فهرست مطالب

نشریه جامعه شناسی هنر و ادبیات
سال سوم شماره 2 (پاییز و زمستان 1390)

  • تاریخ انتشار: 1391/04/06
  • تعداد عناوین: 7
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  • محمدرضا مریدی صفحه 7
    هنرمندان نوآور نیاز به نهادهایی دارند که آفرینش های نوآورانه آن ها را حمایت کند؛ آن ها با فعالیت های جمعی، جهت تاسیس اجتماعات، گروه ها و انجمن های هنری به این تایید، تثبیت و حمایت دست می یابند. اما فعالیت های جمعی در هنر مدرن با موانعی مواجه است؛ موانعی همچون انزواگزینی رومانتیک هنرمندان و حاشیه نشینی آنان در ساختار جامعه که از مشارکت آن ها در فعالیت های جمعی می کاهد. از این رو در مقاله حاضر به این پرسش پرداخته شده است که «میزان گرایش نقاشان به مشارکت در فعالیت های جمعی هنر نقاشی چقدر است؟». برای پاسخ به این پرسش، ابتدا به فعالیت های جمعی و نهادمند در جامعه هنری ایران پرداخته شد و سه صورت از فعالیت جمعی در قالب اجتماعات، گروه های و انجمن های هنری مورد مطالعه قرار گرفت؛ سپس در یک مطالعه می دانی به بررسی اثر متغیرهایی چون جنسیت، سن، تحصیلات، موقعیت اجتماعی و اقتصادی نقاشان و نگرش آن ها به مقوله هنر اجتماعی و فردگرایی در هنر نقاشی، بر گرایش آن ها به مشارکت در فعالیت های جمعی جامعه هنری پرداخته شد. یافته های به دست آمده از مصاحبه با 135 نفر از نقاشان، حکایت از عدم تمایل آن ها به مشارکت های سازمانی و تمایل نسبی آن ها به فعالیت های گروهی دارد. عدم مشارکت نقاشان و فقدان انسجام در شبکه روابط اجتماعی هنرمندان از یک سو موجب ناتوانی در بیان خواسته های صنفی و مدنی گردیده و از سوی دیگر مانع شکل گیری جریان های اجتماعی هنر در قالب سبک و جریان های هنری شده است.
    کلیدواژگان: ایران، جامعه هنری ایران، مشارکت، نقاشان ایران، فعالیت جمعی هنر
  • سارا شریعتی مزینانی، مریم مدرس صادقی صفحه 35
    هدف مقاله حاضر شناخت نگاه زنان نقاش معاصر ایران به زن و نحوه بازنمایی زن در آثار آن ها می باشد. بازنمایی یک سویه تصویر زن در هنر ها به علت تک جنسیتی بودن هنرمندان که قدمتی به درازای تاریخ دارد و خالی بودن عرصه هنر از حضور زنان، از یک طرف و افزایش حضور زنان در عرصه هنر ها به خصوص نقاشی، از طرف دیگر، می دانی برای محقق می گشاید تا بتواند از این طریق نوع نگاه زنان هنرمند را، که امروزه تعدادشان حداقل در نقاشی بیش از تعداد مردان است، در مورد مسائل مختلف مطالعه نماید. برای تحقق این هدف از نظریه بازنمایی استوارت هال استفاده شده است. جامعه آماری تحقیق حاضر دوسالانه های نقاشی زنان با نام «تجلی احساس» می باشد که شامل 1327 اثر است. نمونه آماری این پژوهش 244 اثر منتخب از جامعه آماری است که در آن ها زن به عنوان موضوع اصلی تصویر شده است؛ با استفاده از روش تحلیل محتوا غلبهٔ نگاه جنسی یا غیرجنسی به زن سنجیده شده است. با یک نگاه کلی به یافته های تحقیق در می یابیم که در این آثار نگاه جنسی به زنان بر نگاه غیر جنسی اولویت دارد. اما نگاه دقیق در جزئیات داده های جداول نشان می دهد که رگه هایی از مخالفت و مقاومت در برابر کلیشه های جنسیتی در آثار زنان نقاش وجود دارد.
