نشریه هنرهای زیبا - هنرهای نمایشی و موسیقی
پیاپی 69 (بهار 1400)

Although it seems that oral tradition has always been used for music education, preservation, and a representation of Persian musical culture, nevertheless, different notation methods have been applied at least since the ninth century in the Persian Empire and Islamic world. The most important and comprehensive of these methods has been the Abjadic alphabetical notation; an enhanced kind of notation system which was recognized in the form of a seventeen-tone temperament in the musical treatises of a thirteenth-century music school, called “Systematist”. Based upon this system, the contemporary Iranian musicologist, Mehdi-Qoli Hedāyat (Mokhber-al Saltaneh) (1863 – 1955) presents a unique Iranian fusion notation method (Abjadic-metric) in his lithographic printed book “Majma-al-Adwār”, which consists of a combination of modal structures of the said Abjadic seventeen-tone temperament, and the metric structure of the today’s European notation method, as well as some additional ornaments and articulation marks that are related to the performing techniques on the Persian instrument “Setār”. Although, these signs are not commonly used today, or are used in another sense, but undoubtedly are the essential elements for notating the elegance of Persian traditional melodies. In this article, after analyzing the details of Hedāyat’s notation method, which is described in “Dastur-e Abjadi”, an appendix to his book, the current author also transcribes the only song-text (Tasnif) notated in this fusion method in Majma-al-Adwār. The most important advantage of Hedāyat’s fusion notation method is that by replacing the Abjadic tone-letters of seventeen-tone scale with the European elliptical neumes on staffs, the need of using additional “accidentals” is eliminated, and there is also no need to use staff lines or ledger lines, neither to use any clefs and key signatures! The tone-letter “A” or “Alef” is the first pitch in the Abjadic notation System, which would be the fundamental tone of the lowest open string of the instrument, and the remaining tone-letters are tiered respectively to cover the almost two-octave range of an Iranian traditional instrument. However, one of the fundamental drawbacks to Hedayat’s fusion notation could be the non-differentiation of the same tone-letters in different octaves. Another advantage of Hedayat’s method is the application of the European metric system, which allows the more precise notation of time values, compared to the early Abjadic examples, in which the time values were simply written in natural numbers below each tone within a parallel horizontal line. An important point to be considered in the transcription of Hedayat’s song-text is the theoretical Pythagorean intervals of the Systematist musical school -except the octave (2:1), perfect fifth (3:2), perfect fourth (4:3), and major second (9:8)- are recognized as “unpleasant” by the practical maestros of both present and past times. Hedayat writes that “Abd al-Qādir [Maraghi] claims that the maestros of that time [(fourteenth century)] did not accept the Greek intervals, and manipulated them”. Instead, he presents a table of alternative intervals, most probably obtained aurally but also correspondent to the 53-EDO temperament, at the suggestion of Montazam-al Hokamā’, the most prominent Setar player at that time.

