Art
Hamed Fardar; Hamid Dehghanpour
Abstract
The history of silent cinema is, in one sense, a record of the struggles, sufferings, victories, and failures that have been instrumental in achieving what we know today as cinema and its rules and attributes. It is also about the historical narratives that have been polished and expanded our understanding ...
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The history of silent cinema is, in one sense, a record of the struggles, sufferings, victories, and failures that have been instrumental in achieving what we know today as cinema and its rules and attributes. It is also about the historical narratives that have been polished and expanded our understanding of the silent era over time. This book is a combination of two separate books by Liam Olieri and Paul Schroder Rodriguez, a concise, compelling narrative of those early years. The first book, by Liam Olivier, is dedicated to the history of silent cinema in Western countries, and the second, written by Paul Rodrigues, analyses the history of that time in Latin America. This article attempts to look at the omissions and shortcomings of the book in the Persian version to show which parts of it are repetitive and inconsistent and which ones are useful, fresh, and informative for readers.
Art
Hamed Fardar; Masoud Soflaei ShahreBabak
Abstract
In this paper, the book of the genre of film, from the classical to the post-classic, has been attempted from different aspects, including the general introduction of the book and the author, the external analysis, the internal analysis and position of the book, the study of its advantages and its shortcomings. ...
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In this paper, the book of the genre of film, from the classical to the post-classic, has been attempted from different aspects, including the general introduction of the book and the author, the external analysis, the internal analysis and position of the book, the study of its advantages and its shortcomings. The lack of genre generation and diversity in Iranian’s films and the need for more knowledge in the field of genre studies have necessitated the publication of more books in this area. For this reason, the author’s and publisher’s efforts to convey an analytical work that examines the process of transforming the Hollywood genre from classical to post-classic and describes the genres of the film in various historical, cultural, political, and industrial fields are commendable. In this text, the author has attempted to highlight some of the main issues of the genre theory in relation to the book and a brief description of the types of published books in the genre, to show disadvantages of the form, translation, and editing of the book, to identify issues that need to be reformed.
Art
Hamed Fardar
Abstract
The article addresses the book of Image and Mind: Film, Philosophy, and Cognitive Sciences compilation by Gregory Currie. The cognitive approach is one of the relatively recent perspectives on narratological and cinematic studies that emerged from the 1980s and sought to examine the mental processes ...
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The article addresses the book of Image and Mind: Film, Philosophy, and Cognitive Sciences compilation by Gregory Currie. The cognitive approach is one of the relatively recent perspectives on narratological and cinematic studies that emerged from the 1980s and sought to examine the mental processes of the audience through objective exploration in the perceptual and cognitive mechanism of mankind. There are few sources in the Persian language in two areas of narratology and cognitive sciences, and existing books on cinematic studies, such as compilation and translation to the cognitive attitude, are scarce, so the translation and publication of such resources is really useful. In this article, after introducing the exterior origin of the book and the brief description of its content, by examining the form and content of the book, while listing the points from the methodology of the author, some of the conclusions and content lines of the book are critically evaluated. Particularly, at the time of printing the original version and translating it into Persian, there have been many changes in the field of cinematic technologies that could revise some of the ideas in the book.
