مجله مطالعات دینی رسانه
پیاپی 13-14 (بهار و تابستان 1401)

Plot is one of the most important elements of a screenplay that has various types in terms of content and character development. Corrective Plot is one of these types which has great similarity to the doctrine of repentance. Considering the importance of repentance and correction in religious doctrines, this research aims to provide the necessary materials for writing corrective plot with the subject of repentance.

In this research, data collection is done through library resources. Then, using narrative analysis method, four repentance-centered stories are analyzed based on John Truby's theory of plot, and the elements of corrective plot are identified. Finally, the doctrine of repentance is compared with corrective subtext to demonstrate its influence and manifestation in this type of plot.

Based on the results, corrective plot has five elements: A) committing an error or sin; B) creating remorse; C) expressing remorse; D) compensating; E) accepting repentance. Moreover, considering the factor of remorse and the influence of the doctrine of repentance in corrective subtext, it can be divided into three subsets: A) sometimes, remorse arises due to placing the delinquent character in a difficult situation, such as the story of Jonah; B) sometimes, remorse arises directly from confronting a sacred matter, such as the stories of Francis of Assisi and Fazil bin Ayyaz; C) sometimes, remorse arises due to another person, such as the story of Ka'b ibn Malik.

With this classification, screenwriters of religious scripts can write numerous screenplays based on the types of factors causing remorse in subtexts.

The purpose of this research is to examine the method of film criticism based on religious foundations. This research, taking into account the principles of religious philosophy (pure philosophy and art philosophy), seeks to answer the question of what critical methods in film provide individuals and what limitations they may have.

This research is conducted using descriptive-analytical method and studying written texts and films (as visual text) as documentary research.

Descriptive-analytical study shows that combining two approaches of neo-formalism and structuralism, with the presence of Islamic foundations, provides suitable opportunities in three areas of analysis, interpretation, and evaluation of films. Limitations and deficiencies of structural semiotics in analyzing a film's text can be compensated by the possibilities that neo-formalism provides in detailed and precise aesthetic analysis, and the limitations of neo-formalism in the film's semantic domain can be compensated by the possibilities that structuralism provides through explicit and implicit concepts, co-presence and substitution.

It seems that to use the capabilities of both neo-formalism and structuralism, it is better to complete and modify some topics such as the smallest structural unit of a film, implicit meanings of signs, sub textual elements including authorial intention in discovering meaning, and criteria for evaluating films.

Although extensive efforts have been made in the past four decades to transfer cultural values through cinema, due to the lack of a clear strategy, this has not been achieved. Therefore, we aim to provide a strategy for using cinema in religious promotion and transferring cultural values in this research.

To conduct this research, first, using exploratory studies, the strengths, weaknesses, opportunities, and threats in this field were identified. Then, these factors were evaluated by a questionnaire distributed among 40 experts in the field of cinema. The validity of the questionnaire was confirmed using formal validity method and its reliability was confirmed using Cronbach's alpha coefficient. Finally, the data were analyzed and the strategy was presented using SWOT matrix.

The evaluation of internal and external environment demonstrates that there is a strategic position for Iranian cinema in religious promotion in the defensive region. Therefore, the WT (defensive) strategy is introduced as the main strategy in this area. This includes creating films with religious themes regardless of political issues and sectarian differences, employing "specialized" managers committed to religious and ethical values in cinema-related organizations, and more.

By using defensive strategies, we can reduce internal weaknesses and external threats and create opportunities for using the potential of cinema in religious promotion.

The present study aimed to provide a desirable model for producing radio podcasts to promote the Islamic lifestyle.

The research method used in this study was documentary and case study. The statistical population of the study included lifestyle podcasts on Radio Javan, Iranian personal podcasts, and One Australia podcast, out of which 20 podcasts were purposefully selected as the sample volume and analyzed.

Findings show that, in terms of content, Radio Javan programs have less relevance to the needs of young people, some lifestyle topics have not been addressed, and the quality of published podcasts is not desirable from a format perspective. However, One Australia's podcast produces a variety of lifestyle-related topics with good quality formats.

Attention to topic diversity, the use of storytelling and narrative capacities in media productions, providing interactive opportunities, utilizing user-generated content in lifestyle programs and publishing them on social media platforms are among the important components of a desirable model for producing lifestyle podcasts.

This research aims to investigate and explain the possible applications of moral conflicts in the evolution of a dramatic character arc.

In this interdisciplinary research, we have used three

empirical psychology to explore the inner life of characters, philosophical analysis to extract assumptions and logical tools, and artistic hermeneutics to discover the meaning of works.

For a dramatic character facing moral conflicts, eleven stages can be identified. These stages depict how the character transforms through their internal and external actions. The stages are: 1) Initial state; 2) The emergence of the moral conflict; 3) Denial and struggle to avoid the conflict; 4) Failure and anger; 5) Doubting the ethical principle; 6) Despair; 7) Acceptance and return to ethics; 8) Decision-making for the least costly option; 9) Ethical action; 10) Costs and benefits of ethical action; 11) Reaction to the incurred costs of the action.

In moral conflicts, characters must face their most challenging ethical choices, which could lead to the most crucial transformations in their arcs and are among the essential factors shaping a character's dramatic arc.

Today, dramatic arts are one of the most important ways to promote ideologies. Producing a dramatic work about the lives of religious leaders is one of the main goals of Muslim artists, but this task faces many challenges. One of the most important challenges is adapting the lives of the Imams in dramatic texts. The purpose of this article is to identify the licenses and limitations of this matter from a religious perspective.

Data will be collected using library research method and analyzed descriptively and analytically.

By examining storytelling and drama from an Islamic perspective, we have found that Islam has not explicitly stated anything about such arts, but through the practices and methods of the Qur'an and Imams, a kind of implicit confirmation can be inferred because God has repeatedly used this method to convey teachings to humanity. We have also found definitions for concepts such as blasphemy, insult, and sanctity in addition to various adaptations.

Adapting the lives of the Imams in dramatic texts is not inherently problematic, but it should not lead to something forbidden. Two things are considered forbidden in this matter: blasphemy and insult. In faithful adaptation, we are usually not exposed to these two issues, but in free and borrowed adaptations, if the writer claims truthfulness, he or she is exposed to blasphemy and subsequently insult. The writer must be careful not to insult the sacred and holy characters, even if the story is fictional. From the Islamic and Shia point of view, this insult and violation of sanctity cannot be forgiven.