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Sohrab Sepehri and Abbas Kiarostami are artists who could express their thought in the form of another language using the myths and symbols.  The most important considerations in their works are neutral symbols. In this paper, the authors tried to review the symbolic nature using comparative approach and Gaston Bachelard's theory. We analyzed Hasht Keteb and Kiarostami's movies, and found that the mythical structure and contents briefly express differences and commonalities in their works. The most applicant natural symbols widely used in these works consist water, air, soil and plants. The results of our study showed that Water and soil, in various forms, involve a dual role in poetry and cinema: both as a symbol of death and resurrection, and creation. Wind is the symbol of divine origin and evolution. Also it indicates the death and destruction. Plant is the symbol of cosmic tree. Symbolic imagery and mythical nature, in Kiarostami's films and Sepehri's poems, can affect the poetic spirit of two artists, which is result of thier familiarity with Eastern mysticism and also for being influenced by painting and photography skills.  

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Adaption from literary works for cinema is classified into interdisciplinary researches. In recent decades, it has drawn the interest of many comparatists. In this viewpoint, the comparative literature tries to change the purely theoretical position of human science by creating relation between it and other sciences, especially literature, and enrich it by linking to other arts, especially cinema. The purpose of this article is introducing and analyzing the dramatic characteristics of Khossfy’s "Khavaran-name" (as a qualified writing) by interactive and comparative approach based on the position and importance of adaption from literature in cinema. These dramatic characteristics that are made "Khavaran-name" as a qualified writing are: use of fictional and narrative aspect, dramatic characters, suspension, variety of conflicts, possessing rich content, and coordination between content, space and pictures. The method of this article is descriptive –analytical based on Khavaran-name using accepted theories associated with adaption in cinema that is an advanced method concerning with American school and its interdisciplinary approach in comparative literature.

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 Hayati. Z.
Abstract:
           
Versified story of 'Shah-e Siah Pooshan"  written by Nezami Ganjavi has its own pictures capacities which can be dealt with in cinema related viewpoints. Cinema camera can record the pictures from different viewpoints and the same can be said about the poets on his mind. For example, as cinema tradition uses symbolic or complete picture to show the viewers characters and situations, Nezami extend the sphere to a more extensive one when he introduces in some scenes the characters to the viewer. In another example, cinema camera generally shows the person in a greater picture to show his / her mental situation and the poet use a similar method to express the character situation in a critical situation or by a more extensive expression to make the readers concentrates on his / her situation. The poet’s eyes and camera have a kind of similarity. As the camera moves horizontally and vertically, the poetry explanation of "Shah-e Siah Pooshan" also concentrates on a kind of explanation of a phenomenon on the earth to explain a Heavenly phenomenon and materializes the movement by the addressee's mind eye. Along with movement of the camera and the corners, there are some other features such as decoration and background in "Shah-e Siah Pooshan". For example, when Nezami takes the Shah to the land of the Wearning Black Men, he decorates the scene by black clothes, sorrowful people, the ruins and simple homes to express the desired meaning. It can be said that cinema skills are modern tools which help the literature researchers to explain the works of poems specially Nezami Ganjavi.
 
               

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  Abstract: In this article social documentaries of post Islamic revolution of Iran about of children and teenagers social pathologies analyzed with sociological view. The purpose of this article is to understand: social documentaries that produced by directors and Issues raised in the documentaries indicate to society pathologies and are equal films problems with society problems. To investigate the relationship between social changes and cinema we need to conceptual framework in cinema sociology means indicates to relationship between produced films and Characteristics of community. Theoretical framework is Reflection Approach in Sociology of the Art.The method in this article is Outward-oriented criticism. Article results show that there was interaction between condition of society and different objects in social documentaries of post Islamic revolution of Iran. In fact base on Reflection theory with study of social documentaries of post Islamic revolution can be realized the largest social pathologies in each period and social documentaries offer a view of community.   .

