سینمای دفاع مقدس

During the recent years, the means of mass communication have led to many changes in the societies, and cinema, as a media tool with a narrative element, has made a significant contribution to creating these changes, among them, we can mention the category of hero-making and heroism by cinematographers in various local communities. , national, regional and international. In the present research, it has been tried to introduce the path of hero-making in cinema by benefiting from Vogler's hero theory and the views of representation of Stewart Hall and other thinkers, and then by examining Hatamikia's cinematic works, the hero and hero-making are represented in the holy defense cinema. To achieve this goal, after determining the statistical society and the representative sample, using the content analysis method (coding instructions) and determining the categories and subcategories, the required information has been recorded and finally, the description and analysis of the collected information has been done. The results of the present research indicate that Hatamikia has included the main elements of hero-building in his works, although he has avoided some key stages such as "refusal of the invitation" and in some stages such as "meeting with the teacher" - which leads to the presence The master archetype becomes the hero on the move - and "Trials, Allies and Enemies" has had a poorer payoff. The removal and minimum payment in these stages has led to the reduction of power and influence in the personalities who had the talent of creating earthly and attainable heroes for the society.

The present paper seeks to explain symbolization in the Sacred Defense Cinema from Mircea Eliade's view, which is discussed in two Movies Didehban (The Scout) Mohajer (The Immigrant).

The data have been gathered through library studies and watching the movies, and have been explained descriptively and comparatively.

According to Mircea Eliade, symbol has sacred manifestation, and man can acquire real knowledge of sacred realms through it and based on his own activism. Based on this view, a way to understand symbolization is investigating religions and denominations through ethnological and ritual lens. Each devotional and religious deed includes a part of symbolization and tries to direct religious man towards a truth beyond experience. For example, we can refer to Iranian warriors' activism during Sacred Defense, which has had symbolic representation and was scenic for people.

The results show that a sacred atmosphere will be created to the extent that the personality's act is in higher existential stage of sacred thing in certain time and place, and ordinary things and affairs acquire symbolic manifestation. In the movies Didehban and Mohajer, personalities' acts in certain event and critical situation create sacred atmosphere, and stage equipment and thing acquire symbolic representation.

This study seeks to study the sacred defense cinema during the four decades after the Islamic Revolution (1360-1400). The ups and downs of this cinema during the forty years after the Islamic Revolution, the study of developments and the role of governments after the Islamic Revolution, is the subject of this research. The theoretical framework of this research is based on two theories of "complement-reflection" and "shaping", according to which art is a reflection of social conditions and at the same time it is used to shape public opinion. In this research, qualitative content analysis method has been used for a deeper understanding of the structure and function of sacred defense cinematic works. The results of the research show that pathologically, the sacred defense cinema has been unloved by governments, officials and relevant institutions during the forty years after the Islamic Revolution. The findings also show that most films in this genre, despite different categories, both in the war critic category and in the war group, due to the special sensitivities of this genre, try to promote the sacred defense. Although there have been ups and downs in the quality and quality of films over the past four decades, the reflection of the events of the Holy Defense

The present study seeks to identify the paradigmatic pattern of moral themes in the sacred defense cinema that has been formed through the production of Movies of this period in Iran. In this study, quantitative content analysis method has been used. For this purpose, in addition to the documents that clarify the situation of the Holy Defense cinema in Iran, the content analysis of the purposeful samples of the prominent Movies of the Holy Defense cinema in the last four decades (60, 70, 80 and 90) has been used. The findings showed that according to the category of Movies, the most attention was paid to War Movies and the least attention was paid to war comedy cinema. The moral themes of the Movies are more focused on professional ethics, such as self-sacrifice, and social and individual ethics are inferior.

Compared to other arts, cinema has an irrefutable share in the manifestation, creation and life of modern myths. This article, by analyzing the four narrations of the frontier films, two blind eyes, glass agency and bus of the night, analyzes the part of the representation of the oppressed hero in the Holy Defense Cinema, and to this end The theory of Baudrillard's representations of levels has been chosen as their framework. This article seeks to find the heroic mythological nature of the hero in holy defense cinema, and it turns out that the hero of the studied films is not a powerful hero that could be presented to her audience as a model and myth, and if two are on empowerment and innocence In the filmmaking articles of this article, the article is an element of innocence, which is more evident and the ability, if not to say, of an absent existence, has always found its place behind the scenes and beyond the content of the story.

