نشریه جامعه شناسی فرهنگ و هنر
سال پنجم شماره 2 (تابستان 1402)

Today cinema examine as thought and action in the context of societal changes. Surrealism is one of the schools of thought that was formed with the beginning of the new wave of cinema and had a significant impact on Iranian cinema. This research examines two films "Hamon" by Dariush Mehrjooi and "House on Water" by Bahman Farman Ara As the prominent films of the surrealist school and analyzes its discourse semiotics. According to the discourse semiotic method, these works have the characteristics of surrealist cinema, including the following elements: "Black realism" and "fluid rationality", which are the “central signs” of surrealist thought Surprise, confusion and ambiguity, despair and lack of imagination for the future generations of society, extreme criticism of religion and religious strata of society, mechanical determinism, freedom, decline of generations, integration of subject and object, non-commitment, selfishness and wandering are the “surrounding signs” that in These films have been represented. These principles have been explained in the six semiotic system (image, movement, speech, writing, phonetic and musical) in the analysis of the text of the works and examination of the temporal and spatial context and intertextuality.

Stereotyping is a tool that plays a role in the realism and constructivism of the social phenomena and is effective in directing public opinion. The media pays attention to this feature and uses it to promote, shape and motivate their audiences. Gender stereotyping is an example of this behavior that is used in the media, including the art media of cinema, and is used and exploited by filmmakers willingly or unwillingly. By virtue of its salient features, namely, verisimilitude, empathy, identification and escapism, cinema is treated as an objective and practical medium in the process of communications, and has a large-sized audience. That’s why managers and experts involved in this industry need to have sound knowledge and full awareness to be able to establish and facilitate proper communications. Iranian cinema has a long history and isn’t free from gender stereotypes. This research examines gender stereotyping in Iranian cinema with a practical purpose and its main problem is to analyze the representation of women in post-revolutionary cinema.The research method is qualitative with a descriptive-analytical approach and is done by collecting information from library sources and audio and video archives. Therefore, in order to reveal the problem of research that has been produced and disseminated after the revolution,the films Reyhane, Eynak Doudi, Gisboride, Rosvaii have been selected based on a purposeful selection of desirable items and analyzed based on the theoretical foundations of research.

This study attempts to analyze the representation of the female subject in the narrative and visual content of home theater in the Mannequin series. For this purpose, by applying the constructivist approach of Richard Dyer and Stuart Hall’s theory of representation as the theoretical framework and Fisk’s semiotic analysis method in three levels of codes of reality, representation, and ideology, Mannequin series has been examined and evaluated. The research method of this study is a qualitative analysis with an inductive approach. According to the topic and the research problem, deploying qualitative and semiotic methods is the best technique to analyze this topic. The results indicate that the ideological codes of the series are a combination of several codes that together show the class of the woman character in the series. The upper-class female characters in Mannequin series look for fashion, extravagance, variety, and luxury life. On the other hand, the middle or lower-class women in the series are representations of the lone women's turmoil in society who are not able to find the correct and upright ways to achieve their desires and thus go astray. For the single women in the family, who are full of selfishness and self-interest, the Mannequin series leaves no choice but to prostitute themselves and trust in the criminals of society. In summarizing the contents, the following can be mentioned about the Mannequin series: home cinema, which could have been a qualitative alternative to the national television, causes serious damage to the cinema and the culture of our Iranian-Islamic society by turning to such low-quality and worthless series in terms of technical structure and moral themes.

