Art
Mohammadjavad Goharbakhsh; Shahab Esfandiari; Pedram Rostami
Abstract
"Transcendental Style in Cinema, Ozu, Bresson, Dreyer" by Paul Schrader, the famous American critic, writer, and director, is one of the few books that explores the relationship between cinema, religion, and related elements beyond various fields such as Semiotics. This book was translated in 2003 by ...
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"Transcendental Style in Cinema, Ozu, Bresson, Dreyer" by Paul Schrader, the famous American critic, writer, and director, is one of the few books that explores the relationship between cinema, religion, and related elements beyond various fields such as Semiotics. This book was translated in 2003 by Mohammad Gozarabadi in Iran. The second edition of the book that was published in 2018 included the introduction of slow cinema and Schrader's revision of some of the concepts of this style. The importance of this book could be seen in the method of studying and confronting religion and its elements. Using profound philosophical concepts and Christian background, Schrader establishes stylistic stages in which the most important movies could be read and analyzed through them. This style aims to discover the state in which the transcendental and spiritual manner is expressed in cinema. Therefore, firstly the book and the author are introduced and then by considering both editions, all the concepts in the book are discussed and finally the book is criticized from different aspects. The results will demonstrate that the main criticisms on this book can be seen in the levels of method and content.
Art
Mohammad Hassan Ferdowsizadeh; Mahdi Purrezaeian; Morteza Afshari; Shahab Esfandiari
Abstract
The relationship between cinema and religion has been discussed in Iran and the west. But, due to the perspective diversity of religions, this relationship has been analyzed from different points of view. The main goal of the current research is to find the key differences between the perspectives of ...
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The relationship between cinema and religion has been discussed in Iran and the west. But, due to the perspective diversity of religions, this relationship has been analyzed from different points of view. The main goal of the current research is to find the key differences between the perspectives of Christianity and Islam on cinema and critical analysis of the views of the scholars in this field. To this end, two major common themes, i.e. the relationship between cinema and religion and the possibility of the realization of religious cinema as well as the relationship between form and content in religious cinema, have been discussed from the point of view of the theoreticians of the religious cinema in Iran and America. Among Iranian scholars, we have discussed the views of Seyyed Morteza Avini, Mohammad Madadpour and Nasrollah Tabesh concerning the religious cinema and with regard to the part devoted to the ideas of western scholars, we have referred to the translated works by Robert K. Johnston, Clive Marsh, Bryan Stone and Margaret Miles. This study concludes that despite the attention paid by some Muslim theoreticians to key issues and the emergence of new ideas concerning religious cinema in Christianity, the available theories have numerous deficiencies and no efficient theory has been developed yet. This research is fundamental in terms of objective and is descriptive-comparative in view of its implementation method.