    کلیدواژگان: نقاشی، تصویر زن، جنس و جنسیت، کلیشه های جنسیت، بازنمایی
  • امیلیا نرسیسیانس صفحه 55
    این مقاله از دیدگاه تاریخ اجتماعی هنر و با به کارگیری روش زایتگیست که بررسی زمینه تاریخی-اجتماعی را در پیدایش هنر جدید اجتناب ناپذیر می کند، نگاشته شده است؛ لذا این تحقیق برای دست یابی به شرایط تاریخی-اجتماعی موضوع مورد بحث از منابع اولیه (کتب و اسناد) قرون هفده، هجده و نوزده و منابع ثانویه در زمینه تاریخی- اجتماعی ظهور و توسعه هنر نقاشی مدرن توسط هنرمندان ارمنی جلفای اصفهان قرن هفدهم، که به علت کوچ اجباری ارامنه به شهر اصفهان در سال 1603 توسط شاه عباس صفوی به اصفهان آورده شده بودند، نگاشته شده است. در این مقاله به این مسئله پرداخته خواهد شد که چگونه اعطای امتیازات تجاری از سوی شاه صفوی باعث رشد و رونق روزافزون تجار ارمنی در اصفهان شد و چگونه دامنه قدرت تجاری جوامع قومی ارامنه به سبب موضوع فوق الذکر به شهرهای مهم اروپایی گسترش یافت و چگونه سفرهای متعدد تجار آن ها را با هنر اروپایی و به خصوص نقاشی آشنا کرد و اقامت در سکونت گاه های اروپایی مزین به نقاشی، چه تاثیری بر آن ها در راستای تشویق هنر نقاشی به سبک مدرن گذاشت. مقاله با ترسیم اوضاع تاریخی– اقتصادی این دوره سعی خواهد کرد تا زمینه مادی به کارگیری نقاشی مدرن را به مثابه یک نیاز تا آن حد که هنرمندان سرآمدی در هنر نقاشی تربیت شوند و آثار چشم گیری در خانه های تجار و اغنیا و همچنین کلیسا ها به صورت نقاشی های دیواری به سبک مدرن برای تزیین از خود به جا گذارند، استخراج کند و نهایتا سعی خواهد کرد روند فرهنگ مادی و معنوی و یا به عبارتی دیگر پیوند تجارت و هنر از سوی یک قوم مهاجر را در یک بافت کاملا جدید در دیاسپورا نشان دهد و نیز می کوشد بر اساس شواهد تاریخی نشان دهد که می ناس نقاش ارمنی الاصل اصفهانی طلایه دار نقاشی مدرن در ایران است و سابقه نقاشی مدرن ایران نه به قرن نوزدهم بلکه به قرن هفدهم میلادی در این مرز و بوم می رسد.
    کلیدواژگان: سبک فرنگی مآب، دوره صفوی، می ناس، مهاجرت، نقاشی دیواری، تجارت، اصفهان، رضا عباسی، قرن هفدهم، هنر مدرن
  • فیروز راد، علی نظری شیخ احمد صفحه 75
    موضوع تحقیق حاضر بررسی هم ارزی ساختاری بین ساختار زیبایی شناختی رمان تاریخی اشک سبلان نوشته ابراهیم دارابی و ساختار ذهنی نویسنده و ایدئولوژی طبقه متوسط در زمان آفرینش آن است. این اثر ادبی بر اساس روش ساخت گرایی تکوینی گلدمن در دو سطح دریافت و تشریح بررسی شده است. نتایج حاصل از دریافت و تشریح این اثر ادبی حاکی از آن است که دغدغه نویسنده بررسی علل ناکامی و کامیابی جنبش های اجتماعی دوران پهلوی دوم بوده است. ساختار زیبایی شناختی و کلیت رمان اشک سبلان دلالت بر مبارزات مردم ایران و سرگذشت جنبش های اجتماعی دارد که در آن، روابط متقابل اجزای آن، یعنی تقابل و همکاری گروه ها و طبقات اجتماعی، ایدئولوژی طبقه متوسط و دخالت بازیگران خارجی، کامیابی و ناکامی این جنبش ها را رقم می خورد.
