Narratives -especially the fictional narratives- of any kind which are narrated through any medium often introduce the assumptions about the world and the ways it is perceived. Since the conceptualization is considered as one of the fundamental objectives as well as functions of the narratives, the study, taking the conceptual approach, analyzes the origins of the cinematic mythical narrative. To this end, arguing the concept of Origin (Arche) and its relation to Religion and Myth through analyzing the pattern of the Hero’s Journey of the mythical narratives, we show the mentioned archetype as a form of an anagogical process and essentially the process of the spiritual evolution and return to the original values in the religious thought. From mythological perspective, Hero Myth is considered as one of the most prevalent and familiar myths in the contemporary world. So, due to the hero character’s mythical as well as structural functions at forming the dramatic pattern, the hero myth can be taken as an effective pattern in the dramatic structures. One of the most appropriate approaches to read, perceive and criticize a text either in the realm of fictional narrative or other narrative media such as film is Mythological Criticism. Recognizing the concept of Origin in the mythological studies through the visual and narrative analysis of the first and last shots of The Searches as the case study, the study shows that the pattern of the hero’s journey in the fiction film originates from the primordial and eternal concepts and in particular the beginning as well as the end of the Creation. The perception refers to that authentic eternal story, the original myth of the Creation and Return of Man. This journey is considered as the fundamental or basic pattern of Man life. The pattern of Man’s Creation ends with an ontological turn, getting him to the starting point. Hence, it can be claimed that the archetype of hero’s journey roots in the prominent archetype of Creation. Therefore, the authentic samples of the narrative arts refer to and are enforced by the pattern of the hero’s journey and in other words the mythical narratives’ structure, the narratives organized in the form of the authentic mythical patterns and emanated from the depth of unconscious psyche; although, it does not mean that one fictional structure is applied or repeated in all the fictional narratives or in other words, all the fictional narratives follow the same fictional or dramatic structure. In fact, the myths not only narrate a story, but also create the patterns for the representation of the principle concepts or themes of the human mind. The study’s theoretical framework include Carl Gustavo Jung’s Archetype and Collective Unconscious theories in the realm of the analytical psychology, Joseph Campbell’s Monomyth theory in the realm of mythological studies, and Mircea Eliade’s Origin Myth in the realm of religious and mythological Studies.

Depression is widely reported in patients with physical illness, but its prevalence varies in studiesand differs from one disease to another. In patients with depression, severity of symptoms may bedifferent in various medical conditions and responses to treatment. We aimed to systematically (a)compare the prevalence of depression between medical illness patients and mentally healthy subjects, (b)assess whether there is an independent association between medical illness and depression, (c) identifyassociated factors used in interventions (d) and review the relationship between depression and baselinedisease severity and treatment outcomes. We studied 24 researches that had examined medical illness and depression in Mazandaranprovince, Iran. The prevalence of possible depression in patients with physical illness ranged from 13. 1 to67. 4%, depending on diagnostic methods and sensitivity of various depression scales. Depression wasfound to have a negative influence on the outcomes of physical illness and treatment response. The significant outbreak of mental disorders, especially depression in patients with physicalillness, and the negative impact of mental disorders on the control and treatment of diseases call forregular psychiatric counseling.

Semohcs is a scientific approach semiotics that examines the types of signs, the factors present in the process of production and exchange and their interpretation, which began with a lecture by the famous linguist Ferdinand de Saussure at the University of Geneva. Narrative is a technique that is manifested in different forms in literary texts in the form of narrative structures. Its nature or realm is in the world of text. Narrative, despite its ability, needs to be present in the heart of narration, so it borrows from signs. This article examines the narrative of Abbas Kiarostami’, s Night Exercise Scenario and the narrative structure of the story and the differences in its narrative style and visual presentation. The use of signs in Kiarostami’, s works is seen visually in the form of landscapes and visual structures, and even the use of music and names of characters. Accordingly, in this research, in a new way and with a different attitude, the difference in the visual method of the narration has been considered.

