How Tehran reflects in cinematographic works of before the Islamic Revolution From the perspective of sociology of art

Based on the theories of sociology of art and cinema, we can use the analysis of art and cinema works for a better understanding of social groups. As Duvynyu believes, cinema has a close relationship with its social context, hence can be an index to measure social and cultural statues. In this article, Tehran will be analyzed from the perspective of art sociology that is a subset of cinema sociology and urban sociology, in visual and visibility of cinema before the revolution. With overview of Iran's cinema from the inception and in-depth reviews of Iran's cinema in 40's and 50 solar years, we had tried to Readout and analyze Changes in behavior and cultural norms and socio-economic transformation and Their impact on behavior and urban norms, Through cinema films which were made in this period and Urban space in these films By semiotics. In this study through the interpretation of four films which were among the most effective film's of that two decades (Brick and Mirror and Reza Motorcyclist). Cinema and movies have the potential to be a mediate of our understanding of the society and its changes, as a socio-cultural element can take us into the deep layers of our social life, and can reflect a relatively deep understanding of the situation of these groups. It also can reveal its contemporary social conditions in the society. Cinema is a product of modern society, so, from the beginning, the cinema has conjoined with a modern metropolises and the image of the most well-known capitals has been recorded very soon in the media.  In fact, the cinema, like the other arts, but with far greater capabilities, passing through early experiences, realized the role of city and burgher of modern society very fast, not just as a story background, but also as a subject, the art of cinema. However, beyond and deeper than the other arts, the cinema may penetrate into the hidden layers of urban life. Filmmakers, consciously or unconsciously, reflect a part of the spirit of their times and society in the cinema and for this reason, their views about the city are a part of the legacy of sociological knowledge of the city. In the present study, the aim is to refresh the image of Tehran in Iranian movies and through it, we will analyze the view of the city and urbanization, city modifications and changes in behavior and cultural and socio-economic norms from the perspective of art sociology that sociology of cinema and urban sociology are subset of it.Cinema is one of the most important cognitive tools which can help us in understanding social issues. Since the selection of presented best works of before the revolution in this article are analyzed and interpreted, given the status of Cognitive position for cinema, we can find common urban problems in this particular historical period and also a part of mind, unconscious social and public response of Tehran cities' citizens with this city.