Azam Ravadrad

این کتاب ریشه‌های نظری جامعه‌شناسی سینما، کلیاتی پیرامون جامعه‌شناسی سینما، نظریه‌های جامعه‌شناسی فیلم و سینما، روش‌شناسی مطالعات جامعه‌شناختی سینما،  جامعه‌شناسی هنرمندان سینمای ایران،  جامعه‌شناسی فیلم‌های سینمایی ایران، جامعه‌شناسی مخاطبان سینمای ایران، جامعه‌شناسی
  سیاستگذاری‌های فرهنگی، جامعه‌شناسی اثرات سینما در ایران سینما و جامع در ایران را مورد مطالعه قرار می‌دهد.

این کتاب کوششی است برای نشان دادن رابطه بین فیلم‌های سینمایی ایرانی با جامعه ایران. برای این منظرو، کتاب به سه بخش تقسیم شده‌است: در بخش اول رویکردهای کلی نظری و روشی در مطالعه‌های فیلم و سینما معرفی شده و  در هرکدام از بخش‌های دوم وسوم کتاب، به‌ترتیب درباره موضوع زن و خانواده در سینما بحث شده‌است.

This study aimed to investigate how child sexual abuse is reflected in Persian-language news websites. The goal was to determine whether these websites effectively raise awareness about child sexual abuse or simply create a stereotypical image of it. Materials and Methods: In this research, two cases of child sexual abuse, Neda Alizadeh and Mohammad Hossein A'mi Azghadi, who garnered media attention in the spring of 2018, were analyzed using content analysis. The statistical population of this study included 24 news articles about Neda and 14 about Mohammad Hossein on Persian-language websites, which all of them have been analyzed due to the limited number of related news articles. Findings: Persian-language news websites provided very limited coverage of the studied cases of child sexual abuse, with most articles ending with news of the perpetrator's execution. The main elements of the news articles were "event details," "introduction of the perpetrator," and "introduction of the child." The main approach of these websites was to present a dramatic story using specific adjectives and details in these three elements, rather than providing analysis and root cause identification. Conclusion: The studied cases of child sexual abuse were focused on creating moral panic towards the perpetrator, rather than providing informative and educational content. This approach creates a stereotypical way of thinking about child sexual abuse and especially the perpetrator, and is unable to offer solutions to prevent it by identifying the underlying causes, which is necessary to provide effective measures to prevent child sexual abuse and promote social health in the community.

The Iranian users’ conception of the discursive system of sanctions. The question that follows is how the Iranian users in virtual space responded to the Nike’s sanction on Iran football team in 2018 World Cup by the language of picture and gave an unbiased reading of sanction system order. The sanction system is a discourse-based hegemonic system whose scope and influence goes beyond the military, security, political spheres and related fields such as nuclear technology and spreads also to the social and cultural life of citizens, and also affects the social identity-maker and integrity-maker aspects such as sport and health through the politicization of the various parts of the citizens’ life. Using visual semiotics, prioritizing non-linguistic factors in portraying the ideology of sanctions, this research investigated the activity of users on Instagram, Twitter and other social networks, and through semiotic analysis of related pictures in virtual space achieved the result that the importation of sanctions into social and cultural life of citizens is a kind of new disciplinary discourse and ‘symbolic violence’ that seeks to make citizens’ life an object of power. In the course of sanctions, the power and resistance and hegemony and anti- hegemony act simultaneously, so that the Iranian users, resorting to semiotic excess and the path of ‘semiotic resistance’, attains the enjoy of political affair leisurization.

Since a long time there has been the influence of the ruling class's tendencies on the works and achievements of different people in the societies,cinema as one of the individual and collective achievements has not been exempted from this rule. In the country of Iran, which experienced tremendous discourse changes with the occurrence of one of the biggest revolutions of the century,the sociological investigation of this discourse change and its effect on artistic works and productions has been worthy of attention and study. Therefore, the study of the prevailing approaches in the field of planning and determining artistic-cultural policies in the first years of the Islamic Revolution is one of the constituent elements of this article.The question is,to what extent have those involved in the production and production of a film in the country paid attention to these policies? In other words,to what extent have the discourse relations of the political system ruling the society penetrated into the country's cinematographic works,and to what extent has the success or failure of this discourse been? Therefore,by analyzing and interpreting cultural policies and their role It has been studied in the formation of works of art with the method of critical discourse analysis

The study investigates the manifestation of “Popular Feminism” in the content created and shared by Iranian Women’s rights activists on social media platforms. To do so, it is studied how women’s issues and claims are represented in these digital materials and which solutions are proposed by the activists for the gender inequality.
This work is based on qualitative content analysis of sample posts extracted from four popular Instagram accounts which are run by women’s rights activists. Besides identifying the most frequent themes in these accounts, we criticised the content as being involved in feedback loops, emphasizing women’s bodies, presenting an aestheticised version of feminism and proposing simplified individualist solutions for gender inequalities.
We also argued that however this sort of digital activism make women’s suppressed and marginalised issues and claims visible on the digital space, it is mainly a way for activists’ self-branding and it could be considered as part of a process in which popular feminist discourse is regenerated and reinforced in the Iranian digital space.