Gilles Deleuze argues that in Samuel Beckett’s Film the perception of self by self, though agonizing, opens onto a promising vision: for one confined to the personal reduction of life, it discloses a transcendental expansion of LIFE. In cinematic perception, this transformation marks the shift from the classical cinema of movement, where protagonists made films, to a modern cinema of time, where the camera becomes the protagonist, inviting actors, like the audience, to watch the film enriched by its transcendental perspective. This article shows what appears in Deleuzian time-cinema as a proliferation of life, by sustaining the audience’s belief in transcendental time as a horizon of perpetually emerging life-events, is, in fact, an entropic eventization of the audience’s memory, a process that, according to Bernard Stiegler, entails the loss of savoir-faire. Thus, the revelatory shock-images in Beckett’s Film signify an entropic loss of memory’s ground, becoming pathological shocks that require therapeutic care and invention of new life-therapies, anticipating a negentropic reinvention of time the transcendental camera must watch and read its film from. Here, E is seen as a therapeutic camera, healed out of transcendental time through O’s analysing the pharmacological shock.

The present article is an attempt to find out the narrative variables and coding analysis of post-Revolution religious cinema in Iran, extract the religious categories emphasized by it and way of putting the narration and film codes in the service of religious categories. For this purpose, a conceptual framework of religious cinema and cinematic narratology and semiotics was developed and in the light of social tie of art some allusions were made to social context of Iran. Barthes-McQuilan approach and identification of indexes of narratology in the major and minor scenes were used for narrative analysis; and, Eco’ s approach and identification of the significations of the ten codes were used for semiotics. On the basis of maximal definition of religious cinema and the viewpoints of the experts of this field as well as through assessment of the landmark religious films, the “ Coper and Gold” film was selected because of its religious themes, suitable utilization of semiotic codes and principles of narration. The findings of the research include the followings: prioritizing the behavioral and epistemic aspects of religion; avoiding the expression of convictional categories and secularization of religion; congruence with public sphere of the believers; utilizing unconscious codes for offering profound concepts; and putting narration and film codes at the service of religious narrative and codes. This paper has focused on extracting different religious aspects and indexes in after-revolution Iranian religious cinema, studying narrative and semiotic characteristics of this cinema and knowing serving manner of narration and codes of the film to religion. For this purpose, framework of religious cinema, cinematic narration and semiology and generalities of the Iranian social context based of art’ s social connection will be presented. The methodology of this paper is combined of Barthes-McQuilan’ s approach in narratology and Umberto Echo’ s approach in semiology. By using Barthes-McQuilan’ s approach different indexes have been recognized in primary and secondary scenes of the films. Also, by using Echo’ s approach different codes including perceptive codes, codes of recognition, codes of transmission, tonal codes, iconic codes, iconographic codes, codes of taste and sensibility, rhetorical codes, stylistic codes and codes of the unconscious have been detected in the scenes of the films. By using religious cinema definition, expert opinions and evaluation of main Iranian religious cinema, “ Gold and Copper” Film has been selected. Emphasis of this film to ritualistic and intellectual aspects of religion, avoiding the film from ideological aspects and secularization, alignment of the film to religious public sphere and complete serving of the film’ s narration and codes to religion are some results of this paper.

During their lifetime, early humans reacted to their surroundings, that is, the terrifying and wonderful world that surrounded them; And based on the fear and fascination with the secret hidden in the universe, they created the first mythological stories. This chain of thought expanded over time until cinema encompassed myths to create storylines in structure, characters and style, and by embedding myths in human life, made it as a most practical form. In this article, using the method of structural analysis of narrative and communicative anthropology, the state of cinema during the construction period (1989-1997) is studied, and along with the analysis of the social, political and cultural situation, the structural analysis of the narrative of one of the outstanding works of this period (film Aagenseh Shisheai) has been discussed using the method of narrative analysis. The results showed that during the construction period, revolutionary values such as sacrifice and martyrdom, spirituality, contentment and simplicity, which were the achievements of the first period of the revolution, gradually faded in the characteristics of the heroes of the movies, and factors such as welfare seeking, competition for wealth and rising expectations and possibilities As one of the main necessities of the hero, welfare and materialism stood up against the revolutionary values; On the other hand, it seems that the political discourse governing the Iranian cinema during this period worked as a tool in the service of the government and in the way of persuading the people to watch works with heroes with a moral and value burden, while the general public did not accept this and they seek the heros with the characteristics of the world of that day.