نشریه رسانه های دیداری و شنیداری
پیاپی 35 (پاییز 1399)

The present study analyzes the narrative in digital role-playing games and their effect on feature films. Early digital games owed cinema in terms of structure, but in the last two decades the narrative form of genre-based games based on narrative labels has rapidly influenced digital cinema. Leading filmmakers such as James Cameron, Nolan, and others have created complex works that have driven the cinema industry to new heights through the narrative structure of these games. Films such as ‘Run Lola run ‘1998, ‘Inception ‘2010, ‘Triple Matrix’ 1999-2003, ‘Source Code’ 2011, and ‘Avatar ‘2009 are among the categories that include a new form of narrative which is quite similar in narrative structure. They are a game world. This research has been carried out using descriptive and analytical methods. In addition to describe the narrative characteristics of cinematic and animated examples of game play, it analyzes the narrative elements of the play relying on the views of experts such as Jasmine Kali, David Bordwell and Christine Thompson and adapts them to their play. Research findings confirm that role-playing animations in terms of factors influencing narrative such as camera angle, characters ‘point of view, character development, narrative line, challenging time and complex structure are very similar to those in narration.

In recent years, Intertextuality has become widely used as an approach to critique and comparative studies of artistic works and movies alike. Gerard Genette’s Intertextuality Theory, as a subject of the Transtextuality, aims to survey the relationship between each text (piece of art) and its reflection in other relevant texts (other art works) towards reading this relationship. This research seeks to answer the question of how to interact and read artworks (including animation) through an intertextual approach. To this end, collecting documentary information and descriptive and analytical methods have been employed. To answer the research question, first the theory of intertextuality and differences between the first and the second generations were explored. The animation readings framework was proposed with respect to Morty Serial Animation structural components of an animation in the following. In accordance with this reading pattern, various components of several selected episodes of Rick and Morty Serial Animation were examined as a case study. Various dimensions of this animation were studied considering the pretext and factors of social, political, and cultural externalities. The results of the review of Rick and Morty ‘s animation suggest the existence of strong inter-intentions between this work and its predecessors (previous films such as X-Man, Wicker Man, Iron Man, Jurassic Park, etc.). The results also indicate that the author of this animation has been able to create a Paratext, Hypertext and Metatext linkage by means of combining multiple pretexts.

This article has been carried out to explore the concept of childhood through one of the most symbolic cultural tools i.e. children television programs in a period of Iranian political and social history that is more than anything in the control of conflicting signifiers such as conflict in politics and identities which occur in the new lifestyle of the social arena. Shantal Mouffe attempts to discover the agonistic domains of irreconcilable distinctions between our and/or their collective identities with the help of the empirical theoretical framework using a network of meaningful intertextual relationships. Press semiotics has been used to discover hegemonic (though incomplete and vulnerable) forms of identity in children. The question of how children are represented in Iranian television production programs and how they represent them in relation to the ruling power is the question of the present article. Investigating the semantic conflict of the 1980s led to the representation of two different ‘others ‘, one critical in the absent signs of the new style of life and the other in the representation of our identities. The hegemonic discourse of the 1980s was considered as the decisive point of textual analysis. The findings indicate the representation of children as a political subject and the potential position of resistance to compromise with superior power that explains the child’s relationship with political power within self-critical discourse.

The Iranian national and provincial TV network is nowadays encountering the serious challenge of attracting and maintaining audience attention due to the ever-increasing expansion of satellite TV networks and social media. In the face of such a challenge, paying attention to the personal and social differences of the audience in an attempt to attract attention and to meet the satisfaction of the viewers of IRIB provincial channels is becoming ever more imperative. The purpose of this study is to identify the relationship between the sociological characteristics (age, gender, education, marital status, socio-economic base) of citizens of the city of Sari and the watching habits of the viewers of the Mazandaran provincial TV channel. The method of research is to survey the population over the age of fifteen in the city of Sari using the Cochran formula from which a sample of 400 people was selected using multistage cluster sampling. Finally, 400 questionnaires were collected and analyzed using the SPSS program, analysis of variance (ANOVA) test, Eta coefficient test, and the Pearson coefficient. The formal validity of the questionnaire was obtained using Cronbach's alpha coefficient. The research findings suggest an inverse relationship between the provincial TV channel consumption (time spent watching TV) and the socio-economic base as well as the level of education of the respondents. Meanwhile, they suggest a direct relationship between the age and marital status of the respondents on one hand and the time spent watching TV on the other. The research findings also suggest no significant relationship between the respondents' gender and time spent watching TV.

