Cinema
J. Nematollahi; A. Sayyad
Abstract
New Iranian woman with relative freedoms, especially in the social activities domain, appeared as a result of the modernization process at metropolitan levels during the Pahlavi era. But this freedom was not liked by Iranian men, even the intellectual lot. For instance, the new wave of cinema prior to ...
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New Iranian woman with relative freedoms, especially in the social activities domain, appeared as a result of the modernization process at metropolitan levels during the Pahlavi era. But this freedom was not liked by Iranian men, even the intellectual lot. For instance, the new wave of cinema prior to the Islamic revolution took the intellectual form at the time when itself had a critical stance toward the modernization process of the Shah, and sometimes showed even anti-modernist approach, now by portraying new woman with her outward deception and esoteric emptiness, it tried to reprehend the same by presenting her as a symbol of modern lifestyle and a symbol of the decline of the original Iranian culture. With a descriptive-analytical method and using library sources, the present paper tries to study the depiction of new woman in the two films related to new wave cinema in Iran, Mr. Naive and The Balooch. It concludes that new woman, like other phenomena of modern life, takes away the old patriarchal control and that persuades filmmakers to portray her as an attractive, superficial, and dangerous commodity of modern metropolis. In other words, new woman becomes a phenomenon that, in line with other modern phenomena and even at the top and most important of them puts down Iranian men and culture. In fact, in the form of localism and criticism of the Shah's incomplete modernization, these films rise up against modernity and defend patriarchal traditions and regain lost control. The representation of gender is of great importance in the sociological studies of art, and the article hopes to point out the depth of gender problems in Iranian society by examining the portrayal of new woman in the troubling new wave of cinema.
Language and Literature
Zahra Hayati
Abstract
The present article tries to study the story Ašghālduni (Dustbin) by Gholāmhossein Sā’edi and the adapted movie Dāyere-ye Minā (The Cycle) by Dāryuš Mehrjuyi with a view to new adaptation theories. Of course, these theories have not yet been consistent and well-established; ...
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The present article tries to study the story Ašghālduni (Dustbin) by Gholāmhossein Sā’edi and the adapted movie Dāyere-ye Minā (The Cycle) by Dāryuš Mehrjuyi with a view to new adaptation theories. Of course, these theories have not yet been consistent and well-established; but its literature is going to evolve, especially its essentials are discussed in the study method of narratology. As an example, this proposition is discussed in theoretical subjects of adaptation that even in the loyal adapted movies, in which the structure of the literary story and the sequence of events in the movie are preserved, some of the semantic functions change because of story entry into the cinematic discourse along with the needs of medium of cinema. For example, the figurative aspect of Sā’edi's story in its adapted movie has been influenced by the scheme and sometimes realism dominates symbolism. Mehrjuyi has organized the events in the discourse of classic cinema in order to encourage the reader to persist the events during a certain time period. The way of timing a movie in terms of a three-screen structure encourages the spectator to follow the events and causes the "scheme" to dominate the "idea". Since the dominance of either scheme or idea creates different themes, it can be said that the very structural change leads somewhat to semantic change. Similarly, the change of Sā’edi's open ending narrative to a close one prevents the audience to participate in re-making the fictional fate of Ali; the sort that exists in a literary text.
