نشریه پژوهش های میان رشته ای هنر
سال دوم شماره 1 (پیاپی 2، بهار و تابستان 1403)

The term androgyny has deep roots in mythical culture, referring to the combination and overlap of two opposing genders. This concept is notably evident in Greek mythology, particularly in the figure of Hermaphroditus. Many ancient gods also exhibited androgynous characteristics. For example, Shiva, a Hindu deity, is often depicted as half-man and half-woman, embodying traits of both genders. Similarly, Mithra, the ancient Iranian goddess, is recognized as one of the androgynous beings in the Mithraic cult. The concept of androgyny in cinema and art have been consistently utilized as an important element in portraying various characters and ideas. This concept, which refers to the blending and overlapping of masculine and feminine traits, serves as a tool in expressing the complexities of gender and the influence of gender on human life in various cinematic and artistic contexts. Androgynous characters in cinema are those that combine masculine and feminine traits. These characters may confront gender contradictions and complexities, serving as a representation of the effort to balance between the two genders. In cinema, these characters are often portrayed as intriguing and compelling personalities that convey messages of moderation and balance in a gender to the audience. In art and cinema, gender and androgyny themes are used as significant subjects for examining and expressing gender issues. Various artistic works, including films, plays, and paintings, have explored the role of androgyny in sexual identity and the balance between masculine and feminine qualities. The concept of androgyny in cinema and art can serve as a tool for cultural and sociological analysis. Analyzing artistic works focusing on characters and narratives with androgynous features can contribute to a deeper understanding of the role of gender and gender identity in modern societies. "Blue Veil" and "Café Transit" are both films that discuss issues of gender, sexual identity, and the balance between masculine and feminine qualities in traditional and modern societies. In these two films, the concept of androgyny plays a key role in character portrayal and the expression of gender issues. Overall, these films realistically and deeply explore gender issues and the balance between masculine and feminine qualities in Iranian society, highlighting the significant role of androgyny in cinema and art.Research Problem: The problem of this research is to examine the role and importance of the term androgyny in culture and art. In this regard, the research investigates the role and impact of this term on the characters of Noor, Rasool, and Reyhan in the films "Café Transit" and "Blue Veil." This research focuses on these three main characters and attempts to provide a deeper understanding of the role of these features in their personalities by analyzing the androgynous characteristics in them. The analysis of these characters, including their relationships and interactions in the story, their behaviors, and their impact on the flow of the films, will be the focus of discussion and investigation in the research.

This research is conducted using a descriptive and analytical approach, meaning that it examines and describes various details and aspects related to the subject and then seeks a deeper understanding of the phenomenon through the analysis of this information. The films "Café Transit" and "Blue Veil" have been selected as study samples because their main characters have androgynous gender. In other words, they have mixed or indeterminate gender characteristics. These films have been carefully examined to analyze the process of gender transformations and gender roles in different environments. Thus, the researchers aim to provide a deeper understanding of the role of gender in different societies through these films. Documentary research and text analysis methods have been used to gather information. This means that the research has collected and analyzed the necessary information based on various textual sources such as relevant books and articles on the subject under discussion. These sources include previous studies, cultural and gender research in theoretical texts, and other sources related to the topic.

The main objective of this research is to examine and analyze the androgynous characteristics in the main characters of the films "Café Transit" and "Blue Veil." This research seeks to provide a better understanding of the role and impact of these features in the story and the evolution of the characters under study through in-depth study and careful analysis.Research Question: The research seeks to answer the question of how we can identify androgynous concepts in the characters of the films "Café Transit" and "Blue Veil"? How can androgynous characters in films be introduced as representatives of societies with cultural and gender diversity?

The results of this research indicate that various factors, including family, culture, society, economy, and life events, influence the development of personality and gender roles. In this regard, the characters under study make decisions based on their values and personal desires, avoiding conformity to traditions and others' expectations. The analysis of the characters under study shows that with cultural and social compatibility, they contribute to a deeper and more realistic story and help society accept diversity and differences. These results help strengthen ideas of acceptance and reinforce human values in different societies, helping social structures adapt to diversity and differences.

The movie poster is a visual tool that can play an important role in attracting the audience and persuading them to watch the movie. An evaluation of movie posters can be implemented in different ways. Kress and Van Leeuwen 's visual grammar is one of the appropriate frameworks for purpose of evaluation. This framework examines images from the following perspectives: representational meaning, interactive meaning, and compositional meaning. Analyzing and understanding the meaning in multimodal texts 6can be useful in evaluating the success or failure of this tool in transmitting information in a movie poster.

