Analysis of Iranian Cinema’s Cultural Values in a Decade after the Islamic Revolution of Iran

The study of the relationship between culture, value, ethics and art that has arisen from everyday life has faced a serious challenge in the modern age. Cinema, as a unique tool for expressing and organizing the life issues, has created its liberating and critical interest in discovering moral rules and intends to remove ambiguity from life and represent it in artistic language. The main traditional values are religious, family, and collectivist values, and modern values are diversity, hedonism, independence, ambition, individualism, and the acquisition of new experience. In the present study, by identifying the cultural values represented in movies and using the theories of Allport, Rokich, Schwartz circular structure, Rafipour theory, John Stewart and Hall theory, and through the discourse analysis method, values have been studied. In discourse analysis, the social conditions, the context of text or writing occurrence, non-verbal communication and the relationship between structure and words are considered in a general proposition. By describing, interpreting and explaining the cultural values represented in the movies content in the decade after the Islamic Revolution of Iran (Hamoon, Nakhodakhorshid, Where is the Friend's House, Runner, Tenants and Basho the Little Stranger) Film dialogues have been studied through the power values, success, hedonism, arousal, independence, cosmopolitanism, benevolence, traditionalism, conformity, securityism, wealth legitimization, religious values and national values through maxqda software. According to the results of this study, the intertextual similarities of cultural discourse values represented in the films of a decade after revolution are benevolence, power and traditionalism. Interdisciplinary discourse values, benevolence, traditionalism and conformity are more prominent in the films of a decade after the revolution. By analyzing the films made in these days, it can be said that the films of this decade have been in the direction of benevolence, traditionalism and conformity.