Communications
Aylin Daemi; Maryam Abachi; Seyed ali Mir Ebrahimi
Abstract
Cinema, as a cultural element in society and one of the arenas of representation of social issues, has an effective role in increasing the level of awareness of the society and reducing cognitive bias in this realm. One of the cinematic representations in this field is about violence against women and ...
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Cinema, as a cultural element in society and one of the arenas of representation of social issues, has an effective role in increasing the level of awareness of the society and reducing cognitive bias in this realm. One of the cinematic representations in this field is about violence against women and subsequently victimization of this vulnerable group. This research aims to investigate the criminological aspects of representation of women's victimization in cinematic works, in the context of lifestyle. To this purpose, the case study of Subdued (Rage Khab) movie has been done, using the directed qualitative content analysis method. The findings of this research showed that the lifestyle of the main character of the film, Mina, in the traditional society and in the absence of social and legal protections, led to the repeated and double victimization of her. In fact, Mina is a selected victim by Kamran, the male character of the film, as an attractive target in the ideal victim framework. The representation of victimization of women in this movie is a part of the reality in society. Also, since the reality of society in the realm of women's victimization is far more serious than its representation in cinematic works, and not paying attention to this important component can leave irreparable effects on the structure of society, as a result of this research and for preventing of violence against women, the necessity of cinematic works production without cultural censorship are emphasized. Thus, cinema with the preventive approach of initial victimization of women due to the lifestyles-exposure, through sensitization, awareness, immunization; and also by focusing on preventing the secondary victimization of women through efficiency in changing the structural factors of victimization, especially eliminating of discrimination against women, in the society and the possibility of accessing all women who have been experienced victimization in any form and in any framework to the criminal justice system, can be effective in reducing the victimization of women in the society.
Literature
Bahram Rezaei Vishesheraei; Mohammad Ali Khazane Darlo; mahmood Ranjbar
Abstract
One of the most important works in which the image of another, both "intra-cultural other" and "extra-cultural other" is reflected, is the travelogue. In this type of writing, images of women, men, cities, special places of pilgrimage, tourism, etc. can be the subject of imagery. This article is written ...
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One of the most important works in which the image of another, both "intra-cultural other" and "extra-cultural other" is reflected, is the travelogue. In this type of writing, images of women, men, cities, special places of pilgrimage, tourism, etc. can be the subject of imagery. This article is written in a descriptive-analytical way by combining the three approaches of critical discourse analysis, representation and imagery. The purpose of this research is to analyze the representation of various types of images of women and the assumptions that the author made in the framework of this type of representation. The results of the research show that in the travelogue "From Pariz to Paris" women with eastern and western nationalities are divided into two categories: historical women and contemporary women. The author represents the images of historical women indirectly and through the study of texts (intertextual) and the representation of images of contemporary women - who is either directly connected with them through personal experience or indirectly or directly , through communication with others (impersonal),has heard about them - with a combined experience (combination of face-to-face and impersonal experience).In this travelogue, the various titles of the author are placed in the shadow of the identity of "master intellectual of history" and with this identity, the image of contemporary women and historical court women and public women in the East and West is represented.
Nasrin Mohamadpour; masoud taghiabadi; vahid shalchi
Abstract
AbstractThis study aims at investigating the construction of the subject of female-headed households in post-revolutionary cinema in order to answer the question of how it has been represented and constructed in these works. For so doing, it employs Foucault and Althusser's interpretation of the subject. ...
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AbstractThis study aims at investigating the construction of the subject of female-headed households in post-revolutionary cinema in order to answer the question of how it has been represented and constructed in these works. For so doing, it employs Foucault and Althusser's interpretation of the subject. The research has been done via a semiotic method, using Fisk and Barthes model, combining it with Selby and Cowdory approach. By purposeful sampling, three films (The Blue-Veiled , Border Café (Cafe Transit), and The Corridor (Dehliz) from the 70s, the 80s, and the 90s have been selected for analysis. Results show that the power in these movies addresses family sanctity along with the need for woman management in it, also reproducing the discourse of housekeeping. But on the other hand, we see the construction of a faithful woman in return for a commitment to her husband or family and responsible for male roles. Here the desirable femininity portrayed in the films include: a) construction of a loyal housewife who supports the husband, b) the female-headed household who is committed to the family and is employed, and finally, c) the female-headed household who is chaste and a lover. The cultural meanings of the films are the lower social class of female-headed households, exposure of young female-headed households to judgment, their livelihood and economic problems, people's constructed look at them, the multiple roles they play, their strong sense of motherhood, cultural and value differences of varied ethnic groups, self-sacrifice and devotion, and drawing the old traditions of female widowhood. Also, all female-headed households try to change and start again, yet in the face of society, traditions, gender stereotypes, and the idea that men are superior, they are deprived of the opportunity to empower themselves.