    کلیدواژگان: ساختار تکوینی، ساختار زیبایی شناختی، طبقه، _ ساختار های ذهنی، ساخت گرایی تکوینی، جامعه شناسی هنر و ادبیات
  • جمال محمدی صفحه 99
    قاله حاضر تلاشی است برای تحلیل روایت تعامل اخلاق قهرمانی و منطق زندگی روزمره مدرن از منظر جامعه شناسی سینما. حوزه مورد مطالعه، آثار سینمایی مسعود کیمیایی است. برای صورت بندی نظریه ای درباره تعامل دیالکتیکی پویایی های اجتماعی/ تاریخی و آفرینش هنری از آرای دو وینیو، لوکاچ و لونتال استفاده شده است. سپس با به کارگیری روش تحلیل روایت ساختارگرا و نشانه شناسی ساختاری آثار سینمایی کیمیایی مطالعه شده است. از میان این آثار، دو فیلم قیصر و محاکمه در خیابان به شیوه نمونه گیری نظری- هدفمند انتخاب شده اند. البته هر یک از این دو فیلم با فیلم دیگری متعلق به دوره خودشان مقایسه شده اند. نتایج تحقیق نشان می دهد که سینمای کیمیایی روایت گر تغییر شکل اخلاق قهرمانی در جامعه ایران و ادغام قهرمان در زندگی روزمره است. به موازات گسترش مدرنیزاسیون در چند دهه اخیر، منطق عقلانیت ابزاری بر روابط و مناسبات بین آدمیان سیطره یافته و مسلک قهرمانی (که مبتنی بر عقلانیت غایی و باورهای استعلایی است) به حاشیه رفته است.
    کلیدواژگان: تخیل هنری، پویایی اجتماعی، دگردیسی ارزش ها، زندگی روزمره، اخلاق قهرمانی، بازنمایی، روایت سینمایی
  • نادیا معقولی، علی شیخ مهدی، حسینعلی قبادی صفحه 125
    تحرک اجتماعی یکی از مضامین مورد توجه فیلم سازان موج نو سینمای ایران در سال های پیش از انقلاب بوده است. در این سال ها به دلیل تحولات اقتصادی و اجتماعی و تلاش دولت برای مدرنیزاسیون ساختار سنتی اجتماع، تحرک اجتماعی نوینی در جامعه رخ داده که در فیلم های فیلم سازان معترض آن دوره مورد انتقاد قرار می گیرد. در این مقاله سه فیلم، که با مرگ ضد قهرمان به پایان رسیده، از منظر تحرک اجتماعی بررسی می شوند. بنابراین زاویه دید کارگردان فیلم های مورد بررسی را در نمایش مرگ این قهرمانان و ارتباط مرگ این افراد با تحرک اجتماعی در جامعه ایرانی آن زمان مورد تحلیل قرار می دهیم. در تحلیل فیلم ها از نظریات گلدمن و دو شیوه نقد برون نگر و درون نگر استفاده شده است.
    کلیدواژگان: سینمای ایران، ایران، مرگ، تحرک اجتماعی، موج نو سینمای ایران
  • محمد مهدی مولایی، حسین کرمانی صفحه 143
    پیدایش و گسترش نظریه های مطالعات فرهنگی تحولی در نگاه به فرهنگ مردم پسند و مخاطبان آن ایجاد کرده است. نگاه جدید مخاطبان را نه در قامت قربانیان و مصرف کنندگان منفعل، بلکه به عنوان عناصر فعال دارای قدرت خلق معنا در لحظه مصرف در نظر می گیرد. در این مقاله در چارچوب نظریه های مطالعات فرهنگی و با استفاده از رویکرد تحقیق کیفی و تکنیک های مصاحبه و مشاهده، مخاطبان فیلم اخراجی ها 2 به عنوان پرفروش ترین محصول سینمای مرد پسند ایران، مورد مطالعه قرار گرفته اند. برای مطالعه تماشاگران، در زمان اکران فیلم در سینما ها، فیلم 9 بار در سالن های سینمایی در نقاط مختلف شهر تهران همراه با تماشاگران دیده شده و رفتار آن ها در زمان تماشای فیلم زیر نظر گرفته شده و ثبت گردیده است. علاوه بر این مدتی پس از اتمام اکران سینمایی، با تعدادی از تماشاگران فیلم مصاحبه کیفی انجام شد. مجموع این گفت وگو ها و مشاهده ها برخی عوامل را به عنوان دلایل فروش بالای فیلم مشخص کرده است.
