The Representation of Religious Cinema in Two Political-Social Periods

In this study by considering film as cultural production and discourse action, by using discourse analysis method and Discourse Semiotic method, and analysis of 16 films from religious cinema after Islamic revolution, it is tried to answer to this question that how has reflected the religious cinema in revolution age and stabilizing the Islamic republic of Iran and Justice and Value-oriented eras (1380s) What are the similarities and differences range and how does every discourse reflect its pleasant subjectivity. The results of these studies show that reflection of the religious cinema in these two social-political eras has discourse difference and everyone forms its unique reflection of subjectivity, religion and the world. The religious subjectivity of Islamic revolution discourse and holy defense (eight-year war between Iran and Iraq) “Holy-Revolutionary” and subjectivity of Return is “peacemaker and bound believer” .In return discourse – which tries to revive the values and principles of Islamic revolution- we are significantly witnessed of linking the signifier of nationality and religiousness and resulting the woman hero as religious subjectivity which is against with the discourse space of revolution and holly defense. It is noticeable that if in the first discourse hero subjectivity has kind of direct or indirect linking with holly defense, but in return discourse the Mullah character has reflected as a reference subjectivity and popular, that although it has some independencies to the political system, it is always against with bureaucratic and governmental system and is intimated and cooperative with people. Generally, it is worthy to mention that return discourse except its rhetoric subjectivity has different formation of the religious cinema and its discourse in comparison with Islamic revolution and holly defense.