Kwestan Shahabi; jamal mohammadi
Abstract
AbstractThe aim of this article is to apply a social semiotic model to analyze the representation of femininity in Kurdish women paintings. The sample includes female painters of Sanandaj in recent two decades recruited through purposeful sampling. The works of Negin Vakili and Akram Karimi have ...
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AbstractThe aim of this article is to apply a social semiotic model to analyze the representation of femininity in Kurdish women paintings. The sample includes female painters of Sanandaj in recent two decades recruited through purposeful sampling. The works of Negin Vakili and Akram Karimi have been analyzed by way of Kress & Leeuwen’s social semiotic model, in terms of representational, interactional, and synthetic meanings. The findings show that these two painters, in spite of similarity in terms of their themes and styles, reach two different points: femininity as represented in Vakili’s work follows a kind of reflective sexism, though in Karimi’s work it follows a passive sexism. In the first one, the form of connection between the elements is narrative, so it can provide a reflection of women’s identity. However, in the second one, the elements are connected through a conceptual pattern as well as a kind of passive sexism is unintendedly reproduced. Vakili represents the subject in a natural space which reminds the women’s status in mythical thinking, but Karimi represents the subject in the context of home and family, something which symbolizes women’s status in traditional society. Vakili’s work invites the audience to think about the effects of external factors in constructing female identity, but Karimi’s paintings call the viewers to have a kind of sympathy and identification with women in traditional family and society.
Payam Akramipour; Nafiseh Sharifi
Abstract
A Gender Analysis of Posters of fourth and fifth City Council Elections in Cities of Tehran, Shiraz and Ahvaz in Iran This paper is an interdisciplinary study based on a qualitative analysis of gendered aspects of eight election posters for the fourth and fifth City Council elections in Tehran, ...
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A Gender Analysis of Posters of fourth and fifth City Council Elections in Cities of Tehran, Shiraz and Ahvaz in Iran This paper is an interdisciplinary study based on a qualitative analysis of gendered aspects of eight election posters for the fourth and fifth City Council elections in Tehran, Shiraz, and Ahvaz. This paper examines how femininity and masculinity ideas, gender stereotypes, and gender roles are represented in male and female candidates' election posters. The candidates' posters are collected through selective sampling among available election posters on the Internet. By applying Berger's critical gendered analysis and theories of nonverbal communications, this paper looks at candidates' embodiment, physical appearance and gaze. More importantly, this theoretical aspect is combined with comments about the technical elements of posters such as lighting, Photoshop, and graphics and their effects in reproducing and recreating gendered stereotypes. This paper argues that while female candidates are represented as objects of the male gaze by emphasizing their physical beauty and embodiment, men's appearance and body language signify power, ability to change, decisiveness and problem-solving. Finally, this paper shows how, even in political posters, men and women are represented based on the binary understandings of active/male and passive/female sexualities. By looking at the gendered meanings behind the candidates' election posters, this paper discusses the significant role of media, photography, and representation in reproducing gender roles. Also, it emphasizes the use of photographs as a qualitative research method for understanding the gendered aspects of Iran's current socio-cultural context. .
Jalil Karimi; Siavash Gholipoor; Mariam Houri
Abstract
AbstractAs scientific and artistic approaches and ideas became closer to each other, and raising the relationship between society and art, the image presented by various groups, especially the lower classes of society, including women, became a serious subject for research in the media. Based on the ...