In the present paper, some Iranian and Hollywood made movies and a sample of disabled individual have been studied. It seems this kind of study does help to understanding the social conditions and characteristics of disabled people.
In order to address the issue of social construction of disability in some Iranian made movies and the stereotypical images of people with disabilities, three Iranian films titled "Painting Pool", "Here Without Me", "Eternal Children", and three Hollywood made titled "Me Before You", "I am Sam" and "Rain Man" were selected to analysis. Conceptually, In addition of Stuart Hall's concept of representation and Goffman's concept of stigma we tried to analysis the selected films based on Grimas’s narrative theory.
Our findings indicate that, in general, negative stereotypes of people with disabilities are still the main theme of narrating disabled people in the analyzed Iranian movies. Although Hollywood films have adopted a more critical approach, but we still see some stereotypes such as pathetic, additional burden and imposition on society, fear of the disabled and its consequences, and isolationism in characterizing the disabled people.
In sum, the analysis of the action function showed that the depicted disabled people have the opposite function in the cinematic narration. In this regard, we can conclude that disability is often represented as an obstacle in achievement of hero’s wishes.

The purpose of this study was to analyze the representation of East and West in the cover images of National Geographic Magazine from its first issue until the end of 2000. In this regard, all editions of this journal, during these 112 years that have had a cover image, have been analyzed. A total of 501 images have been analyzed by qualitative content analysis. The results of the research indicate that the main approach of this magazine has been to emphasize the progress and civilization of the West against the backwardness of the East. Also in this magazine, the East is associated with the history, the femininity, childhood and old age, emotions, spirituality, poverty, tradition, and low-level ritual and economic activities, while the West is associated with civilization, masculinity, youth, logic, technology, wealth, modern and recreational and scientific activities. The results show that the Orientalist background of this journal has not disappeared over time. Rather, these stereotypes have been revived and strengthened in a new way. Today, the same colonial views of the past are seen with a more ornate appearance in which some old elements have been removed and new elements have been added. Thus, the legitimation of Western domination of the East in the earlier periods, with the demonstration of the inherent and essential superiority of the West, and in later periods by accepting the possibility of change and development in the East, provided the transfer of culture and technology from the West

In recent years, the question of the relation between religion and the media has become a matter of serious concern among religious scholars on the one hand, and media professionals on the other. Meanwhile, the experience of picturing the sacred and the transcendental has been shown more than others, especially in TV religious programs. Therefore, the serious question is whether representing the sacred is basically possible or not. In this article, we have tried to both enumerate the obstacles and to provide solutions to get out of them as much as possible. The results of the study show that two main solutions for representing the sacred in the form of image are “transcendental style and utilizing symbols. These two solutions are at both ends of an axis, with the sacred on the one end, and the human on the other. The transcendental style takes the audience from the human to the sacred and divine side, and makes them experience it. Utilizing symbols brings the sacred matter in the form of human to the audience. Both of these solutions will end in misdirection, if they are not developed from an accurate understanding of the religion which is associated with rationality.

In this article, the hero and hero characteristics in the cinema of Masoud Kimiai have been studied, and also the impact of social situations on the evolution of the hero in pre-revolution and post-revolution of Iran in Kimiai's films are considered. Therefore, “Qeysar”, “Dash Akol” and “Reza, the Motorcyclist” are selected from his films before the Islamic Revolution in Iran and “The Boss”, “Trial on the Street” and “Crime” are three examples of his films after the revolution. The method used in this study is narrative analysis based on the theory of hero archetype by Joseph Campbell. The findings of this study showed that the reflection of social conditions leads to the creation of two different kinds of heroes in the cinema of Masoud Kimiai. Therefore, the heroes in Kimiai’s films, before the Islamic Revolution, have legendary characteristics; nonetheless, in recent years, his narrative view is far from his past one and his heroes, according to social conditions, have sunk in everyday life.

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 postrevolution. 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 ...

This paper attempts to study the correlation between IRIB's Religious and Non-religious programs, and the levels of religiosity in Iran. Accordingly, I would firstly explain the key concepts as religious program, non-religious program, religious broadcasting, and Ideological broadcasting; then, analyzing some instant programs, from non-religious to religious, I would attempt to formulize their impacts on one's definition of religion –either as a private or simultaneously private and public matter. It is shown that in the trilogy of purely religious, purely entertaining, and mediated religious programs, it is the third which satisfy a religious television's ideal.

In this article the relationship between cultural policies and cinema in Iran is studied through a comparison between cultural-cinematic policies of two different Iranian states during years 1377 and 1389 and their effects on selecting the representative of Iranian cinema to the academy of Oskar. The theoretical framework of the study is based on the field of sociology of cinema, concentrating on Tony Bennett's theory relating to the effect of politics and state on form and content of cultural products. The methodology of the article is documentary and the technic used is qualitative content analysis. The analysis of cultural policies of cinema, as an issue in the field of sociology of cinema, shows that although form and content of movies are both influenced by social conditions, to which cultural policy is a part, form has been a more important criteria for the selection of movies to present in the academy of Oskar. In other words, there is a general policy in Iran that suppor...

Communication technologies today are greatly developed to the extent that obtaining information from different parts of the world is no more only depended to real and physical traveling. People are now able to travel as far as they want and whenever they wish using cyberspace, while sitting at home. Tourism in this condition is no more dependent on time, place and financial planning. Two important questions raise here, first, can virtual tourism replace the real tourism and eliminate the need for it? Secondly, could cognition produced by the virtual tourism be the same as the cognition formed by the real tourism? To answer these questions, defining the characteristics of virtual and real tourism is needed. The main basis of this comparison is being in special place and an experimental sense of being in that place, in the real tourism, on one hand, and selectivity of places and receiving packaged information in the virtual tourism, on the other. This paper claims that although the vi...

