Seyedeh Samaneh Razavi; mohsen johari
Abstract
Honorable zeal is one of the social-cultural components of different societies, including Iranian society. In recent decades, with the expansion of feminist ideas, this issue has been critically analyzed, and its overflow can be seen in the art of cinema. The present research has been carried out with ...
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Honorable zeal is one of the social-cultural components of different societies, including Iranian society. In recent decades, with the expansion of feminist ideas, this issue has been critically analyzed, and its overflow can be seen in the art of cinema. The present research has been carried out with the aim of investigating the representation of honorable zeal in the Iranian cinema of the 1390s, using Fairclough's discourse analysis method. This method includes three stages of description, interpretation and explanation, during which the formal features of the text are examined in the description stage, the interdiscourses in the interpretation stage, and the influence of macro-social structures in the explanation stage. For this purpose, 3 films "Daughter's House", "Father's House" and "Parvaneh's Swimming" were selected and analyzed from the series of films released in the 1390s with a purposeful sampling method. The results indicate that in the light of the effects of the process of globalization on Iranian cinema, the development of feminist literature, the cultural policies of international film festivals, the development of the urban middle class in Iran and the cultural policies of the government of moderation, the issue of honor zeal in the cinema of Iran in the 1390s has been represented as an irrational phenomenon with absolutely harmful consequences and The creator of the authoritarian relationship between men and women.
َAli Momeni; Mosoud Kousari
Abstract
This study aim is critical discourse analysis of representation discourse confrontation of "Damascus Time" movie. This movie has been produced with "OWJ Media” organization financial support. So, this movie has been produced with State-ownership and based on its favorable discourses. The Islamic ...
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This study aim is critical discourse analysis of representation discourse confrontation of "Damascus Time" movie. This movie has been produced with "OWJ Media” organization financial support. So, this movie has been produced with State-ownership and based on its favorable discourses. The Islamic Republic of Iran fought ISIS in the Syrian war for political, cultural, and social reasons. This movie represented Iranian pilots’ activities in Syria and their fight against ISIS. In this study, this movie was analyzed based on Theo van Leeuwen's critical discourse analysis method. results Show that this movie represents actors in the ISIS and non-ISIS poles. So, ISIS are fundamentalist, absolutist, big-bodied, fierce, and savage and non-ISIS are Civilized, fit body and normal. The discourse polarization of this movie is in accordance with the desired polarization of power in Iran. In other words, we see Foucault's "Panopticism" of power to spread the beliefs and discourse sought to build the nation's approval. In addition, both poles have Prototypes of each other; ISIS call other, religion and God enemies and in contrast non-ISIS, all ISIS call irrational and savage.
Mahmoud Torabi Aghdam; Ali Asghar Fahimifar; Shahab Esfandyari; AmirHasan Nedai
Abstract
Representing racial, ethnic, cultural, and geographical “Others” is considered a focal strategy of a number of American media and entertainment productions. Accordingly, the primary goal of this article is to explain the “Othering” mechanisms in the first three seasons of the ...
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Representing racial, ethnic, cultural, and geographical “Others” is considered a focal strategy of a number of American media and entertainment productions. Accordingly, the primary goal of this article is to explain the “Othering” mechanisms in the first three seasons of the popular television series Westworld (2016–present), with a focus on the values of the American Dream. In its theoretical literature and analyses, the study drew on the Western philosophical concept of “the Other” and on cultural studies. To understand how the construct of the Others functions in the show, the study used John Fiske’s semiotics and three-level model, along with Roland Barthes’ Symbolic Code. The research found that the presence and absence of two American Other groups—Black and Native Americans—and one non-American Other group—East Asian people—in relation to white people, i.e., “the Self,” in the series carry significant implications. Westworld’s semiotic mechanisms represent white people as the dominant group, East Asian people and Native Americans as subaltern groups, and Black people as being close to whites. By doing so, they normalize a power hierarchy topped by the white race to reproduce for a future world the myth of the “superior white;” a myth that portrays the core elements of the American Dream, including individualism, liberty, and freedom of choice, as being exclusive to white people. The myth also downgrades the essential element of equality by stereotyping and delegitimizing the Others to ensure that whites will be the only group to develop plans and make decisions for the world of the future.
mohamad ganji; narges nikkhah ghamsari; samane foroughi
Abstract
The themes that the animations seek to instill in their child's audiences have never been accidental, but have been followed by specific encodings that eventually lead to the introduction of a predetermined pattern for children. Therefore, the purpose of this study is to semiotically analyze the child ...
