https://www.jccs.ir/ Journal of Culture-Communication Studies en daily 1 Mon, 22 Jun 2026 00:00:00 +0330 Mon, 22 Jun 2026 00:00:00 +0330 https://www.jccs.ir/article_234701.html Introduction: The relationship between culture and development is a longstanding point of contention in development studies, reflecting competing paradigms of societal progress rather than a purely technical policy issue. These paradigms range from instrumental perspectives that treat culture as a resource for economic growth to humanistic approaches that regard it as the foundation of meaningful human flourishing. Post-revolutionary Iran provides a particularly important context for examining this debate. Officially, the state endorses the Islamic-Iranian Model of Progress, a normative meta-paradigm that defines moral, spiritual, and human transcendence as the ultimate goals of social advancement. In practice, however, many policy documents continue to be shaped by instrumental and technocratic rationalities that prioritize economic growth, efficiency, and administrative performance.Iran’s Seventh Five-Year Development Plan Law (2024) offers an important case for investigating this tension. As the country’s principal medium-term strategic policy document, it not only guides administrative planning but also institutionalizes particular understandings of culture, progress, and governance. This study analyzes the discursive architecture of the Seventh Development Plan to identify the paradigms shaping the relationship between culture and development and to assess the extent to which its operational logic aligns with the normative vision articulated in the Islamic-Iranian Model of Progress.Methods: This study adopts a qualitative research design using a single-case study strategy centered on the Seventh Five-Year Development Plan Law. A directed qualitative content analysis was conducted based on a pre-established theoretical framework comprising five paradigms of culture–development relations: functionalist (P1), economic (P2), sustainability (P3), humanistic/transcendence-oriented (P4), and sovereignty-oriented (P5). The Islamic-Iranian Model of Progress served as the normative benchmark for interpretation.The empirical corpus consisted of the complete text of the law (120 articles across 24 chapters). Each provision was systematically coded according to the five paradigms, and the distribution, interaction, and relative dominance of the codes were analyzed to identify hegemonic discursive coalitions and marginalized perspectives. Reliability was enhanced through expert review and repeated coding to ensure internal consistency.Findings: The Seventh Development Plan displays a heterogeneous and contested discursive structure. A hegemonic coalition of the economic (P2) and functionalist (P1) paradigms dominates the document, representing culture primarily as a resource for economic growth, productivity, and market competitiveness. Policies promoting the cultural economy and aligning education with labor-market demands exemplify this techno-economic orientation.Nevertheless, alternative discourses remain visible. Provisions reflecting the sustainability (P3) and humanistic (P4) paradigms address regional inequality, social justice, environmental protection, and human well-being. Although these perspectives challenge the reduction of progress to economic performance, they remain institutionally peripheral. At the same time, the law is framed by a sovereignty-oriented (P5) discourse emphasizing national independence, technological self-sufficiency, and geopolitical resilience. Overall, the policy architecture reveals a layered configuration in which techno-economic rationality predominates while being partially moderated by social, environmental, and sovereignty-related considerations.Conclusion: The analysis reveals a significant gap between the normative ideals articulated in the Islamic-Iranian Model of Progress and the operational logic embedded in the Seventh Development Plan. Although official discourse promotes a culture-centered vision of human development, the law largely adopts instrumental and economistic rationalities that implicitly construct individuals primarily as economic actors valued for their productivity.This conception contrasts sharply with the multidimensional and transcendence-oriented view of the human subject advanced by the Islamic-Iranian Model of Progress. The limited institutional presence of this humanistic paradigm highlights a structural disconnect between declared cultural aspirations and the practical mechanisms of national planning. These findings demonstrate that development policy is not a neutral technical exercise but a contested ideological field in which competing paradigms struggle for dominance. Bridging the gap between culture-centered aspirations and prevailing techno-economic policymaking therefore requires a fundamental paradigmatic transformation rather than incremental policy adjustments. https://www.jccs.ir/article_240612.html Introduction: Since the victory of the Islamic Revolution, Africa has occupied a distinct and strategic position in the foreign policy of the Islamic Republic of Iran, a priority consistently emphasized in the statements and directives of the Supreme Leader. As a key dimension of public and cultural diplomacy, cultural relations have been regarded as an important instrument for strengthening Iran›s external engagement and expanding cooperation with African countries. Against the backdrop of Africa›s growing geopolitical importance, abundant natural and human resources, and shared historical experiences of anti-colonial struggle, the continent offers significant opportunities for enhancing Iran›s cultural presence. This study aims to identify and analyze the opportunities and strategic orientations of Iran›s cultural diplomacy toward Africa based on the statements and directives of the Supreme Leader, with the objective of explaining the foundations of Iran›s cultural engagement on the continent.Methods: This study adopts a qualitative descriptive-analytical approach. The empirical data consist of the official statements, speeches, messages, and published works of the Supreme Leader related to cultural diplomacy, international relations, and Africa. The theoretical framework is based on Alexander Wendt›s constructivist theory, which conceptualizes social structures through three interconnected dimensions: semantic (normative and ideational), interest-based, and material structures. The data were analyzed using thematic analysis to identify recurring themes, concepts, and strategic orientations. Data collection relied on documentary sources, including academic publications, official websites, and the official archive of the Supreme Leader›s statements. This methodological approach provides a comprehensive understanding of the ideational and cultural foundations of Iran›s approach to Africa.Findings: The findings indicate that the opportunities for Iran›s cultural diplomacy in Africa can be understood across Wendt›s three structural dimensions.Within the semantic structure, the most significant opportunities include a shared historical memory of colonialism, common anti-hegemonic narratives, the role of Muslim and transnational civic activism, the favorable perception of Iran and the discourse of the Islamic Revolution in parts of Africa, strong religious affinities through devotion to the Ahlul Bayt among many African Muslims, and Iran›s image as a symbol of resistance and scientific self-reliance.Within the interest structure, the analysis identifies opportunities for strengthening Muslim solidarity, expanding cooperation among independent states, promoting mutual capacity-building through scientific, technological, and cultural exchanges, utilizing multilateral institutions such as the African Union and the Organization of Islamic Cooperation (OIC), and pursuing shared strategic interests in regional and international affairs.Within the material structure, Africa›s abundant natural resources, youthful population, economic potential, rich civilizational heritage, the presence of Shiite communities in numerous African countries, and the existing network of Iranian educational and cultural institutions constitute important material assets for expanding cultural diplomacy.Conclusion: The findings suggest that Africa represents a strategically important arena for the Islamic Republic of Iran›s cultural diplomacy. Beyond its material resources, the continent provides substantial ideational and cultural opportunities, including shared anti-colonial experiences, justice-oriented narratives, anti-hegemonic perspectives, and religious and cultural affinities. These commonalities provide a favorable foundation for strengthening cultural engagement and expanding bilateral and multilateral cooperation.From a constructivist perspective, the semantic, interest-based, and material dimensions mutually reinforce the potential for deeper Iran–Africa relations. Existing cultural institutions and educational networks further strengthen the operational capacity of Iran›s cultural diplomacy. The study therefore argues that cultural diplomacy constitutes an important complement to political and