    کلیدواژگان: سینمای ایران، مخاطب سینمایی، اخراجی ها 2، _ خوانش های مخاطبان، سینمای مردم پسند، مخاطب فعال
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  • Mohammad Reza Moridi Page 7
    Through confirmation and conferring prizes, the artistic institutions such as museums, galleries, academic centers, and governmental institutions legitimatize artistic innovations. At the same time, these institutions may have a restricting function upon artist's innovation because they often support recognized and established styles of art. For example, art galleries, as economic foundations, normally exhibit recognized and confirmed works. Therefore, in order to establish their avant-garde and deconstructionist works, the innovative artists need to find artistic groups and societies so that they could confirm, establish and support them while maintaining their own artistic independence. Founding artistic associations, of course, needs a high level of social participation among artists. Romantic isolation of artists in the society, however, acts as an obstacle that reduces social participation. Therefore, the paper addresses this question that how mental patterns and romantic orientation of "being an artist" affect painter's participation in collective artistic activities. In other words, to what extent do painters tend to participate in collective activities regarding painting? In order to answer this question, first, the collective and institutional activities in the Iranian Society of Painting Art were identified, and three forms of activity, namely artistic gatherings, artistic groups, and artistic associations, were studied. Then through a field study, the effect of variables such as gender, age, education, and social and economic status of the artists as well as their attitude towards social art and individualism in painting on their tendency to participate in collective activities was examined. The results obtained from interviews with 135 painters indicate that although Iranian painters maintain a positive view on collective work, their actual participation is lower than average. Also, a comparison of three types of participation in occasional gatherings, artistic groups and artistic associations showed that tendency to group participation is more prevalent, followed by occasional gatherings, and organized participation is the last form of collective activity preferred by the painters. It means that painters are hardly interested in institutionalized and associational activities. Painter's non-participation and lack of integration in the artist's social relations network bring about their inability to express their civil rights and unionist demands on the one hand and underdevelopment of artistic innovation on the other hand. The Iranian Society of Painting Art is dispersed. Individualism has prevented artists to join other artists, express their innovative ideas, and expand social and professional support and confirmation. Finally, recognizing artist's innovation in creation of a work as a new set of artistic rules requires artistic institutions which could confirm these rules.
    Keywords: Iranian painting, participation, Iranian Artists, painting, Iranian
  • Sara Shariati Mazinani, Maryam Modares Sadeghi Page 35
    This paper aims to analyze the views of female painters on women and the representation of women in their contemporary painting works. The one sided representation of women in Arts in general has a long history and is likely due to the fact that most of the Artists have been male. On the other hand, increase of woman’s presence in painting art opens a field for research and, through addressing this issue; one can study the viewpoint of women artists about different societal issues. In this regard, we have to add that, at least in the painting works, more women are active than men. A male view has mostly placed women in stereotyped roles. This negative stereotype is due to the ignorance of the differences of male and female roles. Now we add that representation is possible to take place by one group. In this research we studied the contemporary arts which have been created by women, to find the answers to the following questions. Have the women painters also displayed the roles of women as stereotyped? How, through this method, women have reproduced the stereotype gender? Methodologically we have used Stewart Hall’s representation theory as the research frame work. Hall believes that meaningful reality does not exist and he introduces representation as one of the key methods of production which in a process is exchanged and distributed among the members of one culture. The statistical population of this study covered those works exhibited in an Iranian Women Paintings Exhibition called "sensation emergence". These included 1327 painting works and in 244 of these works women have been considered as the main subject. In the painting works under consideration, we paid attention to the natural and cultural representation women, sexual appearance of women, representation of women in mother roles, wife roles, upbringing, and religious or non-religious representation of women. The research findings indicate that the women of women painters in terms of natural and cultural representation, sexual and non-sexual representation, playing the roles of mother and wife, and upbringing and child caring, are stereotyped. Predominantly, a sexual view of women is conceivable among these paintings. Nonetheless, in some paintings this stereotypical role has been has been rejected.