The main question in this paper, is what kind of imagination of Tehran is created through Iranian films. Is the image of Tehran has been changed over time? This research has been conducted based on the analysis of some impressive films in last two decades. The central argument is although the city has been represented through its acute problems and difficulties and pivotal issues like consequences of immigration to the city, shortage of occupation and dwelling over time, the new generation of Iranian filmmakers react different from the past generation. Content analysis of these movies show that new generation of filmmakers prefer to stay in Tehran and fight with problems rather than emigrating from the city.

هدیکچ یلاق یحارط ماظن یتخانــش هعماج نییبت هلاقم نیا فده رد رییغت و موادت لیلاد تخانــش روظنم هب ناریا رصاعم اب تــسخن ،روظنم نیا هب .تــسا یلاق یحارط بتاکم 10 رد هدش هتفاب یاه یلاق زا هنومن 20 ةــسیاقم و باختنا زا دادعت نامه اب زیربت و ناهفصا رهش ود رد ریخا لاــس یلامتحا تارییغت ،رهش ود نیا لبق لاس 60 ات 40 یاه یلاق دروم اه یلاق نیا گنر و شــقن ،حرط رد هدمآ دوجو هب ینابم زا فارحنا دنداد ناــشن جیاتن .تفرگ رارق هعلاطم زا و دوهــشم زیربت رصاعم یاه یلاق رد یتنــس یحارط ینابم نیا رییغت ،لباقم رد .تسا رادروخرب یرتشیب تعرس یحارط دعاوق و لوصا بوچراهچ رد ناهفصا یاه یلاق رد رد .دنک یم لابند ار دوخ یعیبط دنور و تسا هدوب یتنس لیلاد ،زندیگ ینوتنآ یبای تخاس ةیرظن زا هدافتسا اب ،همادا رهش ود نیا یاه یلاق یتیوه یاه هفلؤم رد رییغت و موادت رییغت هنوگ ره ،دنداد ناشن یشهوژپ یاه هتفای .دش یسررب یحارط بتاکم زا کی ره رد شنک ماجنا عبانم و دعاوق رد .تشاد دهاوخ یپ رد ار ماظن نآ تیلک رد رییغت ،ناریا یلاق ثعاب ناهفصا رد شنک عبانم و دــعاوق تابث ،ور نیا زا تیلایس و رهش نیا رد ناریا کیسلاک یحارط بتکم موادت بتک...

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Representation is not a direct reflection of the outside world; rather, it is a biased image of the reality related to the social context and the current ideological processes of the society. Media show a representational image of reality, especially when demonstrate the reality of women’s life in television serials. What is portrayed about women is in accord with the corresponding social context and the ideologies hidden in social norms. These norms are neither neutral nor objective. Rather, they are in harmony with the profits of those classes having social power. Naturalizing what is in essence historical, is what Barthes names it myth. According to Barthes social life is full of myths, which aremeaning systems whose meaning should not be taken for granted. Myth will guarantee the group interests by naturalizing what is historical. Barthes historical approach, and his efforts on unveiling the interests of some social forces existing in the popular culture, is interesting. This article will analyze the movie “About Eli …” directed by Asghar Farhadi, using this approach in order to discover the hidden meanings of the film and unveiling the myth of “inefficiency of woman” in its different meaning making layers. The article includes two parts. In the first part considering the theory of representation, Barthes’ theory of myth is explored. In the second part, as Barthes views the semiology as a method for ideological criticism and unveiling the myth, this method is used to analyzing them movie “About Eli …” in order to unveil the myth hidden in the movie and its constructive discourse.

This paper is an analysis comparision of the position of women in the real and virtualworlds. Among the social problems, women face an important one which can bearticulated here is that of security. Although, women harassment on the internet is not aserious problem in Iranian internet networks, but it is a main treat against women rightsat the global level that is growing rapidly. Finally, the paper, in general, tries to present acriminological typology of those who are considered as major threats for women withincyberspace

In this article movies made by Ebrahim Hatamikia, the Iranian film director, are analyzed using a sociological approach. This analysis aims to understand two points: first, what are the meanings generated in these movies; and second, what is the relationship between these meanings and the contemporary social conditions of the films and the social group which Hatamikia represents. The theoretical framework of this article is influenced by the reflection approach in the sociology of cinema which is elaborated using Lucien Goldmann’s theory about great art and exceptional person that he has presented in the field of sociology of literature and is applied to the field of cinema here. Semiology is used as the method of analyzing movies in order to understand their generated meanings, and external criticism is used for relating these meanings to their contemporary society. In this article Hatamikia’s movies including “Az Karkheh ta Raine”, “Borj-eh Minoo”, “Ajans-eh Shisheie”, “Ruban-eh Ghermez”, “Mowj-eh Mordeh”, “Ertefa'eh Past”, and “Be Nam-eh Pedar” are analysed. The path which the protagonists in these movies go through, taking that person through different stages of life in society, is followed in the movies. This examination showes the attitude of one important social group in Iran, soldiers who volunteered during the war of Iraq against Iran (Basijiha), and their families, who are forgatten today. This group’s ideas and attitudes are embodied artistically by a person whose ideas and attitudes are the same.

