نشریه مطالعات عالی هنر
سال سوم شماره 1 (تابستان 1402)

Animation films are one of the types of educational aids or in other words, means of audio-vi- sual communication that are shown in the media with a strong impact on learning. This research has been done using the approach of Albert Bandura social learning theory.The main purpose of this study is to represent the cultural values (social, economic and religious values)correspond- ing to the audience of children and adolescents in the animation of Shakrestan. The questions of this research are: Which cultural values has the Shakeristan collection been most concerned with in transmitting? According to the content provided, which age group is the appropriate au- dience for this collection? For the research method, the method of qualitative content analysis based on the Comments of Philip Meering with a deductive approach was used.The research samples included 18 parts of the mentioned collection.Findings show that the main purpose of the animation of Shakeristan was to emphasize the Iranian identity and to have a hidden purpose to convey positive concepts in the whole of each story. Also, from a qualitative point of view, the most effort seems to be in the transmission of social values, economic values and reli- gious values, respectively.The results show that this series does not create a feeling and interest for empathy in its audience due to the lack of heroic characters, and due to some behaviors and conversations, it does not seem appropriate for a child audience. However, on the contrary, due to the conditions of today's Iranian society, it is quite suitable and usable for the age of the adolescent audience.

Myths are the identity of a nation and it is noteworthy to its own nation's people and the international community.Myths controllers and flow makers. Heroic journey is a pattern which most of thinkers including mythologists have considered it one of people who has studied the myth of the hero seriously, is Joseph Campbell. The filmmakers have imagined 'Hero's and Heroine's Journeys' identically under the influence of Campbell's model and displayed it on cinema screen. Although the major part of this journey is the same for all humans and we are shared in facts of birth, growth and death, we possess different cycle, rhythm and needs. The mythical structure by which Joseph Campbell has written book of 'A hero with a thousand faces' is classic and formal technique that has affected research- ers and scenarists in the fields of animation. Maureen Murdock has explained a new and more different structure for Heroine's Journey in his book titled 'Heroine's Journey', which has been published under title of 'Femininity Depth' in Iran and he has addressed female wishes, needs and concerns. This study has compared two models of hero's and heroine's journeys with an applied objective in order to reveal similarities and differences between Campbell's and Murdock's models under title of masculine and feminine theory in dramatic works. The methodology of this study is of qualitative type by means of comparative study; thus, in order to reveal differences and similarities between hero and heroine based on the proposed theories, 'Brave' and 'Spiderman' animations have been selected as case stud- ies using purposive choice method and application of these patterns will be compared and explored and analyzed in both animations. The given finding suggests that hero's journey is done in linear or circular form while heroine's journey occurs in cyclic or spiral form inside and outside.

Understanding the concepts behind works of art is not always the same. Concepts change with cultural changes. In photographs, like any other work of art, there are signs that convey truths to the public in symbolic language, taken from the culture of its creator. In such a context, myth as a kind of historical discourse, in addition to verbal and written methods; Appears in non-verbal media such as photography, cinema, drama and adver- tising. Following this emergence, mythological critique and analysis have shown the abil ity to explore the world described and to explain the function of human types in re-reading the mythical attitudes embedded in the artists's conscience. Critics of this method seek to show where and how early models and history of human life are contained in the text. in the process of analyzing the works, they first discover the hidden and obvious codes and symbols in the structure of the work and then, through psychological analysis of the symbols and following the historical contexts of their formation, connect these implicit meanings with the primordial model in Describe the human collective psyche. In this arti- cle, using the model of Northrop Fry's mythical critique, by reviewing Kiarostami's photo- graphs in the "Snow White" collection, we decipher the monotonous narrative that in her works is considered as a turning point and the central myth of the text. The results of the research show that by using nature in photography frames and repeatedly recording the element of the tree in different frames, the artist tells an ontological narrative of human life in adaptation to nature and plays a fundamental role. It emphasizes the process of contemporary human self-knowledge. It is as if the trunks of a tree surrounded by snow indicate a person's impatience and restlessness in leaving such a life, and his desire to escape death, to turn to life, and to find a path between the two.

