نشریه رسانه های دیداری و شنیداری
پیاپی 51 (پاییز 1403)

Theater has always been performed based on live, face-to-face communication with the audience until the arrival of television and the creation of a format called teletheater, the direction of production in this field changed in relation to television rules. The growth of technology and the multiplicity of dramatic formats in the late twentieth century reduced the importance of this type of television programming in the world. However, the entry into the post-television era, the increase in media convergence, changes in network broadcasting, and most importantly, the closure of movie theaters during the Corona pandemic, led to the revival of television theater with new rules and the reception of the audience. The research question is: how and with which new theater components have theaters produced in the context of Internet television and new media been presented to audiences? Using qualitative content analysis, this study examines selected teletheaters from the IRIB, UK, Poland, and the US (2019-2023) and seeks to identify the effective components of teletheater in the media formed in the post-television era. Based on the findings, three main approaches to teletheater in this era have been formed depending on the inherent and new characteristics of the media and their different audiences: 1- Teletheaters recreated in the studio with visual and digital tools, 2- Theaters produced for cinema; and 3- Live and non-live recording of stage theaters. In this study and continuing to identify these approaches, the most important effective components of teletheater in the post-television era have been explained in two areas: content and form. Visual narrative of the play, attention to the camera, virtual pause and sharing, television technical knowledge, close-up photography, visual effects, and theatrical/television acting are among the characteristics of teletheater in this era.

Currently, the presence of emerging forms of media and its characteristics (flexibility, diverse content, engagement, interaction, more movements and maneuvers, and broader discourse of users that characterize the use of new media platforms) are considered the main concerns of media practitioners. Since the media, in all its forms, seek to attract the attention of the audience, attracting and retaining the audience for a media such as the Islamic Republic of Iran Broadcasting (IRIB) is also vital. Therefore, identifying the factors that attract the audience is necessary. One of the effective methods for attracting the audience is to use the capacities and opportunities available in social media. In this study, the role that social media can play in attracting the audience for the national media is examined and presented in the form of a model. The research method is qualitative, and it is based on grounded theory. Data were extracted through theoretical sampling through in-depth interviews with 16 experts, including university faculty members, managers and experts of the IRIB, program makers, and celebrities. Based on the findings, social media can play an effective role in attracting audiences for the IRIB and this media can achieve results such as commitment, trust, loyalty, maximum audience attraction, satisfaction, creativity and innovation, and internal motivation of the audience, by adopting some strategies. These strategies include reconsideration of the processes and policies in dealing with social media, improving the media literacy of audiences in using social media content, content marketing strategy in social media, and using social media as a tool for shaping the public sphere in order to create discourse and reflect public issues affecting society that are raised in all media.

Although years have passed since the implementation of the strategy of outsourcing IRIB’s TV productions and the participation of external producers in programming projects, due to the lack of specific policies in this area and the tasteful performance of managers, the implementation of this strategy has been accompanied by damages. Accordingly, this research aims to present appropriate policies for selecting and interacting with production partners of IRIB TV’s in outsourced projects. To achieve this goal, the present research was conducted with a qualitative approach and thematic analysis method. The research population includes 20 senior and middle managers of IRIB’s TV, producers, and university professors. The semi-structured interview method was used to collect data, and thematic analysis was used to analyze them. The result of the induction and analysis process led to the identification of policies in four dimensions under the inclusive category of managing interactions with IRIB TV’s production partners. Including: creating a media job market, ranking the IRIB’s production partner companies, designing a comprehensive information system for producers, and creating a transparent and two-way communication channel with producers. Based on the results, in order to remain in the competitive environment, the IRIB must move towards transformative outsourcing and benefit from producers who inject creativity and innovation into the organization.

Excessive use of technology and the Internet, the increase in the use of smartphones, tablets, and laptops, have created problems for humanity today, one of which is addiction to computer games. This issue, which is especially a problem for adolescents, has become an important research area for researchers. This study aims to test the relationship model between basic psychological needs and addiction to "games" with the mediating role of life satisfaction, and the research method is descriptive-correlational. The statistical population includes students in Karaj in the academic year 2022-2023, with a sample of 374 people selected through the cluster random method. The research tools also included The Basic Needs questionnaire of LaGuardia et al. (2000), Life Satisfaction questionnaire of Sharififard et al. (2021), and Addiction to Online Games questionnaire of Khazal et al. (2007). Path analysis was used to analyze the data using SPSS version 27 and LISREL version 8.8 software. The results of the study showed that the research model had a good fit with the data. In examining the results, it was determined that basic needs (competence and relatedness) had a negative and significant direct effect on gaming addiction and a positive and significant effect on life satisfaction. The direct effect of autonomy need on gaming addiction was not significant. The effect of life satisfaction on gaming addiction was negative and significant (p<0.01). Also, based on the results, life satisfaction has a significant mediating role in the relationship between basic psychological needs and gaming addiction (p<0.01). Based on the findings, basic needs play a role in increasing satisfaction, and increasing life satisfaction is effective in reducing gaming addiction.

Experimental cinema is an exercise in, and experimentation with, the potentials of the media of cinema, and uses this process towards aesthetic goals along with reflection of individual and social concerns. This cinema challenges the rules and norms of mainstream cinema and expands the boundaries of audio-visual media and the modes of understanding motion pictures. The purpose of this article is to analyze the genres of Iranian experimental films that have typically won awards in the Tehran Short Film Festival in the period 2001-2016. The data were collected through observational and library procedures, and the descriptive-analytical method was used. The findings show that the genre approach to avant-garde and experimental cinema is a useful tool for analyzing the produced examples. Some components of the subgenres of the super-genres of expanded cinema, the American avant-garde, and the European avant-garde can be observed in the structure of the studied works. At the same time, examining the structure of some works indicates a hybrid or mixed state. The majority of these films exhibit some general, and sometimes minimal, features of experimental films. In other words, most of the works use the aesthetic components of some genres of experimental cinema in a limited way. Explication of the aesthetic principles of experimental cinema and its subgenres provides scholarly as well as operational solutions in theory and practice for researchers and filmmakers.

Pete Docter’s feature-length animated movie “Soul” (2020) takes an innovative approach to exploring abstract and metaphysical concepts such as the nature of the soul and the pre-birth world. Given the age rating adopted for this animation, children are an important part of its audience. Developmental psychologists have found that abstract thinking in children is not fully developed until around the age of 12, so depicting these complex abstract concepts—especially the concept of the pre-birth world—in a way that is understandable to children has been less explored in animated works. This has been one of the biggest challenges for the creators of this animation. The purpose of this research is to analyze the visual representation of the pre-birth world in the animation “Soul” with an emphasis on children’s mental perception and to provide solutions for visual representation of similar abstract concepts for children. This research is descriptive-analytical in nature and its data collection was done through the library method and observation of the animation. The analysis of the animation "Soul" was done with the help of qualitative method and the animation selection was done through purposive sampling. The results show that the creators of the animation "Soul" have depicted the complex concept of the “pre-birth world” in a way understandable for children, by using diverse colors and attractive images, a strong and captivating storyline, simplification of complex concepts, tangible and identifiable story and characters, depicting abstract concepts in a non-abstract way, universality and creating a space for questioning and dialogue.