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Problem: Architecture and cinema are a collection of art and technology that are intertwined with the help of the capable hands of an architect and a filmmaker. The two can act similarly in infusing the spirit of life into space and evoking human feelings. Among these, urban spaces and architectural buildings are very important as the location of a film event and represent the temporal, cultural, historical, social and are in the movie. So that paying attention to the category of architecture in cinema in a serious and conscious way is an idea that can be considered by directors and filmmakers. This article explores this relationship in the movie Mother, made by Ali Hatami.
Target: In this research, first to interpret the architectural space and place, Kanter's views on the sense of place are considered, then the features of melodrama style in cinema and its features are discussed and then the architectural concepts and features of place in The scene design of Hatami's film "Mother" is studied in terms of activity, body and meaning. The counter recognizes three components for each location: Physical characteristics, activities & Imaginations.
Method: To understand this issue, try to use the historical-interpretive method to communicate the spatial-local dialectical process, which requires the analysis and description of the components resulting from the changes identified in this research. Finally, through deductive-inductive reasoning, it has been tried to identify the output components of the tool used in this research.
Result: For this purpose, it was tried to explain the temporal process of the sequences taken from the film Mother in relation to the spatial coexistence or the progress and delay of the moving space of the scene from a sense of feeling. Eclectic view of space? By linking human relations with place in melodrama cinema, he identified a kind of space-place dialectic that can be affirmed and achieved in key words: spatial diachronic and synchronic.

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As intertextual studies penetrated in art, the intertextual scholars attention was drawn to various mechanism of text in intertextual analysises of Gérard Genette studies. Genette presented 5 types of these relations by proposing transtextuality. These studies gradually found their way to cinema. This article aims to survey hypertextual and paratextual relations-two component of transtextuality- in Iran’s cinema.Through facing cinematic adaptation, we will realize that how a movie text excerpts from other texts in different ways, whether they are literary texts or not! One of the basic issues of this research is to recognize all kinds of cinematic adaptations and their characteristics. In paratextual relations the text is placed on the threshold of the other text and it seems that its ratio to the release time is the most important issue in this regard. The objective pursued here is to introduce a model of intertextual relations which specifies types of these adaptations and paratextual time relations in iran’s cinma. For this purpose, after rereading review of literature of intertextuality, hypertextuality and paratextuality, we will distinguish intertext from intertextuality. Finally some of the movies of Iran’s cinema in 1370s and 1380s will be observed in order to achieve hypertextual and paratextual relations.

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The aim of this paper is to understand youth representation in popular cinema after the Islamic Revolution with comparison of two periods of reform (1997 - 2005) and fundamentalism (2005 – 2010). To achieve this goal, the advent of cinema, popular cinema and cinema as a mass communication has been studied. In the following, the theories of representation, semiotic, Stuart Hall's coding theory, and theories of young people would be discussed. Finally, a conceptual framework is presented based on the representation theory and Hebdige's view about the representation of youth. Semiotics is the method of the present paper that is based on Selby and Cowberry’s patterns for analysis of the technical codes, and the patterns validity and semiotics of Barth for analysis of cultural codes. By focusing on these patterns, the three movies from Reform period (Under the City's Skin & Party & Me, Taraneh, I Am Taraneh, I Am Fifteen Years Old) and three movies from Fundamentalism period (Tambourine & About Elly & Pay Back) have been chosen purposefully to be studied and analyzed. In addition, at the end of every chosen scene from these movies, we explain for more understanding by using the considerate codes of Fiske. The results indicated that popular films (the movies with top selling) at these two periods are representing the different vision of young people. In each of these two periods, the conflicting references have been seen to word the young people. At the Reform period, young people have been shown by some concepts like "adherence to the structure", "hope for the future", "self-confidentce", "audacity", "accountability", "idealism", "law-abiding", and "democracy and freedom". In opposite, at the Fundamentalism period, young people have been represented as "anarchist", "show-off", "no Identity", "antisocial", "confused between tradition and Modernity", "lawbreaker", and "risk-taker". Therefore, we can say that about the representation of young people at the Fundamentalism period, kinds of media panic in the popular cinema have been exposed.  