This method has not been used for analysis of Iranian film posters. There are some related forein articles to this work as below.María Martínez Lirola (2016) in "Multimodal analysis of a sample of political posters in Ireland during and after the Celtic Tiger" analyzed political posters based on Kress and van Leeuwen’s visual grammar . The study pointed out that the poster is a powerful tool that can be used in election campaigns to highlight the power of political parties.  In another study, Menguyan Bi (2019) in "Multimodal Discourse Analysis of News Pictures" took the visual grammar as the theoretical framework and said that it has a good explanation of meaning. The results showed that visual grammar is feasible and operational in the analysis of multimodal news texts. Huafang Hu (2019) in a study entitled "A Multimodal Discourse Analysis of Movie Posters Based on Visual Grammar" conducted a multimodal analysis of the movie poster Youth and cited that analysis and interpretation of the composition of multimodal meaning of the movie poster not only help the readers deeply understand the connotation of the movie, but also help readers improve their cognition of multimodal discourse. In another study in 2020, Saputra and Rosa used multimodal analysis in Man of Steel and Avengers Infinity Wars movie posters. The researchers found 6 types of elements of multimodal in Man of Steel and Avengers Infinity Wars posters such as material, behavioral, mental, identifying, attributive, and intensive. Nguyen Thi Thuy Linh (2021) in "A MULTIMODAL DISCOURSE ANALYSIS OF ROMANTIC COMEDY MOVIE POSTERS" concluded the theoretical framework, Visual Grammar, with its well-structured system, provides a powerful tool to break visual images into different elements and construe their meanings. Ghaleb Rabab'ah (2021) in "A Multimodal Discourse Analysis of English Posters in Violence Awareness Campaigns against Women" said that the qualitative analysis of the yielded results was couched with Kress and Van Leeuwen’s framework and indicated that English posters employed a variety of semiotic modes. By the same token, the yielded results indicated that the majority of the sampled posters are conceptual. Such visual characterization demonstrates that the English posters tend to be static and immovable. Wenbo Zhao (2021) in "Multimodal Visual Grammar Analysis of Chinese Martial Arts Movie Posters" applied visual grammar to analyze the poster of Crouching Tiger Hidden Dragon and the results pointed out that through the observation of the compositional meaning in the case, the characters or main images are placed in the central position of the visual space to attract the attention of the audience to the greatest extent, so as to achieve its specific visual communication and marketing purposes. Zhuyan Peng (2022) in "A Multimodal Discourse Analysis of Movie Posters from the Perspective of Visual Grammar — A Case Study of "Hi, Mom"" said that as a common multimodal expression mode in the film propaganda, it is important to analyze and study the posters from the visual grammar theory.  Qianru Qiu, Xueting Wang and Mayu Otani (2023) in "Multimodal Color Recommendation in Vector Graphic Documents" said Color selection plays a critical role in graphic document design and requires sufficient consideration of various contexts. Pengfei Zhang (2022) in "Visual Grammar in Multimodal Discourse: A Case Study of Nezha's Poster Images" concluded that a comprehensive analysis of visual grammar in multimodal discourse can not only foster a more profound understanding of the themes and connotations of Nezha's posters, but also signal an aesthetic evolution under changing times, thereby providing inspiration for contemporary poster designs and cultural transmissions.Purpose and question of the research: The question of the current study is how visual grammar occurs in posters. The purpose of this research is to examine each of the three meanings of the visual grammar point of view in the formation of meaning.

The method of this research is descriptive and the study sample is the poster of Kupal and Each of the three dimensions of visual grammar are studied on this poster. 

The findings of the present research show that although the cultural and social context can lead to different interpretations in the analysis of meaning, , it is possible to have a correct interpretation of meaning by paying attention to both fixed principles and contextual aspects. In the Kupal movie poster, from the point of view of the meaning of representation, the movement vectors are moving from the eyes of the participant in the image to the audience. Also, the participant shows the state of demand, personal, involvement and equality from the point of view of interactive meaning. Due to the centrality of the image and information, the accuracy of the information on the right and left side of the image is equal, and the short sentence above has the most importance, followed by the participant's image, the English title of the film, the director's name, and finally other casts are placed in lower degrees of importance.

Japan has been one of the export destinations of Persian carpets and has purchased a significant number of Persian carpets in recent years. Given that the criteria and reasons consumers choose carpets have a direct effect on the level of demand and supply, identifying and being aware of those standards and criteria is important and necessary for the manufacturers. The purpose of the present study is to study the cultural characteristics of Japan as one of the factors affecting the selection and purchase of carpets. For this purpose, this article studies the culture of both countries of Iran and Japan focusing on their cultural similarities and differences, and tries to explain the relationship between Japanese culture and people's taste in using carpet. The research data has been obtained through face-to-face conversations with carpet manufacturers and traders and the publication of a questionnaire which has been carefully examined. The results indicate that the culture of the destination country (Japan) can affect the choice and taste of consumers. Culture is used indirectly by applying the views of Japanese experts on exported Persian carpets. However, in the current products, the manufacturers of handmade carpets have not been able to implement the culture and point of view of the Japanese people in their products. Therefore, according toJapanese businessmen and Persian carpet exporters, more attention should be paid to this matter to stabilize the rank of Persian carpets in the expected market.Many consumers of works of art who have a different culture from the creators or manufacturers of the work do not pay much attention to matching and harmonizing their taste with the taste of the creators, and having a work of art from a culture other than their own can be considered the most important reason for buying or preparing works of art. But when it comes to the practical use of a product with practical and artistic features, criteria for choosing and purchasing become important because products that have practical and artistic features provide both material needs (as a means of livelihood) and spiritual needs (in line with the need of beauty and friendship) for those who are interested and consumers. Although these criteria are primarily related to the conditions and place of life and the material use of the product, since the living conditions of any society have a direct relationship with the cultural features of that society, it also affects the choice and purchasing criteria of the products used. On the other hand, it urges the creators of the works not to be indifferent to the cultural features of the consumer society in order to attract more audiences.Culture has many indicators, and failure to pay attention to any of these indicators will cause the failure of sales of products, produced in one country to export to another country. Therefore, before producing the product, the cultural compatibility of the product in the destination country should be checked. Based on the cultural indicators of that country, the manufacturer proceeded to produce the product in a targeted manner.The Persian carpet is a product that has two practical and artistic aspects. This product, whether it is one of the necessary means needed in life or a work of art, has for many years exceeded the scope of use by the people who produce it, beyond the geographical boundaries of production, and by exporting it as a commercial product to different countries and even continents, it is used by people with different lifestyles and aesthetic tastes. In the traditional way of exporting carpets, which has been customary in Iran for a long time, the factor of culture has not been comprehensively studied. In some cases, this neglect has caused irreparable damage to exports.Since the amount and volume of exports of this commercial product play a significant role in Iran's economy, it becomes important and necessary to identify factors such as cultural components that affect consumers' interest and the actual amount of carpet exports.Research Questions: Which aspect of Persian carpet production is prone to direct or indirect susceptibility from Japanese culture?Which part of the production process of handmade carpets is compatible with the culture of the mentioned country?What are the opportunities and challenges of Persian carpet manufacturers and exporters facing the consumers of this product in Japan?