The aim of this article is to analyze representation of women in contemporary Iranian painting. As the approach of cultural studies shows, a representation is never a pure reflection of reality; rather, it portrays reality in a specific way in order to reproduce the dominant hidden discourse. Therefore, this research aims to decode women’s portrayals in order to discover the hidden ideology in works of male and female painters. The theoretical approach of this article is based on studying the strategies which women use in their paintings in order to prevent becoming, in Foucault’s words, a subject of the male discourse. These strategies include visual techniques which challenge the expected ideas in facing women’s portraits. The study includes decoding the portraits drawn by women and men, and emphasizing on the meaning layers of power and resistance in the works. The methodological approach of this article is semiotics, and its method is content analysis using the technique of a reversed questionnaire which was designed according to binary oppositions of meanings used in the works. The questionnaire is designed based on decoding explicit and implicit significations in paintings about women, which includes undertaking a semiotic analysis of male and female painters. Thus the meanings are arranged based on the binary opposition, which is an experimental study of paintings based on counting the repetition of meanings in the works of male and female painters. The research statistical sample includes 142 paintings portraying women exhibited during the last two years in active galleries of Tehran. The main hypothesis of this article is about the existence of a meaningful difference between the paintings drawn by female and male painters. The strategies which explain two different masculine and feminine subjectivities are examined in 9 categories and 30 binaries including: sexual performance/desexualized performance, subjective strategies/objective strategies, descriptive/explanatory, natural/cultural, generalized/particularized. Probing into such binaries poses the question of how men using descriptive signs in representing women reproduce their masculine dominant discourse of culture with sexualized, subjective, naturalistic, generalized visual strategies. On the other hand, the issue as to how women using explanatory signs resist the masculine discourse with desexualized, objective, particularized visual strategies is examined. The findings show that the portrait of women in the paintings created by men is based on a system of descriptive, iconic and stereotypical signs, while women painters have an explanatory, non-stereotypical, an interpretive vision towards characteristics and the real conditions of women. In paintings of men the reference to women is an implicational, symbolic, and mythic reference which does not aim at femininity, but rather points to feminine characteristics and the implicit meaning and subjectivity of being a woman; and thus portray woman’s beauty and elegance. On the contrary in women’s paintings, the representation of women is based on feminine experience explaining the shortcomings of women’s life-world, while men’s paintings disregard these conditions and portray women in an imaginary space. The study of Iran’s contemporary paintings show that for women, a woman’s painting is a field of resistance against the masculine subjectivity and, in Foucault’s words, is a war against subjectivization of the woman. Women painters attempt to deconstruct the visual form which men have constructed about women. They resist subjectivization, and using new visual strategies, create gaps in the reproduction of masculine dominant culture.

In the arena of Universal contemporary art, Underground music is a field to express thoughts of singers of this style of music. This discourse includes different types of protest to love and hate. The text of this kind of music's are emanating from thoughts and beliefs of its singers and their thoughts are formed in terms of their social base. The main purpose of this study is the reflection of social problems in texts of Yas songs who is a well-known Persian social rapper. The approach is based on the idea that art always is a reflection of what society tells us. Given the assumptions of this approach as one of the important approaches in the sociology of art, it was used to check the above object. The research method is qualitative and a total 23 texts of songs including social issues with highest frequency of downloading are selected as research sample which all of them are available. Findings show that selected texts from songs of Yas reflect eleven social problems such as poverty, addiction, divorce, prostitution, unemployment, street children, suicide, gangs and anti-social, burglary and theft, betrayal and spread of abnormal moods in the society. More themes in analysis of texts were symbols to express ideas and concerns and problems and concerns of society members, especially deprived people.

در این مقاله به بررسی نحوه تفسیر زنان از بازنمایی هویت زنانه مجموعه‌های تلویزیونی پرداخته شده است. این مقاله نسبت به تعمیم دادن پ‍‍ژوهش‌هایی که مجموعه‌های داستانی را در بازتولید نقش همسری و مادری در زنان مؤثر می‌دانند، رویکردی انتقادی دارد و می‌کوشد با استفاده از مدل «رمزگذاری و رمزگشایی» استوارت هال، به بررسی این موضوع بپردازد که مخاطبان زن با توجه به آنکه ویژگی‌های متفاوتی از نظر اشتغال، تأهل و میزان تحصیلات دارند، چگونه نسبت به محتوای ‌مجموعه‌های تلویزیونی که سعی در بازتولید هویت زن خانه‌دار دارند، ‌به خوانشی متضاد با اهداف این مجموعه‌ها می‌پردازند.

In this article the image of woman is examined in works of Rakhshan Bani Etemad, one of important female directors of Iranian cinema. The examination of the role of director’s gender in representation of women and their issues is one of this article’s aspects which can throw some light on studies of women representation in media. In this article, taking the theoretical framework of feminist media studies, the movies made by this director are analysed using content analysis and semiotics. Moreover, in order to examine the effect of gender on the representation of women, a breif scetch is made on the representation of women in Iranian cinema in general, for which doccumentary method is used. The movies examined in this article are those released for public. In this study, in contrast to the previeus ones, gender is examined as a factor which along with social conditions, affects the way social groups, like women are represented. This shows that women can be a more effective factor in proposing women issues which regardless of social conditions, will closely represent woemn in order to state their issues and demands

