MOHAMMAD Ganjalishahi; MOHAMMAD farajiha; Ali SheikhMehdi
Abstract
Lawyers are the most prominent actors in criminal justice movies. This is mainly due to the unique construction and representation that has been shaped by cultural, cinematic and political factors. According to the Fisk classification these three factors can be divided into three levels of reality, representation, ...
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Lawyers are the most prominent actors in criminal justice movies. This is mainly due to the unique construction and representation that has been shaped by cultural, cinematic and political factors. According to the Fisk classification these three factors can be divided into three levels of reality, representation, and ideology. On the reality level, the cultural issues that challenge the performance of lawyers have affected the representation of Iranian cinema lawyers. At the level of representation, Hollywood cinema based on the accusatory system has had a significant impact on the form of defense and the authority of attorneys in court. On the ideological level, the image of lawyers has also been part of a discourse that has sometimes played a part and sometimes opposed to ideology and power. Prior to 1997, lawyers were largely active in the fight against the corrupt imperial judicial system, but had no success in this regard. After 1997, female lawyers entered Iranian cinema with positive representations. Female lawyers are trying to deliver justice to women in a patriarchal system, but they also fail to achieve their goals. The present study seeks to root out the backgrounds and causes of such different representations of lawyers in post-revolutionary Iranian cinema.
Seyedeh Maryam Masoumzadeh; Saeed Saraby; Majid Rezaeian
Abstract
The optimal use of cinema, as a media influencing social and especially cultural domains, requires the establishment of goals, strategies and plans. This study aims to develop strategies for Iranian cinema to present Iranian culture to the international community. The qualitative research was carried ...
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The optimal use of cinema, as a media influencing social and especially cultural domains, requires the establishment of goals, strategies and plans. This study aims to develop strategies for Iranian cinema to present Iranian culture to the international community. The qualitative research was carried out with a survey-type methodology with snowball and targeted sampling.After going over documents and records, in-depth interviews with professors, critics, directors, and international film distribution managers and experts were conducted. The environment and internal and external factors of cinema in the international arena were also examined, through the use of a semi-open questionnaire.Questionnaire validity was confirmed by a formal method and its reliability by Cronbach’s alpha. A SWOT matrix was employed to measure strengths, weaknesses, opportunities and threat, and to analyze data and formulate strategies in the four mentioned areas.The results of the research illustrate that the strategic position of Iranian cinema in the international arena is competitive, but since the point is close to the conservative sector, the strategies of this sector are also considered.Among strategies, the paper suggests films be made to support and display characteristics of Iranian culture emphasizing the components of love, humanity, peace and Ethics, not just nationally, but for a broad and diverse foreign audience while their quality is being monitored, Investing and supporting high quality documentary films with the subject of Iran and the people of Iran, employing people who are professional in international broadcasting film for playing film in foreign.
seyyed ali rouhani; vahid mousavi
Abstract
The purpose of this study is to look at Iranian Comedy during the 1983-2013 from an aesthetic point of view. Using the analytical tools of the genre theory and considering the variables such as the generic crossroads (the counter culture vs. cultural values), and the hybridization status, analyzes the ...
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The purpose of this study is to look at Iranian Comedy during the 1983-2013 from an aesthetic point of view. Using the analytical tools of the genre theory and considering the variables such as the generic crossroads (the counter culture vs. cultural values), and the hybridization status, analyzes the best-selling statistical samples of comedy in Iranian cinema. Data are collected through documentary, library and observational study and by a descriptive-analytical approach, the relationship the generic crossroads and the hybridization status in each sample is examined. On the one hand, the statistical samples examined indicate the ability to hybridize the comedy genre with various genres and endorse the process of comedy genre. On the other hand, the hybridized genres provide a platform for genre counter culture dimension. The more tension the counter culture and cultural values is, the greater the impact of the genre will be palpable.