 Current research uses the survey method to apply the opinions of experts in this field and analyze the information according to the dependent variables, including the type of raw materials of the carpet (wool, silk, cotton), the dimensions of the carpet, the design and pattern (medallion design-corner and hunting ground, etc.), dyeing and weaving style (urban, rural, nomadic).Research data has been collected through interviews and questionnaires and has been carefully analyzed. For this purpose, the manufacturers, exporters, and sellers of Persian carpets who have had a direct relationship with the culture of Japan (some Iranian and some Japanese) were considered as the statistical population, and the sampling was done by quota and purposive method.Also, the data from the questionnaire was analyzed in 2021 using descriptive-inferential statistics by SPSS 26 software, the Cronbach's alpha coefficient was 0.667, which means moderate reliability.

 Despite its very limited release, the movie "Chess of the Wind" has garnered the attention of a significant number of critics. The director of this film, Mohammed Reza Aslani, who is one of the directors of the new wave of Iranian cinema, aimed to create an atmosphere reminiscent of Iranian society in the 1970s. He has mentioned that his film is not only inspired by the paintings of Georges De la Tour, a 17th-century French painter but also is an adaptation of the painting "The Derivation" by Mahmoud Khān Malek al-Sho‘arā, also known as "Sharif," who was a painter and poet of the Qajar period. Two versions of this painting, which could have marked the beginning of the modern period of painting in Iran, are available in watercolor and oil. They were created several years apart. If the viewer of the movie "Chess of the Wind" is aware of the impact of the "The Derivation" panel on this film, they can understand the resemblance by considering the similarities in light, color, shadow, mise-en-scène, storytelling, drama in the panel, and even the arrangement of objects in a particular frame. According to the director of the film, the similarities between the film and the tableau, the bright and intense shadows in this panel, and the sitting position of the characters in it evoke a conspiratorial atmosphere which is similar to the plot of the film “Chess of the Wind”.

Research Problem:

 Nevertheless, the proof of the effect of the painting on the film should be studied from a scientific point of view. In this article, an attempt has been made to use Gerard Genette's theory of Intertextuality by analyzing "The Derivation" painting and comparing it with a scene from the film “Chess of the Wind”, to show in what ways the film is similar to the painting and this work of art and to what extent was it able to create another work?

 When painters came to the cinema, they inevitably brought different ideas and methods to the cinema compared to other filmmakers. The plot and the height of excitement were not among their preoccupations. “Painters look at film as visual art" (Barno, 2014, 125). They checked the details of each frame; they had an artistic look for every arrangement, color, and lighting, and the film was not only a medium for telling stories. This movement, which occurs over time, is the result of well-balanced and coherent editing of visual forms. "If we take the element of motion and the residual factor of the image from the cinema, each frame of its image can be examined and analyzed with a visual look and painting and photography approaches" (Abdul Hosseini, 2007, 70). The term "painterly" refers to films with images resembling paintings, while "photographic" describes films with images closely related to photography. If we accept that "the most important effect of painting in cinema should be found in mise-en-scène. After watching the movie, we may not remember the cuts or the camera movements, the blur, or the sound outside the image, but we will remember the mise-en-scène elements. We have not forgotten about the wasted clothes. Most of the lasting memories of the cinema are related to the mise-en-scène element" (Bordwell, 1998, 157). If we consider this, it seems likely that the audience may not recall much about the story or narrative of the film after a few years, but they will remember the images. This is because images have a powerful impact on our emotions. It is the same effect that paintings have on their viewers. It is for this reason that filmmakers such as Godard and Pasolini have been employed in the work of cinematographers, who attach more importance to mise-en-scène and the visual aspect than the screenplay. Despite this, “In some cases, the tableau is integrated into the story and even becomes an important element of it, but in a distinguishing and hidden way” (Bonitzer , 2019,28). "Sometimes the audience does not notice the presence or trace of a painting in the film, but still, the work of art borrowed from it has its effect, or we see a plan corresponding to it in the film, and sometimes the only atmosphere that dominates the film is inspired by a painting" (Piraish Moghadam, 2019, 5). So, the impact cinema has on painting can be examined from different perspectives and addressed; however, in this article, the main goal is to investigate the influence of The Derivation painting on the film Chess of the Wind, concerning the plan that directly refers to the tableau.

After the first importation of gramophone records, the Iranian government banned some music styles for the first time in 1931. In the 1930s, the government examined the lyrics of songs to prevent connection with communist ideology. On the other hand, in the 1980s and 1990s, the Iranian government banned some musical genres such as rock and later hip-hop, because since the Islamic Revolution, America and its cultural products were considered an imperialist power. 

This article examines two periods in which the Iranian government banned some genres of music. First, the 1930s are considered. After the import of foreign gramophone records, the Iranian government prohibited some music styles for the first time in 1931. These regulations targeted recordings with communist content. The second period refers to the current musical life in Iranian society. "Musicians from certain Western European and American music genres, such as rock, hip-hop, and country, are not officially recognized and are not allowed to work due to the cultural policies in Iran since the Islamic Revolution, where America is considered an imperialist power."

This article is considered a qualitative research study. Regarding methodology, the theoretical framework section is based on library studies. Data collection in the results section is based on fieldwork, ethnography, netnography, and library studies.

