Art
Mehran Sohrabzadeh; Azad Omidvar; Neda Khodakaramian Gilan
Abstract
This study examines the critical discourse of the film “Flying over a Cuckoo's Nest”. The present study is a descriptive and analytical study and the Fairclough critical discourse analysis approach has been used for analysis. The theories of Fairclough, Foucault, and Goffman have also been ...
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This study examines the critical discourse of the film “Flying over a Cuckoo's Nest”. The present study is a descriptive and analytical study and the Fairclough critical discourse analysis approach has been used for analysis. The theories of Fairclough, Foucault, and Goffman have also been used in this research. Research findings show that there are four discourses in the movie “Flying Over the Cuckoo's Nest”. The first discourse is discipline. Discipline is applied to the mentally ill through members of the mental hospital. The second discourse is the deconstructive discourse in which mental patients within the hospital oppose the structures that exist in the mental hospital. The third discourse is motivational discourse. The film also shows that the mentally ill are stigmatized by the mental hospital, the family, and ultimately members of society, and finally, the discourse of power is seen in the film, power being imposed on the mentally ill by hospital members. Among the most prominent characters in this film are Nurse Rachd, who is a symbol of power, and Murphy who is a symbol of freedom and liberation, and in fact the main protagonist of the film, who intends to free the mentally ill and, according to Foucault, insane people from disciplinary institutions.
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
Hamid Sadeghian; , Gity Nooreddinnejad
Abstract
Media and artistic animation is a combination of other elements of the arts. This feature, in addition to the possibility of creating a fantasy universe, has a special charm that can address all age groups. In this regard, the necessity of publishing scientific and educational texts and adapting them ...
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Media and artistic animation is a combination of other elements of the arts. This feature, in addition to the possibility of creating a fantasy universe, has a special charm that can address all age groups. In this regard, the necessity of publishing scientific and educational texts and adapting them to the latest findings, in view of the ever-increasing development of production methods, doubles the importance of this investigation. In this regard, the issue of the elements of attractiveness in the animation cinema is necessary, useful, and valuable. Despite its drawbacks, this work is one of the sources of Farsi help for students and animation enthusiasts. However, by studying the configuration of the topics and the content of the book, it can be noted that the correction is effective in advancing the goals and strengthening the content. These include lack of light unity in the structure of the content, lack of clarity in the presentation of the content for a particular or general audience, lack of attention to the impact of contemporary achievements, the need for appropriate images for the completion and explanation of the topics and the lack of proper communication between some The images presented with the text have been criticized in various ways. This paper, after introducing some points, reviews the content of the book and analyzes the contents of the book.
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.
Art
Masoud Soflaei
Abstract
This text attempts to analyze and interpret the form and content of the book "Literature and Film Guides", based on the predetermined structure. The method of this paper is descriptive-analytical, and by referring to the various chapters of the book and the articles in it, it examines how to formulate ...
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This text attempts to analyze and interpret the form and content of the book "Literature and Film Guides", based on the predetermined structure. The method of this paper is descriptive-analytical, and by referring to the various chapters of the book and the articles in it, it examines how to formulate the goals of the author (s). During the review of the book, we find that the book is in the form of three books, each of which focuses on the theoretical foundations of cinema and the relationship between cinema and other arts and their impact on cinema. In this way, the author deals with the role of literary adaptations in the cinema by collecting various articles from various authors. The structure of the book is good, and the various articles are classified according to the order of the years of the works to which they are spoken.