The aim of this article is to show social characteristics of modernist painters in Iran. The main question is whether or not a stable pattern can be reached in order to show the effects of social factors on people to become artists. In order to find the answer, it is necessary to introduce social characteristics of Iranian modernist painters. This article is theoretically related to the field of sociology of art and it emphasizes on artists. Janet Wolff's theoretical framework is used in relation to characteristics of artists. Wolff believes that becoming an artist is a social process and different social factors affect that. She indicates the role of certain factors such as institutions, social groups and classes, etc. in this process. The main point in Wolff's discussions, which is also central to this study, is the idea that becoming an artist is a process which follows different social and economic conditions, and which suitability or non-suitability of these conditions can bring either order or disorder to that. These conditions may even prevent the process from happening. She points to family, class and educational conditions in order to explain the situation. The research method is a survey based on questionnaire which is filled through interview with artists. In accordance with Janet Wollff's theory, the author emphasizes here on some main areas such as family, artistic training, class condition, state support, gender and friends. The main hypothesis of the article is that factors such as family, class, support, training, social and individual relations as well as historical and geographical conditions of the society, such as being urban or rural, and ethnicity can contribute to a person’s becoming an artist. The findings show that most of the Iranian modernist painters at the time of research (year 2007) have been young and highly educated, were born in Tehran (Capital city), and at the time of research were living in Tehran. The proportion of men to women has been 40 to 60, which demonstrates that the majority of painters were women. It is also showing that, in the past, men artists outnumbered women artists, while today the reverse is the case. Moreover, the findings show that there is a meaningful relationship between gender and social class, so that more women painters are from higher class while more men painters are from lower class. On the other hand, men painters are more supported by government and private funds. It can be said that in the process of becoming artists, women are mostly influenced by class, while men are mostly influenced by financial supports. The findings lead to the general conclusion that many different social factors are effective on people becoming artists, but the rate and kind of these factors may differ from research to research and from society to society. Therefore, one cannot point to a unique and stable pattern for influencing social factors. In fact, although social factors are very effective, their influence is, in most cases, contingent on the existing social conditions of the society in question.

Mass media through disseminating information forms the thought, mentality and culture of the society. Decision makers and writers of messages (mass media managers and producers) have an important role in cultural formation and its’ evolutions. The women’s presence in these occupational positions is studied in the Iranian radio and television. The findings indicate that women are involved in the majority of production activities. However, the intensity and rate of their presence differs from one sector to the other. Analysis of women’s participation in Media and quality of their participation, as well as factors affecting on their occupational efficiency are discussed in this article. The rate of women’s participation as producers of radio and television programs indicates their capacities in occupations which are rarely considered as feminine type.

This paper studies the reflection of war in the Iranian cinema and its changes over time. According to Nicholas Pronay, it has been assumed that few years after war and due to changes in social conditions, society’s viewpoint towards war changes and therefore different viewpoints about war will get a chance to appear. According to this theory, the perspective of War Cinema in the 2000s should be different from the war films before that decade. So, in this thesis the war cinema in three periods of 1981 to 1988; 1988 to 1999 and in 2000s is studied. The first two periods are explored by using literature review and results of previous studies; however, the third period is studied by analyzing selected war films using Structural Semiology. The results show that, those films produced in the first period, create heroes and epic sensations, as wartime and the conditions of a war-stricken society dictates, while the films produced in second period show mostly social impacts of war including the situation of war refugees, the veterans that returned from war, and society’s encounter with them. Comparing the results of two periods with the third one showed that a different approach has been taken in war movies produced in 2000s, when the Bae’th regime in Iraq is overthrown and the relationship between two countries is improved. Movies with peace-finding and anti-war contents with different personating of Iranian and Iraqi soldiers have been produced in this period and this is unprecedented phenomena in the Iranian war cinema.

یکی از شاخص‌ترین فعالیت‌های هنری در ایران، تولید منسوجات است که در دوره صفوی به شکوفایی رسید. این هنر مانند دیگر هنرها تحت تأثیر عوامل بسیاری، همچون سیاست‌های حاکمان آن دوره قرار گرفت. نوآوری و توسعه در تولید منسوجات از خصوصیات این دوره است که باید سیر تولید و شکوفایی آن در جامعه و هنر ایران بررسی شود.مطالعه و بررسی زوایای مختلف نظام تولید منسوجات صفوی نقش مهمی در بازشناسی وضعیت این صنعد رد این دوره تاریخی دارد. پژوهش حاضر به صورت کیفی (توصیفی-تحلیلی) صورت گرفته است. چارچوب نظری تحقیق بر اساس رویکرد دنیاهای هنر هوارد بکر شکل گرفته است. یافته‌های پژوهش نشان می‌دهد شکل‌بندی اجتماعی ایران دوره صفوی، بر ارائه خدمت (سیاسی، اجتماعی) استوار بوده و هنرمندان طراح و بافنده مطرح، در کارگاه‌هایی فعالیت می‌کردند که مستقیم تحت حمایت درباریان بودند. ثبات اقتصادی و سیاسی، حمایت رجال درباری موجب گردید تا نظام تولید منسوجات، نسل نواندیشی از هنرمندان و طراحان پارچه را به جامعه معرفی نماید که به واسطه نظام‌های تشویقی و پاداش‌های مالی، تولیدکننده منسوجات زیبا در این مقطع زمانی باشند. اهداف پژوهش: 1.شناخ...