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AbstractAs scientific and artistic approaches and ideas became closer to each other, and raising the relationship between society and art, the image presented by various groups, especially the lower classes of society, including women, became a serious subject for research in the media. Based on the ideas of feminist theory and discourse approach, the present article describes how this image is represented in the films (ten films) of the 2000s in Iran. This article analyzes the relationship between the images created by them and the dominant political discourses in this period. According to the findings, in most films, the representation of women's lives tends to be more modern and inclined to none-patriarchal ideas, but these modern women, never find themselves in a polar state. They have the main features of both discourses at the same time. Considering the whole images, in spite of the fact that these works are influenced by the directors' attitudes and their discourse affiliations, there are reflections of the social conditions of the issue of "femininity and masculinity" in these films. It is as if there is a reflection of the conditions of the real transition of society from the traditional to the more modern stage in the films as well.
maryamsadat miri; mohammadsadegh nasrollahi
Abstract
The memoirs of the Holy Defense are one of the most enduring documents in the history of Islamic Iran.September 22, 1980 The Ba'athist regime in Iraq launched a military attack on Iran and the imposed war began. From the beginning of the war, women and men worked in the form of relief and support groups, ...
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The memoirs of the Holy Defense are one of the most enduring documents in the history of Islamic Iran.September 22, 1980 The Ba'athist regime in Iraq launched a military attack on Iran and the imposed war began. From the beginning of the war, women and men worked in the form of relief and support groups, which they took on and did until the end of the war. after the war, women fighters recorded their memories in the form of novels, memoirs and oral histories of the war. the present article examines how the personality dimensions of women fighters in the sacred defense are represented in 4 selected memoirs. these four books, entitled Sabah, Saji, The Bright Lights of the City, and The Most Beautiful Days of Life, while written with the focus on female personality, are up-to-date and effective works in this field.The findings of this article show that the representation of women's personality can be classified into four meaning domains of insight, tendency, action and personality-building factors using thematic analysis method. In the field of insight, issues such as religious, moral and revolutionary beliefs can be raised and in the field of tendency, themes such as self-made, powerful, war-disgusting, curious and chaste spirits are mentioned. In the field of action, items such as aid, religious, revolutionary, military, cultural and religious activities are included.Finally, family-centered personality-building factors are emphasized.
Azam Ravadrad; Zahra Majdizadeh
Abstract
The way working women are portrayed in Iranian media is one of the social and cultural factors that influence traditional gender stereotypes about women and their occupation. This can contribute to changing cultural perceptions about women’s employment. The main objective of this research is to ...
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The way working women are portrayed in Iranian media is one of the social and cultural factors that influence traditional gender stereotypes about women and their occupation. This can contribute to changing cultural perceptions about women’s employment. The main objective of this research is to examine the portrayal of working women in Iranian cinema after the revolution (1979) and present a comparison in different political periods of post-revolution. In order to achieve this goal, prominent films produced in each period (focusing on women’s employment) were selected and analyzed. In the theoretical part of this study, the representation theory of Stuart Hall is used. The research methodology is the semiotics of John Fiske. The results of the study presented that the modern working women, contrary to traditional female stereotypes, had the power and were more independent from their husbands. In most of the films dealing with professional women, the directors have tried to criticize the patriarchal ideology while defending the ideology of egalitarianism and meritocracy in the profession; although the social conditions of each political period were effective in the way working women were portrayed and the ideology of the film. Despite the attempt to avoid patriarchal ideology, the naturalization of domestic work for women can also be seen in these works.
Seyedeh Razieh Yasini
Abstract
After the Islamic Revolution in Iran in 1979, women were the subject of various discourses. The media played a central role in the discourse construction about women. Written media, including artistic-literary journals, can construct social realities that influence society. This paper inquires into the ...
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After the Islamic Revolution in Iran in 1979, women were the subject of various discourses. The media played a central role in the discourse construction about women. Written media, including artistic-literary journals, can construct social realities that influence society. This paper inquires into the ways in which women have been constructed by these journals in the reform era (1997-2005) to find out how these journals have represented women and to what field of discourse they refer. Thus, Stuart Hall’s theory of media representation, which focuses on the construction approach, was applied to the study of 27 selected artistic-literary or art journals published during the reform era. The selected art journals were analyzed using thematic analysis. The results showed that the studied journals that represented women were classified into three categories: 1. The ones that ignored women; they did not play a discursive constructive role for women in the reform era 2. Those that had a low representation of women; they put women in the side lines 3. The journals that constructed women in a particular discourse. The constructed representation of women in the 3rd category of art journals studied appealed to the reform and popular-commercial discourse.