Writing slogans is one of the most prevalent and popular ways to express a message and is an efficient way to reflect public fervor at any age. During the public uprising of the 1978, Iranians expressed their wish to overthrow the monarchy and endorse Imam Khomeini by writing slogans on walls. The slogans of the time can be investigated and studied as a way to express objection and dissatisfaction with the status quo. The present study was carried out according to the theories of Pierre-Félix Guattari, a postmodern French theorist, psychoanalyst, and political activist. Accompanied by his friend, Gilles Deleuze, he proposed the theory of rhizome" and argued that it was in contrast with the arborescent attitude dominating France. In the theory of "Rhizome", no beginning and end can be considered for any event as everything is in a state of fervor. The present study aimed to investigate Guattari's rhizomatic ideas concerning the wall slogans of the 1978 Islamic Revolution of Iran by focusing on a collection of photos by Akbar Nazemi. The study implemented a descriptive-analytical methodology, and the data were collected using the library and field methods. The goal was to see how the analysis of the wall slogans created during the Islamic Revolution of Iran was carried out according to Guattari's theory of "rhizomes". The results showed that writing slo- gans on walls or vehicles was thoroughly in line with the rhizomatic idea as there was no beginning and end for the expression of emotions at the time. There was a general excitement of emotions at the time, and the fervor of uprisings and the expression of hatred to the Shah's dictatorship were not limited to a particular location or group of people in Iran. Moreover, the communication of messages and the flow of revolutionary emotions were evident in the photos and slogans.

Maulana Vali Allah has been a mastermind who has probably followed him more than any other artist, for his delicate engravings and his ability to convey meaningful meanings in his paintings. In many paintings attributed to Behzad, due to the historical and technical connection in paint- ing, due to the position and rank of Behzad, some paintings are attributed to him, regardless of his artistic style and structure. It is one of the important visual elements and completely defines the style of the painter, and the way it is designed and drawn is influenced by the basics of Irani- an aesthetics and follows certain patterns. The method of work in creating space, figures and decorations in the works of Kamaluddin Behzad is of special importance. Therefore, the basis of this research is to investigate the method of drawing ornaments and its accessories in the works of Kamaluddin Behzad with the aim of recognizing the main patterns of ornaments in schools of Herat (Greater Khorasan) and its effects in Tabriz Il school and to study and recognize decorative patterns in figures and accessories in Behzad's works. This research has been done by descrip- tive, analytical, historical and analytical methods and the method of collecting library informa- tion has been done using Corel software and the results show the decorations of figures and re- lated objects in several categories of hats (turbans), clothes, shields, swords, shoes, etc. in each period. It can be specific signs for recognizing the works. By examining the pictorial and decora- tive patterns and presenting analytical documents in the presented tables, he realized that the camel and camel guard located in the Topkapi Palace Museum in Istanbul can be a work of Mau- lana Vali... which is one of the works. It is attributed to Behzad. It does not use the style used in Behzad's works and does not have the obvious characteristics of Kamal al-Din Behzad's works. Evidence shows that this painting bears no resemblance to Behzad's works. By examining the pictorial and decorative patterns, we can get a better understanding of Kamaluddin Behzad's paintings.

The evolution of clothing, as one of the important elements of the material culture of societ- ies, follows the transformative factors of art. Also, political, social, and economic conflicts are particularly reflected in the art and clothing design. With the advent of conceptual art, the ac- cumulative prominence of ideas and related theories, the change in the approach of artists to lifestyle became one of the most important topics in art. Based on these developments, con- ceptual artists used clothing and fashion design in various ways. Realizing the importance of conceptual art, fashion designers also designed clothing that conveyed beauty to the audience with specific perceptions and used clothing as an implement for questioning identity, gender, history, and aesthetic criteria. The main purpose of conceptual clothing is not to cover the human body, but to use the human body as a canvas or a means to show the artist's thoughts. The collection of data in this research forms a library, a practical library in terms of purpose, and a descriptive-analytical library in terms of method. The purpose of this study is to investi- gate the causes and groundworks of the conceptual fashion coming into existence. Conceptual art began in late 1691, and its starting point was a break of aesthetics and the abstraction of modernism and the replacement of the priority of concept over form. The result of this study shows that conceptualism in fashion often includes two main trends: 1. Ideas from political, economic, social, biological, and identity crises 2. Ideas resulting from Postmodernism and Poststructuralism, which emerged in conceptual clothing in an anarchist fashion.