Siavash Salavatian; saeid ghanbary; saber nouri moheb
Abstract
The aim of this paper is feasibility of crowdfunding in Iranian cinema and the recognition of requirements, barriers and capacities for its realization. In order to achieve the goal of the research, 31 cinema experts were selected among cinema experts in the country and open interviews were conducted ...
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The aim of this paper is feasibility of crowdfunding in Iranian cinema and the recognition of requirements, barriers and capacities for its realization. In order to achieve the goal of the research, 31 cinema experts were selected among cinema experts in the country and open interviews were conducted with them, based on theoretical saturation and targeted selection and snowball sampling,. These interviews were analyzed by qualitative content analysis method. The findings showed that capacities such as kindness of the people, high liquidity, people's interest in cinema, people's trust in celebrities, etc., and barriers such as high government involvement in cinema, corruption in the country, weakness of hardware and software infrastructure of cinema, distrust, lack of economic stability, the resistance of the trade union to change, the general ignorance and elite, and the inability to enter the bourse market by current cinematic companies, etc., to realize crowdfunding as a new method exists; The most important requirements for crowdfunding in the cinema is included the reduction of government intervention in cinema, set up bourse and investment funds, to raise awareness, industrial recognition of cinema, recognition of cinema by insurance and banks, implementation of copyright in the country, and so on. Based on the findings of this research, it can be concluded that ther exist the possibility of realizing the equity model as one of the rights of crowdfunding with the fulfillment of its requirements in our country; however, crowdfunding should not be used initially as an independent financing model, but it should be used as a complementary model.
Siavash Salavatian; Mahnaz Rohbakhsh; Ahmadreza Derafshi
Abstract
Cinema industry of Iran can benefit from opportunities of social media to advertise its products. In this paper, Delphi method was used to identify key factors on the marketing of Iranian cinema through social media in three phases. 18 members of specialists in fields of communications, media economics ...
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Cinema industry of Iran can benefit from opportunities of social media to advertise its products. In this paper, Delphi method was used to identify key factors on the marketing of Iranian cinema through social media in three phases. 18 members of specialists in fields of communications, media economics and marketing are gathered in the Delphi Panel. Finally, technical factors include "social media security" and "graphical quality of social media", content factors including "movie quality", "attractiveness of the teaser ", "posting attractive conversations", "The opinions of who saw the film", "opinions of Criticism and Cinema fans" and "The Presence of Cinema Stars", Process factors include "the correct choice of social media", "Social media reputation", "word of mouth marketing", "making groups of people interested in movies", "interaction and communication with users" creation a social page at the time of making movie", "knowing the audience", "playing behind the scenes of the movies", and "advertising by fans" and key factor in managing message, include "publication the correct information", were agreed between experts.
seyyed ali rouhani; pouyan gaffari
Abstract
Since the advent of Iranian cinema, numerous films have been made and recognized as Kolah Makhmali films. Those film could survive through different eras of Iranian cinema by intentional usage of various elements of popular culture. It has attracted common –and sometimes elite- audiences and fiscally ...
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Since the advent of Iranian cinema, numerous films have been made and recognized as Kolah Makhmali films. Those film could survive through different eras of Iranian cinema by intentional usage of various elements of popular culture. It has attracted common –and sometimes elite- audiences and fiscally propelled Iranian cinema. In this research, explanation of national cinema production and rejection of cultural elitism are based on the ideas of Erwin Panofsky on three stratas of subject matter and the difference between iconography and iconology. Although Panofsky’s method of analyzing images was limited to visual arts in the beginning, its convincing power caught eyes of other forms of art critics. Under the influence of iconography concept, his followers in cinema believe that a true understanding of film only can be achieved by knowledge of the themes which are always considered as common knowledge for ordinary audiences. This research also studies the usage of those ideas on iconographical approach in film studies. The evolution of Kolah Makhmali films has been explained by its iconographical and iconological elements. Three stratas of meaning have been explained in this genre, then it shows how these films could be analyzed as national cinema and they have a substantial position in national film studies. These films have a historical awareness of audience’s interest and they use visual elements of popular culture and also have a conceptual approach toward the gentlemanhood and chivalry rituals and culture.