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Bahram Bayzai’s cinema can be considered as a visual interpretation of the Persian myth. Bayzaihas tried to modernize the myths and present new versions of them by breaking the old versions and making new ones. In this way, he makes the narrative structure of his works closer to the myth. Discovering and elaborating different aspects of form and structure of Bayzai’s works will not be possible without considering the theories of structuralists such as Claude Lévi-Strauss.  In this article, drawing on structuralism and narratology in the works of theorists such as Prop, Barthes, and Strauss, the form and structure of the time in four of Bayzai’s works have been compared to their counterpart,mythical narratives. I have concluded that in his cinematic narration time becomes closer to its mythical structure; in other words, time becomes endless, fixed, and sacred.

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Taghi Pournamdarian, Ph.D.
Zahra Hayati
 
Abstract
Most of the researches which have studied the relation between cinema and literature have paid attention to the differences of literary fiction and drama in the scripts. One of the other grounds in which the ties between literature and cinema can be further on traced is "creation of pictures".  The eloquent concepts of "figurative elements" and "forms of imagination" includes mental literary images and often infers to the implied figurative signs of the observer, being all listed in the science of expression in the variety of fields such as allegory, simile, trope, metaphor, irony and symbol. This article surveys the potentials of "literary allegories" in general and the "poetic allegories" of Massnavi and Shams Sonnets in particular for recreation in cinema's expressive device. The transition of literary allegories to cinema is possible through these potentials: 1. including several visual and animated, dynamic elements. 2. Conformity of pictures and concepts relevant to montage and stage direction. 3. The plenitude of pictures with the same width in the poetry length. 4. Including pictures with a distribution potential in the feature movie text due to the mystical content of completion. 5. Considering narrative texture and dramatic structure.
 
 

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Comparative adaptation studies are based on comparative studies of cinematic adaptations and their literary sources. These studies can be divided to: (1) the books or theses written independently and by one author on the subject of adaptation; (2) the collection of essays which founded and published by a cultural or film foundation; (3) the studies that analyze the potentials of literary works through the lens of narrative elements, stylistic elements,or the combination of the two; (4) the works of criticism that study literature according to film studies; and finally, (5) dispersed and short commentaries in the newspapers. All of these studies can be categorized as subdivisions of literary studies because of their research methodology and conceptual paradigms.     Key words: comparative literature- cinema- criticism- adaptation The comparison between films and literary sources is the base of comparative studies in adaptation. These writings can be divided as: the books or theses wrote independently and by one author; the collection of essays which controlled by a cultural foundation or a company of cinema; the researches that analyze literary works by the view of “narrative elements”, “stylistic elements” and “stylistic & narrative elements”; the works which critic literature according to cinema criticism. Dispersed and short comments in newspapers. All of these studies are kind of literary criticism because of new conception by new methods.

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Since the history of film adaptation in storytellercinema goes back
to its earliest days, many film critiques have compared the adaptations
to their literary sources. Such researches are also conducted in
universities of Iran and in the previous decade, and some critiques
have viewed it in retrospect, that is they considered the potentiality of
a literary work for adaptation. With this approach at hand, we can
study the function of metaphor in the images used in Persian poetry.
Following Aristotle, traditional rhetoric defines metaphor as a word
which is used in place of another word on the basis of similarity. This
definition which emphasizes word, and in greatest extent sentence, is
different from the definitions which are influence of by the platonic
romantic views; since metaphor in such views has a organic relation
with the whole language, and is the generator of an active imagination
which should transfer meaning from an object to another one. With
the expansion of this theory in twentieth century and its detailed
formulation at the hand of structural linguists, metaphor is believed to
be a process which essentially is carried out in language, and not only
transfer meaning but it creates meaning by causing interaction
between two things which lead to the creation of a third thing.
Comparing literary metaphor with cinematic metaphor on the basis of
an Aristotelian view is difficult, because metaphor in this view is
based on word, and word is the building blocks of spoken language
which is essentially different from the audiovisual media of cinema.
But if we consider metaphor in whole and as the basic element of
thought, spoken language and non-spoken language can reestablished
their relations. In this view, the interaction of literary metaphor of
Persian poetry and cinematic metaphors is defined through the process
of "transformation of aesthetic elements" and with "finding
equivalents for stylistic elements" in two medias.