This study aims at the analysis of the discourse of the art in the Middle East. Therefore, at the first stage, after criticizing the limitations of the theory of style in the modern art analysis, we emphasize discourse analysis as an alternative approach; at the second stage, we apply discourse approach in order to analyze the art in the Middle East. The discourse analysis of art consists, at one level, of the visual characteristics of the text and its genre, and, at a higher level, of intertextual interpretation of the text and its relation with context, and, at an even higher level, of the study of the thinking space which allowed and influenced the creation of the work. The latter includes, for example, the study of the political and economic power institutions, educational institutions, museums and artistic events (e.g. festivals and auctions) which recreate the discourse space and approve or reject some works. Therefore, in the present research, the study of art from discourse point of view means going beyond studying artistic styles. This view allows us to study new trends in art, such as feministic, national, colonial, Asian, and other regional arts (e.g. Middle East). While studying the art of the Middle East, we face various questions: are the artistic works of the Middle Eastern artists a kind of representation of their social and cultural conditions or just cliché responses to the curiosity of the West into Middle Eastern affairs? Are these artists deconstructing the oriental clichés about Islamic territories or reconstructing the same in a new, customer-oriented appearance? Is the Middle Eastern art reconstructing the media clichés of the geography of the Islamic fundamentalism (in terms of al-Qaida and September 11)? Or have there appeared new social demands in postcolonial Islamic societies seeking common human values regardless of cultural boundaries? Finally, it is shown that the art of the Middle East is a new narration of the tradition versus modernity conflict in a political geopolitics within the cultural scope of the Islamic art. It is also shown that the art of the Middle East is not a representative of Islamic art; it is rather the representative of modern art in the most important Islamic countries. In order to show the Middle Eastern art as a discourse product, Foucault’s analysis of discourse forms has been applied Therefore, the four factors of discourse – unity of object, unity of enunciative modalities, unity of concepts system, and unity of strategy – have been analyzed, as regards the Middle Eastern art, in order to specify the characteristics of its discourse.

The feminist film theory has presented a new approach for breaking the narrative line of movie aiming at increasing the consciousness of female audience about her situation of being the object of camera vision and male gaze. The problem is that such an approach led the feminist movies to face economic failure. In this study, using the creative idea of "feminine joy" in the feminist film theory, this paper tries to produce a kind of reading of two famous Hollywood and Iranian movies named "Thelma and Louise" and "Vaconeshe Panjom" (The fifth Reaction). Our aim is to present a kind of analysis based on active role of women in reading films and an explanation of visual possibilities in movies that have emancipatory effect in rescuing women from being an object of male gaze. This analysis uses the feminist psychoanalytic film theory with an emphasis on the theoretical concept of feminine joy. An active feminine reading of movies by women can inspire the fri...

Abstract: مقاله حاضر با استفاده از نظريه بازنمايي و رويکرد تحليل گفتماني، به بازنمايي گفتمان سنت اسلامي در رابطه با تجربه ديني در سينماي ايران ميپردازد. در واقع، سنت تنها گفتماني است که دين و آموزههاي وحياني را بهطور متقن ميپذيرد و “عقل قدسي” نيز معيار داوري ...

This article is written from sociology of art point of view. The role of social factors influencing people to become artist is an important issue in this field. One of these social factors is one’s gender which is studied here. In this article, female artists are studied in terms of their appearance in different artistic fields. The main factor important in this appearance is considered to be gender. The question is whether or not the number of women artists has increased recently? The second question is whether or not the presence of women artists in different artistic fields is the same? Research method for this study is documentary and many pieces of research are used in order to collect data. These include works previously done on different artistic fields in Iran comparing the number of men and women active in each artistic field in different periods of time. The findings show that first the number of women artists has increased and second this increase has not been the same in...

This article is to study how mass media role and function in interpreting or changing surrounding world is reflected in Iranian contemporary fiction. The purpose is determining that mass media which leads every other phenomenon to being reflected, how is dragged to the scene of reflection itself. This is also proposed to give a picture of explanation and acknowledgement of media epidemic presence in real society in order to analyze the relation between power and prevalence of mass media in Persian novel and its social role and function in real world. Therefore 12 Persian realistic novels whose authors live in Iran and also are published in I. R. IRAN are chosen by targeted sampling method for qualitative research. All phrases about traditional mass media as radio, TV, newspaper and magazine are derived from these texts and are analyzed on basis of theories of media power, reflection, literary Criticism and sociology of literature, in accordance with cultural studies requirements for understanding media. Findings revealed that mass media is reflected as "power and trigger tool", "awareness tool", "negligence tool", "routine thing", "informative tool", "Hobby tool", "Contradictive phenomenon/tool", "secondhand thing", "Criticism tool" and "presenter phenomenon" in the world of Persian novel. Obvious difference between written media and visual and audio media in social role finding (oral culture), TV and radio roleplaying as the most main gate of being informed, in contrary with picked role of newspapers in everyday life and weaker than them, not-daily print magazines (inactive choice), lack of specified and strong place for news media among public (media weakness), printed media consume as a factor of the elite lifestyle (neglecting public audience), and lack of understood identity of activities and characteristics of media people (threat in meaning of media job), are categories that finding of this research are explained within.

The aim of this article is to introduce and analyze social problems in Iran as reflected in the Iranian cinema. The theoretical approach used to explain these issues is the theory of reflection with emphasis on Pierre Sorlin’s mirror theory. The application of this theory in the cinema leads us to the image of society and its social problems in the cinema. The main sources of this study include articles published in scientific journals in the field. These sources are valuable and trustable because they are scientific and research-based sources. Most of these studies are conducted using qualitative methods and techniques.
Here, those articles that show studies of social problems in the cinema during the last four decades in Iran are collected. Then, using the method of meta-analysis and systematic review, the most important findings of these articles are summarized, categorized and analyzed.
Finally, it was found that the image that Iranian cinema produces of social problems of Iran is an image appropriate to social reality. Although in general, some issues in cinema have become more prominent than reality and others have been ignored, the most important social issues found in social research have also been reflected in the Iranian cinema. Therefore, we could say that Iranian cinema is an approppriate media for understanding important social problems in Iran.