In the past, men and masculinity were considered as a matter of course and incontrovertible issue. But since the late 1980s, more attention has been paid to critical studies of men and masculinity. Changes in women roles and family paterns due to fundamental and effective changes in industrial societies, have raised questions about the nature of masculinity and its changing role in society. This has been discussed in other fields of humanities, including dramatic literature, especially, about the plays of some important playwrights, such as Henrik Ibsen. The content of masculinity and femininity and relationship between male and female characters in his plays need to be studied. The male heroes created by him, want to achieve their goals and in this process, they do not hesitate to dominate others, especially women and most of them, do this hegemonically. This makes it more important to study and analyze the element of masculinity in his plays. Some of the sociologists, such as Robert William Connell, have proposed a comprehensive theory of gender and masculinity. Connell regarded gender and masculinity as constructed concepts. The values, social expectations and stereotypes of gender roles determine the “masculinity” and “femininity”, rather than biological sex. In his definition of hegemonic masculinity, Connell points out that this type of masculinity is the normative pattern of masculinity, which shows the most confirmed current pattern of being a man by the culture of a society. Accordingly, this review aims to analyze a number of Ibsen’s plays based on sociological definition of masculinity. One of the main questions of this research is to identify the amount of hegemonic masculinity characteristics, related to pivotal male characters in selection of Ibsen’s plays, from Brand (1866) to When We Dead Awaken (1899). We also explore and analyze the recognition of the hegemonic male characters of Ibsen’s plays and. In this paper, firstly, the traits of hegemonic masculinity in nineteenth century – the age that Ibsen has written his plays - were identified based on sociologists’ definition such as Connell and the dominant patterns of manhood in this century which presented by some sociologists such as Kimmel and Giddens in their research. These traits have been categorized in twenty nine divided features. Then, by using categorical content analysis method, these traits were counted as variable and mentioned characters were counted as analysis units. The rate of hegemonic masculinity characteristics was identified for each examined character by counting the repetition of these variables for each due to his behavior, speech and dramatic events which had been demonstrated either by examined characters and other characters’ descriptions and reflections. Then, the pivotal male characters with high rate hegemonic masculinity characteristics and the most hegemonic of them were recognized by comparing and contrasting them together. Findings demonstrated noticeable differences between different characters and indicated that Ibsen has created the most hegemonic male characters of his plays in a certain period of his life. Finally, it was included that this trend attributed to variations in Ibsen’s attitudes and social changes.

Iranian cinema has won remarkable success in the most prestigious film festivals and communities with more emphasis on its role as a cultural medium. The issues including the industrialization of film and cinema, and the extent to which Iran has changed its world share of the markets have also raised in the context of internationalization. However, the aforementioned have failed to enjoy success achieved as the media and cultural dimension. The research population for this research was asked to answer to the question “Why the economic share of Iranian cinema in the world markets is so small that it failed to enjoy the expected returns on capital spent?” To find answers to the question the number of 23 experts focusing on Cinema, Creative Industries and Creative Industries Economics, Film Trading and Marketing, International Marketing and Entering World Markets, Cultural Marketing and Content Marketing have been interviewed between 2018 to 2019. The data was analyzed using the Grounded theory. Findings suggests that cinema cannot only be taken as entertainment or merely the flagship of a country’s culture, but also as an interdisciplinary field that requires diverse expertise across a value chain to transform an idea into a product that is consciously presented to the right audience. Designing this product and reaching the desired target audience in the selected market is possible only on the basis of business research, marketing and consumer behavior. On the other hand, accessibility method to the audience is also important in today’s vibrant media world; an in-depth investigation can determine which types of media provides the most appropriate platform for the right product presentation to the target audience. At the sameAlireza Tabesh1, Ali Akbar Farhangi**2, Seyed Rouhollah Hosseini3, Tahmures Shiri41 Ph.D Student in Media Management, Department of Cultural Affairs and Media Management, Faculty of Management and Economics, Science and Research Branch, Islamic Azad University, Tehran, Iran.2 Professor, Department of Cultural Affairs and Media Management, Faculty of Management and Economics, Science and Research branch, Islamic Azad University, Tehran, Iran.3 Assistant Professor, Department of European Studies, Faculty of World Studies, University of Tehran, Tehran, Iran.4 Associate Professor, Department of Sociology, Islamic Azad University, Central Tehran Branch, Tehran, Iran.(Received 22 Jan 2020, Accepted 6 Feb 2021)time, the income level of the product can be increased by extending its intellectual property rights to related industries, thereby prolonging product life. Cinema can become internationally sustainable and receive a share of the world market and achieve commercial success when it becomes an industry-based through meticulous planning and interdisciplinary knowledge. Of course, Iranian cinema also needs centers of innovation and acceleration to create such a product. Given the issue of a foreign trade of a product, the film business environment must be examined from a political, cultural, social, legal and economic point of view in order to properly plan and select the foreign market. A product, enjoying these features and produced based on targeted content and authentic Iranian content, relying on the creative thinking and art power of the filmmaker’s can have the power to earn foreign currency. These are aspects that, despite the overwhelming motivation to internationalize Iranian cinema, have been neglected and thus cinem has not been able to achieve a comprehensive and sustained success. Thus, various macro, reformative, educational-research based, developmental, marketing, international, legal, income based, and investment and financing strategies have been proposed. The current findings show the path taken by Iranian cinema, the present conditions it faces, and what needs to be accomplished in order to receive a share of the world’s international film market.