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The themes that the animations seek to instill in their child's audiences have never been accidental, but have been followed by specific encodings that eventually lead to the introduction of a predetermined pattern for children. Therefore, the purpose of this study is to semiotically analyze the child representation pattern in animation. For this purpose, using the semiotic method, the most popular and the most popular Iranian animation is "Life Skills for Children". The collection consists of 250 ten-minute episodes that its production began in 1391 and ended in 1395. In order to get a comprehensive picture of the child in this series, all sections have been studied and analyzed. The results of this study suggest that we are presented with a kind of representation of the "body" of the child and childhood. Highlights and features of the child in this series: Adult dependency, inability to solve personal problems, lack of creativity, lack of modern skills, lack of questioning morale and complete obedience to parents, aggression and impudence towards peers, naivety and it is cynicism. In addition, in child representations, child characters are not represented in their natural age. Rather, they appear smaller and more immature than their biological age, and this immaturity is evident in all their daily behavior and interactions. Such a pattern of representation is generally embedded in the "pre-modern" discourse. Animation Life Skills for Children aims to introduce the most prominent feature of the child as a "passive and nurturing subject".
MOHAMMAD Ganjalishahi; MOHAMMAD farajiha; Ali SheikhMehdi
Abstract
Lawyers are the most prominent actors in criminal justice movies. This is mainly due to the unique construction and representation that has been shaped by cultural, cinematic and political factors. According to the Fisk classification these three factors can be divided into three levels of reality, representation, ...
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Lawyers are the most prominent actors in criminal justice movies. This is mainly due to the unique construction and representation that has been shaped by cultural, cinematic and political factors. According to the Fisk classification these three factors can be divided into three levels of reality, representation, and ideology. On the reality level, the cultural issues that challenge the performance of lawyers have affected the representation of Iranian cinema lawyers. At the level of representation, Hollywood cinema based on the accusatory system has had a significant impact on the form of defense and the authority of attorneys in court. On the ideological level, the image of lawyers has also been part of a discourse that has sometimes played a part and sometimes opposed to ideology and power. Prior to 1997, lawyers were largely active in the fight against the corrupt imperial judicial system, but had no success in this regard. After 1997, female lawyers entered Iranian cinema with positive representations. Female lawyers are trying to deliver justice to women in a patriarchal system, but they also fail to achieve their goals. The present study seeks to root out the backgrounds and causes of such different representations of lawyers in post-revolutionary Iranian cinema.
Seyed Jamal Akbarzadeh Jahromi; Avin Ahmadi
Abstract
The emergence and expansion of virtual social networks, especially image-based social networks, has provided a relatively open space for representing identity and even identity building to ethnic and marginalized groups in society that have historically been deprived of it. This article seeks to identify ...
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The emergence and expansion of virtual social networks, especially image-based social networks, has provided a relatively open space for representing identity and even identity building to ethnic and marginalized groups in society that have historically been deprived of it. This article seeks to identify the types of identity species that represented by Kurdish women on the Instagram social network; It is also identify the strategies and techniques that these women use to represent their collective identities. The research method used is a qualitative Netographic in which the Sadbak model consists of three interview techniques, collaborative observation and virtual content reading. According to the findings, although users have become more involved in representing their identities, but their activity is influenced by predetermined social network architecture structures such as liking, commenting, and sharing images. The findings also showed that there are three identity types of Kurdish women in this network: “cosmopolitanism”, “Iranian-National” and “ethnical”. The elements of each of them were divided into three categories: “belonging to the desired community”, “culture”, and “politics” and each of these subsets was represented by its own strategies and techniques. Identities represented on Instagram are more diverse than mass media. Also, these identities are fluid and polymeric and occur more radically at certain times, such as social crises.
Seyedeh Maryam Masoumzadeh; Saeed Saraby; Majid Rezaeian
Abstract
The optimal use of cinema, as a media influencing social and especially cultural domains, requires the establishment of goals, strategies and plans. This study aims to develop strategies for Iranian cinema to present Iranian culture to the international community. The qualitative research was carried ...