Mahdi Soltani Gordefaramarzi; Ahmad pakzad
Abstract
In this paper, we aim to answer the question of how “divorce” is represented in Iranian movies produced during 1980s. The questions raised in the framework of representation theory. To answer the key question, 21 films which has been made in the decade of 1380, were studied through content ...
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In this paper, we aim to answer the question of how “divorce” is represented in Iranian movies produced during 1980s. The questions raised in the framework of representation theory. To answer the key question, 21 films which has been made in the decade of 1380, were studied through content analysis method. Thus, reverse questionnaire was prepared and films were analyzed basing on content analysis.
Findings show that Iranian movies present kind of popular knowledge about social problems such as divorce in their narrations. The findings also show this assumption that Iranian films have basic information such as age and sex composition, social class, employment status information of divorced actor and actress and various information about their social and family relationships, attitudes and lifestyles. In addition, manufacturers often provide explanation of the divorce of their characters in their movies.
Gholamreza M. Mehr; Abdollah Bikaranlou
Volume 15, Issue 26 , December 2014, , Pages 155-176
Abstract
This article by content analysis of Iranian prize-winner movies in international festivals, examines the depiction of Iranian-Islamic cultural components in these movies. The research method is content analysis and its sample includes 20 feature films. The findings show that in two movies i.e. "The White ...
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This article by content analysis of Iranian prize-winner movies in international festivals, examines the depiction of Iranian-Islamic cultural components in these movies. The research method is content analysis and its sample includes 20 feature films. The findings show that in two movies i.e. "The White Balloon" and "The Wind Will Take US ", the Iranian-Islamic cultural components are represented more boldly and they are much paler in other movies. On the basis of other findings, such characteristics as being untamed and being different have been the most prominent characteristics that probably have paved the way for their international success.
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Volume 14, Issue 21 , May 2013, , Pages 7-28
Abstract
The representation of social problems in Iranian movies winning internatioal festivals awards including Cannes, Berlin & Venice film festivals has been studied. The sample is equal to population and includes 20 movies winning awards. Based on movies themes & stories, at %12/3 of the scenes, social ...
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The representation of social problems in Iranian movies winning internatioal festivals awards including Cannes, Berlin & Venice film festivals has been studied. The sample is equal to population and includes 20 movies winning awards. Based on movies themes & stories, at %12/3 of the scenes, social limits on women & teen girls, & at %6/6 of the scenes, social abnormalities have been represented. 13 of the movies are not related to social problems of Iran; 3 movies are related to social problems, 3 movies are related to social limits on women & 1 movie is focoused on illegal production of the music. The approach of 15 movies is critical- reformative & 3 of them are not critical- reformative. The elements of representing a dark image of Iran has been found in 3 movies too.
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Volume 11, Issue 9 , May 2010, , Pages 181-207
Abstract
The competition in the present world requires using all techniques, tools, and new pure ideas. In the second half of twentieth century, industrial producers of the world faced a new competitive environment which, using half of the capital and facilities required, offered products with better quality, ...
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The competition in the present world requires using all techniques, tools, and new pure ideas. In the second half of twentieth century, industrial producers of the world faced a new competitive environment which, using half of the capital and facilities required, offered products with better quality, more variety, and lower cost to the world market. One of these new techniques is called lean production. Lean production is in fact a systematic approach which attempts to remove the wastes and eliminate any extra process from the stage of preparing raw materials to production and sale. The present study, considering the production stages of a movie and comparing it with what happens in an industrial production line, intends to identify and discover wastes in the production stages of a movie. Analysis of the results through grounded theory methodology led to development of fifteen concepts and accordingly five main categories. These categories include three types of time waste, repetition, lack of coordination, and two infrastructural and cultural factors in the process of movie production
