نشریه مطالعات میان رشته ای هنر و علوم انسانی
پیاپی 5 (فروردین 1402)

Between 1976 and 1978, Kaveh Golestan signed up and presented a collection of pictures as a prostitute. Regarding prostitutes or sex workers in the years before the revolution, many movies were made with this theme; Films from the “Filmfarsi” stream that lacked artistic values and of course films from the “New Wave of Iranian Cinema” stream that were made with a different perspective and with artistic values by creative filmmakers with a new and deep perspective, which in this article, Kaveh’s collection of prostitute photos Golestan, “Fortress” by Kamran Shirdel and the movies “Parrot” by Zikriya Hashemi and the movie “The Dagger” by Fereydon Gole, both of these movies are the result of the new wave of Iranian cinema, which has been criticized from different aspects. Considering that the collection of Golestan prostitutes is still being discussed by critics, artists, and enthusiasts more than 40 years after its registration, I considered it necessary to review this collection with the works produced in the same historical period with the same theme in a different medium. The tenth Kaveh Golestan, Kamran Shirdel, Fereydoun Gole and Zakaria Hashemi, and many artists of that period did not ignore this social reality considering such social problems and their sufferings, firstly for the prostitutes themselves and in the next stage, for other members of the society. They didn’t ignore that. Addressing this issue on the part of the artists made the officials of the time consider social services such as insurance, health, and education for these women, and these women benefit from social support and remain somewhat immune from being subjected to violence and humiliation.

Humour is one of the types of literary language that is based on contradiction and incompatibility with the system and mental conventions of the audience. With a reformist intent, the satirist shows the flaws and inconveniences of different aspects of life ridiculously and exaggeratedly. French photographer Robert Doisneau, who used a Leica camera in the street in the 1930s (Robert Doisneau) took pictures in Paris. He is one of the most famous and influential photographers of the twentieth century and is regarded as one of the pioneers of photojournalism with Henri Cartier-Bresson. They painted Paris in documentary form. Based on the content that has been declared, in this research I will review the definitions of humor and its types in humorous photography. In addition, the analysis of the works of satirical photography by the artist Robert Doisneau is done. Satirical photography from the point of view of satirical theorists is the understanding and creation of an artistic and critical image of the world, which is completely contradictory and contradictory, in a humorous format, without which satirical photographers and satirists, To forget the oldness and decay like every newcomer Therefore, the main goal of the current research are to examine and answer the question of whether it is possible to provide a definition based on humor by analyzing the bitterness in Robert Doisneau’s photographs from Ubayd Zakani’s point of view.

Photography now occupies a prominent position among photographers. The main concern of the photographic artist was always to record a part of the time to evoke a memory from his mind to the audience, but now on the threshold of the new style of documentary photography, the photographer is looking for a new way to express his inner thoughts from the heart of the society. The intersection of two parts of history, the past and the present may be a reminder of the same sentiment that is trying to be recorded today. That is, by referring to a valuable historical monument with a bright history, the tomb of Sheikh Ahmad-e Jami, the photographer has gone to a lost part of Iran’s religious period, which may have been less discussed in the historical record. Mohsen Bakhsandeh, a well-known photographer in the field of news and documentary photography, who has recorded national awards in his career, now brings us moments from his camera lens that can leave a brilliant background of history, Islam, and rituals in front of us. A better photograph may have a different structure and color as a challenge to the common behavior of individuals at this event. To this end, any action of the persons present in the ritual ceremony may represent their ancestors over the body of this part of the story. Perhaps the tomb of Sheikh Ahmad-e Jami and his Sunni guardians can comfort us in the memory of his territory. But because the documentary photographer is not a neutral and passive recorder of the elements and the scene in front of him. Documentary photography may also have various functions and qualities. Therefore, according to the various purposes and capabilities of representation and expression of documentary photography, in this article, we have examined the characteristics of documentary photography and concepts such as description and interpretation about documentary photography. In addition, the issue raised is that documentary photography takes on what features and artistic aspects due to its vitality and becomes a documentary photo. 