In speaking about the cinema technology and comparing it with Plato’s allegory of the cave, relying on psychoanalytic theories, Jean-Louis Baudry proposes the theory of apparatus, believing that the cinema apparatus places the audience in an atmosphere similar to Lacan mirror stage and creates a sleepy state, allowing the audience to rediscover their identity. As one of the first theorists paying attention to cinema technology, he states, these media are more considered as instrumentalism plays a significant role in today’s media and their broadcast is increasing. It is strange that only their effect has been so far considered, i.e. the effect they have as a completed product, as well as their content, and only the effects of this instrumentalism, in the context of meaning, has been regarded and the technical foundations of these effects have been ignored. However, the proponents of this theory believe that what Baudry’s consideration requires a look and revelation from outside the cinema or the cave, since until humans or audiences are trapped in a place, how can they realize the technical foundations of what is happening to them? Critic Vinzenz Hediger, considers the approach of Philosophy of Technology to be appropriate for investigating “understanding cinema as technology”, a place where technology has a “desire to incarnation of human”. In his paper, he addresses cinema technology by analyzing three films about technology. Although his analysis focuses not on the technology of cinema itself, but on films with narratives of technology, the result is that it can be used in parallel with cinematic tools. In these three films, he talks about the units of artificial intelligence and their desire to achieve a human body. His approach focuses on the philosophy of “human” technology. The technology that is in relationship with human, which may have reciprocal effects. But he does not pay attention to the tools of cinema, or at least does not discuss it in the aforementioned paper. However, the tools of cinema, as an important part of cinema technology, seems to be very effective with his theories, because this study somehow considers cinema as a way of production that borrows everything from technology and is growing day by day. A context in which the tools themselves become a humanoid body and can show themselves in front of human beings, thus creating a place for themselves to have an independent narrative from their function, apart from the narrative of the film, such a film can have more conceptual layers and a new cinema can be formed; the issue that this study tries to answer. Therefore, the present study, using library resources in a descriptive-analytical manner, tries to examine cinema technology in the manner of using a video camera in the film of Children of Men, to show how the tools can achieve an independent and human identity regardless of the content of the film and the apparatus to engage the viewer in the technical foundations and technology of cinema.

As a director, Robert Lepage is keen to employ an international and unfinished creativity in his creation methodology, a process by which the performer-author/actor-creator, in combination with the audience’s reaction, is used as part of the development of his mise-en-scène. The audience’s pleasure is also controlled and formed in some specific and significant elements of Lepage’s mise-en-scène. In this paper, I explore the ways in which the audience impacts Lepage’s mise-en-scène, and discuss the relationship between audiences and his performers. In Lepage’s theatricality and mise-en-scène, there are some specific tools and devices such as image, music, physical expression, a collage of different languages, film, pop and projection videos, internet, advertisement, painting, digital technology, slide, camera for live feedback or parallel images, visual arts and audio images occurring simultaneously. These elements are adjusted by the audience’s attendance. Lepage believes that the audience now has a new way of listening to stories, a new way of digesting stories, a new way of understanding stories. This is managed by Technical Presence as a way of thinking about the roles and functions of a theatre audience, and how the audience can be used and engaged and become more than just an onlooker. Increasingly, Lepage’s mise-en-scenes are based on the dramaturgy of visual images, rather than verbal language, to engage the audience. However, diverse languages are added to his theatricality (some lines) during his tours to different countries. All of these communicative tools/ features engage with the audiences to serve as a unifying factor to tell stories that bring people together.The audience’s expectations and comments affect Lepage’s mise-en-scène in two ways:(i) An indirect association with the audiences through the performers’ suggestions and