Gramophone records can be considered as the dominant audio medium during the reign of Pahlavi I (1925-1941) because there was no national radio station in Iran at that time. Wide acceptance of these recordings in Iranian society led to regulatory measures by the government. The government was concerned about the expansion of gramophone records in Iranian society, so it intervened in the recording industry by setting up a regulation for it. With this, the government no longer allocated the affairs of the recording industry to the field of culture, but to the field of security. As a result, the recording industry came under the supervision of the Ministry of Interior and the police and was managed by them. Another set of regulations was approved by the cabinet on July 18, 1931. According to this regulation, recordings whose content was politically communist and socialist were classified as politically harmful and were prevented from entering Iran.The place of music after the Islamic revolution is highly dependent on the place of music in Islam. The more stable the new cultural policy became after the revolution, the more the limitations of music life became. These restrictions were caused by some religious interpretations that considered music haram. In addition to religious reasons, these restrictions also had a political background. Western populist music was seen as a symbol of the modernized politics of the Shah's regime. After the 1997 presidential election, Iranian music, especially popular Iranian music, was transformed. At the beginning of the 21st century, pop music was a well-known concept in Iran's cultural policy. However, the genres of hip-hop, rock, and country were not recognized by Iran's cultural policy and were classified as imperialist culture.Rock music, despite all the restrictions, managed to find some freedom in the late 1990s. But in general, it was not common for rock bands to get a publishing license. As a result, many bands abandoned their formal activities and instead used the Internet as a new way to connect with audiences. Rock music was undoubtedly famous among the youth in the 2000s. In this situation, cultural politicians implemented a new strategy. Music custodians in the government promoted an official rock scene in Iran that was neither strongly political nor critical. The protesting nature of informal rock music turned into lyrical and mystical content.The roots of hip-hop in Iran go back abroad to an Iranian group called Sandy in Los Angeles in the early 1990s. Like rock music, the Internet also played a significant role in the spread of this genre of music. Iranian hip-hop music is divided into the following categories in terms of content and discourse: pleasure, street rap, radical protest, 6/8, critical-moral, Islamism, women's rights, and women's homosexuality.The focus of this article on country music as a research topic about imperial music genres is because the author came across an album in this genre that was published on Instagram. Mehrshad Vafaei released the album "From the Lute Desert to Arizona" in 2019, which is remarkable, because this album was released unofficially. It is safe to say that no such album has been released after the Islamic Revolution. This album contains ten songs, six of which are in Persian. Mehrshad Vafai released this album in collaboration with American musician Jerome Parker Wells. This cooperation is culturally and politically significant. As a part of the Fajr Music Festival, Jazz American Animation Group was exceptionally present in Tehran in 2015. This is an unprecedented issue and no band from America had the opportunity to participate in this festival. In addition to this political dimension, the presence of the American music group in Iran also has a cultural dimension, which ultimately led to the cooperation between Mehrshad Vafaei and American musicians. This is another aspect of globalization based on the theory of Arjun Appadurai, which is based on ethnic and technological landscape. Mehrshad Vafaei plans to create a kind of Iranian country music. Globalization happened in the first album of Mehrshad Vafaei at the textual level. At the musical level, this issue is not recognizable. Mehrshad Vafaei faced plenty of opposition when releasing his album because country music was unacceptable to the Ministry of Culture and Islamic Guidance. The relevant commission, which evaluates applications for the release of albums in terms of music and lyrics, rejected the use of the "Country" name. They thought the word sounded too American.

