عنوان مقاله [English]
The purpose of this study is to look at Iranian Comedy during the 1983-2013 from an aesthetic point of view. Issues such as hybridity, semantic/syntactic structures, genre as process, generic crossroads (the counter culture vs. cultural values) are categorized under the aesthetics of genres. According to the various periods of cultural and social developments in Cinematic policies, the case studies are reviewed. By choosing the best-selling comedy films, using the descriptive-analytical method, the interplay between cultural transformations and aesthetic dimensions are examined. This theoretical framework plays an important role in guiding the following analysis and discussion of 17 case studies. This research deals with two main concerns: one is the interplay between cultural transformations, hybridization strategy, aesthetics functions of comedy in Iran, the other is the changing Semantic/Syntactic structures of genre along the social and cultural transformations. Cultural and social changes of Iranian cinema are divided into four effective periods: 1983-1989, 1989-1997, 1997-2005, and 2005-2013. There is a direct affinity between cinematic policies of each period with syntactic/semantic structures and the hybridity of the films. Findings show that a case study in the first period, The Tenants ]1986[, tries to hybridize with social problem film to legitimize itself. Along with political transformations from the second period on, generic crossroads partially changed. These findings confirm the ongoing, process-like nature of the genre, the impact of cultural and social changes on semantic/syntactic structures of the comedy genre in Iran and the adoption of a hybridization strategy for various reasons.