economic engagement and can contribute to enhancing Iran›s soft power and long-term relations with African countries. Overall, the findings support the argument that expanding cultural diplomacy with Africa represents a significant strategic opportunity within Iran›s broader foreign policy framework. https://www.jccs.ir/article_242281.html Introduction: Iran is a nation marked by profound ethnic, linguistic, cultural, and religious diversity. Throughout history, each local community-while preserving its distinctive identity-has engaged in continuous interaction with other cultures and subcultures, thereby generating a dynamic continuum of cultural similarities and differences. Effective interpersonal communication within such a pluralistic society requires respect for diverse cultural traditions, recognition of cultural differences, and behavioral adaptation in multicultural settings-practices that collectively contribute to the development of greater intercultural competence. When an ethnicity, religion, or language occupies a relatively peripheral position in society and is predominantly represented through media portrayals, the risk of stereotyping and the formation of rigid cultural preconceptions increases. Conversely, direct, unmediated encounters with other cultures can help dismantle such stereotypes and promote intercultural dialogue. In the context of Iran, Persian constitutes the dominant ethnic group, whereas Baluch is recognized as a marginalized minority. Kerman Province, owing to its geographical proximity and cultural linkages with Baluchistan in its southern region, has long served as a destination for migration and medical services for the Baluch community. There is coexistence between the two ethnic groups, Persian and Baluch. Accordingly, the central research question is: What is the scope and nature of intercultural sensitivity between the Persian and Baluch ethnic groups in Kerman?Methods: This study employed a semi-structured interview method for data collection, followed by thematic analysis to interpret the data. The research sample consisted of 13 Baluch students and 10 Kermani (Persian) students currently studying in Kerman, all of whom had engaged in intercultural interactions with members of the other ethnic group in the city. These interactions extended beyond classroom contact with peers from a different ethnicity and included family visits, travel, and long-term residence in Kerman. Participants of Baluch ethnicity reported closer contact with the Persian group after residing in Kerman, while Persian participants similarly developed greater familiarity and interaction with the Baluch community upon entering university. Accordingly, one set of interview questions addressed participants’ intercultural perceptions of both ethnic groups prior to direct contact, in order to identify changes that occurred after such contact was established. Given Kerman’s multicultural environment and the presence of both ethnic groups within it, the city was selected as a case study for examining the scope of intercultural sensitivity between Persians and Baluch. Findings: Prior to intercultural contact between the two ethnic groups, intercultural sensitivity was predominantly characterized by ethnocentrism, encompassing dimensions such as disregard and lack of awareness, devaluation, and reversal. Before close interaction, stereotypes of the Baluch ethnicity included notions of being deprived, uncultured, smugglers, and terrorist-like-exemplified by the personality-based generalization of Abdulmalek Rigi. Stereotypes of the Persian ethnicity included being perceived as outsiders, power-seeking, and racist. The Baluch group’s intercultural sensitivity toward Persians similarly reflected lack of awareness, reversal, and devaluation. At the denial stage, individuals experienced their own culture as more authentic than that of the other group. One prevalent perception of Persians was as “outsiders,” understood in a generalized, undifferentiated manner, which reinforced cultural distance. Following intercultural interactions, the scope of othering diminished-from perceiving “all” members of the other group through a generalized lens to restricting such views to “some.” The Persian group’s intercultural sensitivity toward the Baluch ranged from defensiveness to adaptation, whereas the Baluch group’s sensitivity toward Persians ranged from minimization to integration. After such interactions, the pattern of othering Persians-based on generalized perceptions of Persian culture-largely dissipated. However, certain perceptions persisted, particularly regarding how Persians in Kerman view the Baluch. These included negative attitudes derived from clothing as an ethnic marker, which reinforced stereotypes of prejudice and security-based suspicion. Post-contact intercultural sensitivity involved themes such as being mistaken for Afghan, security-oriented perceptions, perceived strangeness of traditional dress, ethnic-religious friction, ethnic marginalization, nationalism, essentialism, personality-based judgments, cultural functionalism, empathy, cultural appropriation, and cultural fluidity. The origins of othering and the formation of negative cultural perceptions between the two ethnicities were traced to mass media portrayals and second-hand narratives from others, which had become part of participants’ implicit knowledge. However, with increased intercultural contact, participants began framing their judgments based on personal experiences, as well as through social media and the Internet. Moreover, while stereotypes were not entirely eliminated, they became more personality-based rather than group-based.Conclusion: The findings indicate that increased interaction with the Baluch ethnicity leads to a reduction in intercultural sensitivities. In the multicultural environment of Kerman, however, such interaction has not yet become normalized or routinized, and the Baluch community continues to experience a form of museum-like existence in relation to intercultural communication. Interactions between the two ethnic groups remain limited, primarily occurring in contexts such as hospitals and commercial exchanges. Nonetheless, coexistence with the Baluch has contributed to a decline in intercultural sensitivities. The study also found that the Baluch community demonstrated greater flexibility toward Persians, a tendency attributed to their proficiency in the Persian language. Conversely, the Persian group was less likely to adopt cultural elements from the Baluch. In other words, Persian cultural practices were predominantly intra-ethnic, with limited intercultural behaviors reflecting influence from Baluch culture. In contrast, the Baluch, due to their command of Persian, exhibited a greater capacity to adopt elements of Persian culture. Based on these findings, several recommendations are proposed:- Diversifying media representations of both Persians and Baluch in mass media.- Supporting the production and dissemination of media content about Baluch culture, particularly content created by local Baluch producers.- Encouraging Baluch-produced media programming on a variety of topics.- Broadcasting Baluchi music to promote familiarity with Baluch language and culture.- Expanding opportunities for travel to Sistan and Baluchistan to foster cultural exchange.- Implementing policy changes aimed at reducing centralization and recognizing ethnic groups in various dimensions.- ncouraging ethnic groups to use the Internet and social media for mutual cultural exposure through self-representation. https://www.jccs.ir/article_233571.html Introduction: The rapid expansion of digital platforms and changing media consumption patterns have positioned game streaming as an emerging sector of Iran’s digital economy. The growing popularity of digital games has fostered a dynamic ecosystem of content creators, streaming platforms, and online audiences. However, this rapid growth has occurred in the absence of a coherent regulatory framework, creating a significant governance gap in Iran’s digital media environment. The lack of clear regulatory mechanisms has generated a range of challenges, including the dominance of foreign platforms, the dissemination of content that may conflict with domestic cultural norms, non-transparent economic activities, and cybersecurity risks. To address these challenges, this study develops a localized regulatory model for game streaming governance in Iran. Drawing on the theoretical perspective of Collaborative Governance, it proposes a balanced approach that seeks to strengthen regulatory effectiveness while preserving creative freedom and supporting innovation within the digital entertainment sector.Methods: This study adopts a qualitative research design based on grounded theory methodology. Data were collected through two complementary sources: semi-structured interviews with domain experts and documentary analysis of legal frameworks, policy documents, and relevant international experiences. Participants were selected through purposive and snowball sampling to ensure representation of key stakeholder groups, including content creators, platform operators, regulatory authorities, and academic experts. Data