نشریه رسانه های دیداری و شنیداری
پیاپی 46 (تابستان 1402)

Considering the importance of the family foundation in Iranian-Islamic culture, as well as the interest of children in watching animation, determining the represented characteristics and ideological codes of animations is necessary because the type of language used to express any topic can change its meaning. The aim of this research is semiotic analysis of the represented patterns of parent-children relationships and deciphering the prevailing ideological codes in the animation series "The Children of Gol-ha Building". The research method is determining content codes in three levels of appearance, technical and ideological which is based on John Fisk's semiotic method. All the episodes of this animation series were selected as the statistical population and then, detailed analysis was done on 12 episodes related to the research. The results of the research show that according to John Fiske's semiotic analysis of codes, the relationships between parents and children in the Iranian-Islamic lifestyle is a mutual fundamental relationship based on common values and the creators of this animation series have institutionalized many ideological implications about parent-children relationships based on Iranian-Islamic culture and their intended culture and goals.

The aim of the present study is semiotic analysis of place and architectural space in the movies “Ran” (1985) by Akira Kurosawa and “Tokyo Story” (1953) by Yasujirō Ozu. The methodology was qualitative: structured content analysis and its main approach is interpretive-visual semiotic analysis. The data collection method was based on library archival data and using book analysis instrument. Also, the type of findings is descriptive-analytical. The implication of the result of this research is in both architecture (in comprehending the concepts related to traditional architecture) and cinema (helping filmmakers to portray different types of spaces to induce different meanings). Semiotics is an instrument that is presented for film comprehension in three levels: 1- the meaning which is understood from the elements of space, discipline and the dominant structure between them, 2- the meaning that is originated from the peripheral values of the ground stage design, and 3- the meaning raised from the ideology dominant in the filmmaker’s thought in the form of architecture. The first meaning can be extracted from body elements and has a bolder objective dimension. The meanings of the next stages can be called implicatures which can be analyzed in the secrets of the architecture. In the movies “Ran” and “Tokyo Story”, to connect the elements and body/physical, cultural, social, historical, natural and religious space, physical spatial devices are applied. Hence, understanding the process of meaning-creation in movie and analyzing it is possible via the field of semiotics.

Among the cinematic works centered around the event of Ashura, the movie The Fateful Day (1995) by Shahram Asadi is a thought-provoking cinematic work. This study aims to analyze the interaction between the narrative structure and the visual style of the film in creating different meanings using Christian Thompson’s neoformalist approach and David Bordwell’s theories on the narrative of the story-telling film. The research method applied in this research is descriptive content analysis. The narrative expansion in the form system of The Fateful Day follows the pattern of the unique myth and the pattern of Search. The use of stylistic and narrative creative devices in the film has resulted in the harmony of mise-en-scenes with the stage goals and the overall texture of the work. The originality in the narration and the stylistic elements of the movie The Fateful Day (among the Iranian historical religious cinematic works) is the result of the innovative cinematic devices used in the movie. The most important of such devices include the use of narrative and stylistic expansion patterns fitting the work’s theme, application of subplots in harmony with the main plot, numerous functions of repetitive motifs in the objective and narrative context, appropriate rhythm of the music and image, and creation of implicit meanings. According to the results of this research, in historical cinema with a thematic focus on religious events, the correct formation of dramatic situations related to their corresponding historical situations, as well as the coherence of the concepts arising from the objective and narrative context of the film with the basic ideologies presented in the work itself are very important.

The theory of montage in cinema is based on formalism, and the theory of mise-en-scene is derived from the author's view and from realism. It seems that the philosophical pre-structures of the two theories, one based on holism and structuralism, and the other on particularism and phenomenology, have deep roots in a classical historical philosophical conflict. In the montage view, cinema reaches a meaningful whole through the assembly of the components, and in the mise-en-scene view, the shot (plan) alone both makes sense and also phenomenonize the reality. The traces of this conflict have been lost in contemporary theories in the fields of semiotics, semantics and linguistics. This paper tries to show that despite the preservation of the paradigms of traditional and classical philosophy, approximation of the mise-en-scene and montage theories is possible by searching the lane of the parties to the dispute. The research is based on the library method and has been carried out with the descriptive-analytical method.

Media terrorism refers to the media coverage of terrorist activities and actions in social networks and is an emerging type of terrorism that creates mass panic and terror by using media tools and excessive use of cyberspace. One of the important issues in curbing and encouraging terrorism is measuring the amount of social capital in a society, which plays a role in strengthening cooperation and creating norms in society. The aim of this research is to provide a strategic model for coping with media terrorism with a social capital approach. The research method was sequential exploratory mixed. First, the qualitative method of thematic analysis was applied among 14 experts (with scientific, research, managerial, and occupational backgrounds) with purposive snowball sampling and unstructured interviews. Then, the quantitative method was used among 298 experts in the fields of media, social capital, media terrorism, and social networks across the country to test the hypotheses. The results of the qualitative part of the study showed the category of "historical identification and structural conditions" as contexts and platforms, "media benefits and functions" as a causal condition, “social capital challenges of the emergence of media terrorism” as one of the challenging factors, and “interventions, regional, extra-regional and international networking” have played effective roles in choosing the strategy of media governance in the face of media terrorism. In order to deal with media terrorism, it is necessary to pay attention and identify the causal, contextual, international and challenging factors related to media terrorism so that managing the level of violence with hyper-realization in the media, proliferation of the grounds of violence with media coverage and psychological warfare and its methods in the media can be feasible.

The need to inform, educate and mobilize people to deal with natural and unnatural crises is among the necessities of today's societies to which the media are expected to respond, as well. With the advancement of technology and the change of lifestyle, we are witnessing the synergy of media, and this -in times of crisis- can be a good opportunity for a media such as radio to use the capacity of cyberspace to apply public dynamics as an influential strategy. In the present research, triangulation has been used to gather and qualitative content analysis was applied to analyze the data. The population under study are the programs produced in Radio Salamat and interviews with radio producers. In line with that, 10 programs from Radio Salamat and 10 producers in the field of Corona pandemic programming with a focus on social dynamics were selected via purposive sampling. Theoretical coding was, also, used in data analysis. Based on the findings, using short and creative structures of radio programming and maximum use of social media capacities to increase audience interaction and participation are among the most important points that are necessary for radio programmers to attend. The findings of the research show that the context of cyberspace has a significant role in the formation, continuity and success of social campaigns, especially in times of crises.

Baudrillard's theory of simulation of reality in television commercials is a simulation of the third type. From reality, only signs and symptoms are left, and the image hides the absence of reality in them. This research tries to answer the question of what role the concept of pretense plays in Iranian television advertisements by reviewing Baudrillard's philosophy and reading the concept of pretense. Advertising should be able to create the maximum simulation ability by using the signs and symbols of reality in the images to create the pretense and an extreme reality where the line between fantasy and reality becomes distorted and blurred. Based on what Baudrillard says about pretending images, TV teasers and commercials are one of the false facts, which are pretending to be real. In fact, with this method, they hide the lack of reality in the resulting images. The purpose of the research is to determine the structure of a powerful pretense in advertisements and promotional teasers of Iranian TV. The research method will be practical in terms of the goal, and the method of collecting information is a combination of documents, library, reliable internet sources, description, explanation, observation, and review of the commercial advertisements of Iranian TV. The method of analyzing the findings is descriptive-analytical. At first, Baudrillard's concept of pretense, and according to the strategic and important components that Baudrillard expresses in advertisements, examples of Iranian television advertisements are randomly selected and analyzed.