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The optimal use of cinema, as a media influencing social and especially cultural domains, requires the establishment of goals, strategies and plans. This study aims to develop strategies for Iranian cinema to present Iranian culture to the international community. The qualitative research was carried out with a survey-type methodology with snowball and targeted sampling.After going over documents and records, in-depth interviews with professors, critics, directors, and international film distribution managers and experts were conducted. The environment and internal and external factors of cinema in the international arena were also examined, through the use of a semi-open questionnaire.Questionnaire validity was confirmed by a formal method and its reliability by Cronbach’s alpha. A SWOT matrix was employed to measure strengths, weaknesses, opportunities and threat, and to analyze data and formulate strategies in the four mentioned areas.The results of the research illustrate that the strategic position of Iranian cinema in the international arena is competitive, but since the point is close to the conservative sector, the strategies of this sector are also considered.Among strategies, the paper suggests films be made to support and display characteristics of Iranian culture emphasizing the components of love, humanity, peace and Ethics, not just nationally, but for a broad and diverse foreign audience while their quality is being monitored, Investing and supporting high quality documentary films with the subject of Iran and the people of Iran, employing people who are professional in international broadcasting film for playing film in foreign.
mahmoud torabi aghdam; Abdullah Bichranloo
Abstract
The representation of ethnic and racial topics is one of the categories that focus on cultural studies. This paper aims to explain Hollywood’s approaches to the representation of the black minority during Obama’s presidency. To this end, purposive sampling was employed to select 21 prominent ...
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The representation of ethnic and racial topics is one of the categories that focus on cultural studies. This paper aims to explain Hollywood’s approaches to the representation of the black minority during Obama’s presidency. To this end, purposive sampling was employed to select 21 prominent movies about black people from 2009 to 2017 in two stages. They were then studied using a combination of two semiotics models. According to the findings, the illustration of black people in that period included the following categories: 1) critical surveying of history (14 movies); 2) advancing black people’s demands assisted by the white people (10 movies); 3) defeat of black people without any help from the white people (2 movies); 4) black people’s revenge of the white people (2 movies); 5) social realism (7 movies); 6) analysis of problems in the contemporary black community (5 movies); and 7) normalization of black lives besides white lives (2 movies). Overall, the redefinition of black-and-white relations and conflicts in the foregoing categories reflects the consistency between Hollywood and black people’s egalitarian process inspired by the new political opportunity. Although we now witness the denaturalization of traditional stereotypes in the illustration of black people, the semiotics systems of most movies refer to the presence of other views and modern stereotypes.
Roya Motamed Nejhad; Marzieh Esmaeeli Fallah
Abstract
Abstract Question of gender and woman in advertising is a controversial discourse. This subject among critics of advertising especially in western countries which misuse of woman is prevalent is very important. Stereotypical contacts and determind social conception from role of woman in society make ...
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Abstract Question of gender and woman in advertising is a controversial discourse. This subject among critics of advertising especially in western countries which misuse of woman is prevalent is very important. Stereotypical contacts and determind social conception from role of woman in society make this controversy. Regarding the influence of media productions especially advertising on culture, it is very important How to represent women in advertising and protective laws aiming to guarantee correct representation. In this this paper we tried to examine and evaluate the support of dignity of woman in the rules and regulations of existing commercial advertisements in a descriptive way and using the documentary and library study method. Purpose of this study is analyzing and evaluating of protections from woman statute in current advertising rules and regulations. The results indicate that in Iran does not enact a comprehensive law in this regard yet and despite suitable grounds in our jurisprudence and constitution, our country have no compiled rule in this regard. In the other hand current law also have no any effective and adequate executive guarantee. In existing study the situation of woman in rules regarding advertising analyzed.
Homayun Moradkhani; Ali Asghar Esmaeilzadeh
Abstract
The aim of this paper is the study of crime and criminal images in Iranian Cinema. The main question is that how Iranian films represent issues of crime and criminality. In this study, theoretical framework is representation theory, and analyzed based on 57 films. The films are produced in period between ...
