فیلم سینمایی

Despite the importance of evaluating and judging cultural and artistic products, the lack of objective and clear criteria in film festivals, especially in Fajr Film Festival, has caused a lot of complaints and confusion among artists, and this important cultural, artistic and has faced many challenges. The first question that must be answered to evaluate movies is, what are the criteria for evaluating or judging the film? Unfortunately, there is no clear answer in this regard, and judges always use their knowledge and lived experience in judging without a brief or extensive explanation of the reasons for choosing or not choosing a film. Even if the arbitrator or group of arbitrators change, the selections and results of the arbitrator may also change. The reason for this is the lack of clear criteria for judging. Therefore, each judge makes criteria for himself based on the findings and aesthetic criteria he has for an art product and judges based on that. For this reason, in this research, an effort has been made to achieve the goal of turning the tacit knowledge of film festival judges and cinema experts into objective and explicit knowledge and providing clear criteria for evaluating movies and their jobs. This research has a qualitative approach and has used "database theory" as a research method. For this purpose, by using interviews, which is the most common method of extracting tacit knowledge at the individual level, the opinions of a group of experts related to the field of filmmaking, who have the record of judging various festivals, were collected, categorized and analyzed. placed Based on the collected data, criteria and indicators have been determined for each of the awards for the main filmmaking jobs. These criteria, which can be used in film festivals, are as follows in each section:Production: attention to the cultural needs of the society, creativity, importance of the subject, issues affecting the society, audience friendlinessCinematography: framing, image aesthetics, paying attention to the world of the text, helping the director to create the desired atmosphere, mastering the tools and technology, light and techniqueScreenwriting: importance of idea and subject, characterization, power of dialogue, plot, structureDirection: creativity, decoupage, mise-en-scène, story processing, paying attention to the cultural priorities of society Acting: mastery of the body and physical capacities in playing a role, awareness of one's individual capacity, mastery of speech in expressing dialogues,Attention to the world of the script, attention to the hidden details of the roleSuggestions: Based on the obtained results, in addition to presenting a basic suggestion and two correction suggestions, the application of indicators for conducting the judging process in the Fajr Film Festival has been emphasized with two conditions in the structural reform of the selection of selected works: the first condition is that the indicators Creating should not cause a qualitative process to become quantitative, and another condition is that the creation of indexes should not be considered as a monitoring tool to apply the opinion of managers and influence the artistic view of judges. Considering the mentioned conditions, it is suggested that the evaluation criteria of the movies in the desired jobs should be specified and informed to the participants through discussion with the judges before the festival, and university professors or critics who, in addition to paying attention to The formalist approach, they also pay attention to theoretical minutes, should be used in the group of judges.

The present study aimed to examine and assess the pedagogical analysis of the "Freedom Writers" movie by incorporating the cinema industry as an educational instrument. The study employed a qualitative research approach and utilized the semiotics methodology. The movie has undergone scrutiny through the application of John Fisk's semiotic approach. The results of the study indicated that the "Freedom Writers" movie portrays a teacher who successfully transforms the classroom environment from one characterized by racial animosity to one focused on the pursuit of knowledge and understanding. This movie employs various educational strategies, including critical analysis of story and novel, museum visits, writing experiences, and meeting with inspiring individuals. The research concluded that conducting critical analysis sessions of movies on the academic domain and evaluating the impact of these screenings on the attitudes and motivations of the viewers can be a valuable recommendation for both academic scholars and teacher education institutions.

The present study explores the narrative put forth by the Iranian cinema about social harms during the 70s in Iran through analyzing two films in particular "Two Women" and "Under the Skin of the City." The research method of this study is of descriptive-exploratory type, seeking to offer a thick description of the phenomenon under investigation. The study draws on discourse analysis method to analyze the data. To this aim, the films under discussion were categorized into genres or linguistic functions utilizing Ruth Wodak's discourse analysis method. Within each linguistic function, we addressed and answered seven key questions based on Paul Gee's discourse analysis method. The conclusion furnishes an account of social harms depicted in the movies "Two Women" and "Under the Skin of the City" based on the context and conditions of Iranian society throughout the 1990s.The findings of this research indicate that the films from the 70s address various social issues. These issues include the confrontation of two discourses of traditional and modern, resistance of the patriarchal discourse against the discourse of enlightened women advocating for social freedoms, the existence of a class divide between the affluent and the poor in society and more.

