approach and library method, we will answer this question. In this article, it is assumed that Stalin's management of Soviet cinema showed that even under conditions of control and censorship, directors were able to create different and glorious works. The various cultural policies and decisions adopted by the Communist Party influenced cinema. It can be said that approaches such as national Bolshevism and socialist realism had noticeable effects in cinema. The reason for the influence of cinema was, firstly, as a very powerful and important cultural tool, and secondly, its increasing acceptance by the people and citizens of the Soviet Union. These factors made cinema the center of attention and cultural policies had a direct and undeniable impact on it. In this study, we are trying to answer this question: How Stalin's cultural management was in Soviet political cinema? By using a descriptive-analytical approach and the library method, we will answer this question.

 The general conclusion of the article is that control and censorship necessarily do not reduce the quality of art in cinema, and the artist can turn custom work into a magnificent work in cinema in a process of artistic exaltation.

Research on Soviet cinema in Iran and the world cannot be considered new and innovative, because it has been discussed for years by cultural scholars, filmmakers, media managers, and even researchers in the field of history and politics. But when this is accompanied by time constraints and issues such as Stalin's management, new parties can be expected. Various researches on Soviet cinema have been done in Iran and the world, but looking at these researches, none of them covers the subject of the present study, because most of these researches are in the level of journalistic articles. The small number of scientific articles and treatises have not addressed the issue of political cinema in the period 1924-1945 despite its importance.

Cinema were more influenced by Stalinist views and ideas because Lenin had a short time to implement his ideas, but Stalin's leadership was long. Under Stalin, cultural approaches and policies were adopted that influenced cinema. These approaches include socialist realism, national Bolshevism, and the cult of personality of Stalin. Zhdanov, an influential figure in Soviet culture, also applied his doctrine to art as Stalin's agent. Apart from negative moral features, Stalin had a significant impact on the development of cinema. He paid special attention to this field. For this purpose, he formulated instructions and policies, and the directors had no choice but to follow them. In this study, Stalin's management model is not defended and the ultimate goal is not to confirm Stalin's management style, but this article confirms that even in conditions of censorship, directors can create excellent works. The Soviet look at the cinema was more than just a hobby. In general, cinema enters as entertainment coverage and then exerts its ideological and educational influences. Joseph Stalin, the first secretary of the Communist Party of the Soviet Union, like Lenin, saw cinema as an important propaganda tool. In general, art has had great importance to the Soviet Communist Party from its earliest years, and this aroused Stalin's interest in cinema. During his leadership, Stalin adopted and implemented policies that had a profound effect on the body of Soviet cinema. These effects were both positive and negative, but in any case, the important managerial role of Stalin in the Soviet cinema cannot be ignored. In the Soviet Union, under the leadership of Lenin and Stalin, art became the greatest factor in socialist culture. Art was a powerful tool for educating the mass. Lenin and Stalin paid great attention to the art of cinema. "Of all the arts, cinema is the most important to us," says Lenin. "Cinema is the greatest tool of mass propaganda," Stalin said. Elsewhere: "Cinema in the hands of the Soviet government is a very large and valuable power." These sentences determined the way for the development of Soviet cinema.In Stalin's management model in cinema, the ideological interests of the party prevailed over the rights of the creator and the audience, and the power determined the path of the artists. This management style with all its negative aspects has points. Directorscan create excellent works with supervision and control following the culture of the society and supervision and control do not necessarily reduce the quality of cinematic works, and it can be considered in this article. This article can be an introduction to future research on the autopsy of Eisenstein's political-revolutionary works. With the method of discourse analysis, it is possible to examine cinematic works such as Potemkin, October, and the Strike, and from that, the exact model of Stalin's management of Eisenstein's works can be extracted.

To strengthen the legitimacy of the communist system, Stalin formulated detailed policies and programs for artists. These policies involved many branches of art, one of which was cinema. Using Russian national heroes in the politics of national Bolshevism was also one of these strategies, which gave the necessary tool for the legitimacy of the communist system.As we mentioned above, the general conclusion of the article is that control and censorship do not necessarily reduce the quality of works of art in cinema, and the artist can turn custom work into a magnificent work in cinema in a process of artistic excellence.

