نشریه نامه هنرهای نمایشی و موسیقی
پیاپی 34 (پاییز 1402)

The femme fatale is one of the important archetypes in art and literature, which has been represented many times in the history of cinema as a character type. A femme fatale is an attractive and seductive woman who, relying on her power of seduction, manipulates the male character and uses him to achieve her goals. Although femme fatales have been identified as a recurring type in world cinema, especially in film noir, traces of them can also be seen in the history of Iranian cinema. The main presence of these characters in Iranian cinema goes back to the 1340s and 1350s, in fact, the era of Filmfarsi, where they tried to captivate the men in a deadly fascination and drag them to the abyss of destruction, mostly in negative roles. In this case, men are mostly unable to resist the temptations of the femme fatale and give in to her demands. These characters presented a new image of Iranian women in public opinion; however, in line with the moral system of the pre-revolutionary cinema, in most cases they did not find a better fate than death and demise. In the history of Iranian cinema, Parvin Ghaffari is known as one of the most important icons of this character in films such as The Midnight Terror (Samuel Khachikian, 1340), Blonde of our City (Abbas Shabaviz, 1344) and  Woman and Her Dolls (Esmaeil Riyahi, 1344). The current research tries to identify the different ways of representing the femme fatale in Iran's pre-revolutionary cinema through the historical approach and case studies to identify different patterns in the development of this character and its connection to modernity and the image of the new woman. Examining these different ways of representation and comparing the development process of Iranian femme fatales in comparison with foreign examples, shows how men in Persian films, unlike their Western counterparts, in most cases do not fall into the trap of femme fatales and do not suffer the inevitable fate of film noir men.

Legends are a large part of Iranian culture and art, and they are a good source for anime production mainly due to their coherence and suitable structural elements. Utilizing the capabilities of anime to convey the concepts in legends by using methods such as adaptation and re-creation creates an effective connection between the present and the future. Turning a legend or text into a Picture will make it easier to understand, and in addition, the animation of these Pictures helps the audience to relate better to the work of art. Today, the legends and t traditions of a society have become universal data for the production of artwork, in such a way that an artist can, in addition to relying on his cultural supports, be inspired and use different adaptation techniques to benefit from the works of other societies. It can be said that there is an intertextuality connection between the produced work and its pre-texts. Using this type of communication in anime production will provide a suitable platform to make the audience think. Of course, the type of adaptation and the amount of use can be different. One of the amines directed by Noriyuki Abe is called Arslan Senki. This work is based on a Japanese novel of the same name by Yoshi Ki Tanaka. As it is evident from the title of this work, it originated from a completely Iranian pre-text, but it was reproduced in a format specific to Japan. Therefore, to test this anime, the question raised for the researcher is as follows: what kind of intersexual communication can be seen from Gerard Genette's point of view in the Pictures of the famous Japanese anime by Arslan Senki, which also has an Iranian theme? Therefore, the purpose of this research is to study the intertextuality of Japanese anime pictures by Arslan Senki with an Iranian theme from Gerard Genette's point of view. This research is done using a descriptive-analytical method library and internet tools are utilized and Arslan Senki is watched and analyzed as the case study. The necessity of conducting this research is to examine and read works of art with Iranian content that have been produced in other societies. As a result, both the gap and the discontinuity of foreign Artworks as well as the capabilities of the pre-text or legends can be identified. The intertextuality of Japanese anime Pictures with Iranian content has not been analyzed before. To analyze and examine the visual content of the anime in question, Gerard Genette's intertextuality approach has been used.

In this research, it has been tried to examine Iran's screenplays in the 80s by focusing on carnival elements derived from the concept of carnival, which is one of the most important concepts in the opinion of the Russian thinker, Mikhail Bakhtin.The nature of Bakhtin's carnival is a critical approach to the existing conditions of society, which is formed in the context of the confrontation between official and unofficial culture. Popular culture creates an equal social position so that a dialogue can be formed without the dominant voice. In the shadow of free speech and listening, polyphony is manifested based on grotesque characteristics and laughter that is flowing in the heart of the society. The characteristics that make a text carnival include polyphonic discourse, grotesque realism, laughter, freedom, equality, inversion, relativity and opposite concepts, disobedience to the ruling power, play, mask, madness, banquet and death. By studying how these components function in the three main elements of character, action and screenplay structure, the present research tries to understand the concept of carnival and its components, and get a new understanding of the use of this concept in dramatic literature, especially the scripts of the aforementioned decade.This research was carried out in a descriptive-analytical way with the aim of understanding the concept of Bakhtin's carnival and its appearance in Iran's screenplays in the 80s in a selection of works of this decade with titles such as Bread, Love and Motor-thousand, Game Rules and Twenty. The findings show that the function of carnival components in writing screenplays, according to the critical situation in the cultural and social context of the early to late eighties, based on the political atmosphere of each period, underwent changes and developments of that year. Therefore, what can be seen in the selected texts is the influence of the characteristics of carnival in the general atmosphere of the works, which according to the period of writing of that work, the aspects of some carnival components are dominated by carnival compared to other components. Its values fluctuate. Since the field of art is a suitable place for the growth of society, it is understood that by combining art and the theory of carnival in order to criticize and express the cultural and social issues and problems of the society, it is possible to create works to advance constructive goals in society.