Culture and economics are two fields that affect each other and are inseparable. Negative, positive, controlling, etc. actions in either of these two, without considering the requirements of the other area, will have adverse results in both areas. According to research, in Iran, this important entanglement and interaction in the field of film production has not received much attention. On the other hand, identifying the objective and real issues in the field of cultural economics is one of the first steps to have a favorable policy in this field. Therefore, the present study in the qualitative paradigm and using the library collection method and content analysis method, after a detailed study of the research conducted in this field, has typologically addressed issues related to the field of cultural economics in the production of films in Iran. Based on the data obtained in this study, 7 main axes (which themselves have sub-axes) as the main types of issues related to the economics of culture in the field of film production

Artwork, including film, is a tool to represent and identify discourses in any society. Cinemas of various genres, including social, drama, sacred defense or war, have serious, transcendental contexts that reflect the qualities of social relationships and the daily lives of people. This study seeks to study the representation of the social relations commodity in cinema in the 2000s and 2010s. The conceptual framework is inspired by the ideas of Marx, Lukacs and Polanyi who have long been concerned with the domination of commodity logic and market relations over the social sphere of the modern world. Five of the films were purposely selected and reviewed. The findings show that in all the films studied and in different genres the dominance of commodity logic and market system values in individual, social, emotional, and so on relationships is evident and the social and ethical spheres are dominated by economic logic and favorable intentions. But the most common in the social and sacred genres has been the emphasis on differences in samples of the two genres.

The research purpose is to examine the role of feature films' popular cast in shaping the audience’s attitude and behavior, since these characters can act as suitable models for people’s acceptance of chastity. The research method has been quantity analysis and its statistic population consisted of 36 hit feature films broadcast on TV. To analyze the data we used spss software together with descriptive and inductive statistics with 5% first type error. The results show that the specified films are lacking in appropriate characterization in regard to sticking to chastity, so they could not be taken as role models for the viewers. In general, one could say that TV hit feature films have failed to promote the culture of chastity by offering models.

Meaning is both the reference and the content and their concomitant mental associations. The current research aims to find the meaning of home and its constituents in the everyday life of house residents. In this perspective, we seek to investigate this meaning-making processes through exploring the represented houses in four Iranian movies in Tehran. Therefore, “Freeway”, “Sealed Secret”, “Sa’adat Abad”, and “Here without Me”, Iranian Home Media distributed four movies from 2008 to 2012, were selected and investigated through the grounded theory methodology. The findings demonstrated that home meaning-making order narrated in movies in Tehran experience included five components as “sensual perception”, “sings and symbols”, “social relation”, “ownership” and “architectural shape”. Domestic space internalizes home meaning once it relates to these constituents in the first place and experience such relation in a positive and non-abnormal configuration. Accordingly, it is revealed that in such represented order, social relation and its quality plays a significant role in home meaning-making processes, compared to other components. Whether in rituals or everyday life patterns, these relations can create and accumulate meaning for home. Contrary to that, the role of architectural configuration is less depicted while semi fixed spaces are highlighted.

The aim of research was answer to this question that movie after revolution how was represented matters of addicts and addiction? For answering to question 33 movies made between 1360 till 1390 which main characters were addicts, studied by content analysis. The results showed that in studied movies, addicts were men, bachelor, or divorced and majority of them were educated. Also, Heroin consumption was more that other narcotics in movies. Addicts’ personal home and his/her friends’ home were important places for consumption; and friends were important narcotics preparators; and they most important factor in initiate of consumption. On the other hand, divorce and child selling had the most frequency in movie. Family and friend groups were the most important factors in addiction and its etiology. The results showed that movies represented one kind of popular addiction study that overlapped with academic addiction study.

This research is going to recognize the factors of the life style in cinema movies of three decades of Iranian cinema relying on cinema as media and the importance of two concept: “tradition” and “modernism” in evolutions of Iranian society. The life style may be defined as method of life or in more careful way, as models and methods of life. Life style is a model for interaction in common life which distinguishes people from each other. By studying the life style we can comprehend concealed norms that are observable in minds, beliefs and people’s behaviors and achieve some interpretation due to existing and forming direction and models realistically. One of the new narrations that may be presented of evolutions process of Iran is the evolutions process of modern and traditional life styles. To describe Modern and Traditional life styles, we study the as artistic cinema which spread different images of life style. In the sake of this, we fallow descriptive and explanatory targets like the exact description of the factors of life styles and movies properties, recognition of indicated life styles in them and recognition of the common behavior models in Iranian movies of 3 decades 60’s, 70’s, and 80’s of Iranian Cinema using contents analysis method.