Javad Nazari Moghaddam
Abstract
Proverbs as one of the most important elements of oral literature can be a reflection of the beliefs and attitudes governing society. One of the important topics of social research is how women are represented in culture and oral literature. In this study, we try to get a relatively clear picture of ...
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Proverbs as one of the most important elements of oral literature can be a reflection of the beliefs and attitudes governing society. One of the important topics of social research is how women are represented in culture and oral literature. In this study, we try to get a relatively clear picture of the position of women in Gilan society by examining Gilaki proverbs. This study is a descriptive-analytical study by analyzing the content of four books: "Dictionary of Proverbs and Terms of Gil and Dilam", "JadkeftehGaban", "Proverbs and Terms of Gilaki" and the book "Gilaki Proverbs" which contains 4562 proverbs east, west and center of Gilan, 182 proverbs have been counted related to the subject of research. To analyze the data, thematic analysis method and proverbs with common and similar themes were used. The following five major categories of images of positive aspects of women, image of negative aspects of women, woman as inferior element, woman as superior element and woman as equal element. They were categorized and analyzed in relation to men. Findings show that the image of women in the culture of the people of Gilan is diverse and multifaceted and although in some of the proverbs women are represented as a weak and inferior element, but a significant part of the proverbs emphasize on the superior or equal role of women to men in society.
Esfandiar Ghafari Nasab; Fatemeh Refahat
Abstract
In any society, artworks present a set of information about the social status, which by decoding and understanding the language, one can realize the features of the contemporary society. Music artworks, as an art and an important element of the cultural system, have a significant role in shaping and ...
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In any society, artworks present a set of information about the social status, which by decoding and understanding the language, one can realize the features of the contemporary society. Music artworks, as an art and an important element of the cultural system, have a significant role in shaping and reflecting the societies’ gender relations by displaying the concept of woman and different kinds of femininity. Iranian traditional music, as an art produced and published in socio-culture environment of Iran, can be effective in identifying the cultural characteristics of Iran. This study with the subject of the representation of women in Iranian traditional music in the sixties (1980s), want to explore the ways of women's displaying and women’s image in the lyrics of these works. This study is conducted based on a qualitative approach and qualitative content analysis method. Using inductive categorical system, this study performed the content analysis of 35 poems from 35 albums published in that decade. The results of this analysis with 21 concepts are categorized into three titles named the woman as social object, the woman as romantic and erotic love object, and the central category of woman as perfect love object. Analysis of the status of woman in this love relationship can show the state of woman’s representation in both the private and the public arenas. The content analysis of the lyrics indicates the weak presence of women in public and social arenas and a negative view in the form of cultural codes towards them. However, in private arena, the woman has an outstanding position in love relationships and as man’s love object. A healthy love with having symmetry and a prerequisite of equality is expressed towards her.
Communications
Meysam Farokhi; Marjan Sadeghi
Abstract
In addition to the hardships suffered by women, veterans of the sacred defense can declare the history of the resistance, sacrifice, and the freedom of warriors on the battlefields, due to the direct and indirect experience of the holy defense era. This research seeks to examine the representation. The ...
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In addition to the hardships suffered by women, veterans of the sacred defense can declare the history of the resistance, sacrifice, and the freedom of warriors on the battlefields, due to the direct and indirect experience of the holy defense era. This research seeks to examine the representation. The war is from the perspective of the martyr devotees' spouses in the sacred defense fiction literature. Meanwhile, the six-part series of "Now Shokran" published by Fatah narration, which deals with the story of life, hardships and sacrifices of the martyr devotees by their wives, selected as a targeted sample. They have been analyzed by method of content analysis with deductive approach. Therefore, the review of this collection can determine the way of representing war and sacred defense to a feminine narrative versus other men's stories of war. The results have represented the categories of identity, social relations, values and social norms, war and post-war period. In this collection, the story has been arranged and the war has had a significant impact on the lives of veterans' wives, but they still have lifestyles with many problems in their normal lives and patiently accompany their wife during the war and after that. In the series, the story of war was a realm of empathy. People, in sympathy with their neighbors, prevented wedding for their children, women were consistent with their husbands with no plaining. The dominant identity for warriors and their husbands and families was the identity based on morale-based revolution thinking and sacrifice.
