هدف این پژوهش، فهم دیدگاه کارشناسان در مورد روش های انتقال مفاهیم فرهنگی و اجتماعی از طریق پویانمایی است. دلیل اصلی توجه به این امر، استراتژیک بودن ژانر پویانمایی برای کودکان است؛ ژانری که می تواند به عنوان جزئی از فرآیند رشد کودک و وسیله نهادینه شدن انواع مفاهیم اجتماعی و فرهنگی موردنیاز وی در طول زمان رشد به حساب آید. از این رو مفاهیم منتقله و روش های نهادینه شدن صحیح مفاهیم، برای استفاده از این ابزار در فرایند رشد کودک، اهمیت خواهد داشت. این پژوهش با استفاده از روش کیفی انجام شده و از طریق مصاحبه عمیق با کارشناسان، اطلاعات و داده ها جمع آوری گردیده است. همچنین، از روش مقایسه دائمی برای تجزیه و تحلیل داده ها استفاده شده است. به منظور همگرایی مصاحبه ها و نیز نگاه عملی به موضوع، تأکید در مصاحبه ها بر نمونه ای ایرانی از تولیدات مرکز صبا با نام «پهلوانان» بود؛ که به داستان هایی از زندگی پوریای ولی به عنوان یک اسطوره ایرانی می پردازد. نتایج پژوهش نشان می دهد که : «ساخت مفهوم توسط کودک به جای انتقال آن» ، «تقویت بازارهای جانبی (ایجادپیوست فرهنگی) به عنوان تحکیم کننده انتقال مفاهیم»، «تولید پویانماییهای صامت(بدون دیالوگ)»، «الگو پروری»،«توجه انتقال مفاهیم بر اساس مقتضای سنی کودک»، «انتقال مفاهیم در حاشیه به جای متن پیام»،«استفاده از روش یادگیری پنهان»،« اصالت داستان زیبا و متناسب با مفهوم در نوشتن فیلم نامه»، از مهم ترین روش های انتقال مفاهیم فرهنگی و اجتماعی از طریق پویانمایی است.

Horror Fiction is among attractive genres for children and young adolescents which have been taken into account less by the critics and researchers. Based on the prominence of this genre in production of literary works for children and young adolescents, the present study aims at examination of the element of character by using descriptive-analytic method as one of the most important fictional elements in horror fictions for children and young adolescents in Iran. We seek to define various aspects and dimensions of this topic. Based on this, the present study selects twenty five stories for children and young adolescents in horror fiction genre, and we will examine and define different aspects of character based upon rules and principles of literary criticism of stories.

Undoubtedly, cinema can play a key role in teaching entrepreneurial qualities, especially in childhood and adolescence. For this purpose, the qualitative content analysis of selected movies in the genre of children and teenagers was done in the years 1981-2022. The upcoming research is one of the descriptive-analytical (interpretive) researches. It is based on the qualitative research paradigm and directional content analysis technique is used. The content of the film script and dialogues of the actors were used as the unit of recording themes and meaningful sentences related to the topic were identified. The purposeful sampling method was used to select the films. Accordingly, one film from each decade and a total of 4 films were examined. In order to code the themes, measuring entrepreneurial personality traits Kurd-naij et al including the dimensions of achievement seeking, internal focus of control, risk-taking, ambiguity tolerance, intellectual fluency, fantasizing, pragmatism and challenge seeking are used as the main topics in the questionnaire. The findings of this research show that the share of concepts related to entrepreneurial personality traits in the 4 selected children and adolescent movies is nearly 20% and there is no significant difference between the selected films in the use of entrepreneurial concepts. There is also a significant difference between the shares of 8 entrepreneurial personality traits in the selected films. Among them, risk-taking feature with the number of 174 sentences has the largest share and pragmatism feature with 58 sentences has the least share in the selected children and adolescent movies in the last 4 decades. Due to the increase in the tendency of children and young people towards theatrical content, movies can be an important source for modeling roles and accepting entrepreneurial personality traits and thus promoting and teaching entrepreneurial skills. Based on the results, it is recommended to institutionalize the entrepreneurial culture through the development of movies with an entrepreneurial approach, especially in the genre of children and teenagers.