collection continued until theoretical saturation was reached after ten in-depth interviews. The data were analyzed through the three stages of grounded theory coding: open coding, axial coding, and selective coding. The analytical process was supported by MAXQDA software to ensure methodological rigor and systematic data management.Findings: The findings indicate that game streaming governance in Iran is shaped by the interaction of technological, cultural, economic, legal, and institutional factors. Eight major causal conditions requiring regulatory intervention were identified: technological transformation, unregulated market expansion, cultural divergence, financial irregularities, legal deficiencies, cybersecurity risks, institutional passivity, and uncontrolled user interactions.Technological advances, particularly the expansion of high-speed mobile internet, have facilitated content production and distribution while increasing reliance on foreign platforms due to the limited capacity of domestic services. The findings also reveal cultural concerns related to the circulation of inappropriate content and its potential influence on younger audiences. Economically, the study identifies substantial but largely non-transparent revenue flows through unofficial channels, creating concerns regarding financial accountability and taxation. Legally, the absence of comprehensive intellectual property protection, limited enforcement mechanisms, and overlapping institutional responsibilities contribute to regulatory uncertainty and implementation challenges.Conclusion: The proposed model advocates a comprehensive, adaptive, and collaborative approach to game streaming governance that moves beyond conventional command-and-control regulation. The model is structured around several strategic components, including coherent legal reform, sustainable financial support for domestic platforms, human capacity development, and investment in digital infrastructure. It also emphasizes the importance of clear and flexible regulatory provisions capable of adapting to technological change while providing legal certainty for stakeholders.The findings further support the establishment of multi-stakeholder governance arrangements involving regulatory authorities, platform operators, content creators, academic institutions, and user communities in policy design and implementation. Such an approach can strengthen regulatory legitimacy while promoting accountability, innovation, and responsible digital participation. Overall, the proposed model seeks to balance regulatory oversight with creative freedom and sustainable industry development, thereby contributing to a more resilient and culturally responsive game streaming ecosystem in Iran. https://www.jccs.ir/article_232205.html Introduction: The horror genre, deeply rooted in myth, ritual, and collective memory, has long served as a cinematic expression of social anxiety and cultural trauma. Across world cinema, localized forms of horror have emerged through the creative adaptation of folklore, ritual practices, and geographically specific cultural symbols. In the Iranian context, however, horror cinema remains relatively underexplored, largely due to limited theoretical engagement and the persistent perception of horror as merely a form of popular entertainment. This study aims to develop an indigenous model of horror cinema in Iran by integrating global genre theory with the cultural, mythological, and environmental characteristics of Khuzestan Province-a region distinguished by its ethnic diversity, complex historical experiences, and rich ritual traditions.The study addresses the question of how local myths, rituals, and environmental conditions can be translated into the narrative and aesthetic structures of cinematic horror. It further examines which folkloric elements are most adaptable to cinematic representation, how localized forms of fear differ from universal horror archetypes, and what institutional and cultural constraints affect the development of horror cinema in Iran.Methods: This study adopts a qualitative analytical-documentary approach that combines theoretical inquiry with cultural analysis. The data were drawn from two principal sources:• written materials, including books, scholarly publications, and documented folklore related to horror, mythology, and the regional culture of Khuzestan; and• non-written sources, including oral narratives, ritual descriptions, and ethnographic records derived from previous fieldwork and archival collections.The analysis proceeded in three stages. First, recurrent mythological motifs and folkloric figures were identified within the local cultural corpus. Second, these motifs were mapped onto the narrative and aesthetic conventions of the global horror genre. Finally, their cinematic potential was evaluated with particular attention to narrative construction, mise-en-scène, and sound design.The analytical framework integrates genre theory (Neale, Altman, and Carroll), myth criticism (Eliade), and performance theory (Turner and Schechner) to examine the relationship between ritualized fear and cinematic representation. Through a cross-cultural comparative perspective, the study situates Iranian horror within the broader traditions of folk horror and cultural horror, both of which combine indigenous belief systems with contemporary cinematic forms.Results: The findings indicate that the cultural landscape of Khuzestan provides a rich repertoire of horror-related motifs across mythological, ritual, and environmental dimensions.Within the mythological dimension, supernatural figures such as Al, Taptapo, and Umm al-Subyan embody collective anxieties surrounding motherhood, fertility, and liminality. Their symbolic complexity offers substantial potential for constructing culturally distinctive cinematic monsters.Within the ritual dimension, practices such as Zār exorcism ceremonies, mourning rituals, and infant protection rites incorporate embodied performances and sonic patterns that closely parallel the temporal rhythm and emotional intensity characteristic of horror cinema.Within the environmental dimension, deserts, marshlands, war-affected settlements, and other geographically distinctive spaces generate powerful visual and emotional settings for horror narratives. These landscapes, shaped by historical trauma and ecological extremity, evoke isolation, uncertainty, and the uncanny.The study further identifies a distinctive audiovisual repertoire associated with southern Iran, including lamentation chants (yazleh), ritual drumming, dramatic contrasts between intense daylight and nocturnal darkness, and the persistent presence of wind and silence. Together, these elements constitute a unique sensory vocabulary capable of defining the aesthetic identity of an indigenous Iranian horror cinema.Synthesizing these findings, the study identifies three interrelated components essential to a localized model of horror cinema: (1) a narrative-mythological structure grounded in local legends, taboos, and transgressions; (2) a spatial-visual atmosphere shaped by abandoned villages, humid riversides, and decaying architecture; and (3) a sonic-ritual design based on ceremonial rhythms, chants, and strategic silence. Collectively, these components provide the foundation for a culturally grounded cinematic language of fear that remains locally authentic while being accessible to international audiences.Conclusion: The findings suggest that the localization of horror cinema in Iran requires more than the incorporation of indigenous symbols into established global genre conventions. Rather, it depends upon a structural synthesis that brings global genre frameworks into dialogue with local mythological and semiotic systems.Within the Iranian cultural context, fear is represented less through external monstrosity than through the disruption of sacred order, the transgression of ritual boundaries, and the return of suppressed historical memory. This interpretation positions cinematic horror as an expression of enduring cultural tensions between tradition and modernity, the sacred and the profane, and the human and the supernatural.The mythological and ecological characteristics of Khuzestan further demonstrate that horror aesthetics can simultaneously remain culturally specific and internationally intelligible. The integration of ritual soundscapes, regional dialects, environmental realism, and indigenous mythology offers the potential to establish a distinctive cinematic language through which Iran’s cultural memory can be expressed audiovisually.Overall, the proposed model provides a theoretical framework for the indigenous development of horror cinema in Iran and offers both scholars and filmmakers a basis for reinterpreting the genre through local cultural traditions rather than reproducing established Western conventions. Future research may extend this framework through comparative studies of other Iranian regions in order to explore the diversity of localized expressions of fear and their cinematic potential. https://www.jccs.ir/article_230767.html Introduction: This study explores how the long-running American television series Supernatural (2005-2020) incorporates and represents the themes and symbols of Satanism. Through its narrative structure, character development, and symbolic imagery, the series reconfigures traditional religious concepts such as good, evil, God, and Satan. Western media, particularly television series, have increasingly engaged in the secularization or even subversion of sacred narratives, often reshaping them into dramatized and accessible forms. The present research investigates the ways in which Supernatural contributes to this cultural discourse by portraying demonic figures, satanic rituals, and mythological elements in ways that subtly or explicitly promote a satanic worldview.Methods: The research is qualitative in nature and adopts the method of Critical Discourse Analysis (CDA), focusing on selected episodes in which the presence of satanic symbols, themes, and characters is most evident. Sampling was purposive, targeting scenes that include direct or indirect references to satanic elements. The analysis was conducted at three levels:• Textual level: visual and linguistic symbols (e.g., obelisks, pentagrams, heavy metal music),• Semantic level: recurring motifs such as the death of God, glorification of demons, and the inversion of moral binaries,• Discursive level: broader cultural and ideological narratives, including the normalization of Satanism and the critique of traditional religious authority.Analytical tools included semiotic analysis, narrative structure review, and intertextual comparison with religious and mythological sources.Results: Findings indicate that Supernatural systematically employs satanic symbols and mythological references to construct a narrative in which traditional binaries-such as good/evil and God/Satan-are blurred or reversed. Demonic figures are frequently humanized or portrayed sympathetically, while divine figures are often absent, passive, or discredited. Specific symbols like the obelisk (derived from Egyptian and Mesopotamian mythology), the pentagram (used in both protective and inverted satanic contexts), and heavy metal music (associated with rebellion, nihilism, and anti-religious sentiment) are recurrent throughout the series and serve as ideological cues. Additionally, many of the demons depicted in the series are rooted in historical, biblical, or folkloric traditions (e.g., Lilith, Azazel, Leviathan), but are reinterpreted to serve new narrative functions.Discussion: The analysis reveals that Supernatural functions not merely as entertainment but as a cultural product embedded in contemporary Western discourse that challenges traditional religious worldviews. By integrating satanic elements into a popular format, the series facilitates a gradual redefinition of spiritual and moral values, aligning with broader patterns of secularization and postmodern ambiguity. The series exemplifies how media can become a vehicle for ideological transformation, subtly reshaping public perceptions of the sacred, the demonic, and the moral. In doing so, Supernatural reflects and reinforces a growing skepticism toward institutional religion and presents a narrative framework in which demonic forces are not only relatable but sometimes more rational or just than divine authority. https://www.jccs.ir/article_242282.html Introduction: Skill learning and the development of self-efficacy are central processes in human growth and are frequently represented in cultural and media narratives. Animated films offer a rich context for examining how educational and developmental concepts are translated into visual storytelling, characterization, and plot structure. Lev Vygotsky’s Zone of Proximal Development (ZPD) provides a useful framework for understanding how learners move from their current level of functioning toward higher competence through social interaction, guidance, mediation, and internalization. Despite extensive research on the moral, social, and psychological dimensions of animation, relatively few studies have systematically examined animated narratives through the conceptual structure of the ZPD. This study compares Kung Fu Panda (2008) and How to Train Your Dragon (2010) to investigate how they represent skill learning, perceived capability, guidance by a more knowledgeable other, scaffolding, play, creativity, and the transition from dependence to relative independence. Self-efficacy is used descriptively to refer to the protagonists’ growing belief in their capacity for successful action, while Vygotsky’s sociocultural theory remains the principal analytical framework.Methods: The research adopted a qualitative and interpretive design combining narrative analysis with directed qualitative content analysis. The primary data consisted of the two feature-length animated films. Detailed English plot summaries were used only as supplementary tools for reconstructing the sequence of events; all interpretations were grounded in direct observation of the films. The unit of analysis was the narrative scene or sequence, with boundaries identified through changes in time, location, the protagonist’s goal, or the pattern of interaction with a guiding figure. The analysis involved repeated viewing, identification of turning points related to failure, training, guidance, play, creativity, and independent performance, coding according to a predetermined model, and within-case and cross-case comparison. The model included five dimensions: the protagonist’s initial level of actual development, the more knowledgeable other, scaffolding, play and creativity, and final transformation. Interpretations were linked to specific scenes, images, and time codes to enhance credibility and traceability. Failures and moments of narrative ambiguity were also considered. Because inter-coder reliability was not statistically assessed, the study seeks interpretive depth and transferability rather than statistical generalization.Findings: Both films depict protagonists who begin from positions of low competence, social marginality, and limited confidence. Po is introduced as an awkward noodle-shop worker whose appearance and lack of formal training make him an unlikely martial artist. Hiccup is presented as a physically weak and socially disregarded adolescent whose abilities conflict with the warrior values of his Viking community. In both cases, the initial condition represents a limited level of actual development and establishes a gap between present performance and future potential.The films differ, however, in the structure of guidance. In Kung Fu Panda, learning develops through a relatively hierarchical master-student relationship. Oogway first recognizes Po’s unrealized potential, while Shifu becomes the principal instructional guide. The decisive change occurs when Shifu abandons standardized training and adapts instruction to Po’s motivation, bodily characteristics, and learning style. Food-based exercises, competition, humor, and playful physical practice operate as responsive scaffolds. As Po’s competence increases, direct support is gradually reduced and responsibility is transferred to him. The empty Dragon Scroll symbolizes internalization: Po realizes that no external secret guarantees mastery and that successful action depends on recognizing and using his own capacities. His final performance therefore represents both acquired skill and increased self-efficacy.How to Train Your Dragon presents a more reciprocal model. Toothless functions as a situationally more knowledgeable partner in matters of dragon behavior, flight, and interspecies communication, while Hiccup contributes mechanical creativity and problem-solving. Their relationship is based on mutual dependence, shared experimentation, and the co-construction of knowledge. The artificial tail, saddle, repeated flights, imitation, play-like interaction, and trial-and-error learning operate as mediating tools. Unlike the more temporary scaffolding in Kung Fu Panda, technological support remains partly necessary, suggesting that independence can be relational rather than absolute. Hiccup later transfers what he has learned to his peers and community. The ZPD thus expands from an individual relationship into a collective process that transforms Berk’s values from hostility toward coexistence.Conclusion: The comparison shows that both films represent learning as a socially mediated transformation rather than the accumulation of isolated skills. Kung Fu Panda offers a more classical model of scaffolding, in which a competent mentor adapts instruction and gradually withdraws support. How to Train Your Dragon offers a reciprocal and socially expansive model in which learning emerges through interdependence, technological mediation, and mutual adjustment between human and nonhuman partners. The first emphasizes internalization, individual confidence, and a personal mode of performance; the second emphasizes collaboration, relational agency, and cultural change. Popular animation can therefore function as a cultural text through which developmental and educational theories are interpreted and applied beyond formal classrooms. The findings also suggest that Vygotskian concepts can illuminate not only teacher-learner relations but also collaborative, interspecies, and