Seyedeh Samaneh Razavi; mohsen johari
Abstract
Honorable zeal is one of the social-cultural components of different societies, including Iranian society. In recent decades, with the expansion of feminist ideas, this issue has been critically analyzed, and its overflow can be seen in the art of cinema. The present research has been carried out with ...
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Honorable zeal is one of the social-cultural components of different societies, including Iranian society. In recent decades, with the expansion of feminist ideas, this issue has been critically analyzed, and its overflow can be seen in the art of cinema. The present research has been carried out with the aim of investigating the representation of honorable zeal in the Iranian cinema of the 1390s, using Fairclough's discourse analysis method. This method includes three stages of description, interpretation and explanation, during which the formal features of the text are examined in the description stage, the interdiscourses in the interpretation stage, and the influence of macro-social structures in the explanation stage. For this purpose, 3 films "Daughter's House", "Father's House" and "Parvaneh's Swimming" were selected and analyzed from the series of films released in the 1390s with a purposeful sampling method. The results indicate that in the light of the effects of the process of globalization on Iranian cinema, the development of feminist literature, the cultural policies of international film festivals, the development of the urban middle class in Iran and the cultural policies of the government of moderation, the issue of honor zeal in the cinema of Iran in the 1390s has been represented as an irrational phenomenon with absolutely harmful consequences and The creator of the authoritarian relationship between men and women.
vahid agah
Abstract
The government confrontation with the category of cinema should be freedom-oriented and after producing and supplying films. But in Iran, since the victory of the islamic revolution, there has been censorship of cinematic works, which in the present study, its types in the law have been criticized, and ...
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The government confrontation with the category of cinema should be freedom-oriented and after producing and supplying films. But in Iran, since the victory of the islamic revolution, there has been censorship of cinematic works, which in the present study, its types in the law have been criticized, and rather than religious censorship, which requires an independent article; three main types of censorships, namely "moral, political, and socio-cultural", have been identified and analyzed in the acts, regulations of the Council of Ministers and the Supreme Council of the Cultural Revolution, and in the practical procedure of the Ministry of Culture. The result of the research shows that the diversity and multiplicity of Censorship cases, which, in addition to the diversity and multiplicity of acts and regulations, which is the point of criticism, in the practical procedure, has gone beyond and fatter than the text of laws and regulations, and finally has expanded the censorship open menu in Iran.This is to the extent that the issues such as "violence and escape of justice" in the moral censorship basket; "Criticism of police and government policies", in the list of political censorships; and "presenting an inappropriate image of Iranian culture and civilization, being social and bitter, a critical view of the culture of the weak and even vasectomy", is included in the socio-cultural censorship list, in which, some movies can be named as: "Father's House (Khaneye Pedari)”, "Sinners (Gonahkaran)", "in the color of Purple" "I'm Not Angry", "Haji Washington," Banoo" and "fire worker (Atashkar)".
Homayun Moradkhani; Ali Asghar Esmaeilzadeh
Abstract
The aim of this paper is the study of crime and criminal images in Iranian Cinema. The main question is that how Iranian films represent issues of crime and criminality. In this study, theoretical framework is representation theory, and analyzed based on 57 films. The films are produced in period between ...
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The aim of this paper is the study of crime and criminal images in Iranian Cinema. The main question is that how Iranian films represent issues of crime and criminality. In this study, theoretical framework is representation theory, and analyzed based on 57 films. The films are produced in period between 1380 to 1394, and research method is quantitative content analysis. The hypothesis of this study is that films present a type of popular knowledge about crime and criminality to audiences. The findings supported this hypothesis, they show that Iranian films represent different information about criminals, age, gender, social class and family situation. Also, films usually display social problems related to criminals, and try to explain criminality in their discourses and narrations.
Davud Zameni; Reza Ebrahimzadeh
Volume 16, Issue 30 , December 2015, , Pages 109-132
Abstract
The purpose of this study was to represent incentive factors of Tehranian adults to go to the cinema and Offering a model based on exploratory mix method. The research method based on Cresswell pattern was set in two qualitative and quantitative sections. Qualitative section was phenomenology and quantitative ...