Communications
Samaneh Foroughi; Yaser Foroughi
Abstract
What is important in cultural and media studies is the way of representing roles, petty groups, groups, relatives, gender, and so on. Nowadays, when the child's audience reaches the point, the importance of these teachings is doubled, as children watch their favorite genre of "animation" in-school curricula ...
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What is important in cultural and media studies is the way of representing roles, petty groups, groups, relatives, gender, and so on. Nowadays, when the child's audience reaches the point, the importance of these teachings is doubled, as children watch their favorite genre of "animation" in-school curricula on roles, stereotypes and gender identity. The purpose of this article is to compare the animations of "life skills for children" and "children of Flowers Building" from the perspective of gender. The present paper focuses on the qualitative analysis and the cognitive approach based on John Fisk's array to examine and review the common gender stereotypes in the two sets. For this purpose, all parts of the two animations have been studied. The results of the research show that in both programs, women and men are represented in terms of the number of characters almost equally. In a series of life skills for men, men are often represented with superior and more relevant attributes such as the power of high-thinking and decision-making, knowledge and aptitude, high self-esteem, wide social communication, and cheerfulness. The women's representations are often blurred with traditional gender stereotypes such as groaning, rumors, intercourse, personal independence, abstention, lack of control over anger and aggression, crying during troubles, and disorientation. In contrast to animation, golfers have a more positive and egalitarian approach to gender. Men are depicted in this collection with characteristics such as family-friendliness, appreciation, the principles of rituals and sociality, and their esteem and support. In representing women, it represents such attributes as beauty and adornment, futurism, attention to detail, equipping with multiple skills, self-control and rationality, and motivation.
Sociology
Hassan Piri; Yarmohammad Ghasemi; Sedighe Piri
Abstract
Femininity, like masculinity, is a cultural and historical reality that is constructed in different ways among different people. The present research aims to study the most popular local TV serials set in Ilam over recent years. The main purpose of the research is understand what kind of image of ...
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Femininity, like masculinity, is a cultural and historical reality that is constructed in different ways among different people. The present research aims to study the most popular local TV serials set in Ilam over recent years. The main purpose of the research is understand what kind of image of femininity is shown in the local channel of Ilam. To this end, we used the theoretical concepts presented by Goffmanm, Bourdieu and Feminist framework. The research method is content analysis. To identity the visible and invisible concepts in the text, we used coding techniques. Sampling is targeted, hence we have selected three popular TV shows set in Ilam. The results show that these TV shows represent a particular form of femininity as hegemonic, and it helped to accept, approve and strengthen this type of femininity. Also, they resisted against representation of a variety of other femininities present in society, or showed them as abnormal or marginal femininity.
Art
Soheila Sadeghi Fasaei; Shiva Parvaei
Abstract
Part of gendered culture is reproduced through media. In this respect, cinema movies could represent social realities either explicitly or implicitly. Asghar Farhadi is one of the directors who addresses family and social issues in his movies. The current study aims to show how women in the contemporary ...
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Part of gendered culture is reproduced through media. In this respect, cinema movies could represent social realities either explicitly or implicitly. Asghar Farhadi is one of the directors who addresses family and social issues in his movies. The current study aims to show how women in the contemporary world are presented in Asghar Farhadi’s movies. This question has been raised within a representation approach. In terms of methodology, qualitative content analysis with an inductive approach has been applied to identify overt and covert themes in the selected movies. Findings suggest that three selected movies represent women in categories such as: modern woman entangled in tradition; conflict between liberation and dependence; deceit and secrecy; being subjected to violence in gender relations; oppression by the presence of male domination and psychological insecurity. Eventually, these categories create a core category called “Woman between Dialectics of Tradition and Modernity".
Sociology
Ehsan Aqababaee; Mahvash Khademolfogharaei
Abstract
Family is a widespread social institution through which the early universe and its phenomena are understood. It seems that family and intra family relationships has changed these years and has taken a new form. Iranian cinema by creating stereotypes of relationships, personality and positions plays an ...
