نشریه رهپویه هنرهای نمایشی
پیاپی 2 (زمستان 1400)

The purpose of writing this article is to study the problems that Iranian cinema encounters in its relationship with the audience. In this article, first, in the part of reviewing the previous investigations, the reasons for decreasing the ratio of audience’s attendance to movie halls and watching Iranian movies are discussed. Then the theoretical foundations of the study is stablished based on concepts of the cultural consumption of audience, aiming to a better understanding of the audience and their needs in relation to cinema. This is followed by doing a secondary analysis on the data gathered previously through a survey named the National Survey on the Consumption of Cultural Goods; the third wave. The data of this report were re-analyzed in relation to the consumption of cinema and other means for viewing movies. The ratio of cinema audiences comparing to non-audiences is examined in this article. In addition, relationship of personal and social factors of audience with kind of their cinema consumption is analyzed. A comparison of first and second wave data of cultural consumption survey with the data gathered in the third wave is also presented. Moreover, the audience use of cinema is compared with their use of cinema’s competitors such as TV, foreign film and series. Finally, reasons of people for not going to the cinema are explained. The overall result is that cinema audiences are much smaller than non-audiences are, but most people who do not go to the cinema, watch movies in other ways using other available devices. In addition, the most important reason why these audiences do not go to the cinema in one sentence is that Iranian cinema does not meet the individual and social needs of the audience.

Genre studies in cinema enable different models of thinking about films. As films undergo significant changes over time, analytical models are subject to critical evaluation and correction. This paper gives a critical overview of three interrelated fields in genre studies involving nature, development, and functions. By methods of logical analysis and deductive reasoning, the general framework, and then the potentialities and challenges of each theory, this article intends to describe and review some paradigms of thinking about the genre theory. Findings show that the theories concerning definitions, cultural consensus, evolution, iconography, ritual, and ideological functions are not inclusive enough for the various formulations of the genre. Therefore, by adopting a pluralistic theoretical view of genres, one must consider their limitations and capacities. At the same time, by focusing on the semantic/syntactic approach, one can utilize the potentialities of different genre theories. In this way, a kind of theoretical hybridity similar to the hybrid nature of the genres themselves emerges.

In this study, to achieve another definition of tragedy, the concept of trauerspiel is read by Walter Benjamin. trauerspiel means a show of sadness with a tragic ending, a german idiom chosen for baroque dramas. unlike greek tragedy, trauerspiel dramas do not speak of myths and god-like human beings, but focus on historical-political themes and events. Walter Benjamin classifies the elements of trauerspiel in the six categories of the link of time past and present, the representation of the inner plot, the designed action, the tragic hero, objects and destiny, the depiction of violence.The research method is data collection through library study and with a descriptive-analytical method examines the components of trauerspiel in two Plays "death of yazdgerd" by Bahram Beizai and "sleep in an empty cup" by Naghmeh Samini. these two works have been written in two different time periods and in addition to reflecting the historical narrative in their work, they have a conspiracy of the characters, the intersection of the past moments with the present and the repetition of history in the inner plot. in a way, these two effects are most conformity with trauerspiel components.Another reading of tragedy can be found in the studies that have taken place, because trauerspiel is intertwined with history and reflects human suffering, and as long as the powerful and the rulers dominate the world, trauerspiel drames can to yourself life continue.

Myths are the identity of a nation and it is noteworthy to its own nation’s people and the international community. These cultural assets have various applications and might have preserved their cultural and national features in society over passing years. Myths are directors, controllers and flow makers. On the other hand, there are some myths in foreign literature, verbal or visual cultures that are similar to our myths. Legends, anecdotes and tales are a reflection of people’s life which in turn represents their experiences. For millennia, humans have believed that everything in the world around them is alive and, above all, aware of what’s going on. The mythical structure is classic and formal technique that has affected researchers and scenarists in the fields of animation. Although the major part of this journey is the same for all humans and we are shared in facts of birth, growth and death, we possess different cycle, rhythm and needs. That’s why knowing and getting familiar with them is a must for the people and intellectuals. The process of cultural and historical recognition leads us to two mainstreams of mythology and mythography. Iran and China, by having an ancient civilization, have various kinds of myths that western film-makers and animators are interested in. In this regard, the researcher has purposefully selected the films “Mulan”,”Gordafarid”. The Mulan myth is one of them which is used in animation by an American company (Disney) and has similarity with Iranian myth called Gordafarid. The present study aims at analyzing Mulan and Gordafarid myth and its main focus is the substantial role of old and new myths in portraying and characterizing the national identity. The method of survey is qualitative with a descriptive and historical approach and based on library resources and audio-video archives.

