مجله مطالعات میان رشته ای ارتباطات و رسانه
سال دوم شماره 2 (پیاپی 4، تابستان 1398)

The increasingly expansion of communication technology together with the worldwide Internet has initiated a new era in the history of information and mass media. These technological changes not only has evolved the communication infrastructures but also caused changes in media organizations. Such changes need new management role models in the field of information. The present research is taking advantage of qualitative approach and thematic analysis. The components of news management model in Cyberspaces for Iran’s National Broadcaster have derived from deep interviews with 14 news reporters of the field and have been achieved by an approach of ritual communication. According to the outcomes of this research the components are as follows: Reducing the cultural & political limitations in interaction with users, interacting with policy making organizations in Cyberspace field, providing suitable infrastructures for developing ritual communication in news broadcast and expanding user made contents with ritual approach in news segments

Archaic narratives have lived among people and endured through ages. These narratives either verbal or scripted have been transferred by one generation to another. But being auditory & verbal has been regarded as an all-time feature for them. Recent Narratives & stories which are being produced in media & broadcasted do not have the persistence of archaic ones except a few. Recognition of each element of these narratives individually provides us the possibility of updating the structure of our narratives and consequently we recognize the features which make a narrative to become persisting through time. To achieve our goal, we have applied qualitative analysis methodology. Narrative analysis is analytical approach in qualitative analysis. In this research Narratology of Ledube has been studied from dramatic structure point of view in order to present a model for radio scripting based on Narratology.

This research is based on a theory of rhetoric about Tele-Play according to a kind of connection between production & performance spaces and the spaces in which the audience receives it. The goal of this article is to define the essence & structure of Tele-Play by noticing the skills & methods of communication for attaining a special expression which we can expect from this kind of program making. In authors opinion the Tele-Play as a medium which simultaneously takes advantage of potentials of theatre & the techniques of TV production, causes the formation of  a medium & of course a different art with a new expression . By dominance of this rhetoric on the languages of theatre & television we witness the forming of a special theory in the rhetoric arena of media called the rhetoric theory of tele-play; “Broadcast-Performance”. This research is descriptive-analysis and based on comparative method and library documentation, following the views of “Richard Shakner” and “Bela Balazs. The outcome of the research shows the theory of Shakner and the theory of Balazs; about Tele-Play is intermingled with three issues of Raw Material, Technique of Production & finally Live Broadcast.

The present research surveys on Aesthetic & Functional aspects of Reality TV genre. For this purpose, by concentrating on the hybrid essence of this genre, different related aspects like historical roots, definitions, sub-genres, various methods of hybridization and the issue of reality have been surveyed. Data have been compiled by library study of documents & observation. The survey has benefited from an analytical-descriptive approach. Using “generic hybridization” solutions indicates that the grounds & conditions of TV medium in the era of technology, justifies noticeable evolutions in different generic realms such as creators, audience, researchers & produced works.  Hybridization in Reality TV genre is an indication of creativity in TV industry for preserving its position in the competitive market (by mixing fiction & non-fiction elements or facts & pre-existing generic conventions).This leads to survival of this genre by cannibalization of past styles, genres & conventions, simultaneously considering the standardization principles & differentiation in diverse variations.

Jean-Francois Leyotard has authored four articles in the field of cinema during 1973 to 1995 which forms his sphere of thoughts. The articles are as follows :                         “Acinema”(1973),” The Unconscious As Mise-en-scene”(1977),”Two Metamorphoses of the Seductive Cinema”(1979),” The Idea of a Sovereign Film”(1995). However Leyotard’s views are reflected in aforementioned articles but we try to develop Leyotard’s inclination to Eisenstein Theory of Montage. This method has also been applied in the book “A Journey with Heidegger…..” for expressing Heidegger’s views in relation to manifestation of Fear/Anxiety (Angst) in cinema as Truth.

Image is rooted in the viewer’s desire to gaze. A narrative film, with all its visual capacities, draws the desire for viewing towards the main plot of the narrative; this is done by objectifying the plot as a visual object, making it spectacular in order to respond to the audience’s desire to gaze. This visual object, dependent on textual desire of the film, can be portrayed (as) - faces, iconic characters, places & objects, abstract visual elements which symbolize a special concept – in different shapes. However, a group of films based on religious issues which portray Saints, the desired object of gaze is eliminated from the visual realm. This would help to organize the desire of gaze around their iconic absence. The latter causes a special circumstance for the viewer and his psychological situation in confronting the images. This is the core axis of the present research which tries to give its explanations & analysis based on Lacanian psychology. The related critical framework of object  a  is the centre of focus in this research; this is done by explaining meanings such as textual desire, gaze and object a, while giving comparative analogy. The position of viewer and his confrontation with present & absent object and finally the effect of object’s absence on viewer are studied.