    Keywords: Art, sex, representation, gender, gender stereotype
  • Emilia Nercissians Page 55
    This paper, following a formalist approach, attempts to explain art as a Zeitgeist, or 'spirit of the age'. It is aimed to investigate the enhancement of the painting by Armenian artists of Isfahan on the bases of historical literature and documents left since 17th, 18th and 19th century, as well as the available secondary sources tries to examine the Iranian–Armenian community's achievements in art, frescoes, and painted curtains of 17th century in Julfa of Isfahan, as a part of Safavid capital, across the banks of the Zayande Rud which was constructed especially for the Armenians who were brought to Iran through forced migration by Shah Abbas between 1604 and 1905. The achievements of the Iranian–Armenian community in the arts were spectacular. The transitional period from manuscript illumination to canvas painting, during the seventeenth and eighteenth centuries, has not been adequately studied by the art historians. Frescoes, painted altar curtains, ceramics, and canvas paintings are still preserved in churches and the homes of the wealthy in New Julfa. During this period, a transition took place from conventional medieval forms to new realistic forms and means of expression. Along with miniatures and murals, other new forms and genres of art developed: easel painting, portraiture, life scenes from the daily experiences of ordinary people, and landscape painting. Artists whose names have survived include Minas, a legendary painter of New Julfa in Iran, and Ter Stepanos, also from New Julfa, responsible for manuscript illuminations from the mid-17th century and large paintings in the Cathedral of New Julfa. The wealthy merchants, artisans, and elites in general in the Iranian–Armenian community were the main consumers of this new type of art. No longer did painters require the patronage of the king, noblemen or clergy. The merchants of New Julfa and other cities in Iran eventually had to give way to newer representatives of capital. Iranian–Armenians never ceased to be agents of modernization in Iran, especially in the sphere of fine arts. In architecture, music, theatre, and other artistic fields Iranian–Armenians were always part of the vanguard. Their high level of urbanization, increased international contacts, integration in the wider Iranian society, and ethnic ties with other Armenian communities, made them ideally suited to that role.
    Keywords: Mercantilism, Isfahan, Fresco, Seventieth Century, Modern Art, Minas, Reza Abbasi, Safavid Dynasty, European Style
  • Firouz Rad, Ali Nazarisheikhahmad Page 75
    Sociology of art and Literature as one of the sub disciplines of Sociology of knowledge studies social and cultural conditions of creation of an artistic and literary relic. Since art and literature are crystallization of social life of a group, class or a nation, so through the study of them it is possible to perceive social and economic situation of society. As soon as the sociology of art and literature as a branch of the sociology of knowledge has been initiated many literary masterpieces including those of famous authors of Western novels have been studied from a sociological perspective. In Iran, however, research in the field of sociology of literature has been limited. The events covered in the historical and sociological study of the historical novel "Tears of Sabalan" written by Ebrahim Darabi starts on Azar 25th 1325 and continues until the Islamic Revolution in 1357. In this two-volume novel, Darabi describes the life of Azerbaijani fighters. Sociological research on the Tears of Sabalan has not been done, albeit the issue has been addressed from the literary perspective. To fill the mentioned gap, the subject of present article is to study structural equivalence between structural aesthetics of historical novel "Tears of Sabalan", mental structure of writer and ideology of middle class during the period of its creation. This study is based on Goldman's genetic structuralism through two levels of perception and analysis. The results show that the writer wants to explore success and failure of social movements during the Pahlavi period. Hence, according to the writer, cooperation of groups and social classes, middle- class ideology and intervention of foreign players, explain the success and failure of these movements. Author of the novel was a high school teacher and came from a middle class origin. In addition, like most his counterpart intellectuals, was a pro socialist tendencies, and eager to solve social problems. As such the ideologies of middle class and social groups are reflected in his novel.