Sacred defense refers to a Genre of Iranian films which is the localized of war films. This kind of films show bravery and valor of soldiers during 8 years Iran – Iraq war. This genre has evolved over the years and various species have emerged around the Iran - Iraq war. This diversity of species has led to different point of views on the category of war, which makes this genre worthy of studying typology scientifically. Frye’s Mythos Theory, provides a new method of Classification in literature. Each literary work is placed on one of four mythos which is compare to four seasons of a year. Comedy is placed in spring, Romance in summer, Tragedy in fall and Irony/ satire in winter. Beside Frye States specific classification for the characters of each of the mythos, and introduces six Phases for each mythos which causes a more accurate classification of literary works. Frye also assumes the cinema as a literature work and deems it worthy of a separate study, thus establishing a connection between the theory of mythos and cinema. In this research the Script of “Days of life” from Sacred Defense Cinema was selected as case study. After analyzing It was classified in mythos of summer, so the film's characters were classified based on a summer mythos analysis, and it was finally determined that the film classified to the fourth phase of romance.

During Iran’s modernization era, when the government was carrying the country’s modernization project, Khoroos Jangi Artistic Association (KJAA) was founded in 1949 to establish a modernist movement. While trying to evolve Iran’s artwork, comparable with a modernizing society’s demands and in proportion to the government’s modernization process, the KJAA members' attention to folklore in addition to traditional art and the necessity of a bottom-up modernization surpassed the government's modernization. Although KJAA's influence on Iran's modern art is undeniable, its artworks’ comprehensive study and theories, as a coherent art movement, has never been carried out. Therefore, this research focuses on KJAA's definition of folkloric modernization in art and National Theatre, to define KJAA movement’s characteristics.Furthermore, Hassan Shirvani, theater activist member of KJAA proposed the establishment of the School of Iranian National Theater. in his definition, National Theatre's most important elements include the application of folkloric themes, Iranian mysticism philosophic ideas, symbolism and formic characteristics of Iran's traditional literature and play such as storytelling and story within a story, when the spirit of the time and people's living conditions are considered and the world’s latest artistic theoretical achievements are applied.As this is qualitative research, information and data gathered from KJAA publications and other library resources. Starting with presenting different definitions for terms like modernization, folklore, and national theater, the chapter continues with a brief history of KJAA and determines their description of national art while at the end the issue of folklore modernization will be presented through Shirvani's plays.

This study focuses on the structural effects of the plays of Hamid Amjad and Mohammad Yaghoubi and comparatively studies the elements of sequence and information transfer in the narrative structure of the selected works of these two authors. The method of this research is descriptive-analytical and the necessary information for measuring the samples has been obtained in a library manner and direct review of the texts. The present study intends to answer the question of what is the principle of function of the effective components in the process of information transfer in the works of Amjad and Yaghoubi according to Fister.Based on the plot method of Manfred Fister in drama analysis, despite the thematic, thematic, spatial, characterization and even the forms that Amjad chooses for his works using traditional Iranian plays, in a narrative structure based on time axis And based on the process of information transfer in his works, he always uses a linear pattern, and this issue has never been associated with special linguistic arrangements and various forms of aphasia. Using closed narrative forms, pseudo-open endings with emphasis on situation and event are the prominent features of his plays. In contrast, Mohammad Yaghoubi, by deconstructing the plot and other elements of the drama, has made the process of presenting information through much more complex and creative linguistic tricks and unconventional endings, "pseudo-open" and "open" in his works. Has created significant differences with the works of Hamid Amjad.