community-level forms of learning. Future research may extend this framework to larger samples, audience reception, and empirical studies of viewers’ interpretations. https://www.jccs.ir/article_229767.html Introduction: As important drivers of economic and social development, cultural services play a significant role in fostering creativity, supporting artistic production, and enhancing social well-being. Within the expanding creative economy, religious communication services have gained increasing attention because of their cultural, educational, and social functions. As a component of cultural services, religious outreach seeks to communicate religious teachings, promote ethical values, and contribute to individual and community development. Despite these capacities, the management of religious outreach in Iran continues to face organizational and strategic challenges that limit its effectiveness. These challenges include low organizational efficiency, declining public engagement with religious discourse, insufficient adaptation to changing media environments, and increasing competition from alternative digital content. Consequently, there is a growing need for a systematic assessment of the challenges affecting religious outreach management in order to identify priorities and develop evidence-based strategies for improving its effectiveness. Accordingly, this study aims to identify and prioritize the principal challenges of religious outreach management and to propose a practical framework that can support policymakers and religious institutions in improving the sustainability and effectiveness of these cultural services.Methods: This study employed a mixed-methods research design combining thematic analysis and fuzzy cognitive mapping (FCM). The study population consisted of experts, managers, and practitioners involved in religious outreach in Iran. Participants were selected through purposive sampling, and data collection continued until theoretical saturation was achieved after 32 semi-structured interviews lasting approximately 45-60 minutes each. All participants had at least five years of professional experience in the management of religious outreach.Interview data were analyzed using the thematic analysis approach proposed by Braun and Clarke (2006). The analysis generated 105 initial codes, which were organized into 42 organizing themes and subsequently synthesized into 13 overarching themes representing the principal management challenges. In the quantitative phase, these challenges were modeled using fuzzy cognitive mapping. The strength and direction of causal relationships among the identified challenges were analyzed using FCMAPPER and Pajek software to determine their relative influence and centrality within the overall system.Findings: The thematic analysis identified 13 overarching challenges, which were classified into three broad categories: structural-process challenges, human resource challenges, and market-communication challenges.Within the structural dimension, the lack of an effective performance evaluation system (centrality = 0.78), organizational and financial inefficiency (0.72), and weaknesses in strategic planning (0.65) emerged as the most influential challenges. Human resource challenges included limited diversity and innovation in outreach methods (0.69), inadequate continuing professional development for clergy (0.61), and hierarchical organizational practices (0.58). The market-communication dimension was characterized by difficulties in audience retention and development (0.75), limited adaptation to emerging digital media (0.70), and declining public engagement associated with competition from alternative media content (0.67).The fuzzy cognitive mapping analysis further demonstrated that the absence of an effective performance evaluation system represents the central challenge within the network (centrality = 0.78), accounting for approximately 85% of the identified causal relationships. Audience retention (effectiveness = 0.82) and organizational efficiency (0.79) were identified as the next most influential factors. Overall, the network structure indicates that improvements in structural management are likely to generate positive effects across both the human resource and market-communication dimensions.Conclusion: The findings provide a systematic framework for identifying and prioritizing the principal challenges of religious outreach management and offer practical implications for policymakers, seminary administrators, and religious organizations. The central role of performance evaluation and organizational effectiveness suggests that strengthening monitoring systems, strategic planning, and evidence-based management practices should be prioritized. The results also highlight the importance of improving digital communication strategies and audience engagement in response to changing media consumption patterns.From a methodological perspective, integrating thematic analysis with fuzzy cognitive mapping demonstrates the value of combining qualitative and quantitative approaches to investigate complex management systems within the cultural and creative sectors. More broadly, the proposed framework may be applicable to other areas of cultural service management. Future research could examine the effectiveness of the proposed interventions through longitudinal studies and comparative analyses across different religious and cultural contexts. Overall, the study highlights the importance of moving from traditional administrative approaches toward more specialized, evidence-based management practices capable of supporting the long-term sustainability and effectiveness of religious outreach services. https://www.jccs.ir/article_238201.html Introduction: Media consumption patterns can significantly influence the level of institutional trust. While official domestic media generally aim to construct positive images of institutions and enhance public confidence, foreign media and diverse Persian-language social networks emphasize inefficiency and corruption, transmitting narratives that stand in contrast to the dominant domestic discourse. Drawing on national survey data and integrating sociological and communication perspectives, this study examines the relationship between media consumption and institutional trust in Iran, highlighting variations across age, gender, residential location, and educational subgroups.Method: The research employs secondary analysis using data from the fourth wave of the national survey Measurement of Cultural, Social, and Political Attitudes of the Iranian People, conducted by the Bina Institute between February 18-23, 2021, with a margin of error of approximately 3.5%. The statistical population comprised Iranian citizens aged 15 and above. A quota sampling method was applied, yielding a sample of 1,007 respondents. Reliability and validity of the questionnaire had been confirmed in prior survey waves.- Domestic media consumption: Respondents reported their use of Iranian television, radio, newspapers, news websites, and national messaging platforms for following daily news, coded on a four-point scale (1 = never to 4 = almost always). A mean score was computed across five items.- Foreign media consumption: Respondents reported their use of satellite channels, WhatsApp, Telegram, and Instagram, similarly coded and averaged across four items.- Institutional trust: Derived from satisfaction ratings with 11 institutions (parliament, presidency, police, judiciary, armed forces, Basij, hospitals, automobile industry, etc.), measured on a four-point scale (1 = completely dissatisfied to 4 = completely satisfied). Responses of “no knowledge” were treated as missing data.Findings: Table 1. Correlation between Media Consumption and Institutional TrustMedia Type Pearson Correlation SignificanceForeign media -0.365 .000Domestic media +0.114 .001N = 864Results confirm the first hypothesis at the 99% confidence level. Foreign media consumption shows a moderate negative correlation with institutional trust (r = -0.365), explaining 13% of variance. Domestic media consumption shows a weak positive correlation (r = .114), explaining only 1.3% of variance.Table 2. Correlation by Educational LevelEducation Level Domestic Media Foreign MediaBelow diploma r = .022 (ns) r = -.243***Diploma/pre-university r = .220*** r = -.225***University r = .226*** r = -.343*****p < .001; ns = not significantForeign media consumption has the strongest negative effect among university-educated respondents, while domestic media consumption shows no effect among those below diploma.Table 3. Correlation by Age GroupAge Group Domestic Media Foreign Media15-24 r = .422*** r = -.060 (ns)25-34 r = .179* r = -.345***35-44 r = .132* r = -.371***45-54 r = -.049 (ns) r = -.402***55+ r = .024 (ns) r = -.351******p < .001; p < .05; ns = not significantUnexpectedly, foreign media consumption does not significantly reduce trust among the youngest group (15-24), while domestic media consumption has its strongest positive effect in this group. In contrast, for older groups (45+), domestic media consumption shows no positive effect.Table 4. Correlation by Place of ResidenceResidence Domestic Media