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Family is a widespread social institution through which the early universe and its phenomena are understood. It seems that family and intra family relationships has changed these years and has taken a new form. Iranian cinema by creating stereotypes of relationships, personality and positions plays an important role in Iranian people’s mental construction of family and its relations. In this regard, this research seeks to describe the representation of vertical and horizontal relationships of family members in the movies, interpret the actions of family members in crisis situations and problem solving and interpret the link of family on movies with social and political conditions in 2000s. The method used in this research was narrative analysis with Chatman theory. Five films named The Last Supper (1380), Fever (1382), Wet Dream (1384), Canaan (1386) and Seven Minutes to Fall (1388) were selected from the 2000s movies. The results indicate that represented family is in crisis. Family crisis is rooted in individualism and unclear roles and relationships between family members and in most cases leads to divorce. Meanwhile, Iranian cinema in a crisis situation either temporarily delays the crisis by returning to traditions or reinforces the crisis by creating ambiguity in the relationships and roles, instead of solving the problems under study.
Archeology
Behrouz Afkhami; Saba Farajzadeh; Seyyed Mehdi Hosseininia
Abstract
Water has been highly esteemed in ancient Persia. There have been a few deities to preserve and protect water; Anahita was considered the most popular one. We can see Anahita’s popularity and stature by survival of the works of art in ancient Iran. No doubt, the most important factor is the permanent ...
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Water has been highly esteemed in ancient Persia. There have been a few deities to preserve and protect water; Anahita was considered the most popular one. We can see Anahita’s popularity and stature by survival of the works of art in ancient Iran. No doubt, the most important factor is the permanent presence of Anahita is existence and continuity of mythological and religious beliefs arising out of the culture and history of Iran, Therefore, Anahita is not only considered as a visual element in art, but it is more consistent with fundamental concepts and symbols. The current study addresses an analysis of the visual motifs of Anahita and describes its spaces and image composition in art history of ancient Iran such as stamps, coins, reliefs and metal packaging in the Sassanid era. This research uses qualitative and comparative analytical methods. It is concluded that Anahita influenced historical and material culture of Babylon, Phoenicia, Greece and ancient Rome; but Anahita’s historical existence belongs to Iranian intangible culture.
cultural
Azam Ravadrad; Foroogh Mohammadi
Abstract
Not only does media reflect realities but also it shapes them and while being effective on our knowledge of world surrounding us. Over the recent decade, women, along with their traditional roles, have approached new social activities, which were considered exclusively masculine in the past, and have ...
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Not only does media reflect realities but also it shapes them and while being effective on our knowledge of world surrounding us. Over the recent decade, women, along with their traditional roles, have approached new social activities, which were considered exclusively masculine in the past, and have created a stable status for themselves. But it seems that this change is not considered by T.V. advertisements. Advertisements are still representing a kind of stereotypical image of women with its emphasis more and more on their traditional and constructed characteristics. In this study, we are interested in knowing how women in advertisements are represented in Iran and USA. First a review of some pieces of research in the subject is presented in which the manner of representation of women is described according to case of USA. Then some comparable categories are derived from those investigations and are applied to the case of Iran. The findings show that the difference between the representations of women in TV advertisements of both countries is very slight. In most cases, these advertisements are similar and both attribute stereotypical roles and characteristics to women.
Art
Maryam Rafatjah; Niloofar Hooman
Abstract
This article is an attempt to explore the subject of divorcee in narrative and visual content of Iranian cinema. Therefore, by applying constructionist approach in Representation theory of Stuart Hall as the main theoretical framework and using Roland Barthes’ structural analysis of narrative and ...
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This article is an attempt to explore the subject of divorcee in narrative and visual content of Iranian cinema. Therefore, by applying constructionist approach in Representation theory of Stuart Hall as the main theoretical framework and using Roland Barthes’ structural analysis of narrative and John Fiske’s semiotic analysis in three levels of reality codes, representation and ideology, Esterahate Motlagh and Nahid movies have been analyzed and evaluated. The results showed that: 1. Both films have the three- part narrative structure, 2. The story take places in an urban space, 3. the crises that divorced woman face 4. Tactful woman is the most important type in both movies 5. Showing patriarchy, wise woman versus irrational man and the predominance of evil over goodness, are the most important ideological issues which have been mentioned and portrayed in the movies.
