نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 9 (پای ی ز و زمستان 1393)

Analysis of the power network in the expression of Michel Foucault as meshes of power and the relationship between knowledge and power, rooted in the genealogy of his thought that studies the relationship between the components and the developers of the constitutive predicates of a discourse. This article reviews the relationships within the discourse of the play “the only way possible”, by Mohammad Yaghoubi. In this type of analysis that discusses the micro-power, Foucault states a few points for discussing each discourse which should be noted: First is the system of differentiations which permits one to act upon the actions of others. Second, the types of objectives pursued by those who act upon the actions of others and third, the means of bringing power relations into being. The fourth forms of institutionalization, the fifth point and the last point is that degrees of rationalization within each discussion shapes, the organization and the procedures have to be consistent with the position. Narrative as a linguistic product and its tools is the cause and effect of “will to power”, the will which determines the position of subject within the intersubjective relations. Foucault suggests that the task of knowing subject of text is not necessarily providing the kind of narrative configuration of what had been forced to exclude from the text but it confirms that along with all materials in the process of editing and narrative selection, it is like a ghost within the embed tool that gives the narrative. This research aims to analyze the elements of drama and reach a basic structure and then go beyond this structural analysis and the use of Foucault’s theory of mechanisms and power to determine the dominant discourse and the discourses found in Mohammad Yaghoubi’s play “the only way possible”. Drama analysis deals with the characters’ access to power resources and studies the discourses which have been produced and organized. In the analysis of Yaghoubi’s play, in addition to considering these points, the relationship between objects and subjects which are created through discourse, the domination and hegemony, the formation of the power relationships, access to resources of knowledge/power and the relationship between the power and the knowledge is also taken into consideration.

New Historicism is a new approach in literary and cultural studies that mainly focuses on the historical background of a text as an inseparable part of it. New Historicists assume that language can form its culture and is organized by it. The concept of language in new historicism is more than word-of-mouth. According to their ideas، language includes discourse، writing، literature، social reaction and any type of social relations. These relations provide a person or a group with the possibility to impose his view or disposition upon the others. Therefore، the text becomes a battlefield where the conflicting thoughts of the author، society، customs، institutions and social acts interact and finally the author and the reader come to an agreement by their perception of them. New historicists believe that there is no difference between a literary text and a non-literary one، because any text contains some discourses which have a pivotal role in making a culture. From this perspective، the author’s situation، whether cultural or social، creates a work of art; thus، awareness of dominant ideology and discourse can help create a scope for advancing. New historicists consider literature as a place where there is a conflict between non-dominant sub-discourses and dominate discourse. This approach views literary text as a place for the interaction between different discourses (and) demonstration of power relations. Many thinkers have contributed to this approach and Foucault was one of them. In his opinion history was a complicated relationship between different kinds of discourse. Discourse and power are inseparable and power is exerted through language. This approach attempts to portray the interaction between different discourses in a literary text and to show how discourses and texts are influenced by each other. Bahman Forsi has indicated his ideology by social discourses in his play Aramsayeshgah. The theme of the play is rooted in the society where the playwright lived. It shows cultural and social aspects of that ere. Power is presented throughout the whole society. On the surface، the theme of the play seems an ordinary one. According to New historicism social، political and cultural aspects of time are included in the texts created in that time. Therefore، the text or work of art is regarded as a social product. For example، characters in Forsi’s play are wasted intellectuals who cope with their frustration and disillusionment. This paper attempts to show that Aramsayeshgah is a place where different discourses interact. It also tries to find the source of social rules and regulations، the dominant discourse in the text، and show that they are a reflection of social situations and norms in the historical time the author tried to depict.

Historical Film is one the most prominent, continuous & oldest genre in film history. As a matter of fact, it has been the mere cause for so many discussions & Controversies between historians and filmmakers. Making historical films, specifically in terms of quantity of researches about this genre, has increased since 1980s. This article, after introducing all sub–genres of historical films (fiction historical films, topical films, metahistorical films and documentary historical films, compilation documentary, recreation documentaries, docudramas and docufictions), would discuss & criticize the subject from the viewpoint of different historians, researchers & filmmakers by documental & library research methods. Among these sub-genes or types of historical films, fiction films and, in certain cases, some documentary films about historical periods and figures, also the methods of representation historical facts by filmmakers, are in the center of discussions and arguments between historians and film producers. Then, the article continues the subject as followings: -The role and authenticity of film as a document in historical and scientific researches -Distinction between historiography and historical filmmaking -Comparison between activities of a historian and a historical filmmaker in relation to history -Historical film as visual historiography -The methods of filmic historiography (documentary and fiction) Today, the relation between history and film (film as a medium, as an art, as a document and as a means in training and scientific researches) has many different dimensions and characteristics: for writing or representing its own history as an audio-visual medium or as an art (film historiography), its effects on history (socially, economically, politically), the functions of film productions as historical sources or documents for history studies and historical researches (film as testimony and discourse for history) and finally, “film as a visionary truth” for pure scientific/experimental field researches. In modern historiography some historians and history scholars have begun a new method for “writing” or representing history from1990s. This new method is “visual historiography” or “historiophoty”: the representation of history and our thoughts about it in visual images and filmic discourse -this new method is suggested by Hayden White (famous American historian- b.1928, the author of “metahistory”) in an essay, historiography and historiophoty, in American Historical Review in 1988. The approaches of visual historiography (historiophoty) comes from this idea or philosophy of some contemporary historians about cinema: the films -including historical films- have affected us (historians) for many years, and we, in our turn, have affected the knowledge of history only by “words”. Now, we should represent the history by visual images and filmic discourse. Finally, the article comes to these Developing the relationship between cinema and historiography -during formation of historical film genre- has been depended on below parameters: -Depicting historical events, periods and figures -Change in filmmakers’ viewpoints on history and historians’ viewpoints on film. -Emergence of new schools and methods in historiography (including visual/filmic method of historiography).