Applying the right principles and rules in creating vocal music can help to combine poetry and music as much as possible, including observing the rules of stress and pitch of words in music. Khanlari categorizes stress into two types. The first type is Stress Accent, where when pronouncing several successive syllables, one of them is pronounced with more force as the breath exits. The second type is Pitch Accent, where the stressed syllable is emphasized in Persian words by increasing the volume and frequency, the latter is considered as the type of stress which is used in Persian today. In addition, Dehlavi believes that emphasis is a type of stress that is placed on the word instead of the syllable so that the desired concept is better conveyed to the audienceResearch Problem: Creating vocal music has accompanied two general looks along the history of music. One has taken music as subordinate to poetry and another has considered poetry as subordinate to music. In serving music for a poem, using a series of suitable principles and rules can help to combine poetry and music, or at least combine them as much as possible by observing rules of stress and pitch of sounds of poetic words in music.The meter of music and the melodic curve can have a determinative role, Correct use of stress and pitch in music can effectively convey the meaning and concept of the poem to the listener. As Khanlari noted: "When we pronounce a word, all syllables that are in it, are not pronounced to the same degree of clarity and salience, but one syllable is more salient and that is called stress". He categorizes stress into two types. The first type is Stress Accent, where when pronouncing several successive syllables, one of them is pronounced with more force as the breath exits. The second type is Pitch Accent, where the stressed syllable is emphasized in Persian words by increasing the volume and frequency, causing the sound to become deeper or bass when pronouncing that syllable. In addition to this, Dehlavi utters regarding stress: "Stress is a type of accent placed on a word instead of a syllable, which helps convey the concept better to the listener.". Most linguists believe that applying stress on one syllable is due to the occurring severity of a syllable, but Khanlari knows the nature of Persian stress as due to soprano and bass changes of sound. The question being discussed is whether poetry or words should take precedence in music. Furthermore, how should the pitch and syllables of words in a poem be utilized to maintain the synonymous and co-conceptual nature of the verse while also allowing for unlimited melodic creating capabilities without restricting the freedom of the melodic curve. This research is considered to be practical in terms of its purpose, which was carried out to properly use the stress and pitch of poetry and speech in vocal music works, especially the production of Iranian metrical music works. The data collection method is descriptive-analytical. This means that firstly, the research of two experts in the field of literature and music, who have provided an opinion on pitch and stress, are described, and then, in addition to library research, examining the metrical corners of the vocal music of Iran and the written works of late Qajar composers such as Ali Akbar Sheida, Aref Qazvini, and Amir Jahed have been analyzed. The meter of a poem and the rhythm of its words are determined by the stress on certain syllables, although in most poems, there is a pitch accent. Unlike Khanlari's opinion, this type of accent has not been used in all poems in an orderly and continuous manner. Therefore, pitch cannot be taken into account as a stress, and the main factor in stress is the same severity as the pitch in an accent. This is necessary, as much as possible, in music, whether with the meter of a poem or another meter. Stressed syllables are placed on the first beat of the bar.Also, contrary to Dehlavi's opinion, the stress cannot be placed on the word because the word consists of several syllables and the stress can only be placed on one of the syllables. Sometimes, the sound pitch of a syllable of a word is changed proportionally to the changing role of that word in a sentence, changing the meaning and concept of verse of a poem. In this case, this change must also be observed in music so that the meaning and concept of a poem are transferred to the addressee truthfully. The stress described by Dehlavi does not emphasize a word itself, but rather on the change in sound pitch of the last syllable of the word. This means that the descending sound pitch of the last syllable of the word is transformed into an ascending sound pitch. In a definition provided by Khanlari, a pitch accent is defined as the same as stress accent, but with an ascending pitch. This means that pitch accent has severity, similar to an ascending pitch. Given this, why do we call it pitch accent when it has severity? In combining poetry and music, stress accent can play a determinative role in the meter of music, sound pitch, and music interval. The meter of music can be determined based on the main meter of the poem, i.e., the same meter obtained from the stress accent of some syllables or by a change in the quantity of some syllables; other suitable meters can be considered as well. In any case, syllables with stress accents should be placed in the first beat of the barring of music.In addition to this, there is a sound pitch between the syllables of words, whether descending or ascending. It is always necessary to observe the sound pitch of syllables of words, and it should be proportional to the changing role of that word in a sentence. This is essential in melody, as it transfers the meaning and concept of a sentence to the listener. Additionally, Dehlavi's definition which states that stress is a type of accent placed on a word instead of a syllable cannot be used in this regard. The given stress of Dehlavi is taken into account as the changing role of a word, meaning that the changing sound pitch of the last syllable of a word goes from descending to ascending.

The presence and application of semiotics in our surroundings are evident. Signs are used extensively throughout life, including in art. One of the prominent areas of their use in art is cinema and the film industry. Utilizing signs in this field not only aids in conveying concepts implicitly and indirectly but also serves to express various ideologies. Thus, interpreting works from this perspective can significantly help us understand and grasp the main concept.Mani Haghighi, the director of the film "A Dragon Arrives", has used his artistic and philosophical background, as well as his knowledge of semiotics, to provide an opportunity for us to explore signs and embedded concepts within the layers of the film. 

This article aims to introduce readers to the main ideas of semiotics and to analyze the film "A Dragon Arrives" from a semiotic perspective, allowing for a better understanding of the signs and the film itself.

The research method in this study is descriptive-analytical and aims to discover and explain the relationships between phenomena and signs present in the film. This work was conducted using library methods, supported by articles, existing books, and by studying visual information. 

The findings of this research indicate that the director has used various signs, from character creation to the underlying layers of his work, to convey concepts. Even the environment in which the film's world is being shaped has been chosen with consideration of these tools, that is, signs and implicit concept conveyance.In the film "A Dragon Arrives" signs are extensively used and can be seen and interpreted throughout the entire story. Certainly, this extent of sign usage, as well as the methods of their use—especially those with metaphysical properties and drawing from local or historical traditions—are very influential in the storyline or, better to say, in the understanding of the story. Upon initial viewing, the film may come across as a complex crime drama with a non-linear, postmodern narrative. However, a closer analysis of the film reveals themes such as alienation, ignorance, superstition, and most importantly, the concept of death. Death is sometimes portrayed so alien and majestic that it has transformative effects on lives like an earthquake, sometimes so soothing that escaping it becomes difficult, and sometimes so ordinary and insignificant that it seems no one notices it.Moreover, analyzing the reactions of different character types to the same issue and their various responses becomes easier after interpreting the signs. This makes the characters’ developmental trajectory, collapse, and growth throughout the story more tangible, providing valuable information to the audience, especially considering that individuals might encounter and interact with such characters daily. Additionally, the use of signs and their application to define a multi-layered and complete story signifies the director’s mastery and skill in his craft. The issues raised in the film cannot be easily overlooked, and each can be the subject of extensive discussion, which alone is a valuable act of reminding the audience.Mani Haghighi's "A Dragon Arrives" stands as a testament to the director’s ability to intertwine semiotic elements with cinematic storytelling. The film becomes a fertile ground for semiotic analysis, offering viewers a layered narrative rich in hidden meanings and symbols. By delving into these layers, one uncovers a deeper understanding of not just the film but also the broader implications of the signs and symbols in our everyday lives. The use of semiotics in this film is not merely a stylistic choice but a profound method to engage the audience on a more intellectual level, prompting them to reflect on the underlying messages conveyed through the narrative.In conclusion, the application of semiotics in cinema, exemplified by "A Dragon Arrives", highlights the significance of signs in enhancing the depth and meaning of a film. The director's adept use of semiotic elements not only enriches the narrative but also invites the audience to engage in a more thoughtful and analytical viewing experience. By recognizing and interpreting these signs, viewers can gain a deeper appreciation of the film's themes and the director's artistic intentions. This approach underscores the importance of semiotics in the broader context of art and communication, offering valuable insights into how meaning is constructed and conveyed in various forms of media. Thus, the study of semiotics in films like "A Dragon Arrives!" is crucial for both filmmakers and audiences, fostering a richer understanding of the intricate layers of meaning that lie beneath the surface of cinematic works.