The advent of photography and cinema, along with the development of technical tools for reproducing and disseminating images, has given many geographical spaces a great virtual appearance and confrontation with the public, a process that can be described as the “democratization” of space. In this process, the formation of a structure of all geographical spaces is represented. At least four factors must be used for parallelism: Duplication, Pluralization, Diversity, and Multiplicity. Matchmaking is an effort to produce and reproduce all features and characteristics of a space. Pluralism means the possibility of the presence of all opportunities in a space without a centrist force. Divergence also refers to centrifugal flow, based on which collectivism and pluralism are made and ultimately suffocation refers to a way in which there is no sign of separation, uniformity and assimilation. These four factors are an attempt to eliminate discrimination and inequality in the homogeneous distribution of space. This means that the four factors must be used to break the center-periphery relationship and centralize one space and marginalize other spaces. A central space tries to highlight its features and coordinates and turn it into an “audit center” and reduce spatial diversity. Cinema deals with both ways of parallelizing and distributing inequalities. In other words, on the one hand, cinema can give space to the marginal spaces of opportunity and create a democratic space and it can also move towards justifying and showing the superiority of the central space in opposition to the “other space”. How spatial representations are represented in cinema is a matter of linking cinema and geography. Slavoj Žižek, the Slovenian post-Marxist philosopher, transformed the Hollywood film industry and its political-spatial developments by categorizing the American theatrical process from 1990 to 2001 after being affected by the September 11 attacks. He divides it into “Truman’s” and “Matrix’s” plays and explores the ideological and dramatic coordination of Americans’ understanding of the world after 9/11. Truman is a 1998 comedy, sci-fi, and drama film directed by Peter Lindsay Weir and starring Jim Carrey. The film depicts the life of a man whose life is being broadcast on television 24 hours a day for millions of people around the world without his knowledge. The film’s plot revolves around a middle-class man who, after a while, realizes what he has in mind about his happy and promising life. It’s a TV show. The Matrix is ​​a 1999 science fiction film written and directed by the Wachowski Brothers. The film narrates the existence of human beings as fictional realities that are constructed by man-made machines and nourished by the human mind and energy. According to Žižek, both films represent the real-life credentials of everyday life in the United States and question “simulated reality” and represent “the Ultimate American Paranoid Fantasy”. Media is recognized as a powerful and influential tool in today’s world that directs the flow of power generation in space. Cinema and film have become an important tool for competing on a variety of national and transnational scales as one of the important pillars of the media which have the power to persuade, motivate and lead to uncertainty. Therefore, research on the relationship between geopolitics and cinema, which began with post-modern approaches and especially with the influence of the Frankfurt School, follows a study of how to represent the action and response of geopolitical foundations in film circles and its external effects are on the audience. The present study, by using discourse and narrative analyses of three selected films, Rambo 2 (1985), Unwanted Injury (2002), and Fall (2012), seeks to explore how Russian geopolitical foundations are represented in Hollywood cinema. The results of this study indicate that discourses such as the cold War, non-construction, unorganized space, Russia-China-Iran triangle, and tensions seem to be the most important elements of geopolitical representations of Russia in Hollywood cinema. In these films, the location of the film’s screenplays is the same locations proposed by classical geopolitical theorists such as Halford John Mackinder and Nicholas John Spykman; places such as Hartland and Rimland, or spaces where hostile geopolitics survived the cold War. It is reminiscent of Russia, Cuba, and Colombia. Hollywood also needs to represent these strategic locations as “geopolitical tensions”. From a geopolitical point of view, Hollywood cinema seems to have “hegemonic representations” that produce in the minds of the audience a “new consensus” and a ‘new interpretation” of the world map.

The concept of war has undergone a wide semantic transformation and today, the soft power, including cinema, plays an important and fundamental role in the cultural policy of any country. Accordingly, the present article has been done by descriptive-analytical method with the aim of examining cultural policy-making in the Iranian film industry and its impact on the soft power of the Islamic Republic of Iran. The results showed that the Iranian film industry originates from the political programs of its statesmen and this factor has created challenges in the field of soft power in the field of cinema. Nevertheless, the international recognition of the Iranian film industry (presence of Iranian films in international festivals, distribution of Iranian films and series on I Film and Asian television networks. In addition to displaying and encouraging the political, religious, lifestyle and Islamic culture of the Iranian people at the international level, in order to produce positive images and eliminate negative images of Iran (in Persian-speaking countries) Especially Iran's nuclear programs) to be used in the minds of the people of the world. Iranian artists, as Iranian ambassadors around the world, have not yet been sufficiently exploited as a source of soft power, while they can make a great difference in others' perceptions of Iranian identity.

The cinema and cinema movies are important cultural and artistic productions leaving profound effects on the culture of societies. Likewise, the system of Quranic teachings, is an important issue in the Islamic Iranian society. This research is aimed at identifying and explaining the Islamic teachings to introduce and apply them in various aspects of Muslims’ life. The significance of the Quranic instructions in the lives of the Muslims, and the important position of cinema and cinema movies in different aspects of the society have made the researchers to identify the Quranic teachings system and its reflection in the Abu Ghoraib Strait movie.  Hence, the research question is posed as: “How is the Quranic education system reflected in the Abu Ghoraib Strait movie?” This is a descriptive-analytic research whose data is collected from library and documentary sources. The results indicated that in Abu Ghoraib Strait movie, the Quranic instruction system is reflected in the characterization of each of the actors. In terms of the content of Abu Ghoraib Strait movie, it can be said that in addition to the components of Quranology, individual and civil regulations and other teachings of the Quranic system are included in the script, among which the international rules are the most central ones.

Political philosophy seeks to think about power at a time when the most ideal conditions for interaction between the people and sovereignty are established, and that ideals will be different for every society, culture and history. Cinema, as the most industrial art of the new century, is an art that simultaneously requires people and powers to survive. Cinema is dependent on the box office for life and relies on powers to build and display it. From this point of view, no artist as much as cinema is capable of the emergence of elements of political philosophy. Cinema is an art that is heavily influenced by the underlying texts of society, and what lies within the inner layers of its art can reflect the mysteries of the political philosophy of the day.