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The purpose of this study was to represent incentive factors of Tehranian adults to go to the cinema and Offering a model based on exploratory mix method. The research method based on Cresswell pattern was set in two qualitative and quantitative sections. Qualitative section was phenomenology and quantitative section was based on descriptive analysis with correlation method based on confirmatory factor analysis. The study populations in qualitative section were selected from executive managers of cinema, directors, producers and film critics, actors and actress, sociologists, social psychologists and cinema professional audiences. In Quota sampling method, 1031 active Tehranian people were selected from 43 cinemas and the questionnaires were distributed among them. Research tools in qualitative method were depth interview and Research tools in quantitative method were questionnaire which resulted with from qualitative categories. At first, its reliability was confirmed by using content and factor validity. Cronbach's alpha was used to check the reliability of the questionnaire that was 0/912 which shows the reliability of the questionnaire. Data analysis in qualitative aspect identified several dimensions such as Individual and psychological, the economic, environmental and cultural, policymaking and planning, good film and Favorite movie features. The results of quantitative data analysis with confirmatory factor analysis show that there is little difference between quadratic impact factors. The last results shows that in addition to the good movie production, desirable cinema and attention to unmet needs of consumer and … are important to stimulate the audience to the cinema.
Asadollah Gholamali; Asghar Fahimifar
Volume 16, Issue 29 , June 2015, , Pages 167-187
Abstract
Angels and their nature have been attractive and questionable to human being in all ages. This attractiveness is not just because angels could not be seen by ordinary people as other components of the invisible world are being seen, but there are other reasons. Most important reason is the role of angels ...
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Angels and their nature have been attractive and questionable to human being in all ages. This attractiveness is not just because angels could not be seen by ordinary people as other components of the invisible world are being seen, but there are other reasons. Most important reason is the role of angels in existence world and their relations with mans worldly and Hereafter life. However, representation of angels in the western media contradicts Islamic truth and doctrine; but because of Magical power of the media has great effect on Public opinion.
This paper has tried to analyze angels’ feature in national media according Islamic doctrine and suggest some practical and applied solutions for representing angels in the media.
Results indicated that, media producers should be fully aware of the concept and doctrine of Islam In addition to technical affair of the media.
Seyedeh Razieh Yassini
Volume 15, Issue 26 , December 2014, , Pages 177-208
Abstract
Sacred characters sometimes appear in Hollywood works without their former sanctity. The present article aimed at studying how prophets are visualized in Hollywood, as the most prominent film production and distribution system in the world, from transcendentalistic and metaphoristic perspectives. This ...
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Sacred characters sometimes appear in Hollywood works without their former sanctity. The present article aimed at studying how prophets are visualized in Hollywood, as the most prominent film production and distribution system in the world, from transcendentalistic and metaphoristic perspectives. This article presented a semiotic analysis of four Hollywood cinematic works dealing with the lives of prophets: The Ten Commandments, King David, The Last Temptation of Christ, and Passion of the Christ. In this paper, an analysis of the selected scenes from the above-mentioned films and also the quality of the visualization of the sacred characters depicted in these works was conducted.
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Volume 13, Issue 18 , September 2012, , Pages 59-81
Abstract
This article tries to analyze representation of religious identity in Iranian cinema. The main question is that how religious identity is represented in Iranian cinema. Using qualitative content analysis, his research is done, and the statistical community for this research is post- revolutionary Iranian ...
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This article tries to analyze representation of religious identity in Iranian cinema. The main question is that how religious identity is represented in Iranian cinema. Using qualitative content analysis, his research is done, and the statistical community for this research is post- revolutionary Iranian movies. Therefore, 20 movies are chosen and analyzed. To choose these movies, some interviews are conducted with specialists in Iranian cinema. The result of this research shows that Iranian cinema during the years after revolution has moved from traditional religiousness toward reflexive religiousness. This change is comparable with the social changes after revolution in Iran.
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Volume 12, Issue 16 , May 2012, , Pages 235-263
Abstract
Cinema demand in Tehran has been decreased during last 2 decades. Therefore, this paper is aimed to estimate the function of demand for cinema in Tehran based on the Tehran's time series data during 1985-2010 periods. This research tries to use Case Study Research Method. Also according to Neo-Classic ...
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Cinema demand in Tehran has been decreased during last 2 decades. Therefore, this paper is aimed to estimate the function of demand for cinema in Tehran based on the Tehran's time series data during 1985-2010 periods. This research tries to use Case Study Research Method. Also according to Neo-Classic Demand Theory and econometric models is used Ordinary Least Square Technique (OLS) for demand function of cinema in Tehran. This estimation is carried out by Eviews-IV econometric modeling package.
In this research we have selected the best logarithmic equation as function of demand for cinema in Tehran after estimating some equations and testing them. All relevant test statistics indicated that there is relation between these variables. We start our analysis with the specification of several approaches for cinema demand. According to calculation all of cinema demands elasticity; we analyzed the effective factors on cinema demand in Tehran, such as price ticket, consumers' income index, substitute and supplementary goods 1985-2010 periods. However, in this study we found that the cinema demand is inversely related to the price and the income. Thus the cinema in Tehran as a cultural good may indeed be seen as a luxury one.