Foreign MediaMetropolitan areas r = .190** r = -.307***Other cities r = .176*** r = -.355***Rural areas r = -.018 (ns) r = -.396******p < .001; *p < .01; ns = not significantForeign media consumption has the strongest negative effect among rural residents, while domestic media consumption shows the greatest positive effect among metropolitan residents.Discussion: Results indicated that foreign media consumption, with an explanatory power of 13%, exerts a moderate negative effect on institutional trust, whereas domestic media consumption accounts for only 1.3% of the variance and has a weak positive effect. The weak impact of domestic media may reflect lower levels of public trust in these outlets as well as their comparatively limited use. This finding is also likely related to differences in credibility between the two categories of media, and may further be explained by the greater appeal of message formats employed by foreign media, which enhance the persuasiveness of their content. A final observation concerns the unexpected and heterogeneous effects of domestic and foreign media across demographic subgroups (age, education, and place of residence). The most plausible explanation is that, consistent with the uses-and-gratifications theory, the extent and type of foreign media use vary across age groups, while diverse social experiences with institutional performance shape subgroup differences in trust. In conclusion, the study demonstrates that although both domestic and foreign media influence institutional trust, the strength and direction of this effect depend on media type and the demographic characteristics of audiences. https://www.jccs.ir/article_241795.html Introduction: The relationship between reason and faith has long been one of the central questions in the history of Western philosophy and theology. Adopting an analytical-historical approach within the broader framework of cultural studies, this study examines the transformation of European religious culture during the transition from the middle Ages to the Enlightenment. It argues that this cultural transformation fundamentally reshaped the epistemic relationship between reason and faith. During the medieval period, faith and ecclesiastical authority occupied the dominant position in intellectual and social life, while reason primarily functioned as an instrument for explaining and defending revealed doctrines. The emergence of modern scientific rationalism and the gradual decline of traditional religious authority, however, disrupted this intellectual order. Against this background, the study investigates how the philosophical conceptions of reason developed by René Descartes, Baruch Spinoza, and Immanuel Kant contributed to a structural transformation in the understanding of faith. More specifically, it examines how the rationalization of knowledge redirected European religious culture from a paradigm centered on revealed authority toward one grounded in autonomous reason and moral agency.Methods: This study employs a qualitative analytical-historical methodology informed by the theoretical perspective of cultural studies. Through a comparative analysis of the philosophical systems of René Descartes, Baruch Spinoza, and Immanuel Kant, it explores both the intellectual and cultural transformations in the relationship between reason and faith.Within this study, the transformation of religious culture is understood as a combination of institutional, discursive, and symbolic changes, including the reconfiguration of ecclesiastical authority, the emergence of new forms of religious discourse, and the rise of scientific rationalism as a dominant epistemic framework. Rather than treating the philosophical works of these thinkers as isolated systems of argument, the analysis situates them within the broader cultural changes that accompanied Europe’s transition from the medieval to the modern period.The study further draws upon historical and philosophical scholarship concerning the transition from the Middle Ages to the Enlightenment and analyzes major philosophical texts to examine the gradual reinterpretation of faith within modern philosophical discourse.Findings: The comparative analysis reveals a gradual transformation in the epistemic status of faith through an increasing emphasis on the authority of reason.Descartes initiated this transformation by grounding certainty in methodological doubt and individual reason. Within his epistemological framework, faith remained acceptable only insofar as it was compatible with rational clarity, thereby assigning reason a foundational role in establishing religious certainty.Spinoza extended this process by replacing traditional theological conceptions with a monistic understanding of God and nature. His philosophical system rejected divine transcendence, miracles, and supernatural intervention in favor of a rational interpretation of reality governed by necessary causal relations.Kant subsequently redefined the relationship between reason and faith by demonstrating the limits of theoretical reason while relocating faith to the domain of practical reason. In his philosophy, faith functions not as theoretical knowledge or doctrinal assent but as an ethical postulate grounded in moral agency and the pursuit of the highest good.Taken together, these philosophical positions illustrate a progressive reconfiguration of faith from a revealed and transcendent source of knowledge toward forms of belief increasingly shaped by rational inquiry, causal explanation, and moral autonomy.Conclusion: The findings suggest that the transition from the Middle Ages to the Enlightenment represented not merely an intellectual change but a broader transformation in European religious culture. Across the philosophical systems examined, faith was progressively reinterpreted through the conceptual frameworks of modern rationality. Descartes associated religious certainty with rational demonstration, Spinoza redefined the divine within a naturalistic metaphysical system, and Kant relocated faith to the sphere of practical morality.From the perspective of cultural studies, these developments illustrate a gradual shift in the social and epistemic functions of faith, reflecting broader changes in the relationship between religion, knowledge, and authority during the emergence of modernity. Rather than disappearing, faith assumed new philosophical and cultural forms shaped by the growing authority of rational inquiry. The study therefore contributes to a deeper understanding of how modern philosophy transformed the cultural meaning of faith and redefined its place within European intellectual history. Future research may extend this analysis by examining comparable transformations in non-Western intellectual traditions or through broader comparative studies of religion and modernity. https://www.jccs.ir/article_240941.html The present study, using the institutional mapping approach, has examined the important actors of cultural drivers before the entry of virtual social networks into Iranian society. Therefore, the main goal of this study is to map the institutions active in the functions of cultural drivers before the entry of virtual social networks in Iran. The importance of this issue stems from the fact that the field of cultural drivers has a high number and diversity of actors and functions, and an attempt to study them can help to better understand the structural and functional complexities of this field. This study, using the mapping method, examined the institutions existing in the cultural drivers of Iranian society before the entry of virtual social networks according to cultural functions and analyzed the actors based on the stakeholder analysis model. The mapping of active institutions of cultural drivers was drawn based on the goals of cultural functions through interviews with 15 experts and specialists in the field of culture through purposive sampling until theoretical saturation with a questionnaire at the levels of governing institutions (supra-branch, executive branch). As a result, the main actors were analyzed based on the analytical model of stakeholder mapping, and finally the findings showed that the promotion of the spirit of chivalry, the promotion of the culture of sacrifice, jihad and martyrdom, and indecent behavior by the media had the highest level of direct and indirect intervention of all actors, and the two institutions of the Iranian Broadcasting Corporation and the seminaries had the greatest impact on the formation of cultural drivers. https://www.jccs.ir/article_239575.html This qualitative study, using a netnographic approach, examines the communication strategies of Iranian entrepreneurs on the social network Instagram. The present study is based on the conceptual frameworks of entrepreneurial communication, symbolic interaction, and sociology of communication, and attempts to show how Iranian entrepreneurs use the possibilities of digital media to represent identity, generate social capital, and shape alternative social discourses. The qualitative analysis of the study reveals six key communication strategies: personal narrative, social interaction and empathy, purposeful self-disclosure, entrepreneurial