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The aim of this paper is the study of crime and criminal images in Iranian Cinema. The main question is that how Iranian films represent issues of crime and criminality. In this study, theoretical framework is representation theory, and analyzed based on 57 films. The films are produced in period between 1380 to 1394, and research method is quantitative content analysis. The hypothesis of this study is that films present a type of popular knowledge about crime and criminality to audiences. The findings supported this hypothesis, they show that Iranian films represent different information about criminals, age, gender, social class and family situation. Also, films usually display social problems related to criminals, and try to explain criminality in their discourses and narrations.
Azam Ravadrad; Mania Alehpour
Abstract
In this article the manner of representing the “Other” in 10 animations which succeeded in winning Oscar award during 2005 to 2014 is studied using Barth’s three levels semiotic method. The ideological significations of these animations are also studied. In this research, the way of ...
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In this article the manner of representing the “Other” in 10 animations which succeeded in winning Oscar award during 2005 to 2014 is studied using Barth’s three levels semiotic method. The ideological significations of these animations are also studied. In this research, the way of representing race and gender of "other" are two main components. The result of the research indicate that the racist approach towards the other has changed in animations which are under study. Moreover, there has been a clear change in representing women in these animations. It can be said as a general conclusion that another representation in recent Oscar winning animations is the fact that there is not people’s race and gender which determines their otherness. Instead it is their thoughts, beliefs and actions which determine who is the “Other”. A representation of the other as the one who is against change, does not tolerate differences, is dedicated to traditions and hurts the environment is among the results of this study.
Maryam mokhtari; mohammad sadegh rajaie
Abstract
The aim of this paper is to analyze content of commercial advertisements printed in common publications of the country during two eight-year period in order to show the process of the changes, form and style of representation of traditional and gender stereotypes in sixteen years ego. The research data ...
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The aim of this paper is to analyze content of commercial advertisements printed in common publications of the country during two eight-year period in order to show the process of the changes, form and style of representation of traditional and gender stereotypes in sixteen years ego. The research data has been collected through systematic sampling of 456 weekly and monthly copies. Comparing data of two studies showed that, although in the second period traditional roles (mother, wife and housekeeping) has been represented less, but in the second period women somehow depicted (beautiful, young and skinny) so that they always need to regenerate their bodies. As a result, in both periods incomplete and distorted image of women has been represented that one cannot assume it would be the image of Iranian and Islamic women. Therefore, it is necessary to use the whole range of achievements and successes of women in different fields to challenge this kind of representation.
Mohammad Mehdi Forghani; Seyed Easa Abdi
Abstract
This article is based on academic research entitled "The Representation of Women in Gender Jokes" which aims to examine the representation of women in jokes. In this study, due to the subject's qualitative aspects, discourse analysis has been used. For this purpose, twenty gender jokes were selected ...
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This article is based on academic research entitled "The Representation of Women in Gender Jokes" which aims to examine the representation of women in jokes. In this study, due to the subject's qualitative aspects, discourse analysis has been used. For this purpose, twenty gender jokes were selected out of more than a hundred cases and analyzed using the three-dimensional model of Norman Fairclough. The results showed that representation of women and girls in gender jokes is negative and ignoble compared to men and even boys. In these jokes, the representations of women are different to girls. Representation of women is affected by the stereotypes, traditional and patriarchal beliefs and partially media stereotypes. On the other hand, the representation of girls was largely influenced by media stereotypes. Also, the results reveal that the gender jokes have emerged from the patriarchy discourse and at the end lead to confirmation and reinforcement of this discourse.
Mahdi Soltani Gordefaramarzi; Ahmad pakzad
Abstract
In this paper, we aim to answer the question of how “divorce” is represented in Iranian movies produced during 1980s. The questions raised in the framework of representation theory. To answer the key question, 21 films which has been made in the decade of 1380, were studied through content ...
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In this paper, we aim to answer the question of how “divorce” is represented in Iranian movies produced during 1980s. The questions raised in the framework of representation theory. To answer the key question, 21 films which has been made in the decade of 1380, were studied through content analysis method. Thus, reverse questionnaire was prepared and films were analyzed basing on content analysis.
Findings show that Iranian movies present kind of popular knowledge about social problems such as divorce in their narrations. The findings also show this assumption that Iranian films have basic information such as age and sex composition, social class, employment status information of divorced actor and actress and various information about their social and family relationships, attitudes and lifestyles. In addition, manufacturers often provide explanation of the divorce of their characters in their movies.