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In Pahlavi II period, Iranian cinema flourished and domestic cinematographic films rose. Until then, there were many Indian, Arabic and Western films. With regard to the manner of the community and the sale of the film, the process of producing Iranian films went to "film Farsi". It was made at a low level for the general public. an audience that was the result of incomplete economic reforms, cultural and social changes, and the transformation of society into modernity unfinished. In the 1970s, critical films were also made about the situation of the community. Movies like Secrets of the Jenny valley treasure (1973) Ebrahim Golestan, Tangsir (1974) Amir Nadri, Rock trip (1976) Masud Kimiai. in this research, with a content analysis approach, Three sample films, from critical films in the 1970s were reviewed. selected critical films since the 1970s, the critique of modernization, the conflict between tradition and modernity, crisis and identity conflicts reflecting these conflicts in the form of Islamism and inviting and provoking popular upheaval against oppression. The content and elements of storytelling and illustration in these films, as if the incidents of social uprising and rebellion were anticipated before the Islamic Revolution, was predicted.

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of Intra-Media Excerpts
Zahra Hayati,PH.D.
Abstract
In literary and cinematic comparative studies, a question which springs to mind is whether the cinematic techniques or elements of cinematic style can be compared with literary techniques; in addition to narrative elements and comparison of literary tales with film scenarios? In case of feasibility of such comparison, what is to be concluded from this study? Aesthetics is a common process that can be studied in the artistic expression of two different media. To make sense and formulate tacit reasoning with the cinematic style elements shapes the pivot of comparison. For instance, conveyance of meaning or particular definitions have been known via audio signs or signs of color and light in cinematic criticism. The premise of the study is that if the possibilities of definitions are analyzed in literary texts with markers that are close to cinematic style elements; the literary text is read in another manner, and its latent meanings could be discovered or a new definition could be presented by the reader for the text. Given that the discovery of meaning or creation of meaning are under the heading of recent definitions of literary criticism, it can be said that comparative study of literary and cinematic techniques at times materializes criticism through reading the text with a special approach and upon perception of its meaning. In a number of comparative studies that have been covered by literary and cinematic critics in recent years, cinematic markers have been instrumental in study and research of literary texts. Recitation of a literary narration based on consideration of terms of presentation of narration with descriptions founded on movement, color, sound, music, decorations and …etc. at times leads to discovery of relation between the format and the content. For instance, repeated elaborations on public places by the narrator can manifest that domination of the general picture of a story at times is due to solitude of the character and his contradiction with the surrounding environment. Also, the confrontation of the moods of a sad character in closed environments to the happiness of public places in the view of the story’s character can grant a semantic structural role to contradictions of general manifestations and major manifestations and for instance state the sense of solitude of a character toward the other world.
 

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Kiarostami’s unfinished cinema emphasizes the importance of audiences’ involvement in a movie by using postmodern images. Some essential points of critically reading his, so-called half-created cinema, could be summarized as self-reflexive style, diagrammatical perspectives, in-between narratives,and Individual minimalism. The main postmodern achievement of this cinema is focusing on the process of creating meaning through the experience of film. Furthermore, the close-ups function as separate independent units that are constantly generating their implicit affections. In this respect, Kiarostami’s unusual works are interpretable by Deleuze’ some neologism like affection-image. The films are some affective micro-dramas formed in a gap between the audiences’ receptions and the close-ups. Despite their postmodern reflections, unfinished movies have no strict disciplines that may limit the process of creating meaning. This paper attempts to present a new approach of reading Kiarostami as an increasing global interest.

