JOURNAL OF RADIO AND TELEVISION
Year:2015 | Volume:11 | Issue:26|Papers Count:8

Before invention of film and television, there was not any way for people, except listening to oral narratives of history or studying the written texts to understand history. But film and television brought new achievments for people: watching moving pictures as (live representation of history).Finally, after second World War, a group of historians recognized the documentary film footages for their investigations, explanations and interpretations of historical facts. The post-modernist historians recognized compilation documentary films as a new method for «visual historiography» while the tradition of compilation documentary film production had begun in the last years of silent films era and the international council of archives (ICA) had recognized the documentary film footage as an authentic document for historical researches in Moscow congress in 1972. But what is the definition of compilation film? Film assembled in the editing room, from pre-existing/archival film footages. Most compilation films are classified as documentaries since they drive their material form nonfiction sources. The main source for the compilation film has newsreel which by 1910 was being issued regulary in several European countries and in the United. States of America. This article through introducing and categorizing all types of compilation (documentary) films by using library and documental researches methods, also explains the history, methods of production and structural characteristics of this type of documentary.Besides, the article introduces and analyzes a group of Iranian and Western TV productions in all sub-genres of compilation documentary film, and finally comes to these conclusions:There are two basic methods in documentary film making for «visual historiography»:1.Recreation/reconstruction of history by re-enactment method (historical docudrama)2. Direct representation of visual documents by using documentary photographs and archival film footages. In condition of establishing a rich, well organized and modern film archive, as supporter and source of material for compilation film production, this type of documentary film making is one of the low cost productions for making historical films, for representing periods, events and historical figures through the last and current century.

The main issue of this essay is to survey on the various modes of television documentary and examines the documentary strategies of intervention, visualization and representation of reality which documentary filmmakers have practiced. The goal of this essay is also to suggest a theoretical framework in order to recognize and distinguish among documentaries, and suggest a framework for discussing, and making distinctions among documentaries by descriptive method.The framework of this article outlining is based on a theoretical platform. The primary goal is to advance parameters for an analytical engagement in documentaries. This must be the right place for integrating framework; We can make a distinction between two fundamentally different offerings, and correspondingly two oppositional motivations.on the one hand that which is “closed Documentary”, exclusive, and embracing in its dealing with knowledge. Which is argumentative, persuasive and heavily concerned with proving its conviction of certainty. And on the other hand is “opened Documentary” which wants to expand and open up the territory of signification by triggering off metaphorical, associative, emotional or poetic reflection.The degree of intervention will be determinant in relation to the kind of aesthetics found in the programme. It might be helpful to visualize this parameter as a continuum stretched out between a low and a high degree of intervention. A strategy of low intervention means giving high priority to the pro- filmic in itself .Doing as little as possible in terms of intervention means trying to catch reality out there as it unfolds without disturbing it too much.We can say that primary representation is the kind of representation exercised when the degree of intervention is low. Secondary representation has to do with talking about and referring to reality without showing it. An open documentary could then either be the non-interventional type, or the interventional type relinquishing the rhetorical tools of explicitly and authority and the propositional advantage of the direct mode of address.

Pathological research on different forms of written texts in Iranian Television shows reveals that creators of TV programs increasingly break the basic principles of writing and, intentionally or unintentionally degrade the quality of television programs and decrease the cultural and artistic impact of those programs. It seems that many of the creators of television programs do not believe the design and infrastructure of the text, or does, but do not know its rules or because of various pretexts (such as production speed, craving antennas, etc.) are forced to ignore the importance of writing in television production. All the rigors of life and all the relations live on TV and instead of being the mirror of life and its problems, in today's world, in many cases; this is life that mirrors the television. Accordingly, television texts, as much as revealing the truth, they are able to conceal them. In this regard, the present study tries, in an analytical - descriptive way, to review and analyze the structure of narrative text in TV drama genre. It has concluded that the existence and development of a drama program on television, on one hand and the eloquence of it depends on the regularities of the narrative text structure. The more organized and systematic the structure of TV texts, the more effective and organized will be the impact of program on TV audience.