The purpose of writing this article is to study the problems that Iranian cinema encounters in its relationship with the audience. In this article, first, in the part reviewing the previous investigations, the reasons for decreasing the ratio of audience attendance to movie halls and watching Iranian movies are discussed. Then the theoretical foundations of the study is stablished based on concepts of the cultural consumption of audience, aiming to a better understanding of the audience and their needs in relation to cinema. This is followed by doing a secondary analysis on the data gathered previously through a survey named the National Survey on the Consumption of Cultural Goods; the third wave. The data of this report were re-analyzed in relation to the consumption of cinema and other means for viewing movies. The ratio of cinema audiences comparing to non-audiences is examined in this article. In addition, relationship of personal and social factors of audience with kind of their cinema consumption is analyzed. A comparison of first and second wave data of cultural consumption survey with the data gathered in the third wave is also presented. Moreover, the audience use of cinema is compared with their use of cinema’s competitors such as TV, foreign film and series. Finally, reasons of people for not going to the cinema are explained. The overall result is that cinema audiences are much smaller than non-audiences are, but most people who do not go to the cinema, watch movies in other ways using other available devices. In addition, the most important reason why these audiences do not go to the cinema in one sentence is that Iranian cinema does not meet the individual and social needs of the audience.

Tehran as a symbol of Iranian modernity has been considered in many Iranian fiction films. Representation of Tehran in cinema can be the representation of Iranian modernity revolution. This study focuses on the representation of urban image in Iranian fiction films through critical theories such as Simmel or Benjamin opinions. In this article we discus about the mediator role of cinema for representing the Urban life Image and confliction of modernity in Iran.Meanwhile some megalopolis such as Paris, Berlin, Moscow, New York and sanpitersboorg est.…have had great opportunity for understanding confliction of modernity in their situation, Tehran has never have that chance. Regarding to this vacuum we want to explain the role of Iranian fiction films for understanding the entrance of modernity consequences in different eras. We believed that fiction films can represent confliction of city and village, represent of modern dualities, non cohesive rationality and many other gaps in Irania...

This paper aims to study the imagination of Tehran through 1340s and 1350s Iranian cinema and the main question is that what kind of representation on city was fueled by cinema. This study was conducted based on analysis of four impressive films in these two decades. Two of them are popular movies (Ganje Gharoon and Khater Khah) and the two other (Khesht-o Ayeni and Ragbar) are related to avantgarde cinema. Although they are different in presenting the city in some aspects, the results reveal that both approaches emphasise on the negative aspects of the city and expose latent contradictions in the extreme way.

This paper aims to show the status of digital art in Iran and explain how the meaning of an artist has transformed in the digital age. The primary assumption of this paper is that the experience of digital art has again revived the collective experience in creating arts. Although, interactivity is considered to be the most important quality of digital art, their collective, collaborative and progressive qualities should as well be emphasized. These qualities have transformed all aspects of art. The present study focuses on the audience’s part in the foundation of producing art in new media art or digital art. Using Howard Becker’s idea of ‘the sociology of art’ we can show the process of change, that the notion of crowd production of art has undergone and almost reached its exact meaning. The current study is applying a qualitative approach using participation and interview techniques. The research was carried out during the Tehran Annual Digital Arts Exhibition (TADAX). The researc...

This article is to study how mass media role and function in interpreting or changing surrounding world is reflected in Iranian contemporary fiction. The purpose is determining that mass media which leads every other phenomenon to being reflected, how is dragged to the scene of reflection itself. This is also proposed to give a picture of explanation and acknowledgement of media epidemic presence in real society in order to analyze the relation between power and prevalence of mass media in Persian novel and its social role and function in real world. Therefore 12 Persian realistic novels whose authors live in Iran and also are published in I. R. IRAN are chosen by targeted sampling method for qualitative research. All phrases about traditional mass media as radio, TV, newspaper and magazine are derived from these texts and are analyzed on basis of theories of media power, reflection, literary Criticism and sociology of literature, in accordance with cultural studies requirements for understanding media.Findings revealed that mass media is reflected as “power and trigger tool”, “awareness tool”, “negligence tool”, “routine thing”, “informative tool”, “Hobby tool”, “Contradictive phenomenon/tool”, “secondhand thing”, “Criticism tool” and “presenter phenomenon” in the world of Persian novel. Obvious difference between written media and visual and audio media in social role finding (oral culture), TV and radio roleplaying as the most main gate of being informed, in contrary with picked role of newspapers in everyday life and weaker than them, not-daily print magazines (inactive choice), lack of specified and strong place for news media among public (media weakness), printed media consume as a factor of the elite lifestyle (neglecting public audience), and lack of understood identity of activities and characteristics of media people (threat in meaning of media job), are categories that finding of this research are explained within.

This study examines the visual messages Iranian women shares on Instagram in order to perceive how they are represented on the social network. The research applies John Berger’s Ideological approach, and considers every single picture as a report on the users’ view about their personal and social identity. After an introduction about the investigated users, and a general and brief evaluation of their posts, some selected pictures is analyzed based on the ideological approach. Moreover, in the conclusion, we try to connect the research findings to the existing discourses about the women’s role and position in the Iranian society. Based on the Research findings, some pictures indicate a part of female users’ resistance against social pressures to be a normative woman. In return, other pictures show that some users represent themselves consonant with the common social norms and values in their visual narrative about their everyday life, and consequently reproduce and reinforce the hegemonic values of the Patriarchal system they have grown up in.

