نشریه رسانه های دیداری و شنیداری
پیاپی 26 (بهار 1394)

Before the invention of film and television, there was not any way for people, except listening to oral narratives of history or studying the written texts to understand history. But film and television brought new achievements for people: watching moving pictures as (live representation of history).
Finally, after second World War, a group of historians recognized the documentary film footages for their investigations, explanations, and interpretations of historical facts. The post-modernist historians recognized compilation documentary films as a new method for «visualhistoriography» while the tradition of compilation documentary film production had begun in the last years of silent films era and the international council of archives (ICA) had recognized the documentary film footage as an authentic document for historical researchers in Moscow congress in 1972. But what is the definition of compilation film? Film assembled in the editing room, from pre-existing/archival film footages. Most compilation films are classified as documentaries since they drive their material from nonfiction sources. The main source for the compilation film has newsreel which by 1910 was being issued regularly in several European countries and in the United. The States of America. This article through introducing and categorizing all types of compilation (documentary) films by using a library and documental researchers methods, also explains the history, methods of production and structural characteristics of this type of documentary. Besides, the article introduces and analyzes a group of Iranian and Western TV productions in all sub-genres of compilation documentary film, and finally, comes to these There are two basic methods in documentary filmmaking for «visual historiography»:1. Recreation/reconstruction of history by re-enactment method (historical docudrama)
2. Direct representation of visual documents by using documentary photographs and archival film footages. In a condition of establishing a rich, well-organized and modern film archive, as supporter and source of material for compilation film production, this type of documentary filmmaking is one of the low-cost productions for making historical films, for representing periods, events and historical figures through the last and current century.

The main issue of this essay is to survey on the various modes of television documentary and examines the documentary strategies of intervention, visualization, and representation of reality which documentary filmmakers have practiced. The goal of this essay is also to suggest a theoretical framework in order to recognize and distinguish among documentaries and suggest a framework for discussing , and making distinctions among documentaries by a descriptive method.
The framework of this article outlining is based on a theoretical platform . The primary goal is to advance parameters for an analytical engagement in documentaries .This must be the right place for integrating framework; We can make a distinction between two fundamentally different offerings, and correspondingly two oppositional motivations.
on the one hand that which is “ closed Documentary“ , exclusive , and embracing in its dealing with knowledge. Which is argumentative , persuasive and heavily concerned with proving its conviction of certainty. And on the other hand is “opened Documentary " which wants to expand and open up the territory of signification by triggering off a metaphorical, associative, emotional or poetic reflection .
The degree of intervention will be determinant in relation to the kind of aesthetics found in the program .It might be helpful to visualize this parameter as a continuum stretched out between a low and a high degree of intervention . A strategy of low intervention means giving high priority to the pro- films in itself .Doing as little as possible in terms of intervention means trying to catch reality out there as it unfolds without disturbing it too much.
We can say that primary representation is the kind of representation exercised when the degree of intervention is low. Secondary representation has to do with talking about and referring to reality without showing it . An open documentary could then either be the non-interventional type , or the interventional type relinquishing the rhetorical tools of explicitly and authority and the propositional advantage of the direct mode of address.

Pathological research on different forms of written texts in Iranian Television shows reveals that creators of TV programs increasingly break the basic principles of writing and, intentionally or unintentionally degrade the quality of television programs and decrease the cultural and artistic impact of those programs. It seems that many of the creators of television programs do not believe the design and infrastructure of the text, or does, but do not know its rules or because of various pretexts (such as production speed, craving antennas, etc.) are forced to ignore the importance of writing in television production. All the rigors of life and all the relations live on TV and instead of being the mirror of life and its problems,in today's world, in many cases; this is a life that mirrors the television. Accordingly, television texts, as much as revealing the truth, they are able to conceal them. In this regard, the present study tries, in an analytical - descriptive way, to review and analyze the structure of the narrative text in TV drama genre. It has concluded that the existence and development of a drama program on television, on one hand, and the eloquence of it depends on the regularities of the narrative text structure.The more organized and systematic the structure of TV texts, the more effective and organized will be the impact of the program on TV audience.

There are two different approaches to Montage among Formalists, First one explains montage as resolving of the material into its elements and subsequent building from them of a film whole (Constructive Editing). In the second approach, Montage is a Dialectic process to make meaning from a conflict. In this article, we want to compare these approaches and look for differences and similarities to unify two opposite approaches. First of all, we need to know how they approach Material of Montage (or Movie), Form and finally to Process itself. So we have few questions: How different is Material of Montage in each approach? Which Concepts are similar between two approaches? How can we unify those approaches? How different approaches to montage itself makes differences in methods of montage?
To find answers we will study Eisenstein's Film Form and Film Sense also Pudovkin's Film Technique and Film Acting and some of their classic movies. At the end of this article, we hope to achieve a united formal approach to Montage of movies.

The music video is a relatively new and influential form in TV programming which is the most used form of music in TV. Music video as an attractive form is widely used in many West TV channels. This is a new tool to expand the expressive possibilities in film –making forms and media arts. But the important point is its undeniable impact on audience’s minds. Its audiences are often the youths.
The main question of this research is, to what extent the typology of music video and the star (singer) have an impact on audience's mind to build an identity? Therefore this article tries to find a typological framework for the perception of identity in the music video as a popular phenomenon. The discussion in this article is the West music video in which the singer plays a Key role. Image of a piece of music is highly dependent on the singer as the narrator, story characters, creator of the piece and ideally the thoughts induction of the West media policy-makers. Indeed, the music video applies new indications to communicate with the audience and affect the audience’s unconscious. According to media researchers, this encoding is a convenient theme for identity and ideology induction in youth’s minds. These ideologies are sometimes appeared as a decadent thinking (as opposed to the cultural norms of society) and sometimes as an expenditure culture (for more dependent youth).
Therefore,this article gives a brief revision of music video history, then introduces a typology of its effective elements, studies on the mechanism and function of star making in music videos and finally analyzes this ideal system to attract an audience and build a new identity for him/her.
Studying on effective functions of this phenomenon fits among the most important today academic discussions in media sciences, visual arts, and social psychology.