This qualitative research examines the role of the mothers of missing martyrs in 143 movie and kissing on the moon. In this regard, it has been attempted to analyze the two films using qualitative content analysis method. The results of this analysis show that the role of the mothers of the missing martyrs in the two 143 film and kissing the moon can be divided into five main roles (supportive, ethical, religious, emotional, educational, and political). In the supporting role of issues such as meeting the biological needs, protecting from danger and preventative care, in the dimension of ethical roles such as practical guidance, attention to the barriers to growth, attention to religious values, in the religious role of subjects such as the creation of religious habits, practice religious themes - Iranian-Islamic values, rituals and beliefs in the dimension of the educational role of views such as learning science and correct answers to questions and in the political role of topics such as political orientation and evaluation of the system, including the components and subfields derived from A research that collectively represents the conceptual components of the role of the mothers of the missing martyrs in Fayy These are the same.

This study examines the emergence of Iranian War Cinema and explores its key components. The main question of the research is if Sacred Defense films constituted a structure or not. The hypothesis of the research suggests that these movies go beyond sharing common thematic and narrative features, but they constitute a textual formation. The aim of this study is to concentrate on the Iranian fiction war movies in order to show and analyze some features which can help us to search structural concepts in these movies. The research method would be a descriptive-analysis method. To analyze the films, as a qualitative method, the methodology of this research would be textual analysis. The theoretical framework is structural approach. Through a critical and objective analysis of the films and reviewing the valid readings about the governmental discourse, the results show that Sacred Defense films have either a ritual or an ideological function and then constitute a structure.

Introduction and statement of the problem: Here we consider the imposed war on Islamic Republic of Iran by the former Iraqi regime as the most important social events in the history of the Islamic Republic of Iran. The event has affected great number of national issues including communication and cultural issues. One of the most important issues in recent three decades is to understand, explain, and to interpret the motivation of the youth׳s attendance at eight years of the Holy Defense. “Cinema” is accounted as one of the most important areas of representing the great cultural and social event. The emphasis on representation of the youth׳s motivation in attendance at Holy Defense indicates the artists׳ views towards the fighters as well as values of the Holy Defense in different periods. The main purpose of the research is representation of motivation of the youth׳s attendance at the Holy Defense through the film of The Ekhrajiha (Outcasts).
Theoretical Stewart Hall refers to the concept of "Representation" as a key concept in Media studies (Ameli & Merali, 2007). Hall believes, Representation is a kind of double systems process that produces meaning. He argues: "The relation between things, concepts and symbols is the core of meaning production in language. The process which relates these triple elements together is representation" (Hall, 1997). Discourse Analysis is a method for studding the creation of meaning and message from language units in relation with intralingual and extralingual factors. Actually, Discourse Analysis is the way to discover the discursive meaning. From this type of view, Discourse Analysis is to discover the obvious and hidden meanings of discursive flows, which is appeared in different forms of language and meta-language. Then, the Discourse Analysis in the media studies is focused on how the texts are encoded and decoded (Watson & Hill, 2012). Media content is open to the multiple interpretations of audiences due to its polysemy characteristic. The Agenda Setting view is a process in which, mass media transfer the relative importance of different issues to the audience. The idea and the concept of agenda setting are resulted from the different researches about the impacts of the contents of media messages on audience's mental imagery. Actually, with broadcasting news and information, news media set the issues and problems for people to note and think about them, from this point of view (Scheufele & Tewksbury, 2007; McCombs, 2004). The Framing Theory also has been noted as the next level of Agenda Setting. In Communication field of study, it was Gitlin (1997 & 1980) and Tuchman (1978) who firstly used the Framing concept (Ruigrok & Atteveldt, 2007). Here, framing means to highlight some aspects of an issue in different ways for changing the people's thoughts about the issue (Chong & Druckman, 2007; Entman, 1993).
We used discourse Analysis as the selected method for reaching the research purpose. Discourse Analysis is one of the most practical methods used by researchers; however, the study has used the approach of PDAM in this. This approach has five analytical levels: 1. Surface-Surface; 2. Depth-Surface; 3. Surface-Depth; 4. Deep and 5. Deeper. The first level, "perceiving from the text", tries to discover the words and sentences with special meanings along with the research purposes within the text. The second level is "the text orientations". Here, more than considering the meanings of a sentence with studding its different words, explicit and implicit meanings, its different orientations toward the different issues related to the research purposes also being noted. Moreover, the text orientations are also being studied in this level. But in the third level, "the exploratory analyses according to the other orientations of the text", the researcher seeks the meaning related to the present context or the contexts of the text creation. The forth level also tries to bridge the text, context and the related hypertext in order to clarify the meanings imbedded within the text. Next and the last level is the deeper one in which, text, intertextuality, imbedded meanings in the text are simultaneously being considered, and the final analysis is presented.
According to the Method, several tables were drawn for all four levels of the discourse analysis of the movie “Ekhrajiha” (means hired men). Focusing on the four methodological levels, the represented motivations have been extracted. According to the findings, martyrdom, status and credits, love, entertainment, ostentation, recompensing the failures, obedience, friendship and affiliation, divine inspiration and true love, wealth, doing divine duties, protecting the state and its citizens, guiding and reformation, dedication and sacrificing, and fighting against oppression and arrogance are all the motivations represented within the movie.
The fifteen explained motivations could be categorized within three main discourses: the values-oriented discourse, the national discourse and the selfish discourse. The values-oriented discourse is represented within two different groups in the movie: a group that has been criticized and negatively shown during the film and the other one, which has been propagandistically praised. However, about the selfish discourse, although it has not been criticized frankly, it also never has been imaged as a praiseworthy discourse within the movie.
Prominent The last discourse in Ekhrajiha movie, “the national discourse”, has been shown as a common and unifying principle and has been accepted by the two other discourses. In fact, the national discourse created a common context for all three discourses to interact and cordially understand each other. This discourse has propagandistically and praiseworthy been imaged in the movie and can be recognized as the dominant discourse. It is also this discourse which covers the hero character.