The role of strange creatures in global popular culture has been significant for a long time. They are particularly prominent in ancient Iran due to the original and folk culture, with many manuscript findings left behind. These manuscripts contain strange legends and stories depicted with humans, animals, and strange images. This research examines the similarities and differences between Mohammad-ibn Zakaria Qazvini’s book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" (678 A.H.) and the animated series "Arabian Nights: The Adventures of Sinbad" directed by Fumio Kurokawa (1975 A.D.), both of which contain numerous fantastic images and stories. The book "One Thousand and One Nights" is one of the common points between these two works, which includes various stories and anecdotes about the presence of demons and giants. This book, which has a long history, has played an important role in showing the wonders of creatures in the book of Qazvini and in the animation of Sinbad. The purpose of this article is to study the re-creation of the appearances of strange creatures taken from the book mentioned in this animation to show the capabilities of this book in creating animated works and using folk literature and ancient Iranian legends. This research is descriptive and analytical. During the visual comparison of both works, it was found that Qazvini's book and Kurokawa's animation both depict strange creatures despite being set several centuries apart. The creatures have retained their inherent identities and have not changed in form, nature, behavior, and personality characteristics. The works display a creative approach and utilize different performance techniques to tell the story. Strange creatures have been mentioned in many books, Especially in Qazvini's book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" which deals in detail with celestial, terrestrial, plant, and sea creatures in four sections. This issue has been analyzed and reviewed in books. For example, Parviz Tanavoli has pointed out the importance of magical objects and the use of images of strange creatures in changing people's attitudes in the book "Talisman: Traditional Iranian Graphics."  Imagery dates back to the Neolithic, when early humans in Lascaux Cave used images to express emotions and tell stories. These efforts, along with the development of different beliefs and religions, led to the creation of oral literature and folk tales. The rise of Islam strengthened this trend, and several books were written on the subject of clairvoyance, including " Ajayeb al-Makhluqat va Qarayeb al-Mojudat " by Qazvini which deals with strange creatures. The human soul is fascinated by strange things (Ibn Khaldoun, 1996, 17). These are the classic texts of the life experiences of our fathers that have been handed down to us (Barati, 2019, 66).Wonders in the New Age: Observing and examining the ancient books and artworks sparks inquiries about their origins and the intentions behind these representations. What is the description of the illustrations drawn in the wonder books? Where did the strange creatures come from and based on what thinking? McHale believes that in a parallel world, supernatural beings and phenomena exist, and many ancient philosophers and artists attributed these inspirations to gods and myths. Some books not only reference these creatures in the past but also predict their presence in the future (Kingsley, 2015, 128). Today, there is fierce competition in the film industry to create unique creatures, which have evolved into modern video characters. In 1896, Georges Méliès created the first spark in the horror genre of cinema with the film "House of the Devil," which featured supernatural elements such as demons and witches (Barnes, 1998, 144-154).The Wonders of the Creatures in Sinbad Animation: In the course of this study, an analysis was conducted to compare the visual and thematic elements present in the illustrations featured in Qazvini's work, "Ajayeb al-Makhluqat va Qarayeb al-Mojudat," with the animated representation of "The Arabian Nights: The Adventures of Sinbad." Specifically, the examination focused on entities such as a large whale, a colossal bird, a Dualpa demon, a jinn and a giant, a dragon, and a massive serpent. Qazvini's use of subdued color palettes and curved lines in the illustrations contrasted with Sinbad's two-dimensional approach, vibrant colors, and simplified lines in the animation. Both depictions capture a shared subject matter, exhibiting distinct artistic paradigms and intentions across disparate temporal contexts. Miracles and strange creatures have been created by the human mind and are passed down through history, rewritten from hand to hand through manuscripts and different copies. These wonders have existed among people for thousands of years. They are recognized in the modern era, and cinema has transformed imagination into a precious industry. Iran possesses numerous literary and cultural resources full of ancient ideas. Cinematographers are expected to produce valuable works based on ancient folk literature that can showcase authentic Iranian culture. A comparison of the image and content between the book "Ajayeb al-Makhluqat va Qarayeb al-Mojudat" and the Sinbad animation revealed that although both works deal with relatively similar topics, the performance technique has evolved according to the audience's taste and the needs of the time. This evolution has helped maintain the value of these stories throughout history, preserving their beauty and influence while passing them down from one generation to another.

As per Pierre Bourdieu's sociology of art, the wall paintings or the murals in Valiasr Square can be seen as a display of the role and significance of art in society and culture. These murals are not only considered as pieces of art but also as a means of communication and social interaction. Emphasizing the social role of art, Bourdieu believes that art is not only a creative act but also plays an important role in influencing societies and cultures. From this viewpoint, the wall paintings of Valiasr Square can act as a means to communicate with society and convey social, cultural, and artistic messages to the audience. Bourdieu is also concerned with the effects of power in society and believes that art can act as a means of confronting incompatible social and political powers. Therefore, the murals of Valiasr Square can be used as a public space for discussing and criticizing social and political issues. According to Bourdieu's analysis, the wall paintings of Valiasr Square in Tehran can act as a context for discussion and opinion exchange, which affects social behavior and attitudes in society. Also, these wall paintings may be known as a mirror to reflect society's issues and an opportunity to express different identities and opinions in the public space of citizens.Research Problem: After the revolution, the art field was reorganized in the country, and its connections with other fields and social spheres developed over time. Within this new field, artists and mural painters worked to build political, cultural, material, and artistic values, aiming to occupy a significant social space and adapt to changes. These specific features led to changes in the art of painting after the revolution (Zangi et al., 2011: 86). Sociology, on the other hand, is the scientific study of societies, social life, and the examination of the laws governing societies. The current research aims to examine wall paintings from a sociological perspective, focusing on their social impacts, communicative potential, and action potential rather than their physical definition. This article analyzes the murals in Valiasr Square based on Pierre Bourdieu's theory. The upcoming research will focus on the sociological study and analysis of these murals, aiming to understand how they represent social, cultural, economic, and symbolic relationships at national and international levels.