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Volume 12, Issue 15 , December 2011, , Pages 225-245
Abstract
This paper has studied the representation of Razavi Culture (the thoughts and teachings of Imam Reza) in the cinema of Iran by a brief introduction and overview of the most important films made about Razavi Culture after the revolution of Iran. In this paper we have studied the movie named “Kimiya ...
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This paper has studied the representation of Razavi Culture (the thoughts and teachings of Imam Reza) in the cinema of Iran by a brief introduction and overview of the most important films made about Razavi Culture after the revolution of Iran. In this paper we have studied the movie named “Kimiya “as one of the most important movie which has so many Spiritual connections to the Imam Reza as the main issue in the film. The movie can be considered as a part of the Sacred Defense genre. The method which has been used in this article is Qualitative methods of semiotic analysis; although the Roland Barthes model in analyzing the novels of Honoré de Balzac has been applied, the Scenes of the film that was related to the subject has been chosen and studied
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Volume 11, Issue 9 , May 2010, , Pages 9-34
Abstract
In this paper, while reviewing the literature on the competition between various media, the results of some survey studies conducted in previous years on the consumption of media and cultural products in Iran are reviewed to analyze present competition between cinema and video, television, and satellite ...
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In this paper, while reviewing the literature on the competition between various media, the results of some survey studies conducted in previous years on the consumption of media and cultural products in Iran are reviewed to analyze present competition between cinema and video, television, and satellite TV channels in which Iranian people are more inclined toward video, television, and satellite TV channels. The issue of competition between cinema and video, television, and satellite, has been investigated from two perspectives; the effect of technological changes and emergence of modern media technology on cinema and change in the recreational and entertainment habits of movie viewers.
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Volume 11, Issue 9 , May 2010, , Pages 35-56
Abstract
The 28th Fajr International Movie Festival was held in the first half of Bahman (5-15) 1388 (February 2010). In this study, the viewpoints of 32 cinema experts and authorities (writer, director, producer, actor and actress, critic, composer, etc) are collected through specialized interviews. The interviews ...
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The 28th Fajr International Movie Festival was held in the first half of Bahman (5-15) 1388 (February 2010). In this study, the viewpoints of 32 cinema experts and authorities (writer, director, producer, actor and actress, critic, composer, etc) are collected through specialized interviews. The interviews which were conducted in Bahman 12th and 13th 1388 in the festival hall (Milad Tower) had interesting results.
After holding 28 festivals, cinema authorities consider the following advantages for Fajr Movie Festival:
Creation of a competitive atmosphere for filmmakers and motivating other filmmakers to make higher quality movies;
Identifying weaknesses of the movies and correcting them before public show;
Identifying works and subjects more attractive to audiences and critics of Iranian cinema;
An annual opportunity for interaction and exchanging views on the developments of Iranian cinema.
Most cinema experts believe that although organizing festival and providing its expenses is done by the government, a realistic look confirms that organizing festival by government at present time can be beneficial; this is while presence of a
permanent independent organization or an academy for the festival can open up a new horizon for Iranian Cinema.
Most cinema experts of the country believe that getting award by a movie in the festival brings credit to the movie and its producers. This is even stronger in the case of young movie producers and actors or actresses and has a great effect on their popularity among people and cinema experts.
Most interviewed experts evaluate the effect of Fajr movie festival on the credit and position of Iranian cinema at international level positive but trivial.
From the viewpoint of cinema experts, the trend of festival during past 28 years has been growing and improving, although due rapid change of cinema authorirties in various years it was very different with many ups and downs.
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Volume 11, Issue 9 , May 2010, , Pages 57-88
Abstract
Cinema, in the time of political confrontation between different parties, has always been the area of disputes and every party, according to its cultural viewpoint, has challenged the position of cinema at the time of its rival administration. What happens in today's political atmosphere in Iran is ...