The purpose of this article is to identify modernist factors in Michelangelo Antonioni’s trio. Modern filmmakers tried to reflect the Zeitgeist in their work. They criticised their society by detaching, undermining or adding some components of classic and institutionalized forms in cinema to clear the cover of routine life. They consciously challenged the stabilized contemporary cinematic conventions to make the audience see the cliché conception from a new perspective, to recognize a phenomenon called the function of art. Their works extended the audience’s knowledge from herself and her world. In this article, using the contextual analysis, some formal devices are pointed out by which filmmakers used to reach their goals. Michelangelo Antonioni (1912-2007) -as a modernist filmmaker, like an archaeologist tried to explore and dig the materials of his times to show that there are something deep beneath those surfaces. He knew that he should find the proper language to depict the complications of life. So he felt the necessity to change the artificial mechanism of the dominant cinema. He revised the mainstream cinema to criticize his society, to show the sickness of things, to search for a sort of remedy. And when he can’t find any, he tries to pose the questions as best as he can. Reproduction is not what he aims for, but reconstruction is what he is looking for. That’s why he shows his dissatisfaction with the conventional forms of narration in his films. To avoid following the well-trodden paths, originality is important to defamiliarise. Revising the notions of space, time, and storytelling is vital to achieve this goal. So the relationship between characters and their environment becomes crucial in his films. Characters are in constant contact with everyday objects, buildings, and materials. Space is as important as human beings. That’s why he always tries to find Objective Correlative for his characters. His camera lingers on things, settings and characters to draw their true essence, to go beyond what they show. His unavoidable ambiguity and open ended stories are justified by the very nature of these relationships in those films. Ambiguity rises from the situations that the characters confront in their society and their life. By following his existential quest and commitment, the filmmaker tries to avoid the imposed ending to resolve the characters’ psychological conflicts. So he succeeds in depicting the emotional crisis and alienation of his characters in a modern world. Antonioni’s existential discourse becomes a running theme in his Trio. The filmmaker selects the proper form to criticize the monotonous pace and rotten values of life in modern societies so that the alert audience can gain knowledge and awareness. The findings may be useful in recognizing the similar devices in other modrn filmmakers’ ouvre, and, therefore leading to a comprehensive picture of the mechanism in such films.

Functional Approach to Film Sound, is focused on relationship between sound and story. Because of very limited scholar context about functional approach to sound effects, we have to ordain our own variables. These variables are: 1-Physical Quality 2-Correspondence 3-Convergence 4-Object of Corellations Physical quality consists mainly of fundamental concepts of acoustics. Correspondence provides an indication of relationship between sound effects and other components of narration. Correspondence may have three values: a) Synchronized component is source of sound, b) Sound is parallel to specific subjective in narration, and c) Sound is an independent element in film narration. Convergence may have two values: a) Familiarity, b) Real/Artificial. If parallel sound effect of some components of narration is a real-world sound, Convergence will be real, otherwise it’s Artificial. Object of Corellations is consists of Corespondance multiplied by Convergence. We use this concept to answer our main questions about Structure or functioning process of sound effects. We distilled these variables (also some of main functions) from Béla Balázs’s montage of sounds and Siegfried Kracauer’s Concepts (Parallelism /Counterpoint & Synchronism/Asynchronism), but we had to revise and redefine those concepts to achieve better answers about Essence of sound effects.