In this article, an attempt has been made to identify and analyze the world of Arak carpet art using Howard Becker’s theory of art world. Becker argues that to understand sociology of art, we must see art as a collective activity. In this article, the issue of collective artistic activity about the art of carpet in Arak region is studied. A qualitative research method was applied using techniques of documentary field studies. Data collection has been done through gathering related documents such as books, and other sources. This was completed using field study including active observation, talking with people active in this field and taking notes. Having several trips to important centers of weaving in the region, we talked to designers, weavers, sellers add experts of Arak carpet. The question asked included subjects such as technical characteristics of weaving, the meanings of patterns as well as beliefs, rituals and social relations in the carpet art world. All these were considered relating to the society and its culture. Study on the three areas of production, distribution and consumption of Arak carpet art world showed that not only carpet production is a collective art activity, but also each of the participants in this art world influences the final product, which is the carpet, and determines its shape and hidden meanings. In addition, this art is not only produced in the society and is therefore affected by it, but also affects it due to its close interaction and close relationship with society.

This is a descriptive-analytical research seeks to answer that question "How do news agencies in their science and technology pages’ use image messaging to better convey the message to their audiences?". Qualitative method of "compound-based interpretation" and "quantitative content analysis" have been used for conducting the research. The statistical population of the study is the science and technology news of the official news agencies of the country that by purposeful sampling method, the news of spring 1398 in FARS, ISNA and MEHR news agencies was selected as the sampling frame. From the sampling frame and using simple random sampling, a statistical week was selected and the images of each news item as a unit of observation and analysis were studied. According to the results, ISNA has used Visual messages to better convey its message to its audiences and Fars and MEHR are next in line. Research shows low utilization of Visual messages capacity in news science and technology news agencies and in less than half of this news, the good use of video messaging has become attractive, presentation of news information, and the easy-to-read scientific news. Use the most of proprietary images with relevant news elements and values, describing images and referring to them in the text, using visual messages in multiple frames and not using archival images unrelated to the main topic of the news, the most important suggestions to News agencies are making better use of visual messaging to attract, simplify, and make science news accessible to audiences.

The way of representation of employed women in Iranian media, is one of the social and cultural factors affecting the traditional gender stereotypes about women and their employment. This, can be effective in changing the cultural beliefs about women's employment. The main purpose of this Research is to study the representation of employed women, in the cinema of Iran after the revolution (in 1979) and presenting a comparison in different political periods of post-revolution, respectively. To achieve this goal, prominent films produced in each course (focused on women's employment), had been selected and analyzed. The theoretical section of this study, utilizes the representation theory of Stuart Hall. The research methodology is based on the semiotics of John Fiske. The results of the study represented that the modern employed women, unlike traditional female stereotypes, have the power and are more independent from their husbands. In most films that focus on employed women, the director have tried to criticize the patriarchal ideology, alongside defending the ideology of egalitarianism and meritocracy in employment. Although social conditions of each political period, had been effective in the way of representation of employed women and the ideology of the film. Nevertheless, despite trying to avoid patriarchal ideology, in these works, the naturalization of housework for women can be seen as well.

This research was conducted to study the factors affecting the music consumption of Radio Payam and Radio Ava, and also identify the audience's perceptions of the music of these two radios. The research was on the peterson's plural readings consumption, the concept of taste and lifestyle theory derived from Bourdieu's approach to cultural consumption and perception theory, with a focus on Hall's approach. To do the research, in-depth interviews were conducted with 23 Tehranian audiences on the two radio channels "Payam" and "Ava", and the theme analysis method was used to analyze the data. The research findings were extracted in the form of 3 main themes and 16 sub-themes. The results showed that the studied samples have a plural readings taste and radio is the second source of access to music for them. According to the theory of rception, the social position of people is the most important factor influencing the meaning they receive from radio music, and each of them based on their social position, personal experiences, values, beliefs and social and political processes, perceive their own meaning from the radios’ musics. Also, the audience interprets the ideology of the content of the music broadcasted on the radio as negotiated, preferred and critical readings, according to their social status and the political atmosphere in the society.

Social media has provided an opportunity for various groups of people to visualize their everyday life. This visualization of everyday life is done by female influencers on the Instagram image-based social network. In this article, the dominant discourse reproduced by these users has been studied. Using a conceptual framework consisting of Foucault's theory of discourse analysis, Butler's ‘gender representation’, and Mirzoeff 's ‘visual culture’, the question of whether these images create a different discourse of gender or they fall within the same dominant discourses can be answered through studying the images of females as shown by themselves. For this purpose, the Instagram pages of 27 female influencers with more than 500,000 followers were selected. Overall, a total of 315 posts (image and text) were also selected as a sample out of which the main themes and sub-themes of the discourse were extracted by visual discourse analysis method. The discourse analysis of the findings shows that the discourse reproduced by female influencers includes both discourses of patriarchy and capitalism.

abstract: This article examines the social characteristics of artists. The idea is that artists share some common characteristics that may have an effect on their becom-ing an artist. The process of acquiring the identification of artist is a multidimen-sional one, which is related to creativity, alongside many other factors that are inherently social. Here, emphasis is on the second kind of factors, the social ones. In order to show the importance of such factors, data from the author’s previous research are presented. The theoretical field of study is sociology of art with an emphasis on Janet Wolff’s ideas. The main hypothesis is that creativity and genius are preconditions for a person to become an artist, but are not sufficient in them-selves. The individual’s emergence as artist also relies on their social conditions. If certain social conditions are right, then an individual may be able to pursue artistic activities and become known as an artist.

Abstract This study sets out to develop a sociological approach to art and literature which views art as a socially situated knowledge and which at the same time preserves an independent and unique sphere of activity for art that enables it to offer life opportunities of ...