Motion graphics is a fledging art in Iran and the world. This media can be very effective in teaching and learning by transmitting the message to the audience in the shortest time and good use of visual and audio elements. This research has been carried out aiming at compiling and validating the principles of educational motion graphic design. The present research method is descriptive-cross-sectional and the data collection method is Delphi one. The statistical population of the research was all specialists and experts in the production of educational media. The research sample consisted of 30 experts in this field who were selected by criterion-based and chain sampling methods. A researcher-made checklist was used to collect information; This tool had 68 items whose face and content validity were reviewed and confirmed by 5 experts. The reliability of this tool was 95% using Cronbach's alpha test. Descriptive statistics and inferential statistics (exploratory factor analysis method) were used to analyze the data. The findings showed that the data fall into three categories: educational design, animation design, and graphics and technical design. Also, the items were reduced from 68 to 47 items, 23 of which were in the educational design category, 10 items were in the animation and graphic design category, and 14 items were in the technical design category. With regard to compilation and validation of educational motion graphics design principles, these principles can be considered and used in the design and production of this medium.

This research has been carried out to examine general structure of courtroom movies which include criminal proceedings. The research method is narrative analysis in the aforementioned movies. To this end, reflection and structuralism theories have been used as foundations that can explain the narrative. The model adopted for structural analysis of the narrative is the Victor Turner’s model, which divides the narrative into four sections: Rule violation, Crisis, Solution thinking, and Reintegration. Twelve movies from Hollywood and twelve movies from the Iranian cinema have been adapted to this model. The research findings suggest that Hollywood cinema present s a coherent structure and a law-based courtroom narrative. In this sense, these narratives emphasizing the stage of Solution Thinking have portrayed the court as the competent institution for resolving the crisis. In contrast, Iran’s cinema has been incapable of providing a coherent and law- based courtroom narrative. Iran’s cinema has emphasized the power of Crisis stage that like the pre- revolutionary cinema gave little attention to the courtroom and criminal justice process, or like post-revolutionary cinema has portrayed the court as an incompetent institution to administer justice. Therefore, it seems that the basic reason for the non-rule of law in the Iranian movies suffers from the absence of developing court genre is the idea that courts do not function as they should as far as court scripts are concerned and their inability to adapt Hollywood movies appropriately.

Production of propaganda documentaries by the presidential election candidates during holding elections and its broadcast by IRIB Organization , which is the most influential media in order to motivate public participation and identify each candidate priorities of the 12th presidential elections of 2017 presented in their election programs is very important. This research has been carried out aiming at visual recognition of each of the main candidates of the 12th presidential elections in 2017 which were portrayed in their propaganda documentaries. To this end, semiotics and media representation methods were used. The methodology of the present research was image semiology technique of Selby and Cowdery‘s model. The documentary propaganda of the present research includes promotional documentaries of Messrs. Seyed Ibrahim Reyesi, Mustafa Mirsalim, Hassan Rouhani, and Seyed Mustafa Mirsalim whose debates were broadcast by national media. The findings were analyzed according to the results of categorized semiotic descriptive tables based on thematic, cultural, political, social and economic subjects and Mise-en-Scene and technical codes after reviewing each documentary and then concluded. The findings of categorized semiotic descriptive table revealed that the first priority of each presidential candidate in his documentary was often to address social issues in the country. Also, the results of the table related to Mise-en-Scene and technical codes indicated differences between results of the candidates.