The Sociological analysis of national identity and it's components in Bahram Beyzaie works.

In the case of the crisis of identity، one of the obvious emblems of the objecting new wave in cinema before the Islamic revolution is to express the national identity. In this study the problem is to recognize the components of national identity in Bahram Beyzaie works. introducing the concept of identity، it’s dimensions and components the ingredients of identity is searched in three main films of Beyzaie named as: Ragbar، Qaribeh va Meh، Cherike-ye Tara. Content analysis and extrovert analysis is used in this way. The facts exposed in study are social، cultural، political and geographical facts. the historical national identity is the most central instances taken into account. The results show that Beyzaie prefers to detect the cultural and historical identity On to the other aspects such as political or geographical identities. It seems that he believes in attaining a modern identity through the intellectual implements of tradition. After analyzing Bahram Beizay’s movies this conclusion comes to us that identity belongs to meaning and meaning is a percept that can be made، this is the effort he puts in his movies. This research is done on 3 of Bahram Beizay’d movies made in the years 50،53 and 57، the purpose of this paper is identifying the dimensions and components of national identity in his works. In this research this has come to view that in all three films “the problem of identity”، are of the repetitive elements and the main meaning of Beizay’s movies is the identity crisis. But the quantity and type of this tendency is various in different times. In Fact heroes in his films tent to understand their identity as the time passes and in the last movie، which was mad in 1357 in time with the victory of Iran’s Islamic revolution، the heroin Tara achieves a full and perfect identity. In the film Ragbar the director pays most of his attention to the cultural and political dimensions of national identity and the geographical، historical and social dimensions are of less importance. The director declares his dissatisfaction to the political system and the ruling power of the country but he also shows his attachments to culture، society and geography. In the movie Gharibeo meh the director shows nothing but a small amount of attention to national and political identity and only social and historical identity are of importance to him. In this movie the director has a critical point of view to historical identity and the worry of finding a social identity is highly apparent in the movie. In the movie Charike Tara Attentions was paid to all the dimensions of national identity except the political one. In this movie attachment to historical identity is more that before and also cultural and geographical identity is of importance. In an overall deduction، it seems that the director after his primary protests to imposed political identity in the movie Ragbar decides to pay no more unnecessary attention to the ruling system، and instead shows the importance of the cultural identity to his audience and encouraging them to search for their historical identity. The director knows the reason for crisis in other aspects of identity to be because of the society not being award of their own historical and cultural identity. In his movies he knows self awareness، the feel of belonging and being attached to values، beliefs، signs and national myths and knowledge of Iran’s geography and cultural heritage to be of great importance and the way to salvation