identity construction, critical reflection on social structures, and value-based activism in resource-constrained conditions. The findings show that entrepreneurship in Iran is not simply an economic activity, but rather a cultural, identity-based activism intertwined with social structures. By presenting a theoretical model based on the cultural and social context of Iran, this study highlights the emotional, symbolic, and structural dimensions of entrepreneurial communication. Finally, this study provides new horizons for researchers, policymakers, and practitioners interested in studying the growing role of communications in entrepreneurial ecosystems in emerging economies. https://www.jccs.ir/article_234590.html The aim of this research is to analyze women’s daily lives in online communities, and specifically on the Instagram pages of female influencers. This effort is carried out at two levels: at the first level, the content that female influencers share on their Instagram pages, including text, video, photos, voice, and clips, is analyzed; and at the second level, the comments and likes of female followers of these pages are examined as texts that narrate their daily lives and constitute a new form of this life in cyberspace. The theoretical framework of the present research is formed by two concepts: “online daily life” and “visual culture.” The common implication of these two categories is the emergence of a new form of virtual daily life in light of the expansion of social networks. In terms of methodology, network ethnography, which is specific to the study of cyberspace, has been used. The field of study is the Instagram pages of Iranian female influencers who regularly share their content. The results of the study show that female users usually spend their online lives by following specialized and everyday influencers and, during the daily discussions and conversations they conduct through comments and posts, they often interact and socialize around the following themes: beauty as happiness, online hobbies as a way to escape from real suffering, health as something to buy, breaking taboos from the patriarchal family, healthy nutrition, success means beauty and weight loss, travel to become prosperous and experienced, you are what your lifestyle gives you, being good is a kind of gesture, our identity is determined by the type of furniture in the house and its type. Accordingly, women practically have a kind of double daily life and a kind of split identity: real and virtual; And these two are not necessarily complementary and harmonious with each other. Rather, it must be said that women today live in two contradictory worlds with two contradictory identities. https://www.jccs.ir/article_236274.html The aim of this research is to understand the extent of Iranian citizens' inclination towards Turkish television networks and their lifestyle, as well as to propose a model for addressing this tendency. The study was conducted as a case study focusing on the preferences of residents in Tabriz. It employed a mixed-method approach, with a quantitative sample of 400 individuals over the age of 15 living in Tabriz, and a qualitative component involving in-depth interviews with 13 experts. The interviews were coded using open, axial, and selective coding methods. The findings indicated that the average score of respondents' inclination towards Turkish television networks was moderate, with higher levels observed among young, single men. Additionally, the average score of respondents' inclination towards the Turkish lifestyle was above the moderate threshold, especially among single men and women in younger age groups who watched Turkish channels for more than two hours per day. The content of entertainment was the most preferred among viewers, and a correlation was found between the extent of Turkish television consumption and the inclination towards Turkish lifestyle. The qualitative results revealed that the advantages of the Turkish media system, along with shared geographical, religious, linguistic, and cultural ties, contribute to the tendency of citizens to watch Turkish channels. Conversely, neglect of entertainment needs, inadequate integration between tradition and modernity, and certain self-censorship practices within domestic networks reinforce this inclination. https://www.jccs.ir/article_236341.html The study of local culture is one of the key areas in cultural and artistic research. Local culture encompasses shared customs, beliefs, narratives, and clothing styles that reflect the collective identity of a community. This study aims to analyze the reflection of local culture in the emerging handicrafts of villages in Qeshm and Hormoz Islands. The research is fundamental in nature and employs a descriptive–analytical approach. Data were collected through field observations, interviews with local artists, and library resources. Purposeful sampling was used to select representative cases. The main objective of the research is to identify the characteristics of Hormozgan’s handicrafts and to examine the influence of local culture on their formation. The findings indicate that emerging handicrafts such as earthen painting behind glass, fabric painting, and wood painting—alongside traditional crafts long practiced in the region—serve as a creative bridge between visual arts and handicraft traditions. These artworks are deeply inspired by the natural environment, color palette, and social beliefs of the local culture. In addition to their cultural and aesthetic value, they also contribute to the economic empowerment of local communities and are popular souvenirs among tourists visiting southern Iran. In conclusion, the interaction between local culture and contemporary art can be regarded as a sustainable cultural model that supports both heritage preservation and community development. https://www.jccs.ir/article_241796.html A culture based on reason leads to the formation of a vibrant, healthy, adaptable, wise and hopeful society, and acculturation, as a key process in the formation of individual and social identity and attitudes, plays a fundamental role in human interaction with the world around us. From the perspective of two great philosophers, Al-Farabi and Spinoza, rationality and acculturation are two related concepts but with different approaches. Al-Farabi sees rationality as a guiding force for human perfection and the realization of moral and social virtues that are strengthened in the context of culture and traditions of society. In contrast, Spinoza considers rationality to be a scientific and necessary cognition that goes beyond cultural limitations and its goal is to understand natural cause-and-effect relationships and achieve true freedom. By examining the concepts of rationality and acculturation in the thought of both philosophers, this study attempts to clarify the connection and differences between cultural rationality and actual rationality, and to show how acculturation can both facilitate and hinder the development of rationality from different philosophical perspectives. This analysis leads to a deeper understanding of the role of culture and rationality in shaping human experience and highlights the challenges in linking the two, especially in contemporary societies https://www.jccs.ir/article_242021.html Introduction: In the era of global communication, mutual understanding between cultures has become one of society's most critical needs. This study aims to conduct a comparative analysis of two intercultural approaches: Young Yun Kim's integrated communication theory and the Islamic concept of ta'arof (mutual acquaintance), examining their convergences and differences. Methods: This article employs a qualitative comparative analysis method to examine the theoretical foundations and practical applications of both concepts. Results: The findings indicate that despite fundamental differences in their origins and objectives, both approaches share significant commonalities, including emphasis on effective communication and audience consideration. Kim's integrated communication theory addresses immigrants' adaptation processes to new cultures, emphasizing the importance of understanding and adapting to cultural differences. In contrast, the Islamic concept of ta'arof, as a social norm, emphasizes maintaining respect in interactions with diverse cultures with the aim of achieving mutual understanding. Discussion: This study suggests integrating the integrated communication approach with ta'arof principles to develop novel communication models that are culturally effective in contemporary societies. This integrative approach enables the improvement of intercultural communication. Future research may focus on empirical evaluation of these models in various environments and cultures. https://www.jccs.ir/article_242280.html This study aims to identify the impact of preventive measures resulting from the spread of the Coronavirus and the ensuing conditions on the organizational communication of journalists in Tehran. Organizational communication is considered the lifeblood and essential factor in the efficiency of any organization, and its study is necessary for all management