comments;(ii) A direct association with the actual and public audiences.However different signs are prevalent in different cultures which can lead, using Lepage’s method, to comprehension. Therefore, it is important to understand the codes and meanings of the cultures in each individual audience who would be dependent on particular experiences. The backgrounds of codes and events, attached to the cultures, are vital to finding content and further understanding. Regardless of the difficulty of understanding different languages in different countries, Lepage attempts to establish an understandable language through a variety of associations with international audiences, his performers and their cultures. In contrast to Barba’s and Brook’s approaches, Lepage attempts to receive the actual audience’s expectations openly. His work is on the process of developing during each night’s performance. On the one side, Lepage’s approach is close to Boal’s approach, and both are in a direct association with audiences. However, Lepage does not request the audience’s collaboration physically or in participation. For Lepage, the opening night is the beginning of rehearsals and performing is the rehearsal process. This is why he uses the term open or public rehearsal for performance. It seems there is no end in developing Lepage’s mise-en-scène unless Lepage decides to end his show. Overall, there are nine ways in which the audience impacts Lepage’s

Wong Kar-Wai is a filmmaker who has always been known for his unique visual style and his attention to fragmented narratives and non-linear editing that has attracted film audiences and critics, and even the academic community. While critics have noted his style for using unusual camera angles, saturated colors, and non-linear editing, what is apparent in most of his films is his obsession with time and memory themes. In addition, contemplation is a subject that can be described as a kind of melancholy, depression, or nostalgia that is not unrelated to the category of time. Henry Bergson and Gilles Deleuze have been thinkers who have always been concerned with time and memory. Although Bergson did not favor cinema, his concern for understanding how time was perceived led him to create concepts that were the basis of Deleuze’s work. Deleuze’s two key concepts in his theory were: movement-image and time-image. We are led to distinguish between classical linear time and the concept of time in modern times. As stated above, the main purpose of this study is to provide a comprehensive study of the entire workbook of Wong Kar-Wai in order to show how his films are interconnected and intertwined with the aforementioned concepts and also to show the many differences and unique identity of the works. In our view, what provides this unity is how Kar-Wai deals with the issues of movement and time that are present in all of his films. In fact, we want to explore what technical, narrative, and time-consuming features of filmmaking allow to integrate them all. To this end, our hypothesis is that his cinema is capable of being examined by Gilles Deleuze’s comprehensive categorization of cinematic cues, namely movement-image and time-image. Deleuze’s theory seems to resonate at every level of Wong Kar-wai’s films: from the dual nature of representation to the understanding of time and memory. Although many haveMosayeb Sharafi**1, Ali Rouhani21 Graduate Master in Cinema, Faculty of Cinema and Theater, Tehran University of Art, Tehran, Iran.2Associate Professor, Faculty of Cinema and Theater, Tehran University of Art, Tehran, Iran.(Received 7 July 2020, Accepted 5 Mar 2021)referred to the Deleuze-Kar-Wai relationship, no attempt has been made to systematically describe the relationship. Of course, we’re not just adding Deleuze categories to Wong Kar-Wai’s films, but we want to use its classification of cinematic symbols and images to explore his cinema. Simultaneously, we focus more on the category of time-image and the related concept of what Deleuze calls the crystal-time. In relation to time-image duality, we examine ways of creating pure visual and acoustic states that, according to Deleuze, are the preliminary and primary features for the emergence of time-pure images or time crystals. When Deleuze conveys the concept of the crystal-time, it is neither a psychological time unique to an individual mentality, nor even a humanistic time associated with existentialist attitudes, but rather a kind of ontological time related to Bergson’s category of duration. The general method of this research is descriptive and with some qualitative research using case studies and taking into consideration Gilles Deleuze’s theoretical framework of cinema thinking and using library resources and case studies of films and study the works. During the review we also use Henry Bergson’s theories related to the subject.