نشریه رهپویه هنرهای نمایشی
پیاپی 3 (بهار 1401)

The existence of humanism in materialistic cinema reflects an effort to eliminate God-oriented attitude. And cinema needs no proof to bring up any subject. The point is that media can make any imaginary story real. In this connection, the popular films of popular cinema with a public audience have been studied and analyzed. Films that appear to be publicly displayed or come into the houses in a popular and imaginative setting. On the other hand, influence of a movie is so deep that cannot or can hardly be taken away even with documentary evidence. This article is going to discuss humanism in west movies and the effort of these movies to legitimize racism regarding God, religion and savior. In this regard, we study and discuss known popular movies. We`ve brought, in particular, the movies which are aired around the world into focus. These popular and mostly fictional movies bring anti-humanism into question and raise doubts.

The relationship between the West and the non-West has always changed and been redefined. Indeed, for a dual movement to take shape, a non-Westernized discourse must first be formed. These filmmakers first recognize the dominant Western discourse and then decide not to follow it. Then they look for non-Western filmmaking techniques to employ. Non-Western voices are now heard loud and clear in the practical and theoretical realms of film, and they make a difference in the world. To discover these sounds, one must examine each one individually, from an equal position, and within their own cultural context.In Iranian cinema, successful examples of cinema De-Westernizing can be found. Abbas Kiarostami's cinema, by relying on the ancient roots of Iranian culture, has been able to distance itself from the current Western trend and transcend national boundaries. Kiarostami's distinguishing feature from other directors is his exclusive style of filmmaking. A method for observing and studying many "Iranian" components. His emphatic references to the homeland and the motherland's reflection in his works confirm that he aimed to create a local, indigenous, and national style of filmmaking; conscious and thoughtful methods.This study attempts to examine the progression of Abbas Kiarostami's filmmaking using the montage method in order to identify the characteristics that give his films a national identity. It also attempts to answer questions such as: What are the technical, structural, and content components of Abbas Kiarostami's works from the point of view of De-Westernizing? What are the similarities between Kiarostami's films and Ta'ziyeh's? This research demonstrates that Abbas Kiarostami used Ta'ziyeh's techniques such as non-actors, communication with the active audience, improvisation, and the director's presence on stage.

History is the product of the representation of memories. Paul Ricoeur divides memory into two categories, individual memory and collective memory, which represent the past. But part of the past is no longer available. This is due to forgetting parts of the memory that interfere with the representation of the past. Therefore, history is always different from a historical event. Social and political institutions also take advantage of this disorder and control and guide societies with their own ideology. How the memory and history are presented also depends on the policy of the provider. During the first Pahlavi era, the regime was able to use this memory policy to create a constructed history of ancient Iran, which was formed with the help of the art of theater in society. The present study, based on library data and descriptive-analytical method, intends to examine some important historical dramas of this period, how to implement the policy of memory and inject ideology to construct history in the first Pahlavi period through theaters. In this way, the prominent role of political systems and how to manipulate memory and history will be examined. This study also seeks to answer the question of how the government used the theatrical aspects of society to achieve this goal and intellectuals - willingly or unwillingly - played a helpful role in this ideology.

Today, a large number of cinematic productions are produced through adaptations of various sources and literary texts. Most adaptations are usually made up of historical texts, novels, plays, short stories, religious texts, and so on. In other words, adaptation is always a way to produce a variety of content produced in past texts in a new medium. The importance and attractiveness of some past texts is such that in the field of cinema, we have sometimes seen numerous adaptations of a work.Adaptation in cinematic animations with descriptive, analytical method. Linda Hutchen believes that it is necessary to study O's work as an independent product first and then to deal with the aspects and dimensions of its adaptation; His point of view is considered as a theoretical approach in this research. The Prince of Egypt cinematic animation and Elephant King are two examples of studies to be studied in this research that have been purposefully selected based on proximity to the subject.The results of this study show that one of the important functions of adaptation in cinematic works is the revival of old and forgotten literary, historical and religious works that have lost the ability to communicate with the current audience for various reasons. Also, most of the animations adapted from religious texts deal with fictional, historical and educational and moral themes. Therefore, one of the other functions of the adaptation is to represent the educational themes in these adaptations that are suitable for the audience of animation works.

In this article, an attempt has been made to study the method of representing food tables in Iranian cinema and its relation to social ties, their study and their implicit meaning with a semiotic approach. For this purpose, based on the logic of theoretical sampling, films (from post-revolutionary cinema) have been selected in which food and its preparation are the main themes or the gathering of the main characters under the pretext of eating is one of the key chapters in the narrative. However, this study began with the hypothesis that the food tables in Iranian cinema necessitate cultural ties due to cultural necessity, and this is a point that can also be seen in cinema; However, the implicit connection of this issue with concepts such as gender and class was also revealed. In other words, the image of food tables in Iranian cinema is an image that has an undeniable link with gender relations and in fact femininity as well as class differences.

Cognitive theory is one of the most important contemporary theories in the field of cinema and media trying to evaluate the audience's perception in the face of film by combining cognitive, philosophical and cinematic achievements and with this approach, while opposing the psychoanalytic and classical theories of cinema, to focus its attention on the mental activity of the audience while watching the film.By focusing on how the viewer perceives cinematic images and the narrative, to prove that the audience is engaging in a conscious activity. This article, firstly by explaining and examining the cognitive patterns of scholars such as David Bordwell and Gregory Currie about perception and the analysis of contemporary imaginative theories, intends to assess the perception and function of the imagination through the audience's encounter with the Surrealist film Easerhead 1977. In this study Questionnaire survey has been adopted: Fifty participants were classified based on education and age and were randomly divided into two groups and answered the questions. The findings prove that Bordwell’s cognitive theories are sporadically formed but do not lead to the perception of the narrative, but according to the characteristics of the imagination, they can be expanded in a cohesive and integrated form. in contrast, Curry’s cognitive theory leads to an understanding of narrative in an experimental state, since imagination plays a key role in his theory, it is possible to revise this theory in a new and more complete form.

Ever since the emergence of drama in this world of possibilities, there has always been an affirmative or privative relationship between philosophy and drama. Among the thinkers who’ve approached to art based on this perspective, Martin Heidegger in his book The Origin of the Work of Art presented an ontological interpretation of ancient Greece’s tragedies and reflected on the relationship between drama and existence, in other words, the presence and absence of existence in drama. In this study, in order to understand the relationship between philosophy and drama based on ontology, we use the method of hermeneutic phenomenology and library sources to study the play of Mohammad Rezaei Rad based on the ontological relationship between Presence and Absence in Martin Heidegger's thought so that we can contemplate the relationship between philosophy and drama with an ontological approach in Iranian drama and explain the fundamental aspects of this work. For this purpose, we propose the hypothesis that the foundation of this play is based on the dialectic of presence and absence and the structural elements of this work are based on that foundation. We first consider the relationship between drama and philosophy and then describe the method. In our cognition, we reflect on what presence and absence is, and the approach goal of understanding is how these two concepts occur as the fundamental principles of the play. We will also implicitly show how it is possible to narrate the relation between human and the universe by examining the philosophical concepts and using them in drama.