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Cinema, in the time of political confrontation between different parties, has always been the area of disputes and every party, according to its cultural viewpoint, has challenged the position of cinema at the time of its rival administration. What happens in today's political atmosphere in Iran is not the quarrel of two political parties; rather, confrontation of two ideologies or two political discourses challenging each other by defining two cultural systems; one based on guarding revolutionary, religious, and ethical values, and another supporting social and civil rights. In this paper, artistic management of Islamic Republic of Iran has been investigated through explaining cultural-artistic policies of the administrations in 1370s (1990s) and 1380s (2000s). This article is the outcome of a study conducted on political sociology of Iranian cinema in 1370s (1990s) in which the cultural-artistic policies of the government in 1370s (1990s) and 1380s (2000s) are investigated through content analysis and text analysis of movies selected by the government in Fajr movie festivals on the one hand, and the audience of Iranian cinema, on the other. In this study, the role of cultural policy makers and artistic managers in administering these policies are mentioned. The present study indicates that artistic policy makers and managers of the both discourses referred to as "traditional discourse" and "democratic discourse" in this paper, have always made cinema the stage of their discourses and resorted to "people" for justifying their policies. They, in policy making area in cinema sector, consider their own musts and must nots as the musts and must nots of people and regard their own believes as believes of people. Also, whenever they criticize each other's policies, call people to witness their claims and attack each other's policies reasoning that they are not congruent with people believes and values. Policy makers and administrators of both political discourses have never moved toward "cultural union" and have always taken "part" of Iranian society culture into consideration in their artistic-cultural planning. They have been far from "previous experiences", "society expedience" and "prudence", whereas the audiences of Iranian cinema have always welcomed a combination of religious values together with social – political values in the movies.
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Volume 11, Issue 9 , May 2010, , Pages 113-146
Abstract
Fajr Movie Festival, in the present situation of Iranian cinema, is the best opportunity for offering cultural, artistic, and even economic aspects of the movies produced during a year in Iran so that filmmakers can make a better cultural, artistic, ..., communication. This festival is also an opportunity ...
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Fajr Movie Festival, in the present situation of Iranian cinema, is the best opportunity for offering cultural, artistic, and even economic aspects of the movies produced during a year in Iran so that filmmakers can make a better cultural, artistic, ..., communication. This festival is also an opportunity which provides a holistic evaluation of Iranian cinema as well as the activities of cinema authorities. Besides, it is a short opportunity which presents the whole movie production potential of Iran.
In this respect, a survey was conducted through telephone interviews to people over 15 years old inhabiting in 22 districts of Tehran concurrent with Fajr festival in Bahman 1388 (February 2010). The telephone numbers of the home in 22 districts were selected randomly and the sample consisted of 1065 participants.
The results revealed that the purpose of 42.9 percent of respondents who participated in this festival was "watching the movies which were not yet publicly displayed" and 40% of the participants believed that "there was no movie in this festival that was not permitted to public display or participation in the festival".
40 – 49 years old Participants (58.3%) and 15-19 years old participants (37.1%) were most and least interested respondents in Iranian movies, respectively.
86.3% respondents consider movie subject while 57.1% of them consider movie advertisements as the factors significantly contributing to the attractiveness of movies.
People over 50 years (80.6%) more than others and people of 15 to 19 years old (22.7%) less than others stated that they had never gone to the cinema during last year. In other words, the frequency of cinema attendance decreases by the increase in age and vice versa.
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Volume 11, Issue 9 , May 2010, , Pages 147-179
Abstract
This study intends to identify factors affecting on the demand of Iranian cinema movies. To this aim, a sample consisting of 192 cinema spectators was evaluated. The results of analyzing questionnaires through Kroskal Valice test indicted that
there is a direct relationship between individuals' ...
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This study intends to identify factors affecting on the demand of Iranian cinema movies. To this aim, a sample consisting of 192 cinema spectators was evaluated. The results of analyzing questionnaires through Kroskal Valice test indicted that
there is a direct relationship between individuals' income level and the number of their cinema attendance) (that is, individuals earn higher income go more times to the cinema). Also there is a reverse relationship between family size and cinema attendance (i.e. the higher the number of family members, the less the times of going to the cinema). Then, the results of binominal test revealed that "movie subject", "lead actors (stars) and director", "movie and cinema quality ", "days and time of going to the cinema", "appropriateness and variety of movie subjects to all levels and groups ", "appropriate time of movie show", and "appropriate advertisements" are all factors affecting box office.
In addition, in the next part of research, the demand function of cinema was estimated using data related to the period of 1361-86 (1983-2007). The results show that all coefficients are statistically significant and in line with economic realities; so that increase in the costs and family size reduces cinema demand and increase in the income increases demand of the cinema movies.
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Volume 9, Issue 4 , February 2008, , Pages 71-93
Abstract
This article is the report of a study made by the author to answer questions on the current presence of the Iranian cinema in international fields, namely wheter is it's current situation desirable or not and are there any requirements to be met by cinema related organs, managers, policy makers and cinema ...
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This article is the report of a study made by the author to answer questions on the current presence of the Iranian cinema in international fields, namely wheter is it's current situation desirable or not and are there any requirements to be met by cinema related organs, managers, policy makers and cinema professionals? For this purpose, view points of some cinema professionals in various fields have been studied. The findings are presented in two analytical and statistical sections.