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Identity is an essential concept in the field of cultural and human science studies; especially the group identity with its branches such as national identity, social identity and cultural identity reflects in all art texts. Cinema is an expression mean and appears the identity conceptions in its codes consciously or unconsciously. As a part of a major research on Bahram Beizaei's movies and screenplays, this research analyzes the movie "Bashu, The Little Stranger" with narratology approach by this presupposition that it represents the identity elements in its narrative discourse. The research method is descriptive, and its theoretical framework is Roland Barthes' findings in the field of structure of narration. He defines three levels of function, action and narration for structure of narration as the first level is critical. Analysis of functions will be possible only by understanding the reason of five heremeneutic, proairetic, semantic, symbolic and cultural codes. In narratology representation of movie "Bashu, The Little Stranger" in order to understand the meaning of Identity, it was concluded that the semantic and symbolic codes have the highest reasoning, and iterative and focal reasoning of movie is the unity of social identities under the shadow of national identity.
 

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Political Cinema is defined as a "political event", a "biography", or "process". Such a definition is, however, not inclusive enough to cover the films which focus on the normative aspects of politics without necessarily narrating a special political issue. By reviewing Abbas Kiarostami’s films, this article attempts to revise the definition of political cinema and propose the notion of normative political cinema.

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Management of copyright law of cinematic works needs to a process that film makers produce works with the comfort. Because the risks of unauthorized uses increased by internet development and electronic technologies. pattern of collective management organizations that implemented in countries with cinema industry for many years can be studied to provide the field of managing film makers rights in the best way by getting their experiences. In addition, with the adoption of the bill on copyright law, establishment of these organizations will be on the agenda. Then, structure, nature, process of doing work, duties and licenses issued by collective management organizations need to a study. Current article with descriptive-analytical approach attempts to study that what is the nature of collective management organizations for cinematic works and what mechanisms are adopted in them for management of rights? What matters in this research is the use of experiences of countries with cinema industry such as United States, England, France and India that forms the main focus of the study. Finally, the article concludes that cinematic collective management organizations have legal diversity with regard to development of cinema industry in the above countries and the differences in their legal structure but cinematic general organization model can be suggested for Iran to issue licenses for cinematic works. 

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Bertolt Brecht wanted the theater to become a forum for dialogue rather than a platform for delusions, and to develop a new concept of theater creativity known as "Westernization" or "APEC Theater" which aims to stimulate the cash circle in the spectator's mind. This concept is based on the idea of "making what is strange" and this turns it into a poetic act. Brecht intended, from this concept, to extract emotion from theatrical production and to distance the viewer from the characters of the play and the actors' departure from their roles, and then the truth becomes easier to understand. Asghar Farhadi is considered one of the most important Iranian film directors, and he is one of the few who owns a style of their own, and The Salesman  is one of his most important films as we in this article seek to show the way this film took in order to find positive and interactive viewers through two main axes: characters and their conversations as well as direction. Here we can see the way the audience is formed. By extrapolating this film with the opinions of Brecht, and the reasons for the influence of the film "Froshendeh" or Salesman, on the audience, it will be analyzed through the concept of divergence and identification. It seems that Farhadi like Brecht uses the same indirect methods, to reach effective and active viewer and forcing the audience to think. But, of course, Farhadi's style does not contradict the audience's identification with the characters of the film, in addition to creating a special and modern type of divergence in his own way through camera movements, decoration, decoupage, film framing, and narrative. Because in the present era with ordinary subjects and a normal treatment of the story, this does not force the viewer to think.