Arash Hasanpour; Behjat Yazdkhasti
Volume 16, Issue 32 , March 2016, , Pages 33-68
Abstract
Despite changes in situation of women in the representation system of Iranian movies referred to as “gender ideology blurring”, women's position in the cinema of Iran is still controversial and women are still a problematic stratum in the society. Proposing such a claim, the researchers in ...
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Despite changes in situation of women in the representation system of Iranian movies referred to as “gender ideology blurring”, women's position in the cinema of Iran is still controversial and women are still a problematic stratum in the society. Proposing such a claim, the researchers in this study made an attempt to analyze two movies, i.e. “About Elly” and “Nader and Simin, A Separation”. Using semiotics and Ferdinand de Saussure analysis techniques of paradigmatic and Syntagmatic, it has been tried to find out how women problematicity is in the recent decade in the cinema of Iran and through what mechanisms subordination of women is formed in the society. The results of the study revealed that in spite of employment, personal autonomy and appropriate academic and social position, the problematic of femininity could initially be raised by “gender ritual-like representation” subordinately. Moreover, the findings of the study indicated that the subordination mechanisms of women were rendered more mysterious, dangerous and secretive so that the modern represented woman has been characterized and found an identity with moral stigma including treachery, infidelity, lack of commitment, secrecy, lying and selfishness. In addition, the characterization and representation system of the recent decade associated family instability and breakdown with self-centered individualism of women and noted the destructive side of the subject, namely the modern woman of the Iranian society repeatedly and emphatically.
Vahid Khashei; Sayyed Mahdi Mirhaji
Volume 16, Issue 32 , March 2016, , Pages 165-196
Abstract
Movies picture our imaginations about social, economic, and political issues creating the approaches within which we comprehend them. Since management category is currently one of the difficulties in Iran, giving attentions to how the characters of the governmental managers are shown in the movies can ...
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Movies picture our imaginations about social, economic, and political issues creating the approaches within which we comprehend them. Since management category is currently one of the difficulties in Iran, giving attentions to how the characters of the governmental managers are shown in the movies can be effective to recognition of general understandings of the managers. Present study has focused on quality of their representation in Iranian movies after the revolution in Iran. The method of this study is semiotic analysis. By adopting this method, five top selling movies made in this period, have been studied. The findings indicate that the behavioral characteristics of the managers have been concerns of the movie producers more than other areas.
Hamed Bakhshi; Fatemehsadat Ayazi
Volume 16, Issue 30 , December 2015, , Pages 89-108
Abstract
This paper studies the religious expressions in scenarios sent to the first religious short film festival of "Rouyesh". To this end, after reviewing the literature, Leoba's definition of religion by some modification is selected and based on it we recognize four dimensions for religion: theoretical, ...
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This paper studies the religious expressions in scenarios sent to the first religious short film festival of "Rouyesh". To this end, after reviewing the literature, Leoba's definition of religion by some modification is selected and based on it we recognize four dimensions for religion: theoretical, religious experience, behavioral and institutional. Sample population is all of scenarios sent to the festival which we select 158 scenarios by random systematic sampling with 95% confidence interval. The method of research is documentary and the technique of content analysis is used to investigate religious symbols in these scenarios. The results show that the religious experience dimension of religion has the lowest appearance in scenarios and the institutional appearance of religion such as religious norms or religious buildings and means have the most presence in religious scenarios. This means that the scenarios perceived as religious almost include institutional religious norms and buildings rather than religious experiences or moral values.
Seyyed Mohammad Mehdizadeh; Abdorahman Alizadeh
Volume 15, Issue 25 , June 2014, , Pages 217-242
Abstract
The media narrative of events is not an objective narrative, but its representation is in the discursive and ideological frameworks. This paper tries to find out how one of the most important events in the Middle East (dismissal of Morsi) is represented by media having different discursive frameworks ...