    Keywords: aesthetic structure, class, sociology of art, literature, subjective structures, genetic structuralism
  • Jamal Mohammadi Page 99
    This article is an attempt to analyze the interaction of heroic morals and the logic of everyday life through the perspective of sociology of cinema. In other words, the author is aimed to study the interaction of heroic morals and the logic of everyday life as represented and narrated by cinema. The case under study is the movies of Masud Kimiai. Theoretically, a combination of Jean Duvignaud thesis on social dynamism and artistic imagination, Luckach thesis on problematic hero in modern society, and Loventhal theory about the transformation of hero in American society is adopted. By using this theoretical approach, it is argued that there is a dialectical interrelationship between social space and cinematic representation and narration of social realities. Structural narrative analysis and structural semiology are used to analyze the films. Kimiai has made about 30 films during forty years before and after Islamic revolution. Using theoretical – purposeful sampling, four cases of Kimiai’ films were chosen: Ghaisar, Ghavaznha, Eteraz and Mohakeme dar Khiaban. The findings show that Kimiai’ films represent and narrate the transformation of hero and his assimilation in everyday life in Iranian society. As the process of modernization has extended in recent decades in Iran, the logic of instrumental rationality has dominated on social interaction and cultural realms. As a result of this process, the heroic morals, based on ultimate rationality and transcendental beliefs, have been excluded, and the logic of modern everyday life, which is based on exchange and instrumental rationality, has dominated on social spaces. Kimiai’s films represent an anomic society in which the values, identities and lifestyles are full of contradictory elements. These contradictions have penetrated the mental life and the most intimate spheres of individuals. These films are concerned with the disruption and deconstruction of a homogenous life world and the rise of anomy, contradiction and chaos in objective and subjective life of individuals. Kimiai’s reading of social dynamism is closer to Emile Durkheim concept of anomy than to Jean Duvignaud’s theory about eternal transformation of human being and society. Kimiai, just like Luckach, believes in the problematic and alienation of hero in modern society. This is, in his view, the main reason of hero resistance to modern everyday life. Iranian society, as represented and narrated by Kimiai’s cinema, is not a homogenous one which supports his members mental and objective lives thoroughly, but a society that is an articulation of contradictory and non-homogenous values, norms, morals and traits. However, what is obvious about modern everyday life in Iran is that it has been dominated by reified, instrumental and non-transcendental logic which has weakened, and sometimes removed, heroic morals. Kimiai’s cinema can help us to reflect on different aspects of our society and to understand the logic of cultural and social change in Iran. This reflection and understanding, which is artistically articulated, is inevitably a critical and hermeneutic one that shows the inconsistencies, conflicts, anomies and anomalies in our society.
    Keywords: structural narrative analysis, social dynamism, values, identities, lifestyles., structural semiology, logic of everyday life, heroic morals, instrumental rationality
  • Nadia Maghuly, Ali Sheikh Mehdi, Hosseinali Ghobadi Page 125
    The Iranian new wave filmmakers pay attention and focus on the social changes in years before the Islamic Revolution in 1357 (1979).In these years due to the economical and social changes and the government’s attempt for modernizing the traditional social system and social uplifting has spread and this caused criticism by the Iranian new wave filmmaker of that era. Social approach and mobility was main theme in new wave cinema of Iran in the years before of revolution. Therfore In this article subject of heroes social mobility in four films which are: reza motori(by masoud kimiaia 1960) khoda hafez rafigh(by amir nadery 1971)sobhe roze choharom (by kamran shirdel 1971)have been selected for sociological studying and analysis. These four films (movies) are classified in critic social genre and their heroes belonged to social lower class Without a respectable job and made a living by robbery.Events of these films are about gaining substantial amount of money, by variant means. Heroes want to promote their social status by earning money, But social conflict and opposition of other persons cause the death of these heroes. This article focuses on sociological approach understanding special group of Iranian filmmaker who wander the clashes between traditional and modern cultur and gain impacton the social development which cause the death of heroes in these four movies (films).Hence this article has analyzed the approach of filmmaker in