In the postmodern era, Baudrillard's concept of representation is used in various fields of art and humanities with various interpretations. Baudrillard's concept of simulacrum in the media and news has become a theme for the identity of the contemporary era. Representation, which has been a fundamental problem in the philosophy of Plato and Aristotle by projecting the concept of the value of imitation, and has been classified as imitation, similarity and intentionality in contemporary studies, according to Baudrillard, Gradually, with the change of living conditions and technology, it has gradually reached pretense. In contrast to originality and perhaps not so perfect similarity in representation, fakes are very similar but inauthentic versions that are lower and lower than the original. Simulacrum as a reality that no longer has a clear sign of reality has included all the concepts, places and personality patterns of our life, and the most important reason for that is living in the shadow of the media and then virtual space. which has gradually removed any tangible sign of reality in the path of artistic representation, from painting and photography to the performing realm of masks and dolls, categories of representation are displayed, from imitation in classic paintings and very realistic dolls to the similarity of middle paintings and dolls with similarities in physics and behavior with original examples and finally new representation in modern paintings and abstract dolls. All of them fall within the range of a kind of representation that is original and real. After the First and Second World Wars and with the entry of the mannequin (dummy) into the realm of performance with Kantor's works, it is as if the concept of pretense replaced representation in the theater. Comparison of dolls and mannequins in five features: imitation and narration, animating and non-animating, dynamic and static character-part, showing life vs. showing death, equivalent or beyond human version vs. Lower than Man shows that the representation of the doll is opposed to the pretense of the mannequin (dummy) and therefore introduces it as a suitable model for contemporary visualization under the domination of social, political and economic conflicts, version It is very similar but inferior to the human model.

Shutter Island is a movie that depicts the atrocities of the Second World War by the representation of the traumas inflicted on the modern man’s mind. In the movie Teddy Daniels is trapped in the labyrinth of psychiatry to recover from the trauma of his presence in concentration camps. Therefore, in Shutter Island, concentration camp and psychiatric asylum are intertwined by different images. According to Foucault, the formation of madhouses in modern society and the psychiatric authority on the patients is a means for insertion of modern power on man. He, indeed, believed that these power mechanisms were inserted in two levels. While the first level was psychiatric, the other method, lobotomy or brain surgery, was based on physiological alteration. Furthermore, Agamben introduced camp as a paradigm by which the Western states insert their power on man. He considers camp as the consequence of putting men in state of exception and the best condition for touching their physiological entity. Agamben believes that in this biopolitical procedure the deformed human bodies are made. He names this biological condition “bare life”. Bare life is “a biological condition in which the human is not dead or alive, but living on the opaque inhuman boundary of life and death. In Shutter Island the intertwinement of the images related to camp and psychiatric asylum shows that these two areas play a major role on the formation of Teddy’s identity as the contemporary man. Therefore, in this article, Foucault’s and Agamben’s ideas about the modern man’s formation of lifeworld are utilized. In this article, the intertwinement of camp and asylum images is studied by Jakobson’s and Lodge’s ideas about the entanglement of the metaphoric and metonymic poles. Accordingly, the interrelation of Foucault’s ideas about the formation of docile bodies and Agamben’s ideas about the infliction of “bare life” are used as the theoretical framework. This article clarifies that the process of formation of Teddy Daniel’s life is tantamount to the formation of bare life.

The aim of this article is the analytical and etymological examination of the applied types of icon (image/symbol) in performing arts, visualization and visual anthropology. the evidence shows that in subcultures and artistic literature of Iran, the term iconology is always subject to pan of tastes, points of view, and common terms that are not related or unrelated to the fundamental field of iconology, thus it has a vague meaning and application. Usually, in the popular culture of Iran, most mobile phone and internet emoticons, intercity and intercultural signs, road signs, emojis, addresses, gestures, arrows, signs and many graphic lines are called icons. While the icon, iconography and iconology have rules unique to the classical/modern format and have a methodical, clear and simultaneously scrutinized structure in the realm of performing arts, painting and visual anthropology. The results of the research show that iconology is an independent and rare method/knowledge in the culture and language of art, which is not an icon without the three pillars of representation - visualization - visual anthropology. This article has been analyzed by descriptive-analytical method and analogical approach, with the aim of qualitative content analysis. Criticizing and reviewing the views and translations and aspects of applying iconology in performing arts and painting and anthropology is one of the most important efforts of this research-oriented article in order to correctly explain the word icon in Iranian culture and art. Therefore, a part of this article has been written with a critical approach, and to raise the issue, it is marked on a number of paintings, stone inscriptions, paintings, photographs, wall paintings, fabric, rock paintings and other formats in Iran. done. It seems obvious that this newly arrived word has received little attention in Iranian art literature between symbol, sign and allegory. Therefore, a critical look at the existing definitions and explaining the structure of the icon is one of the most important efforts of this article.This article presents several Iranian iconographies from the visual arts of the ancient period until now, using a descriptive-analytical method and an interpretive approach, and with the aim of qualitative content analysis, to compare some common foreign and domestic opinions and theories in order to explain the relevance of the term icon in literature and art. Iran has been analyzed.