Sociology
Ehsan Aqababaee; Davoud Zahrani
Abstract
Nowadays, in discourse of cinema, movie poster is one of the inseparable parts of showing movie. These posters are influenced by their own social and political discourses of the time when they were produced. The current paper aims for description and interpretation of social and political changing contents ...
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Nowadays, in discourse of cinema, movie poster is one of the inseparable parts of showing movie. These posters are influenced by their own social and political discourses of the time when they were produced. The current paper aims for description and interpretation of social and political changing contents of the Iranian cinema blockbuster of the past fifty years. For this purpose 47 movie posters have been chosen from the best-selling movies of the past 50 years movies of Iran, moreover, Gillian Dyer’s semiotic analysis has been used as a content frame. Reporting of paper is based on changing process. Generally, the results show that movie posters are influenced by social and political discourses of the time when they were shown. It means that gender, age, hair and body covering, size, emotion expression, position, gesture, and the objects which were placed in posters, all are influenced by modernization of Mohammad Reza Shah, Islamic revolution, Iran and Iraq war, and consumerism represented in the contents of movies.
Communications
Sorayya Ahmadi; Seyyed vahid Aqili; Seyyed Mohammad Mahdizadeh
Abstract
The main objective of this study was to analyze television series with an emphasis on gender identity to decode the main elements of representation mechanisms. Television, as the most popular medium, plays a significant role in representing and sharing attitudes. Therefore, TV series has an important ...
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The main objective of this study was to analyze television series with an emphasis on gender identity to decode the main elements of representation mechanisms. Television, as the most popular medium, plays a significant role in representing and sharing attitudes. Therefore, TV series has an important role in the representation of gender in a society. The current study aims to answer: What are the factors and components of the implications of gender identity? Poststructuralist approach to identity (postmodernism identity) and Representation theory of Stuart Hall are used as a theoretical framework for examining this issue. "Zamaneh" was analyzed using semiotic analysis codes of Fisk at three levels of reality, representation and ideology. Components such as individualism, materialism, independence of women, the power to make decisions and choices, interpersonal relationships, patterns, styles and consumption patterns covering professional are representations of women in the modern search for identity and the identity of the dominant component. Two forms of women's identity represented in this serial include: the traditional identity factors like caste, religion, gender identity and coherent contributions in creating a fictitious or modern identity. It seems that this serial presents a negative representation of the formation of modern identity.
Seyed Mohammad Mahdizade; Masoumeh Esmaeili
Abstract
This research aims to make an analysis of the content and semiology of the image of the women society in the cinematic works of Ebrahim Hatamikia. The (statistical) society of this research consists of four movies (The Watchman, The Scent of Joseph's Shirt, The Red Ribbon, Invitation) out of total movies ...
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This research aims to make an analysis of the content and semiology of the image of the women society in the cinematic works of Ebrahim Hatamikia. The (statistical) society of this research consists of four movies (The Watchman, The Scent of Joseph's Shirt, The Red Ribbon, Invitation) out of total movies produced by him during four separable chronological sections in Iran i.e. imposed wartime, construction period, reform period and fundamentalism period from 1986. Two methods of semiology (coexistence and substitution) and content analysis have been used as variables for analyzing film content (cast role duration, age, social class, occupation type, situation, and type of dressing and theme of dialogues) and, then, a main question and three subsidiary questions were proposed.
The results were analyzed quantitatively and qualitatively, using the method of semiology and content analysis. The findings of the research show that the early movies produced by Hatamikia do not give the women a notable position because of the war-based background of these movies. The male gender is placed at the heart of the events and the description of the females is not feasible without the male characters; the cases and themes to which the women have no affinity. The early cinematic works of Hatamikia lack the women presence and role. However, in his later works when he enters the civil space and makes a focus on the social matters women gain some place and take role in the works of Hatamikia. But, these women are all showed as individual characters every time, who take prominence in the course of time gradually.
Mohammad Rezaei; Somayeh Afshar
Volume 2, Issue 4 , July 2010
zahra pishgahi fard; amir ghodsi
Volume 2, Issue 3 , June 2010