Narration has more importance in theatre, cinema and animation in comparison with other arts, because theatre, cinema and animation are based on the story. However, narration does not necessarily include articulation as most of the cinema and animated movies do not articulate the storyline. Although one cannot tell all stories without using words. These kinds of movies can but not necessarily include silent films. Animated film with no spoken words is of this kind. Here, by animated films with no spoken words we mean the films in which articulation has been deliberately avoided. It should be noted that animated film with no spoken words can be divided into narrative and non-narrative forms. But here whenever we talk about an animated film with no spoken words, we actually refer to narrative one. Actually it’s a matter of style. This article is going to find out how an animated film with no spoken words, tells us a story without articulate it. In this article, we track down the antecedent of narration in cinema and animation. We also track down the characters in animated films with no spoken words. So we can determine the forms, structures and the respective features and details to figure out how they could manage to tell us a story. In this way, we spot some audio and visual factors and features and discuss their importance in animated films with no spoken words. Mentioning Bordwell’s definition of narration, we try to discuss the narration structure in producing animated films with no spoken words. Articulate abilities and creative possibilities in animated films enable animators to tell a story without using words. Here telling a story without articulating it would be the bold topic. At the end, we enumerate the positive and negative points of narrating a story in an animation film without articulating it. Actually, these kinds of films can arouse different feelings. And we come to some suggestions for producing animated films with no spoken words which can also apply to spoken ones. Being nonchalant to produce animated films with no spoken words, Iranian animation producers will find this article encouraging to take an attempt.

Providing bases for developing the people’s musical taste can increase the music consumption in every society. While in the United States and some major developed countries there are companies and organizations such as SoundScan that constantly monitor the consumption of music and selling musical albums and concerts to provide the exact statistics in periodic manners such as weekly, monthly and annually, there are no statistics for music consumption in Iran in any form. The only statistics one can find is the number of licenses issued by Ministry of Culture and Islamic Guidance for publishing albums and giving formal concerts. This article provided the statistics for Albums and concerts formally took licenses in Iran in the period of 2009-2011 and compares the decline and increase of various musical genres in Iran. Analyzing the data provided by this study sheds light on this fact that the production of musical albums in Iran is declining steadily, while the number of seats sold for music concerts are increasing. Same change has been taking place in other countries since 2005. The data, on the other hand, shows that while various genres of popular music are increasing in Iran, in recent years, the production of Iranian traditional music is decreasing quite sharply. This fact rings the alarm for lovers of Persian culture all around the world. Governmental statistics show that Iran currently has one of the youngest populations in the world (more than 17 million of Iranian population are between 20 to 29). By 2016 the population of young people will be drop to less than 15.5 million. So, it is quite normal for now to see increase in the number of albums and performances on various genres in popular music. The problem however, lies on presently declining the production of Iranian traditional music. By the time that current Iranian youngsters will become old and nostalgic about their musical heritage, the contemporary Iranian musicians would be retired and there would be a great shortage of master performers who traditionally can produce Iranian music. The findings of this study put this fact forward that governmental and non-governmental organizations should act now to preserve Iranian traditional music for future generations. The other problem Iranian traditional music is facing is its absence in the local and national TV stations. During the last decade, Iranian musical tradition is gradually taking out from daily schedule of TV programs so that youngster mostly cannot remember watching any Iranian musical instruments on TV. Since Iran has not been signed the copyright agreement, Iranian artists are feeling very vulnerable over the future of their professional careers. In the light of this problem the only artists who can save themselves are pup singers who can guarantee selling the seats of their live concerts in big music halls. Traditional performers who perform in small halls and have little on their hands to set large concert tours can only relay on selling their physical albums. The medium which already is getting forgotten among other means of musical recordings.

Georg Simmel, with a key role in the explanation of the concept of cultural consumption at the end of the 19th century, considers this concept to have a close relationship with modern lifestyle. According to his idea, modern lifestyle can be understood only through the distinction between city in its modern sense and the smaller communities. Simmel believes that it is in the metropolis that the modern lifestyle takes a distinct form. From this viewpoint, consumption in the cities turns into a key concept for analysis. Thus the appearance of the concept of “cultural consumption” has accompanied the criticism of modern culture and society, and has been mainly used in the analysis of lifestyle of modern man. Although all theoretical discussions about consumption are rooted in economy, due to such classical theorizations in sociology, consumption has turned into a sociological term. This sociological term, especially in modern urban contexts, has been used as the basis for numerous studies to describe the identity of citizens. Tehran, as a metropolis with a complex and mixed cultural structure, provides a context for the consumption of many different kinds of cultural products; products whose amount and way of consumption by different classes of people can stimulate reflection, especially on the part of cultural policymakers. Popular music is one of these products whose consumption, because of its unofficial different kinds, has been a concern for the authorities who set the official cultural norms in Iran. The hypotheses of the present article which are based on some domestic sociological research on the consumption of music, are as follows: a. The degrees of different age groups’ tendency toward the consumption of different kinds of popular music are significantly different b. The degrees of men and women’s tendency toward the consumption of different kinds of popular music are significantly different These hypotheses are based on the data extracted from a survey on 355 young subjects from Tehran. According to the results, in comparing the different age groups of the youth’s tendencies toward the different kinds of popular music, no significant difference was observed. However, comparing male and female youth’s tendency toward the different kinds of music, including the popular music affected by the mainstream music, the kind influenced by the so-called “Los Angeles music” and the type affected by the so-called “street music” (kouchehbazari), showed a significant difference. Women significantly had a greater tendency toward the music influenced by the main stream music and the Los Angeles music; among the reasons for this significant difference is women’s interest in the consumption of music from satellite TV channels.