seyyed ali rouhani; vahid mousavi
Abstract
The purpose of this study is to look at Iranian Comedy during the 1983-2013 from an aesthetic point of view. Using the analytical tools of the genre theory and considering the variables such as the generic crossroads (the counter culture vs. cultural values), and the hybridization status, analyzes the ...
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The purpose of this study is to look at Iranian Comedy during the 1983-2013 from an aesthetic point of view. Using the analytical tools of the genre theory and considering the variables such as the generic crossroads (the counter culture vs. cultural values), and the hybridization status, analyzes the best-selling statistical samples of comedy in Iranian cinema. Data are collected through documentary, library and observational study and by a descriptive-analytical approach, the relationship the generic crossroads and the hybridization status in each sample is examined. On the one hand, the statistical samples examined indicate the ability to hybridize the comedy genre with various genres and endorse the process of comedy genre. On the other hand, the hybridized genres provide a platform for genre counter culture dimension. The more tension the counter culture and cultural values is, the greater the impact of the genre will be palpable.
seyyed ali rouhani; pouyan gaffari
Abstract
Since the advent of Iranian cinema, numerous films have been made and recognized as Kolah Makhmali films. Those film could survive through different eras of Iranian cinema by intentional usage of various elements of popular culture. It has attracted common –and sometimes elite- audiences and fiscally ...
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Since the advent of Iranian cinema, numerous films have been made and recognized as Kolah Makhmali films. Those film could survive through different eras of Iranian cinema by intentional usage of various elements of popular culture. It has attracted common –and sometimes elite- audiences and fiscally propelled Iranian cinema. In this research, explanation of national cinema production and rejection of cultural elitism are based on the ideas of Erwin Panofsky on three stratas of subject matter and the difference between iconography and iconology. Although Panofsky’s method of analyzing images was limited to visual arts in the beginning, its convincing power caught eyes of other forms of art critics. Under the influence of iconography concept, his followers in cinema believe that a true understanding of film only can be achieved by knowledge of the themes which are always considered as common knowledge for ordinary audiences. This research also studies the usage of those ideas on iconographical approach in film studies. The evolution of Kolah Makhmali films has been explained by its iconographical and iconological elements. Three stratas of meaning have been explained in this genre, then it shows how these films could be analyzed as national cinema and they have a substantial position in national film studies. These films have a historical awareness of audience’s interest and they use visual elements of popular culture and also have a conceptual approach toward the gentlemanhood and chivalry rituals and culture.