Verbal violence is a kind of lingual behavior and also is a form of social practice that entails the range of social structures, situational models, and linguistic codes which are appeared in the cultural system of a society, like the other social acts. These structures, models, and codes are prerequisites to the event of the lingual behaviors. The theoretical framework of this research is the Fairclough Critical Discourse Analysis Approach. The method of the present study is descriptive-analyzing, and the major aim of this study is to emphasize on the role of verbal violence of Persian movies with social dramatic genre, as an effective factor on the cultural and social structure of the society as well as determining the lingual strategies in representing this kind of verbal violence. This effect finally leads to differences in language usages and the kind of words selected. According to the face to face interactions of actors in movies as the participants in the discourses of these movies, the kind of words and grammatical structures and also the structures of the texts used in these movies are different. The results of this research show that in these movies, the context of a situation, type of discourse as well as social problems such as hopelessness, disloyalty, incorrect traditional beliefs, infant torment, addiction, the marriage of convenience and divorce are prerequisite to the event of the verbal violence. Finally, regarding the results of this research, metaphor, oath, curse, out of the common lexicon and taboo, reference, form of address, imperative and interrogative sentences, direct and indirect speech acts are lingual strategies to represent the verbal violence, and also social problems in these movies.

BACKGROUND AND OBJECTIVES: Undoubtedly, genre is the oldest topic in the field of literary criticism. Genre has many examples that work in a specific collection in terms of form, content and culture. It also indicates a special type of phenomenon with special features and special roles. Historical and literary classification or periodization between different examples is one of the functions of genre. The important issue in the genre approach is to identify the form, content and function characteristics of the work. This research has typified the children"s poems of Kihan Bechaha magazine with the children"s genre approach. With the typology of children"s poems, we achieved a conceptual model whose framework is formed by form and content. In recognizing the form, we achieved the pictorial system, the musical system, and the linguistic system of the poems. And in understanding the content, we reached 6 categories in the following order: praise, nature and elements of nature, instruction _ educational, political _ social, fun and games, and children"s wishes and desires. The children"s poems belong to the beginning of the publication year of January 1956 until the end of the first half of 1981. METHODOLOGY: The research method of our research is descriptive-analytical. FINDINGS: The findings show that in the poems before the revolution, classical and praise themes with uplifting and entertaining functions have the highest frequency, and in the poems after the 1978 revolution, the form of new poems and social political themes with an educational function have the highest frequency. CONCLUSION: In the current research, the identification and classification of children"s poems have been done with the genre approach. In the form section, based on the data analysis, it has been determined that in the pre-revolutionary poems, classical form and praise themes with uplifting and entertaining functions have the highest frequency,But in the poems after the revolution, the form of poems with socio-political themes and educational function has the most frequency. These results show that with the change of social and political conditions, the content of children"s songs has also changed and the genre of children"s songs has also been affected by these changes. As a result of this research, it can help to improve knowledge and understanding of children"s literature and educational programs for children and teenagers.

Cinema industry is one of the main elements of cultural development. Development of cinema industry requires the identifying the various social, economic and cultural dimensions. This paper studies the economic characteristics of cinema in Iran. In this regard, it is necessary to identify the determinants of demand for movies and their demand elasticities. The computed elasticities have useful applications in economic policy-making, so that the effective plans regarding cultural and economic viewpoints in the regional and global scopes can be compiled. In this paper, relying on theoretical basics and using empirical studies, the affecting factors on demand for movies have been estimated for 28 provinces of Iran over the 2001-2008; and then demand for watching movies with decomposition of them into Iranian and foreign films has been estimated using ordinary least squares during 1971-2008. The estimation results of panel data model indicate that demand for movie has positive relationship with real per capita income and negative one with real price of cinema ticket. In addition the increased numbers of TV sets, personal computers and VCD and DVD players have the declining effect on the number of cinema attendants. As well, the estimation results using time series data indicate that demand for foreign movies in Iran comparing with demand for Iranian ones is more sensitive to changes in ticket prices and literacy rate.

The topic of the current research is the narration of serial murders in Iranian movies. The purpose of the research is to know the way serial murders are narrated and the cinematic representation of serial murders activists. The statistical population of the research is two movies Ankabut and Talakhoon. This research has been done with the method of qualitative content analysis of narrative analysis and with Roland Barthes code model approach. What are the findings of the research based on the answers to the three questions posed by the research on the activism of killers? What is their motivation and what kind of psychological personality do they have? And what are the social platforms that cause crime? is analyzed Among the results of the research, it is indicated that the movies have attributed individual motivations of obtaining financial benefits and satisfying the sense of revenge, and social and ideological motivations, as well as personality disorders such as paranoid, dramatic, narcissistic, and psychosis, to the killers. The social contexts that lead criminals to commit crimes based on the theories of sociology of crime in the movie Spider include labeling, moral panic, social learning and differential association and neutralization, and in the movie Talakhan include public pressure, social support. , differential amplification, primary and secondary deflection are represented. Also, movies have strengthened or weakened stereotypes about serial killers, and by downplaying the victims of murders and focusing on the emotional aspects of serial killers, they somehow make them celebrities.Key words: Barrett, crime, narration, serial murderms of murders and focusing on the emotional aspects of serial killers, they somehow make them celebrities