The upcoming research is descriptive-analytical in nature and method. The writer has used the findings from the research background to address the research questions. The information was collected from the library, including articles, books, and scientific documents, as well as from the global Internet network. Due to the large volume of murals in Valiasr Square, the author will selectively examine ten of them. Therefore, a non-probability sampling strategy will be used.

The artist is influenced by the conditions, events, and atmosphere of society through interactions with their surroundings. An analysis of the murals in Valiasr Square demonstrates the abundance of social, cultural, economic, and symbolic elements that display authority, solidarity, unity, and more. The artists have created insightful murals by incorporating these elements. Many of these wall paintings convey a significant cultural statement on an international level. In addition to utilizing social, cultural, and lleconomic values, the creators have employed symbolic worthiness through allegorization to enhance the impact on the audience. The subjects depicted in the Valiasr murals often reflect the conditions and events in national and international society.Valiasr Square is one of the most important squares in Tehran, famous for its historical and cultural significance. The wall paintings of this square play an important role in representing social, cultural, economic, and symbolic relations. They serve as a means of communication with society, drawing attention to social and cultural issues and conveying various messages, including social, cultural, artistic, and political ones. Situated in the heart of Tehran, the murals in Valiasr Square have a significant impact on the social and cultural fabric of the city and the country. They also symbolize Tehran and Iran on the international stage and contribute to promoting the cultural and historical identity of the region.

Nowadays, murals serve as a medium for competing for economic, cultural, social, and symbolic influence. The research describes the different types of values involved, focusing on their impact on the wall paintings of Valiasr Square. The cultural representation of these wall paintings is influenced by current political and cultural attitudes that oppose Western and non-Iranian culture (Modernism). While economic values did not play a significant role in creating the Valiasr Square mural, the competition was centered on acquiring social, cultural, and symbolic values. These values are rooted in the ideals of the Islamic Revolution, defense of the Islamic homeland, and the importance of family. Therefore, it is reasonable to expect that symbolic, cultural, and social values have the largest impact on the murals.

The concept of love has been challenging human logic and emotions since ancient times. Despite all studies and experiences, this concept still does not have a comprehensive definition in the world but it includes many humanistic issues and relationships. Scientists of various theoretical and practical sciences have been dealing with this topic for a long time, and in this research, the ideas of two of them have been reconciled. These two scientists are Wong Kar Wai, a renowned Hong Kong director known for his distinctive work style, and Abul Fatah Ahmad bin Muhammad bin Ahmad Ghazali, a great mystic from the late 5th and early 6th centuries. According to different requirements, the views on love are various, including religious beliefs, geographical conditions, intellectual development of the society, etc. It seems that these two thinkers, despite several centuries of time gap and thousands of Kilometers of spatial distance, have many points in common in this case, which can be due to the Eastern view (in the general sense) of love, but the reasons of these similarities are not the subject of the present discussion. This research aims to write dramatic texts (both plays and screenplays) that are deeper than the texts which are on the surface and so-called body, especially about love, which is the subject of Persian classical literature, for example, the prose of mystical messengers can be helpful in different ways. This research uses the library method and deductive reasoning with the movie script to demonstrate that elements within our classical literature, while not inherently dramatic, can serve as a solid basis for developing successful dramatic texts.

The Book of Swaneh is the first Persian written treatise that only talks about love and has had a great impact on similar texts in the future. Examining this book is not possible only by interpreting the meaning of the words, and due to the existence of mystical beliefs, it needs a mystical explanation, which Riazi and Mujahed have done. In this regard, articles have been written about Sheikh Ahmad's book and beliefs, which have been used for a correct understanding of her words, such as Sarati and Shakeri.

The movie "In the Mood for Love" is generally considered a successful movie in terms of reception by experts and critics, which achieves its purpose through the poetic use of the concept of love. This research is trying to express the beauty and potential of Eastern love (Whether Ghazali wrote it or Wong Kar Wai) and show its capabilities to create a magnificent dramatic work that can compete with Western versions. Meanwhile, their differences are also identified.

First, it should be determined whether these two texts are compatible at all, or in other words, whether they are congruent or not. For instance, it should be proved that Ghazali also talks about material love like Wai. Of course, Ghazali's intended love is more sublime, but according to himself, it also includes physical love for humans and has no limited direction. After proving compatibility, a comparative analysis has been done.

The results indicate that issues such as separation, connection, relationship between the lover and the beloved, destiny, and mechanisms of love are very similar in two texts. These similarities show their differences compared to Western and Hollywood love, which is the result of the way different cultures look at the issue of love. One is pure, sublime, spiritual and gentle, and the other is physical, humanistic, material, and wild.

The author can create a work that has something to say in the world of cinema and theater by using the capabilities of Persian romantic-mystical texts. The witness of this is the Wai’s movie, which is similar to Sawaneh in many ways.