Abstract  Movie and cinema consumption is not separate from social and cultural determinations. The purpose of this article is sociological explanation of movie and cinema consumption in Isfahan. The theoretical framework of the article is based on Pierre Bourdieu's cultural theory and adding some neglected variables in his thought. In order to achieve the main objective, the survey method is adapted in the positivism paradigm. The statistical population includes 1,972,660 people, the sample size is equal to 401 people, and the sampling method is quota one. Simple and multiple regression models with hidden variables, Pearson correlation coefficient and correlation model, analysis of variance or ANOVA test, and independent samples t-test were used to test the hypotheses. According to the results of this research, cultural capital and its components (objectified, embodied, institutionalized), cinematic knowledge, reference groups, and economic capital have influenced the consumption of movies and cinema, but the variables of gender, ethnicity, marital status, and level of education have influenced the consumption of movies and cinema did not have a significant impact. The variable of cinematic knowledge had a partial mediating role in the relationship between cultural capital and movie and cinema consumption, but the variable of cultural capital as a mediator had no role in the relationship between economic capital and movie and cinema consumption. According to the general model of the research, it can be concluded that in general, 40% of the variance of the movie and cinema consumption variable is explained by the independent variables of this research.

Bryson(1949)isoneof the theorists in the field of philosophy and history of art in the contemporary era,who advances his philosophical plan by relyingon Hall's ideas and culturalstudies,as well as the importance of image discussion in this field.Bryson pursues the concern of revising the concept of art history and believes that dealing with arthistory is a way to rethink history itself through art,which will also lead to rethinking the current situation and ultimately leadto the knowledge of culture.According to Bryson,if art history wants to have an effective role in relation to the current conditions of culture,it should review its past through critical research and understand the ways of emergence and development of artistic experiences, especially in the image discussion.Therefore, in order to revise the concept of art history,it is necessary to address its central core:the image, and to reevaluate the way of looking at the image in order to complete Bryson's overall project.Image analysis is traditionally done through methodologies and methodologies that,according to Bryson, are the cause of misunderstanding of art history and the current state of art history.Among the genealogical methods,Bryson especially emphasizes form-based criticismand representation-based criticism,which in the analysis of the image by reducing it to a static matter,ignores its connection with the context of society andculture, and that is why the analysis is presented.It remains better by them too.Using Bryson's works and opinions and his point of view on the methodology of painting studyand analysis,the present research criticizes two methods of formalistic and representational analysis in dealing with paintings

The Bisotun relief is one of the most remarkable carvings of the Achaemenid period; Its uniqueness is that it can be distinguished from other reliefs of the Achaemenid period in terms of location and specific subject. The Bisotun relief narrates the suppression of rebels and insurgents who, during the time of Darius, claimed that Bardia owned the throne. With the help of some Persian aristocrats, Darius started suppressing them in different parts of the Achaemenid empire. In this relief, the description of these victories is engraved differently. This research aims to read the manifestations of repression on the Bisotun relief, based on Panofsky's iconography theory, and analyze the Darius era's social and political background using this approach's analytical methods and the text of Bisotun relief. The method of this descriptive-analytical research is based on Panofsky's theory. The information-collecting method is library and field, and the analysis is qualitative. The research findings and results indicate that the existing discourse in this relief shows a type of violence. It also implies Darius's manifest approach in planning and implementing the Bisotun relief. By elaborating on this relief's formation factors and analyzing and interpreting human motifs according to the social and political subtext of that period, it is possible to assume a propaganda function.

Knowing the environment is important in architectural analysis. In the theory of environmental organization, which is the introduction to the knowledge of the environment, Rappaport considers humans to give order and meaning to their surroundings in order to provide interaction with others in addition to dynamics by creating an orderly environment. From Rappaport's point of view, the concept of environment is derived from culture and social activities, it is a structural result of space, time, meaning and relationships and a set of fixed, semi-fixed and non-fixed components in the environment, and the adaptation of the four components in traditional architecture is more than modern. In this research and with the aim of investigating and understanding the environmental components and knowledge used in traditional buildings and the type of interaction of humans in the past with the environment and the order of the environment, the Narenjestan Qavam complex in Shiraz will be studied. The present research was extracted by examining the library sources, Rappaport's ideas about his environmental organization theory and its components. Then, with the field observation of Narenjestan Qavam complex, the compliance of the building with the theoretical components was investigated. The result is that the physical elements play a prominent role in the spatial organization of the building and the spatial order also affects the meaning, time and relationships. It also helps to confirm the compatibility of the theory and four principles of environmental organization with traditional and native architecture.