In this paper, an attempt has been made to represent ‘the hero’ in the Sacred Defense movies, in general, and in Shoor-e Shirin (Sweet Passion) movie, in particular – a period in the life of Mahmud Kaveh, one of the great martyred commanders of Islam, which was spent in fighting against the anti-revolutionary agents in the martyr-raising land of Kurdistan. For this purpose, the two major aspects of the semiotics methodology have been dealt with. First, the epistemological standing of the semiotics of syntagmatic representation, its philosophical implications and theoretical consequences are discussed. Then, the main implications of the semiotics method are explained within the framework of paradigmatic relations. And finally, in a supplementary analysis on Shoor-e Shirin movie, the insightful explanations and methodical implications of the first part are utilized. To answer the research question, the researcher has attempted to examine the characteristics of the movie hero and its representations using the implicit and explicit suggestions of the movie and collecting data from library resources.

The Outcasts is one of the most favorite movies in the field of the Sacred Defense)Iran and Iraq war) genre. And the film is produced in three episodes.The film is the best seller movie in this field, and the main characters in this triple are the same and didn’t change in each episode. There are three main characters in each episode. Haji Grinof is one of these characters he is a fanatic and opportunist person; But Haj agha is a devoted person. The other character is Majid Sozoki Who is a part of the Outcasts. Therefore in the cinema of Iran a new kind of character has been appeared so in this article the new kind of character has been named the outcast soldier In this paper we have tried to find the ups and downs of soldier role in the three episodes of the film by using the participation model of Greimas as well as by Narrative Structure Three kinds of characters named devoted soldiers, fanatic soldiers and outcast soldiers has been introduced and they have three different positions in the story such as subjected, supportive as well as deterrent. In spite of the name of the script the study has showed that in the movie the devoted soldiers are the main characters not outcast soldiers. The main story is around the devoted soldiers and they will be subjective at the end of each episode. The outcast have had the key role soldiers in episode 1 and 2, but in the episode 3 they have been neglected and marginalized.