representation of death of heroes, particularly according to social mobility at large industrial cities as manifestation against the command of the government. Police as symbolic power for protecting society from the first situation that is arresting the outlaw heroes and eventually kills them in these four films. This means suppression of dominant classes is gradually transformed into sympathy and inattention and then, power of killing. For content analysis two modes of interior and exterior criticism has been used. With regards to interior criticism, signs signify a hero on his own and his unsuccessful life, beside heed lessons of so upper class society and according to exterior criticism in a closed society the lower classes couldn’t make any progressive action for a better living. Conclusion of this research proves the hopeless opinion of filmmakers about these four films and about life and society.There isn’t any expectancy to a worthy living by an individual at social level. Death of heroes to be caused by their unbalance life, their environment is full of pain, suffering, poverty, wandering and social pathogenesis.Heroes of these films try to steal enormous amount of money, but their efforts are futile and in vain. Action of heroes weren’t admitted and approved by norms and values of middle class society. Governmental obligatory of social progress and modernization didn’t comply with democracy and justice. Black atmosphere in these four films (movies) prepare rude behaviors and cruel persons or the result of any possibility for a positive ordinary life.In these four films, heroes being in the closed circle, lonely, illness and defeat deciding in the kinds of death they face at the end of the movie. In this period. Distribution of wealth was unjustified and caused to increase the gap between classes in modern society of Iran, and this, borders of cities lead to social protest.
    Keywords: Iran, Iranian New Wave Cinema, Iranian Cinema, Death, Social evolution
  • Mohammd Mahdi Mowlaei, Hossein Kermani Page 143
    In this article we study the attitudes of Iranian cinema audience toward popular films. Affected by classic elite cultural theories, popular culture and consumers of popular culture have been humiliated for many years. According to this theories, audience of popular magazines, popular music, popular films and other popular culture products, have been considered as passive victims. Cultural studies approach, have changed this view. In this article, we use the cultural studies approach and consider popular film audience as active audience. We addressed “Ekhrajiha 2” for this study, regarding its popularity and its rank among the bestsellers in the history of Iranian cinema. Released in 2009. “Ekhrajiha 2” have been written and directed by Masoud Dehnamaki as a “Comedy/War” genre. The story of movie is about some Iranian soldiers during the Iran–Iraq War. In this research, two qualitative techniques have been combined to gain best result about audience attitudes: interview and participatory observation. First, one of the researchers (Mowlaei) has watched the film with audience in the cinema theater for 9 times. Cinema theaters have been chosen from different areas of Tehran that attract audience from different social groups. He recorded the audience behaviors and reactions. Then, another researcher (Kermani) interviewed some film viewers from diverse educational and cultural backgrounds. Results indicate that audiences decode the movie in different ways. As Stuart Hall says, encoding and decoding in communication have different phases in a process. Although director had tried to highlight Islamic and national ideological messages, audiences considered “Ekhrajiha 2” as a comedy product and enjoyed funny scenes of the movie. Thus, different audience groups decoded the movie in different ways. Using participatory observation and in-depth interviews, we also found six reasons for high welcome of the movie: 1. Film
    Background
    “Ekhrajiha” is a “movie sequel”, and some audiences went to the cinema to watch following stories. 2. Representing a new viewpoint on Iran–Iraq War. In the Iranian war cinema, many previous movies have represented Iranian soldiers as the holy people. In this movie, some soldiers are represented with funny and villain personalities. 3. Extensive advertising: IRIB (Islamic Republic of Iran Broadcasting) and other state propaganda heavily encouraged people to watch the movie. 4. Different decoding possibilities: the movie structure allows audiences to decode messages and scenes in different ways. 5. Appearing fun atmosphere in cinema theater: In some Tehran cinema theaters, audiences made a fun atmosphere. They went to the cinema with their family and friends and got pleasure from this atmosphere. 6. Reproducing the movie in a consumption moment: cinema audience participated in reproducing movie simultaneously when they watched movie in cinema theaters.
    Keywords: Ekhrajiha, Iranian cinema, audience decoding, active audience, popular films