systems. During the COVID-19 pandemic, due to unfavorable working conditions and a reduction in the level of face-to-face communication, organizational communication in news organizations faced serious challenges. This study utilized the Phenomenology method and collected data through in-depth open interviews with 21 journalists, editors, and managing directors of media outlets in Tehran to explain their lived experiences. The results indicate fundamental problems and a type of "reverse rotation" in the desired process of organizational communication. This negative impact was evident in several main categories: disruption in the media organization and organizational communication, which included a reduction in dialogue and synergy among editorial members and the dominance of health protocols over journalistic protocols; a decrease in work efficiency and productivity resulting from remote work and an increase in errors in the absence of the editorial office ; the decline in the status of reference media due to the expansion of journalists' Twitter presence and the transfer of media authority ; and challenges in the media and journalists' economy, accompanied by a reduction in advertisements and newspaper circulation, and financial damage to journalists. Overall, the disruption in organizational communication and the decrease in work efficiency had a reciprocal relationship, and neither is an independent or non-influencing factor on the other. Consequently, the use of crisis communication can serve as a key preventive strategy to strengthen organizational resilience and maintain cohesion during critical periods. https://www.jccs.ir/article_244922.html Introduction The rapid expansion of video on demand platforms has fundamentally altered the landscape of cultural consumption and power dynamics in the twenty first century. This research argues that classical critical paradigms such as the Culture Industry of the Frankfurt School and the theory of Glocalization are no longer sufficient to explain the sophisticated mechanisms of control operating within these digital ecosystems. The Culture Industry model assumes a passive audience controlled by external prohibition, while Glocalization theories often optimistically view cultural hybridity as a sign of pluralism. Both fail to account for the voluntary nature of user subjugation in the digital age. To address this theoretical gap, this paper enacts a paradigmatic shift towards the philosophy of technology of Byung Chul Han. It analyzes global platforms like Netflix and their local Iranian counterparts not merely as media tools but as intelligent architectures of digital Psychopolitics. The study posits that the world has moved beyond Foucault’s disciplinary society, which operated through negativity and compulsion, into what Han terms the Achievement Society. In this new order, power is not exerted through forbidding the subject but through the seductive mantra of unlimited possibility. The central research question investigates how the process of globalization has transformed from a compression of time and space into an algorithmic colonization of the lifeworld. The hypothesis suggests that these platforms govern minds rather than bodies by creating a transparent and frictionless world where the subject is imprisoned within their own preferences under the illusion of freedom. Methodology This study employs a qualitative research design based on an analytical critical approach. Data collection was conducted using a library based method, involving a comprehensive review of theoretical texts related to the Culture Industry, globalization theories, and Byung Chul Han’s digital psychopolitics. The research utilizes comparative qualitative content analysis to interpret the findings. The theoretical framework derived from Han’s philosophy is applied to selected series from global platforms like Netflix and local platforms such as Filimo and Namava. This comparative analysis seeks to identify convergences and divergences in narrative structures, visual aesthetics, and value systems to determine whether local platforms offer a genuine alternative or merely reproduce global algorithmic logic. Findings The analysis reveals that VOD platforms operationalize digital psychopolitics through four primary mechanisms that colonize the user psyche. First, the platforms facilitate the transition to an Achievement Society where binge watching is transformed from leisure into a project. Unlike the passive viewer of the past, the modern user is a self exploiting subject who voluntarily sacrifices sleep to consume content. Features like Top 10 lists create an internal pressure to keep up with trends, turning cultural consumption into a competitive achievement. Second, the platforms establish what Han calls the Hell of the Same. Recommendation algorithms operate strictly on the logic of similarity and positivity. By constantly suggesting content based on past behavior, the system traps the user in a filter bubble that excludes the Other. This removal of negativity and foreignness prevents any genuine encounter with different perspectives, as cultural differences are flattened into mere variations of the same underlying formula. Third, the study identifies the promotion of an Aesthetics of the Smooth. The Skip Intro button serves as a philosophical symbol of this logic by removing the threshold that traditionally prepared the viewer for an artistic experience. Visually, this manifests as a hyper real and polished aesthetic characterized by shadowless lighting and oversaturated colors. This pornographic transparency eliminates ambiguity and critical distance, reducing art to easily consumable data. Fourth, the research highlights the standardization of neoliberal values across both global and local content. A comparative analysis of series like Netflix’s Ozark and the Iranian series Zakhme Kari demonstrates a shared value system where themes of betrayal, murder, and revenge are not treated as moral crises but as efficiency strategies. Characters are distinguished not by their ethical frameworks but by their intelligence in navigating a ruthless game of power. This indicates that local platforms reproduce the exact same neoliberal logic and narrative structures as their global counterparts, merely changing the language and setting. Conclusion This research concludes that video on demand platforms function as the primary vehicles for a new form of power defined as digital psychopolitics. The findings demonstrate that the distinction between global and local platforms is largely superficial. Despite linguistic and geographical differences, local platforms reproduce the same algorithmic logic, the same value system based on ruthless competition, and the same frictionless visual aesthetics. This convergence results in the emergence of a Hyperculture, a standardized cultural supermarket where local specificities serve only as exotic packaging for a uniform product. Ultimately, globalization in the digital era is revealed to be the homogenization of the soul. In this process, the subject operates under the powerful illusion of free choice while willingly submitting to a form of colonization that resides within their own curated desires and transparent digital prison. https://www.jccs.ir/article_245503.html Abstract Introduction: In today’s world, films and television series, as multidimensional and influential media forms, play an increasingly significant role in shaping public opinion and representing political discourses. In recent years, this function has acquired new dimensions within online streaming platforms, particularly Netflix, which, through its global accessibility and content strategies, has become an influential actor in cultural and media diplomacy. This study examines the representation of the Zionist regime in Netflix-distributed series between 2013 and 2023, with a particular focus on the series Fauda. The research seeks to explore how media collaborations contribute to the dissemination and legitimization of specific political and cultural discourses. Methods: This study employs a qualitative approach based on Stuart Hall’s theory of representation and uses semiotic analysis to examine the series Fauda. Results: The findings indicate that the central concept in Fauda is “security,” which functions as both a moral capital and a legitimizing framework for the regime’s intelligence and military institutions. The series emphasizes themes such as counterterrorism, external threats, and national protection while marginalizing or omitting narratives related to occupation, Palestinian civilian suffering, and human rights violations. In addition, Palestinian resistance movements are frequently portrayed as extremist and destabilizing forces. Discussion: The study concludes that Fauda, through selective representation and narrative exclusion, constructs a heroic, sympathetic, and legitimate image of the Zionist regime’s security apparatus. By foregrounding security discourse and suppressing critical perspectives, the series operates as a media instrument that supports the cultural and diplomatic objectives of the Zionist regime and contributes to the international normalization of its political image.