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The media narrative of events is not an objective narrative, but its representation is in the discursive and ideological frameworks. This paper tries to find out how one of the most important events in the Middle East (dismissal of Morsi) is represented by media having different discursive frameworks (Channel 1 of IRIB and BBC Persian). Critical discourse analysis is used to evaluate this paper. The results indicate that BBC Persian television used a liberal democracy discourse within the framework of components such as legitimacy of majority, the rule of law and equality for the representation of this Egyptian event. In contrast, Channel 1 of IRIB applied components of Islamic Revolution discourse such as support for Islamists, support for resistance movement and conspiracy of western countries for the media construction of this Egyptian event. In addition, Channel 1 served other discourses, such as democracy and the will of the majority for the expression of its purposes.
Zarrin Zardar- Mohammad Fathinia
Volume 14, Issue 24 , March 2014, , Pages 41-62
Abstract
This paper aims to describe how “Mazani’s” are represented in TV Series Paytakht (Capital) and identify the types of codes and stereotypes that are used in the representation. To achieve this purpose, 16 remarkable sequences selected and analyzed semiotcally.
Findings show that three ...
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This paper aims to describe how “Mazani’s” are represented in TV Series Paytakht (Capital) and identify the types of codes and stereotypes that are used in the representation. To achieve this purpose, 16 remarkable sequences selected and analyzed semiotcally.
Findings show that three main codes consists of speech and dialects, clothing and make up and facial expressions used to represent ethnic identity (Mazani) in general and “Aliabadi” in particular. Mazani’s versus Tehrani’s depicted with stereotypes like naïve versus wise, incapable versus capable, rural vs. urban, unkempt appearance vs. appearance adornment. Incapable county was the most important dimension of representation of immigrant Aliabadi’s. According to results, discourage of migration massage that lurking behind, intensified negative effects of ethnic stereotypes.
Ali Omidi- Mehrdad Rashidi Alavijeh
Volume 14, Issue 24 , March 2014, , Pages 139-161
Abstract
Arab world has seen fundamental changes since 2011 and the wave of political developments and the so-called Arab Spring revolutions have toppled four dictators in Tunisia, Egypt, Libya and Yemen. Mass media and satellite networks by online, professional and genuine reflection of political developments ...
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Arab world has seen fundamental changes since 2011 and the wave of political developments and the so-called Arab Spring revolutions have toppled four dictators in Tunisia, Egypt, Libya and Yemen. Mass media and satellite networks by online, professional and genuine reflection of political developments have made people aware of their rights and have mobilized them politically. This is much true for authoritarian countries that monopolize mass media and have deprived people of true information. Aljazeera is one of the satellite news networks which have had a significant role in the revolutions of the Arab world. Aljazeera by applying a delicate professionalism could attract a lot audience in the Arab World and even globally. But the approach of this network in the coverage of news and events in the Middle East and especially Syria has been biased and are directed along Qatari foreign policy.
This article by analytic-descriptive methodology firstly outlines theoretical deliberation about the mass media’s role in framing of political events; and secondly it analyses the Aljazeera’s role in Syrian crisis since March 2011.
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Volume 14, Issue 21 , May 2013, , Pages 179-213
Abstract
The goal of this article is the Recognition of middle class discourses in mostafa mastoor's letters. The recognition of this discourses have examined the representation of urban middle-class life at last. In the analytical section of this article, with reference to two famous novels of this writer, it ...
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The goal of this article is the Recognition of middle class discourses in mostafa mastoor's letters. The recognition of this discourses have examined the representation of urban middle-class life at last. In the analytical section of this article, with reference to two famous novels of this writer, it is examined the techniques of middle class life representation and using the discourse theory of laclau and mouffe, it is acknowledged the nodal points and network meaning which is produced the narratives in this two novels.
This study shows that the constrictive discourse of this two novels have been representing such a middle class identity which is belong to the more immense traditional and modern discourses in IRAN. Answering to the question that how much this representation are altered or deviation from the reality of modern middle class life in Iran needs to more vast and deep social and literary studies.
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Volume 13, Issue 20 , February 2013, , Pages 35-60
Abstract
This article will examine how life style and ideology are represented in Interchange ESL books in the Iranian institutions for English language. The article seeks a possible answer to two following questions: 1- how Interchange ESL books, treated here as symbolic forms of ideology as Thompson puts ...