Drawing on the "representation" theory in the sociology of art and the explanatory model proposed by French sociologist Pierre Félix Bourdieu, this article seeks to investigate the process of reconstructing the concept of the 1980s in the lifestyle re-presented in the top-selling movies of the 21st century. The main question asked in this article is whether the representation of the lifestyle in the 1980s in 21st century movies is in line with the Islamic Republic's discourse or not. Content analysis of some of the films produced in the modern era shows that the cultural consumption and the way the 1980s lifestyle has been portrayed in the 21st century movies have been mainly inconsistent with revolutionary values. In fact, the 1980s has been painted as a "ridiculous", "shameful" and "bygone" era in today's cinema.

The Pahlavi government tried to use and serve the cinema form in accordance with its demands, and, to a large extent, it succeeded. Therefore, in this paper, it has been attempted to study the cinema of Iran in the political and cultural developments of the period leading up to the Islamic revolution based on the theory of the social role of mass media and their impact on the transformation of values of societies. In the same vein, the research hypothesis is based on the fact that cinema, as a government media, taken as a media for propagating cultural, social, political, and even economic policies, provided caricature-like and incomplete pictures of Iran's developments and conditions. The fact ultimately led to factors such as the outbreak of vulgarity in the body of Persian cinema; this media`s support of the government led to the public disillusion of the cinema as one of the main elements of the Pahlavi's cultural, political and social structure during popular protests and oppositions against the propaganda tool of Pahlavi's rule and, in this way, supported revolution.

This research attempts to study the architectural specifications of place in scene designing with an analytic glance to Iranian movies titled "Pari" produced by Mehrjouei and "Mother" by Hatami from the standpoint of Iranian scene designing. The study uses the ideas of Christian Nurenberg Schultz in analyzing the architectural spaces. The paper researches the architectural concepts in movie scenes with analytical-descriptive method relying on visual semiotics and a combination of qualitative research (from theory to study case). The concluded process gives a way to the "movie architecture" sample and conceptual architectural design in Iranian movies. Based on analyses and models, it is shown that architectural elements were influential on space creation and aesthetic understanding of the scene.

In this article, it is aimed to find a credible explanation based on Foucault’s teachings, for the wave of protest which was sparked by the two films, “Gheysar” and “Gavaznha” against Pahlavi discourse. The authors of the article believe that a theoretical approach to study the Micro-physics power within the pre-revolution cinema as a reason for the overthrow of the Pahlavi discourse has been an important issue that is not attended to as one of the methodical causes of the Pahlavi turnover. Accordingly, the hypothesis we have developed is as follows: cinema, by gathering the creativity of all arts within itself, sets a groundwork for the power Micro-physics, and the force and knowledge relations, with an intention of propagating its discursive statements and non-discursive practices in an effective manner. This propagation, by practicing Micro-resistance and Micro-politics, can make the subjects follow a special trend, as were the two films “Gheysar” and “Gavaznha”. These films could stand as the symbol within the pre-revolution cinema, of Micro-resistance against the order that Pahlavi discourse had created and consequently with political persuasion could propagate the opposition spirit within the members of the society that resulted in violent and non-violent protests against the government order.

This paper explores cultural policy making during Jack Lang’s ministry (1988-1993, 1981-1986) with emphasis on factors which enabled the cultural ministry to achieve maturity and especially acceleration in modernization in accordance with previous attempts by former ministers such as André Malraux. The field of Dram (Theater, cinema) is undoubtedly an indicator of the following process by Jack Lang, the famous minister, in support of different kinds of Drama. This paper aims at answering this question: whether during this period there was a balance between creation and promotion, variety and quality and demand and supply? By reviewing the statistical data, studying the comments of the French critics and analyzing the consequences of cultural policy making during Jack Lang’s ministry. The hypothesis of this research is based on the precedence of creation over promotion, variety over quality and supply over demand. With the help of this research, the mentioned paper tries to assess the importance allocated to creation and promotion of artistic works in France, to proof the superiority of one over the other and finally analyze the positive and negative consequences of these cultural policy makings in France and their limitations considering the thoughts of French intellectuals.

In traditional approaches to political culture studying, generally the main focus is on objective and quantitative criteria's such as political involvement rates, sociability, transferring social values or variables relating to political psychology including people's approach to state and the amount of trust to political system. In these attitudes, the meanings that people give to political transformations mainly affected by objective variables and hence they are clear and unambiguous. In new approaches that generally affected by cultural studies, the way of formation of meaning and interpreting its following political transformations is an independent process and can be a criteria for transformation in culture generally and political culture privately. Cultural and political structures or in the other word, the dominant discourses in society show themselves in sense giving process to political phenomenon's and therefore, the studying of this process can help us to achieve an overall understanding of transformations in structures and discourses. The present article attempts to study the relationship between sense giving to high viewer films and transformation in political culture.