CULTURAL STUDIES & COMMUNICATION
Year:2013 | Volume:9 | Issue:32|Papers Count:7

Between 1958 and 1979 Iranian Cinema illustrated different types of Luti. The story that Iranian popular cinema tells of the transformations of this social group is in fact the story of how one of the most radically traditional groups confronts some of modernity’s manifestations. Like any other social group, the Luti group finds meaning within a specific social structure; what we call here the “neighborhood structure”. There is a direct relationship between the strength of this structure and the power of Luti. Modernity dismantles the neighborhood structure. As a result, the value system accompanying this structure also fades. The transformation of the Luti type is mediated through the changing values. Pre-revolutionary popular cinema is a narration of how the Luti confronted the collapse of neighborhood system’s traditional values. Based on this structural transformation and the parallel change in values, this paper studies the changes in Luti’s confrontation with modernity in Iranian Cinema, by considering two films: Laat-e Javanmard and Gheysar. The former is chosen as the first remarkable Jaheli film, and the second, as a milestone in this genre that amused the masses and the intellectuals alike. To conceptualize Luti and neighborhood structure, we use Bateson’s concept of Manhood and Tonnies’s Gemeinschaft-Gesellschaft dichotomy respectively.

The main difference between Romantic feminism and Existentialist feminism is considering the everyday life as something original or not, or in other words, enjoying in everyday life or battling with it. There are two characters in an Iranian film, Barkhord-e KheyliNazdic, which present two kinds of view about the relations between men & women. The view of Nahid involves oppositions to men and avoidance from them, even this avoidance led to psychological discontent and make psychological complexes. On the contrary, Narges has no problem with men and has amorous relations to her wife. The life for Narges is full of success and full of jubilation, and for Nahid is full of sadness and losing.The film attempts to widespread the notion of “changing the world” which is the strategy of romantic feminism and acts via soft feminine methods, is better than "battling" strategy, the strategy of existentialist feminism.

Advertising, rather than presenting information to a potential consumer, with denotative and connotative implications try to alter behavior of consumer and directs him to purchase a commodity. Hence commodity separate from its function, becomes a reflex to desires, psychic requirements of audience.This research aims to show the action of advertisings in altering audience’s manner and his desire to product and studies about five TV advertisings which have been selected in a certain period. Analysis process includes content analysis of Case studies with accent on Freud’s psychic structure theory to show interaction between “id”, ”ego” and “super ego” in consumer in TV advertisings as an identification’s origin.Results show the efficacy of connotative implications of commercial advertising on altering the equilibrium of character’s structure to persuade and satisfy the audience to accepting advertising, s message. The advertising that stimulate consuming through emphasize to “Id” motivation and “ego”, s active interaction in responding to it, weaken the “super ego” force and in some cases through stimulating “super ego” try to directs the audience to wisely choices.

The present study closely examines the relationship between the female body and the political structures in the discourse of the Iranian Islamic Revolution. More specifically, Foucault’s Theory regarding the relationship between power and body as well as the empirical study of the symbolic aspects of the female body in relation to the revolutionary discourse are employed to arrive at a symbolic pattern of female body organization. The analysis indicated that the revolutionary discourse is associated with a specific pattern of female body surveillance according to the imperative social and political necessities of its evolution. The emerged revolutions in social context of intra-discourse and extra-discourse and the continuity of such association have led to challenges in the revolutionary discourse. Considering the importance and primacy of revolutionary discourse, it is essential to revise the internal structure of this discourse in order to release it from dependence on demanding signifiers. Finally, two strategies including ‘return to origin’ and ‘fundamental reconstruction’ are suggested.

In recent two decades, the widespread and all-round use of mobile phone has had a wide variety of effects on social behavior and relationships and leisure patterns people have. Young people, as leaders in using mobile phone, are at the center of attention in related studies and researches. The purpose of this paper is to study the application of this device in people's social relationships and leisure time regarding its diverse functions. For this purpose, 323 questionnaires were distributed among Shahid Beheshti University students using random sampling. Results showed that there is a significant difference between mobile phone usage and social relationships. The influential variables in this category are occupation and marital status. Also, there is a significant positive relationship between the type of mobile phone use and the amount and manner of spending leisure time. The highest use of this device was found to be in their leisure time, listening to music.

This article, criticize student’s dissertations in representation studies filed. In this research, we reviewed all other majors that are related to our subject. In addition to cultural studies’ dissertations, we examined the dissertations in communication, sociology and anthropology as well.Our main question is that, how this research applies the method of representation and more importantly, how we can apply the method of representation on the student’s research. To what extent we can follow that trace of power (biases) in “critical research” itself. The results demonstrate the representation studies in Iran, practice through the two ways as part of ideological state apparatuses. First, with reinforcing cultural clichés and second, overlooking some subjects that have not priority for the powers. In the first case, the subordinate groups such as women, youths, race minorities that beforehand have become “cultural cliche” by media for a second time are becoming “research cliché” by universities and research centers. Another form that displays how Iranian cultural studies tied up with the power interests is to conceal a series of research topics. Some issues related to ethnic minorities or immigrants underemphasized and other matters totally disregard such as religious or sexual minorities. In conclusion, while cultural studies that was supposed to be the advocate of subordinate groups, in practice more marginalized muted people; and hence as a form of knowledge exercises its power.

This article reflects on I/thou interaction in the social space through the lens of Iranian cinema in two past decades. According to Simmel, Bakhtin and Habermas social theories, I/thou interaction is a social construct which changes in accordance with the openness (closure), productivity (sterility) and richness (emptiness) of the social world. Another idea here is that cinema is a useful medium for perceiving the complexities of the social world. Using theoretical-purposeful sampling, we chose three films: Ajanse shishei, Zire Puste Shahr and Butik. These films have been analyzed via narrative/semiotic analysis. The findings show that in the open and productive social space of early reformation era, which is represented in Ajanse shishei, I/thou interaction is completely different from the kind of social interaction that prevailed in late reformation era, as represented in Butik. Zire Puste Shahr represents the tragic nature of life for the poor, but at the same time shows openness and dynamism inherent in their everyday life.