In the history of Islamic art, artists have consistently used religious and mystical themes as the basis for their creations. The depiction of the Prophet Muhammad's ascension (Mi'raj) is one such subject. Existing works on the theme of ascension, considering various stylistic characteristics and influenced by the intellectual conditions of their time, have similarities and differences in terms of method and execution. The ascension miniatures in Nizami's Khamsa and four wall paintings in Guilan shrines are among these works. The main objectives of this research are to gain a deep understanding of the ascension miniatures and to discover the relationships between the elements of the two visual texts, as well as the extent of the influence of the Khamsa ascension miniature on the wall paintings of Guilan shrines. This research seeks to answer the following questions: 1- What similarities and differences exist between the ascension miniatures in Nizami's Khamsa by Sultan Muhammad and the wall paintings of Guilan shrines in terms of visual and structural elements? 2- From the perspective of Gérard Genette's hypertextuality theory, to what extent has the Khamsa ascension miniature influenced the wall paintings of Guilan shrines? This research adopts a descriptive-analytical approach based on Gérard Genette's theory of hypertextuality. The method of collecting data is the library method and the analysis is qualitative. The results of this research suggest that while drawing from and being influenced by the visual characteristics, concepts, and themes of some past or concurrent and parallel artistic movements, the shrine painter has been able to create a novel combination of a distinctive folk style. Also, in the Ascension of Sultan Muhammad and the murals, even though both paintings have a similar meaning in terms of subject and content, the use of visual elements and visual arrangements is not in the same form considering the context and background created. Both visual works show a different way of narration and artistic quality.

In traditional Iranian architecture, numerous elements are responsible for both function and aesthetic refinement. One such example is the door, which serves as an interface between the interior and exterior, often conveying messages and cultural traits. Doors, as a part of the traditional architectural heritage of Iran, are full of cultural significance.

The entrance door is one of the first architectural elements of traditional Iranian houses that addresses the onlooker. The focus of this research is on the analysis and categorization of the door knockers in Hamedan, particularly in the historic areas of the city. The purpose of this study is to investigate the function of these knockers and to explore the hidden cultural meanings within their forms and decorations.

The theoretical framework of the research is based on typology. The study explores different aspects of phenomena from a typological perspective. The method involved using typology as a tool to understand the cultural significance of knockers. First, typological criteria were established, then knockers from the historic houses of Hamedan were documented through library research, historical studies, and fieldwork observations. Despite the limited number of knockers remaining, detailed documentation and controlled field observations were carried out. The analysis is primarily based on an inductive reasoning approach.

The knockers installed on the wooden doors of houses are a carefully shaped and decorated metal piece used to inform the homeowner of the presence of a stranger or familiar person behind the door. The knocker, also referred to as “Degh-albab,” was influenced by Islamic culture and the observance of modesty, based on maintaining sexual boundaries, and was made separately for men and women. This element was not only decorated according to the formal gender symbols of men and women, but the sound produced by striking the knocker also had a low or high tone corresponding to each gender. As a social convention, each knocker conveyed characteristics of the person standing behind the door. In this way, the door knocker organized cultural behavior concerning the presence of a stranger. In the traditional architecture of Hamedan, maintaining boundaries was considered a cultural necessity. In fact, based on the perception of traditional living, the door, which is regarded as an element defining the inner sanctity of the home, is adorned with another element. By relying on the sound of the knocker to pass through the door, the inner privacy of the home became more concealed, adding another layer to maintaining boundaries.Additionally, other topics of the article explore the craftsmen who created these elements and the location of the male, female, and “stranger’s” knockers. The results of this research showed that carpenters and craftsmen from Hamedan, alongside metalworkers from Esfahan, played a role in creating the form and decorations of the knockers. The size of the knockers, based on the shape of the human hand and related to hand size, did not very much. According to field studies, the knockers installed on the right side were generally shaped like a lion’s head, a clenched fist, or forms symbolizing power and were heavier and more solid compared to those on the left side, producing a deeper sound. However, the knockers on the left side were delicate with forms inspired by a gentle nature, such as angels or a delicate woman’s hand, and when struck, they produced a high-pitched sound, notifying the household of the presence of a woman or a familiar person behind the door. The position of the knockers was at eye level and close to the middle arm of the two wings of the door.In the city’s historical background, knockers were decorated and adorned in various forms. Ring-shaped knockers were made in different shapes, such as hearts, Toranj (a type of geometric pattern), horseshoes, and apples, and were attached to the door by a ring called “Shuleh.” Sometimes, where the Shuleh passed through, two floral arabesques, a dragon’s mouth, or two symmetrical birds were crafted to enhance its beauty. Men’s knockers were often much simpler, sometimes resembling a rectangular cuboid, decorated with engraved intersecting or parallel lines. In examining the decorations of the knockers studied, the Toranj pattern, pomegranate, and sun motifs were repeatedly used in the decoration of Shuleh. For the decoration of women’s knockers (referred to as “Alkeh”), diagonal and parallel lines were engraved on the ring, and some of the knockers were in the shape of pomegranates and Toranj, with some being placed as an inverted Toranj on the Shuleh. However, in all cases, the hollow circular shape was the common form of women’s knockers.With technological advancements, the type of doors has changed, and not only gender but also the identity of the person behind the door is now known to the homeowner. Functionally, there is no longer a need for the knocker to determine whether the person behind the door is a family member or not. However, despite this, many newly constructed houses still have knockers installed, reflecting the continued mental significance of this element. In recent decades, the gender-preserving function of knockers has become irrelevant, with emphasis only on their decorative role. During the Pahlavi era, in some cases, knockers installed on doors were reduced to the simplest form, solely for informing the household of someone’s presence behind the door, but mostly, the doors and knockers were made in pairs.