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This article will examine how life style and ideology are represented in Interchange ESL books in the Iranian institutions for English language. The article seeks a possible answer to two following questions: 1- how Interchange ESL books, treated here as symbolic forms of ideology as Thompson puts it, transmit their ideological training codes? And 2- how these books depict particularly American types of ideology and life style to look as natural and publicly-admitted life style? In order to answer these questions we will first perform a study on all four yellow, red, blue and green versions of Interchange books to find out how the dimensions of life style are represented. Then we will search for discoveries on patterns of representing a particularly American type of life style in Interchange books. We claim these patterns are used in Interchange books as a strategic agenda through which the American ideologies are transmitted to the ESL learners. Our argument will also cover the question of how the audience will interact with such texts. Methodologically, we will rely on the data collected from four focus group discussions. Then we will analyze reactions of the ESL learners to the content of these books. Some of the findings indicate that although these books depict the American ideology, life style and culture, the Iranian ESL learners necessarily do not give in to the instructions. Rather, they chose whether or not they would like to follow the American cultural codes and norms introduced by the books. In some instances the learners invent a cultural bricolage and appeal to it.
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Volume 13, Issue 17 , May 2012, , Pages 76-119
Abstract
Movies reflect our ideas about fundamental social, economic, and political issues. This paper studies how Iranian movies made during Iraq imposed war on Iran called sacred defense era in Iran, represent consumption of goods. The main question is how Iranian movies represent consumption and how consumption ...
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Movies reflect our ideas about fundamental social, economic, and political issues. This paper studies how Iranian movies made during Iraq imposed war on Iran called sacred defense era in Iran, represent consumption of goods. The main question is how Iranian movies represent consumption and how consumption relates to identities of personalities in Iranian films. The research method is semiotic analysis and five movies made in the mentioned period have been analyzed by this method. The movies include: Senator, Chrysanthemums, Tenants, Canary Yellow and Wedding of Nice People. The findings show that because of revolutionary discourse dominance in this era, all of studied movies reject or marginalized conspicuous consumption. In these movies, conspicuous consumption is related to negative personality and plain consumption is related to positive personality. Findings also challenge current sociological theories on consumption and media. This paper tests one of these theories..
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Volume 12, Issue 15 , December 2011, , Pages 189-223
Abstract
This article have been studied the representation of internal changes in1388 (2009) in Iran by BBCPersian. In this article we have tried to explore the dominant discourse represented, as well as the process and dimensions of making news by the channel, although we have attempted to explain ...
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This article have been studied the representation of internal changes in1388 (2009) in Iran by BBCPersian. In this article we have tried to explore the dominant discourse represented, as well as the process and dimensions of making news by the channel, although we have attempted to explain the methods which are used in the form of media professionals discourse as well as dimensions of hegemonic discourse of the media, to make induced discourses for audience. The main issues which have been made by BBC Persian in 1388(2009) are as followed: making believe that violations of both human rights and civil liberties has happened in Iran , making believe that the Iranian government are inefficient , trying to Strengthen the opposition and making deeper political divisions in Iran, treating Iran to read its nuclear program, seeing the election as the chance for changing the regime , trying to make the religious discourse weaker, making believe that BBC Persian is an objective media, making believe that there was a frude election in Iran, creating anti regime excitement among Iranian ethnics and religious minorities . In this article we try to explain these issues by investigating the program and news reports of BBC Persian TV Channel. It seems that the main indications of BBC Persian discourse toward Iran in 1388(2009) has been the legitimacy crisis of Islamic Republic of Iran and Iranian threats.
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Volume 12, Issue 15 , December 2011, , Pages 225-245
Abstract
This paper has studied the representation of Razavi Culture (the thoughts and teachings of Imam Reza) in the cinema of Iran by a brief introduction and overview of the most important films made about Razavi Culture after the revolution of Iran. In this paper we have studied the movie named “Kimiya ...
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This paper has studied the representation of Razavi Culture (the thoughts and teachings of Imam Reza) in the cinema of Iran by a brief introduction and overview of the most important films made about Razavi Culture after the revolution of Iran. In this paper we have studied the movie named “Kimiya “as one of the most important movie which has so many Spiritual connections to the Imam Reza as the main issue in the film. The movie can be considered as a part of the Sacred Defense genre. The method which has been used in this article is Qualitative methods of semiotic analysis; although the Roland Barthes model in analyzing the novels of Honoré de Balzac has been applied, the Scenes of the film that was related to the subject has been chosen and studied
