The cinematic Apparatus approach in reflecting and shaping the audience community Iranian cinema

For many years cinematic apparatus has been brought into focus by theorists such as Jean-Louis Baudry, Christian Metz, Jean-Louis Comolli, Paul Narboni, Laura Mulvey, and Thomas Elsaesser, but it has yet to be given a clear definition. Views of the pundits give us the impression that the cinematic apparatus is an ideological device with a technology-dependent process which leaves psychological impact on the viewers. The cinematic apparatus, which is the raw material of cinema, completes in the viewer’s mind.A mutual relationship in cinema hinges on constant environmental changes which are influenced by technology, ideology and media literacy. It has changed over the course of cinematic periods depending on the creativity of the author and the viewer’s media literacy in line with technological advances. Iran’s progressive cinema has a history of more than a century. This paper, pursuing a practical goal, has taken into account the role of the cinematic apparatus in reflecting and forming the community around us. It tries to shed light on the approach of the audience to the reflection or formation of social phenomena affected by the apparatus in the Iranian cinema. Drawing on the qualitative research and directed content analysis, the scholar has gathered information from library-based resources and audio-visual records and archives. The researcher has divided the Iranian cinema into seven periods and analyzed each period separately. The research result shows that the Iranian cinema which has been affected by apparatus has played a different – albeit relative and fragile – role in the reflection and formation of society in various periods.