نشریه رهپویه هنرهای نمایشی
پیاپی 5 (پاییز 1401)

The Quran was sent as the final miracle of the Prophets to guide mankind. God has revealed many points in the form of stories in order to teach the audience a lesson so that the readers can learn about various issues by thinking about them. In many cases, screenwriters made unsuccessful adaptations due to not knowing enough about the Qur'an. Considering the importance of Quranic stories in understanding some of God's messages and the complex process of artists' adaptation, the authors went to understand the dramatic situations of stories based on the theory of Georges Poletti. The purpose of this purification and assimilation study with the method of content analysis is to identify and explain these situations in the stories of the Qur'an based on the religious approach and narratology to guide the writers. The results show that all the dramatic situations can be traced in the stories of the Holy Quran, but the Quranic stories have more capacities than these stories. Dramatic situations of Deliverance, calamity, Rivalry of superior vs. inferior, Ambition, Conflict with a god and Rivalry of kin are the most frequent dramatic situations in Quranic stories. Four complex and frequently presented situations of narratives, i.e., Pursuit, Ambition, the Enigma, and relative's adventures, were analyzed in Quranic stories. A one-sided religious or dramatic approach does not lead to the production of religious art. Screenwriters with an interdisciplinary approach between dramatic and religious elements should adapt the work of art.

The research descriptively-analytically examines the representation of death in the two decades of the 60 and 90 in Iranian cinema. The purpose of this study is a comparative study of the representation of death over a period of three decades (60 to 90) in Iranian cinema and its content and visual changes to represent death, as well as the ontological nature of death in Iranian cinema. The theoretical foundations of the research are based on Norbert Elias's theory of death and its differences between traditional and modern societies. Elias believes that in traditional societies death was visible, but in modern societies death is hidden. The statistical population of the study is 127 films from the two sixties and nineties, that is, all films from the two sixties and nineties in which death occurred. Of these, 43 films are from the sixties and 84 films are from the nineties. In selecting the sample population compared to the films made in these two decades, 6 films from the sixties and 12 films from the nineties were selected by simple random sampling. The results show that the films of the sixties took a traditional and premodern approach to representing death. Visibility of death, the presence of the family in the moment of mourning, peace and fearlessness in the time of life and acceptance of death, has been the dominant approach in representing death in this decade. The results of the nineties show that the representation of death in films is based on and consistent with modern death; Absence of the corpse, unhappiness and fear of death, anxiety about death, rejection and striving to survive are the most important signs of death in this decade. According to the research, the changes are due to social changes and changes in form and content in cinema.

The distinction between experimental films from narrative films of conventional cinema can be examined in two ways: narrative type and cinematic form. An experimental animated film is also based on these two concepts of personality-oriented animation. One of the two-dimensional experimental animated films is the creative use of drawing and painting, which, apart from conventional stereotypes, represents the visual-conceptual ideas derived from the artist's mind. The purpose of this paper is to investigate the structural components of experimental two-dimensional animated films and their recognition in the chosen work of this research.Due to the essence of the data, the research methodology is considered qualitative and the study process is descriptive-analytical and with a comparative approach. Also, based on narrative theories and definitions of the form, the relationship between the structure of the form and the content of the two-dimensional experimental animated film is examined. Regarding to the qualitative methodology, this article concludes that the time, narration, and editing of this animated film are non-experimental, despite the representation is fully experimental; so if the dominant element of an experimental (2D) animation film is experimental, that film can be considered experimental movie, even though its other components are non-experimental; also, the conceptual content of the work can be non-avant-garde or non-experimental if the dominant and formal element of the film is completely experimental.

In the film studies of recent years, the relationship between cinema and the modern metropolis has been the focus of theorists. In this approach, cinema is considered as a medium emerging from the shocks and stimuli of the modern city, and the similarities between the experience of watching a movie and the urban experience are also emphasized. Weimar period Berlin is often mentioned as one of the most brilliant crystallizations of urban modernity. During this period, a new genre named "Urban Film" emerged in German cinema, and the city of Berlin was the scene of many of these works. One of the sub-branches of urban film was the "street film" genre, which is also referred to as "urban melodrama" in Weimar. In the works of this genre, the stillness, peace, and security of the home are often contrasted with the movement, chaos, and delirium of the city. The movie "The Street" (1923) by Karl Grüne is often referred to as the perfect model of the Weimar street movie genre. The film follows the pattern of melodrama, and is about crossing the moral boundaries of the house and the consequences of this transgression. This research, which has an interdisciplinary characteristic and is placed at the intersection of cinema studies and urban studies, reveals the point that the patterns shown in the film are from the experience of a man wandering among spaces. Urbanism and scattered thinking about the sights and attractions of the modern city can be matched with the patterns of watching movies.

The topic of death has always been worth of considering by thinkers and writers . Using East Asian rituals and the opinions of existential philosophers such as Heidegger, philosophers of the Kyoto school such as Nishitani Keiji and Tanabe Hajime have considered nothingness and death in their philosophies. Kubo Abe, a contemporary Japanese writer, has discussed the concerns of post-war modern humane by moving away from the culture and tradition of his country and using the theater of the absurd and the philosophy of existentialism. Research conducted inside and outside of Iran has investigated most of Abe's works based on the philosophy of existentialism and the theater of the absurd. Therefore, this study, with a descriptive-analytical approach, aims to answer such question: How is the representation of death in the play "The Man Who Turned into a Stick" based on the philosophy of the Kyoto school? The results of this research demonstrate that Abe, like Nishitani, Tanabe, and Heidegger, put his characters in the face of death to reach a clear comprehension of oneself through presentiment experience. Like Nishitani, Abe believes that when a human is faced with absurdity, he either immerses himself in life and remains oblivious to himself or cannot bear it and commits suicide. Abe blames both groups and believes that the only way to liberate is realizing one's freedom.

The importance of digital visual effects in modern contemporary cinema has resulted in the study of this functional technology to be an important field. In modern cinema, the use of visual effects in the creation of digital characters is expanding in such a way that it is impossible for the audience to tell the difference between real and digital characters. The present study is an applied research on the evaluation of a rarely investigated field in Iran; digital makeup in film-making. The main problem of this study is to search for the characteristics of digital makeup in creating, maintaining the aesthetics, and making the images real. Therefore, here the effort is to analyze and categorize the formation stages of digital makeup as well as the parameters that affect it during production and filming. The research method is qualitative and it is analytical based on written, visual, and audio literature in such a way to explore the research problem through the case study of "The Curious Case of Benjamin Button".