There is two different approaches to Montage among Formalists, First one explains montage as resolving of the material into its elements and subsequent building from them of a filmic whole (Constructive Editing). In second approach, Montage is a Dialectic process to make meaning from a conflict. In this article we want to compare these approaches and look for differences and similarities to unify two opposite approaches. First of all we need to know how they approach to Material of Montage (or Movie), Form and finally to Process itself. So we have few questions: How different is Material of Montage in each approach? Which Concepts are similar between two approaches? How we can unify those approaches? How different approaches to montage it-self makes differences in methods of montage.To find answers we will study Eisenstein's Film Form and Film Sense also Pudovkin's Film Technique and Film Acting and some of their classic movies. At the end of this article we hope to achieve an united formal approach to Montage of movies.

Music video is a relatively new and influential form in TV programming which is the most used form of music in TV. Music video as an attractive form is widely used in many West TV channels. This is a new tool to expand the expressive possibilities in film –making forms and media arts. But the important point is its undeniable impact on audience’s minds. Its audiences is often the youths.The main question of this research is, to what extent the typology of music video and the star (singer) have an impact on audience's mind to build an identity? Therefore this article tries to find a typological framework for perception of identity in music video as a popular phenomenon. The discussion in this article is the West music video in which the singer plays a Key role. Image of a piece of music is highly dependent on singer as the narrator, story characters, creator of the piece and ideally the thoughts induction of the West media policy-makers. Indeed, the music video applies new indications to communicate with audience and affect the audience’s unconscious. According to media researchers, this encoding is a convenient theme for identity and ideology induction in youth’s minds. These ideologies are sometimes appeared as a decadent thinking (as opposed to the cultural norms of society) and sometimes as an expenditure culture (for more dependent youth).Therefore, this article gives a brief revision of music video history, then introduces a typology of its effective elements, studies on the mechanism and function of star making in music videos and finally analyzes this ideal system to attract audience and build a new identity for him/her.Studying on effective functions of this phenomenon, fits among the most important today academic discussions in media sciences, visual arts and social psychology.

Gender identity as an important aspect of human identity, being scientifically scrutinized and theorized. This research addresses masculinity, because of its significant presence in society, andits representation in TV broadcasting. The research applying semiotic analysis, wants to show how masculinity identity of men in the Setayesh has been coded. Semiotic analysis revealed that masculinity identity was classified into three categories including dominant, submissive and independent men. Based on the finding, the mostrepresented image of masculinity is submissive. By representing a negative image of patriarchy, Setayesh serial challenges the patriarchy legitimacy.

The present article seeks to identify how representation of events take place in the media and how their audiences read it? For the first step, based on Stuart Hall’s coding /decoding model, news programs of IRIB’s Channel One and BBC Persian analyzed by Van Dijk’s discourse analysis Model to extract dominant news discourse in each channel (coding). two news events include Egypt Crisis and economic Situation of Iran selected and Three news packages from each channel for the period of one month (from June 29 to July 30, 2013) selected purposively and analyzed. In second step, in order to extract news reading patterns of Tehran citizenry about selected events, we carried out individual and group semi-structured focused interviews (Decoding).29 individual and group interviews were conducted with 54 people from different sex and age groups. The findings showed that in representing all events, BBC Persian used components of Liberal Democracy discourse. Also, representation in Channel One was based on Islamic Revolution discourse. Highly affected by their identity texts, life experience, access to other discourses, contextual elements and components of both discourses, the interviewees red the news stories of both channels as oppositional, negotiated and dominant.

News, in the general sense, is the representation of the events in the context of the dominant discourse of society. Based on this interpretation, we will not be faced with the any news that would not be dependent on or a subset of the public discourse, Because if so, it will either not be considered totally, or will lose it's news functions. The purpose of this research is to do a pathologcal analysis of the news reports presented by IRINN news network. Throghout the study, the main structural charactristic features of 160 news reports in the form of narrative and rhetoric have been analyzed. This study shows that what categories and features in this news have been neglected. The results suggest what Issues should be emphasized for optimization and promotion of the IRINN news reporting. There seems that, some important components and structures in IRINN's news reports or are absent or do not have enough distinction and integrity. For example, IRINN journalists do not clearly represent many conventional narrative categories such as time, location and the subject.