The documentary film Counterattack on the 4th Day is the second part of the documentary series on Chronicles of Victory, which is on the fourth day of Operation Wal-Fajr 8 in one of the axes where the enemy conducts a Patak (counter-attack) by Mustafa Dalai as the director and cameraman, Saeed Faraghi Darian as the sound operator, and Mohammad Akhwan as the director. The assistant cameraman is filmed and staged and interpreted by Morteza Avini. In this article, a few pictures chosen from the scenes of this film are analyzed and analyzed in a brief and useful way with an aesthetic approach. The research method is based on the descriptive-analytical method and information gathering is a combination of the library and interview method. The results of this research show that, first of all, in all the wars that have occurred throughout history, few photographers and videographers have been seen who could capture the realities of war and the lives of Iranian warriors during operations and under the siege of the enemy, who could be killed or captured at any moment. Attract the enemy direct. Second, the presence of the film crew in this battle caused special images of the moods and modes of Iranian soldiers to be captured and recorded, which is undoubtedly a clear page for the history of Iran. Thirdly, during the preparation of such photos and videos, a large number of photographers and film crews were injured or martyred, and in this series, two of the cameraman’s assistants and the cameraman were seriously injured. It seems that the clear and accurate recording and recording of such documentary films and photos of the crisis (front and war) and the special status of the fighters can be very useful for researchers such as psychologists, sociologists, etc. Considering the events that have happened to the filmmakers, Chronicles of Victory collection can make a television series or a movie about these artists and the events that happened to them, to somehow remember these artists and the people. Familiarise yourself with crisis photography and filming and Ishraghi cinema.

Since the start of the Qajar period, many travellers have been able to provide rare information about women. The beauty of Iranian women is one of the things that caught the attention of European tourists. One can see the reflection of that beauty in abundance in the paintings of that period. However, the highlight is the striking difference between the surviving photographs of women from the Qajar period and the travel accounts and paintings from that period. What has been studied in this research is the examination of the authenticity of the appearance of women in the Qajar period based on the visual evidence of women in painting and photography and comparing them with the writings of travelogues. The collection of materials within this research is a library and is written historically and analytically. Based on this, the questions of this article are as follows: To what extent does the appearance of women in the paintings of the Qajar era match with other pictorial documents such as photography and travelers’ writings? And if there is a difference in the appearance of the women mentioned in the newspapers, what factors are responsible for this question? The findings of the investigations show that we see some differences between the remaining photos and the paintings from that period. In the Qajar period, painters have a tendency to idealism and non-simulation in the drawing of women’s faces. One can say that women in representations of this period, whether photographs or paintings are a tool to express the glory of power and royalty.

The Bauhaus school, which was formed between 1919 and 1933 in Germany to establish a link between art and industry, was considered one of the most influential design schools in the 20th century and one of the founders of the foundations of modern design. This paper analyses the role and impact of the founders, professors and graduates of this school on the advancement of photography in the world. In this regard, first of all, topics related to the field of photography, the impact of the establishment of the Bauhaus school in the promotion and development of photography, the role of the founders and teachers of this school in the influence and inspiration of the world photography works are discussed. Then he presents the people and alumni of the Bauhaus school. In this research, using the historical research method, information from reliable sources of the history of art and photography regarding the photography events that were founded a century ago in the Bauhaus school was collected and analyzed in an analytical-descriptive way. This research shows that the Bauhaus school undoubtedly had a significant impact on the arts taught in it; As the main part of artistic research in photography happened in this school; in a way that led to the formation of a new look in photography and introduced a dynamic generation of photographers to the world. The policies and programs put in place at the school promote the arts taught at the Bauhaus, in particular photography. Being project-oriented, providing a visual language in line with today’s modern society, linking and creating a connection between manual arts and technology, educating artists in line with the school’s specific policies, paying attention to experimentation, experimentalism, and injecting courage and giving structural importance to the architecture of space and perspectives. Being new in photography was a feature of this school.