Cinema and literature are two mediums reflect societal norms and values, particularly through the lenses of Feminist studies which amplifies the voices that have been historically silenced. This study is going to examine an analysis of mother character in a movie titled as Shiyar143 based on de Lauretis technology of gender theory. Teresa de Lauretis borrowed this hypothesis from Foucault’s theory on technology of sex, but she modifies it to a new kind of theory. She explores how gender identity is formed through various technologies –social, psychological, and cultural-that influence how individuals perceived themselves and others. The application of this theory in the film will illuminate the mother character’s complex personality diverges from the prevailing societal norms and dominant discourses of her time. The analysis is based on visual representation and subjectivity of the character. Because de Lauretis thesis is based on subjectivity. Through this lens, the movie challenges viewers to reconsider the narratives surrounding motherhood and femininity. Technology of gender analyzes how gender is constructed and experienced in society. Narges Abyar is one of the most influential contemporary writers and director in Iranian cinema. She is an Avant-guard writer who creates challenging female characters in different genres. The application of de Lauretis’ theory will show how her female character embody new female personalities and their representation is different from other dominant discourses.
Extended Abstract
Introduction
Cinema and literature, as tools of cultural transmission, can create and review discourses. Currently, the emergence of different theories makes studies in these two fields more appealing. Theories related to feminism always garner strong supporters and opponents. The field of gender studies and the investigation of gender constructions emerged in response to the first feminism movements. Sociologists, philosophers, social activists, and numerous researchers have extensively discussed and written about these theories.
Driven by insights from various feminist studies across different periods and the necessity to delve deeper into the works of Iranian writers and filmmakers, we have chosen to analyse a movie by Narges Abyar and focus on female-centered roles in her work using Teresa De Lauretis' theory. This research aims to examine how this theory manifests in cinema and literature, particularly in Narges Abyar's screenplays. Our primary concern and question is: To what extent does the character of Olfat in Abyar's movie align with the characteristics considered in modern cinema? Is it possible to reveal the characteristics of the desired feminist criticism in this film and determine the intended representations? To what extent can we consider Abyar an active narrator and a diligent author who created the character of "Olaft"?
Teresa de Lauretis researches women's studies, particularly women's cinema. In her theory, de Lauretis believes that gender does not have a genuine nature; instead, it is produced by various social technologies, with cinema being one of them. Like other technologies, cinema shapes people and defines social and sexual roles. On the other hand, she believes in a cinema that transcends gender differences, crossing boundaries using this medium. At the opening of the discussed treatise, "Gender Technology," de Lauretis emphasizes that the discussion does not focus on the biological variances between men and women. Rather, the primary focus is on the concept of "difference" itself, which arises from specific determined and discursive effects.
In the background section of the research, we can only mention the works centered around Narges Abyar because de Lauretis ' theory is not well known and has yet to be studied due to the lack of translation into Persian. The article's main text mentions all the articles and theses related to Narges Abyar, both in her literary direction and from the cinematographic point of view.
The sources and books used in this research include the novel and screenplay of "Shiyar 143," the two main books of the theorist Teresa de Lauretis ("Technologies of Gender" and "Figures of Resistance"), "From Veiled Women to Tame Bodies" by Marzieh Bahrami, "The Visual Culture of Worthy Gender in the 80s of Iran" by Hamed Taherikia et al., "Feminist Theory" by Josephine Danone, "Feminist Film Studies" by Janet McCabe, "What is Gender" by Marie Holmes, "Discourse Analysis as Theory and Method" by Marian Jorgensen, "Social Construction of Gender" by Abbas Mohammadi Asl, "Narrative and Narration" by Warren Buckland, "The Subjugation of Women" by John Stuart Mill, "Women's Cinema: The Contested Screen" by Alison Butler, and "Women and Cinema" selected and translated by Manizeh Najm Eraqi et al.
 
Methodology
The research starts with the introduction of the theorist Teresa de Lauretis and the author Narges Abyar. Following this, we provided a brief comparison and highlighted the differences between the novel and the screenplay using an analytical descriptive method, with reference to the two main texts: the novel and the screenplay “Shiyar 143”. After that, our focus is on the script of Shiyar 143. We have considered the portrayal of women in the screenplay, specifically focusing on the character of “Olfat”, the mother and leading woman. This character demonstrates subjectivity and norm avoidance. Our tool is the script and text samples from it, which are directly quoted when necessary. It is also featured in this article to present the textual findings of Teresa de Lauretis’ gender technology theory using discourse analysis. The research's implementation method involved using the text, applying the theory, and quoting evidence directly from it, as mentioned earlier.
 
Results
Based on the study of the screenplay and the novel Shiyar 143, it is evident that the character of Olfat as a mother is depicted subjectively. However, it is essential to note that this subjectivity is more prominent in the screenplay than in the novel. Visual cues in the script are more pronounced, including the clothing of Olfat, our main character, which is clearly visible. Working in the home workspace and outside of it also refers to showing subjectivity as much as possible. With these pieces of evidence, we must acknowledge that Olfat is a non-normative subject that does not remain within the constraints of traditional discourse and judgments based on it. Olfat does not actively display her stubbornness and difference, but she possesses an inherently different personality that has not been constrained by traditional discourse and expectations. This may have led to internal contradictions in her personality, reflecting a deviation from the norm we typically consider.
 
Conclusion
Based on the research process and its background, it can be concluded that the construction of motherhood and subjectivity of Olfat, as the central character in Narges Abyar's screenplay, is acknowledged and given emphasis. De Lauretis' gender technology examines being a subject and accepting constructed roles concerning power mechanisms. These mechanisms can be observed in the construction of Olfat's maternal role. Olfat has a unique personality but sometimes aligns with the dominant social discourse of her time. Overall, her behavior is practically that of an independent subject. Olfat has structural and contextual differences from Akhtar (the main female character of the Shiar 143 book). However, the point is that Olfat is more potent in expressing its characteristics. Olfat is a person who takes control of her life and destiny and displays nonconformity in various contexts, setting her apart from the dominant mechanisms of a discourse.
 
Acknowledgment
We would like to express my deepest gratitude to Ms. Narges Abyar for providing the original screenplays, which were invaluable for this research.