Background and Objective: The method of cinematic narration and representation of the crime of drug trafficking, along with understanding how its narrative is structured in Iranian films and the meanings conveyed through this narration regarding influential stereotypes and teachings, plays a significant role in shaping attitudes towards this crime and its prevention. Accordingly, this research aims to analyze the narration of drug trafficking in Iranian cinema by examining the film "Metri Shish-o Nim" (6.5 Per Meter). Method: The present study employs a qualitative approach with narrative analysis based on Roland Barthes' semiotic codes model. Data were collected through observing film scenes and documenting the actions of the main narrative agents. The studied sample is the Iranian film "Metri Shish-o Nim". Findings: Based on the research findings, the narrative of drug trafficking in the film "Metri Shish-o Nim" involves three main agents: the trafficker, the victim of the crime, and the police or representative of the criminal justice system. Their mode of agency drives the narrative and conveys meanings. The crime narrative unfolds within specific social contexts. In the examined film, these criminogenic contexts, according to sociological theories of crime, include social conflict, strain, the spectacle of evil, and social learning. Conclusion: The analysis of the studied film leads to the conclusion that such films are an important and credible source for understanding criminal sciences, especially the sociology and psychology of crime. They provide audiences with teachings aimed at crime prevention, including the prohibition of high-risk behaviors and the depiction of the evil consequences of crime. From a critical perspective, they are influential in reinforcing or weakening stereotypes and, consequently, in shaping attitudes surrounding the crime.

This research aims to examine the relationship between cultural intelligence and choosing movies genre in Master of Science students of Humanities in Islamic Azad University of Tabriz. This is a descriptive (non experimental method) and correlative study and the statistical population consisted of 2173 among whom 315 Master of Science students of Humanities in Islamic Azad University of Tabriz were chosen via stratified random sampling method. The data were collected through Ang et al (2004) cultural intelligence scale and a demographic questionnaire measured demographic information and the favorite movie genres. The data were analyzed by multivariate regression. The test of hypotheses showed that among all movies, only Lolicon genres, martial arts, adventure, animation, video games, talk shows, adventure, fantasy, psychology, romance, documentary, realistic, slice of life and western have a significant relationship with cultural intelligence and its meta-cognitive, cognitive and behavioral dimensions.

Literature and the performing arts can be considered as two comparable systems that often have similarities in narrative features. The aim of this study is to recognize how movies use narrative methods and techniques in conveying meaning to the audience, based on postmodern literary theories; and it presents arguments to answer this question: Which postmodern literary expression techniques are used to convey meaning in movies? Our finding showed that the narrative structure of “ Inception” was uniquely similar to postmodern novels with at least eleven narrative features of postmodern novels that have been used to convey meaning to the audience. Implicit to “ Memento” and anachronism were the most important postmodernist feature in the film “ Inception” . This film consciously merged reality and representation and created a vicious circle in the viewer’ s mind. Simulation in the Jean Baudrillard theory, manifested itself in movies and signs were no longer a reflection of reality. Short circuit to closing the gap between the real world and the fiction was another feature of the narrative that are used in postmodern movies. Presence of the dead character such as “ Mal” and its relationship to the living was similar to the phenomenon of short circuit in David Lodge ‘ s theory. The principle of contradiction, can manifest itself as a conceptual and visual inconsistency in movies similar to novels. The conversations between Sative and Dammkab at the end of the film was the example of contradiction in the movie “ Inception” . Although only brief moments passed, the effects of aging can be seen on the faces of both characters clearly. Attention to subcultures and cultural eclecticism was very important in the postmodern novel, which was presented as the abolition of racist and patriarchal roles in this film. In fact, this phenomenon indicates the emergence of “ Pluralism” in the postmodern world and collapse of “ Centrist” in modern thought. Unexpected changes in camera angle, distortion and metamorphosis of image in “ Inception” were the examples of the language disorder in postmodern novels. According to the content of the story, in some scenes of the film, the lack of attention to gravity is evident. Demonstrating the inability of human beings to penetrate to deeper levels of dreams indicates the collapse of meta-narratives in the fourth level of dreams. Like the postmodern novels, the film constantly reminds the viewer that the story and film are artificial. Planting an idea in the human mind was an example of the collapse of values in this film. This developmental descriptiveanalytical study compared two different systems of literature and cinema. Information was collected through library searching and sample movie viewing )Inception, 2010, Christopher Nolan). The data have been selected purposefully from the actions and dialogues. The information has been compared with the techniques that are used in postmodern novels and has been analyzed and interpreted qualitatively.