This article is derived from a research that was conducted with the aim of discovering the emotional rules of women in social interaction and the ways of constructing these rules in the dialectical process of the actor and the social position in the novels of Shahrnoush Parsipour. The research method is a grounded theory based on which three stages of open, axial and selective coding were done and theoretical results were obtained. The novels of Shahrnoosh Parsipour were also chosen because of the presence of a problematic hero. The results showed that women's emotional system exists as one of the basic categories in Parsipour's novels, and two categories of emotional duality and emotional awareness play an effective role in building women's emotional actions. . The process of actions based on emotions among women are also formed with the categories of emotional behavior, limits of action, obstacles to the expression of emotions, management of emotions and resilience. In most social situations, women consciously or unconsciously reproduce the existing action patterns. However, the change in the social base among women has led to the promotion of emotional awareness, and when faced with emotional dualities, women creatively manage their emotions and start creating new actions.

Culture encompasses various dimensions, including behavioral, visual, oral, and auditory aspects. The auditory culture focuses on the sounds that individuals intentionally or unintentionally encounter in their lives. Within this context, musical auditory culture pertains to the music that people hear within a society. However, the auditory culture of Iranian music experienced a significant departure from its original standards since the Qajar period and the advent of modernity in Iran. The original standards of Iranian music encompass elements such as poetry, composition, musical structure, and song arrangement, rooted in Iranian culture and arts. Iranian music represents a distinct musical identity and serves as a criterion for identifying the country's music, whether classical, traditional, or original. This article aims to explore the factors that led to the divergence of Iranian music's auditory culture from its original and authentic standards from the Naseri Era to the First Pahlavi Period. The research methodology employed is qualitative, involving analysis and historical and descriptive-analytical approaches. The necessary information was gathered through library research. The findings indicate that social developments, cultural-artistic policies and laws, and the educational system have contributed to the distancing of Iranian music's auditory culture from its authentic roots. These factors have been categorized and analyzed under four general factors: Modernism, religious ceremonies, omission of Iranian musical instrument education, and the prevalence of note-oriented education.

The purpose of the present study is to study the historical sociology of international relations in the context of the formation of the social-political currents of Kurdistan of Iran in its historical backwardness using the theory of Uneven and compound development. The main question of the research is that Iranian Kurdistan in the [second] Pahlavi period, despite the weakness of economic, social and cultural indicators, how is it possible to form currents in the socio-political context in a state of historical backwardness? The prevailing view on development in a general sense dictates that a level of economic, political, social and cultural development is necessary for the formation of social political currents. So how is it that in Iranian Kurdistan, despite the state of underdevelopment, we are faced with the formation and multiplicity of currents [and consequently their intersection]? The method used in this study is the method of historical sociology that has been influenced by the sequence of internal terms itself, the idea of Uneven and composite development, Uneven, composition, and development. According to the theoretical discussions and studies on the Kurdistan of Iran in the 60s, 70s Data selection and discussions have been made from the theoretical validity of the extent of the findings to the historical data. The results show that the logic of the formation of socio-political currents in Iranian Kurdistan was formed not by referring to the internal/external changes of the Kurdistan society, but based on its interaction and coexistence with societies that have been in a state of asynchronous synchronicity in terms of the development of Iranian Kurdistan. Therefore, the formation and later meeting of currents in Iranian Kurdistan in this historical situation can be on the one hand caused by the whip of external necessity in an asynchronous situation with the movement of points and the Historical Lag of Kurdistan in a simultaneous situation with the international affairs. The international community knew that this was possible by combining and replacing the international affairs with the internal affairs of Iranian Kurdistan.".