People's speech shows their beliefs, values and views which run over their tongue unconsciously, in other words people say whatever they think. Using this property of language makes it possible for viewers to discover a film producer's ideology by dealing with the language of a film. In this research we have analyzed the scripts of the movie "The Glass Agency" by Ebrahim Hatamikia. In this research we have used the ideational metafunction (of Systematic Functional Grammar of Halliday) and the polarity of self and the other-on the basis of the ideological square of Van Dijk-. After grouping the characters of the scripts, we found that in the script of "The Glass Agency", group one (the first character and his companion's) has emphasized the "foregrounding of the positive points of self" more than the other sides of the ideological square and has shown this emphasis by the use of the material process. But the opposite group has emphasized the "foregrounding of the negative points of the other" and it has made use of relational process for doing this.

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.

Story is the common ground between literature and many arts. Arts such as theatre, cinema, painting, and music, yet in order for the story to be translated into screenplay it must have certain features which the most principal one is the pictorial quality of the literary tale in question since the image and the picture emanated from the poet’ s or the author’ s description is the most animated element which leads the spectator to understand time and place orientation. Hence employing descriptive analytic method attempt is made in this article to concentrate on the elements of “ image” and “ story” which are the most significant structural factors in the formation of the screenplay. This research also deals with the competence and capabilities of the Shahnameh stories to be turned into screenplay forms. For this reason the discussion is begun by defining terms such as picture whether epic or cinematic, story, and screenplay. Then the screenplay’ s narrative structure which is more based on the pictorial and narrative elements such as scene, character, plot, theme, and dialogue is classified and described, finally by bringing examples from the Rostam and Esfandyar tale and correspondence of its structure with the structure of the screenplay together with giving examples of illustration in the tale the research comes to its end. The result of the search shows that Shahnameh Ferdowsi in particular the tale of Rostam and Esfandyar due to Ferdowsi’ s accounts composed according to epic features is capable to go hand in hand with cinema. Hence in order to change into a cinematic screenplay Shahnameh could be investigated in terms of image, scenery and characterization.

Based on the findings of linguists, Alamuti dialect can be divided into the subgroup of North-Western languages of ancient Iran. Iranian languages can also be examined in the form of the large "Indo-European" language family. The horizon of comparison and connection of Alamuti dialect with English language in the beginning and origin in terms of form, phonetic and semantic structure, expands a wide range of research before the eyes of researchers, still many words with its old form and phonetic construction are used in the language of Alamuti speakers. In this article, some ancient morphological features of this dialect will be briefly mentioned. According to the research method which is descriptive and analytical, to prove the above attitude, twenty words and three suffixes that overlap with some English words in terms of phonetic form and meaning are examined and compared; First, he explores the words in the ancient origins and roots of Iranian languages (Pahlavi and Avestan), then he compares the words in a deeper view in the context of the Indo-European language family, and to these questions He answers that: What are the semantic and phonetic similarities of some words of Alamuti dialect with the words of the English language in their roots and origins? Are these similarities coincidental or does it indicate a common origin in a large language family?  Based on this research, the ancient identity and originality of this dialect can be seen in the collection of Iranian languages and its connection with the family of Indo-European languages.

The series of novels A Song of Ice and Fire is known as one of the most popular novels of the century. Time magazine George R. R. Martin is called the American Tolkien. This fantasy novel was adapted into the TV series Game of Thrones in 2011. The Game of Thrones series is one of the most watched series in the world. In this article, an attempt has been made to analyze the narrative differences of this adaptation with a descriptive-analytical method, focusing on focalization. In this research, relying on the theories of Gérard Genet, the focalization of focalizers in the novel A Song of Ice and Fire and then how it changes in the Game of Thrones series is examined. Also, in this research, the focus is on the main focal points of the Game of Thrones novel and series and the events that happen from the perspective of their focalization, in order to determine which focal points are focal points in the epic fantasy novel and series and what events are narrated from their point of view. The results of this research show that for the television adaptation of the novel, internal focus has become external focus. Also, other narrative changes such as simplifying the complexity of some sub-stories, removing some characters or using their stories for existing characters, adding some romantic narratives, dramatizing some events and changing focal points in the series and novel can be mentioned.

The Later Ludwig Wittgenstein believes that language games cause the formation of meaning. He considers language to have a logic that is perfected in its original grammar. But situational contradictions create conditions in which another conception of the same situation can be reached. An image that crystallizes in a new language game and can be called imagination. Thus, this notion can be transformed from a mental thing to a Lingual one. One of the contexts in which these language games can be followed by example is the field of dramatic texts. Hence, because Wittgenstein describes the nature of research in description and opposes analysis and explanation, he claims that the philosophy of language has done its job by describing language games, with the aim of how imagination is formed in language. Asghar Farhadi's About Eli has been selected for research. How does Farhadi organize his language game to achieve this goal? He seems to have used the absence element for this language game. This research, which is based on a qualitative method and on the collection of library information from the perspective of applied purpose, has reached the conclusion that absence causes the formation of contradictory and shaky language situations and helps different language procedures in dealing with Form each other.

The purpose of this article is to study hidden dramatic elementsEspecially ecological illustrated dialogues and mind games in “Death of Yazdgerd" play by Bahram Beyzai, and "Cat and Fish" screenplay by Shahram Mokri, from a symbolist anthropological perspective, analytically and etymologically. These works are symbolic semantics with a new form and content which transmit of mental concepts in Iranian dramatic literatures. Therefore, they were considered by many critics and people inside and outside Iran. With using the symbolist anthropological approach,The death of Yazdgerd Bahram Beizai has also been considered by twentieth-century anthropologists, including Branislav Malinowski and Clifford Geertz, for reasons hidden in the work of hidden functionalist features.this article shows that these two works text elements are rooted in universal thinking, which has enabled these two works to communicate with the world through symbolic effects. This article has been prepared by descriptive-analytical method and has also been analyzed by qualitative content analysis method.

There is an impressive variation in the subjects and the themes of Bahram Beyzai's works. To create his literary works he uses different literal techniques that are going to be explained in present study besides reviewing, analyzing and categorizing his fictional topics.24 Beyzai's literary works including 13 screenplays, 8 plays and 3 barkhanies (loud verbal narrating) have been reviewed in present study through an analytic-descriptive method, in a way that the topics have been used by Beyzai are determined, initially, and then each of them are analyzed presenting some specific instances. Beyzai's favorite topics generally include national, social, historic and religious subjects and protesting cinema. He has displayed different spaces in his works, although he has paid more attention to social and national issues and has created numerous works in these fields. To bring these social themes up he benefits several artistic techniques such as “adaptation from ancient texts”, “allegory” and “utilization of public literary abilities”.

Due to having dramatic and story appeals, many dramas, operas, and screenplays were adapted from the tale of Rostam and Sohrab so far. This tale is one of the most prominent and controversial stories in Shahnameh in which destiny brings father and son in two opposing sides. One such adaptation is the animation of Rostam and Sohrab produced by Kianoush Dalvand in 1392. Since production of animation in our country is quite new and needs substructures according to the writers of this article the most important of which is screenplay hence the purpose of this article is to compare and contrast the screenplay of this animation with the criteria proposed in Richard Krevolin’ s book “ How to adapt anything into a screenplay” which is the most important reference in writing screenplay adaptations. This comparison further provides aid to systematic writing and finds errors in the screenplay adaptations produced from the masterpieces of Persian land’ s literature. From this perspective and with the comparison of the genuine story with its animation copy it was concluded that the Shahnameh text lends itself well with the structure and content proposed by Krevolin, yet the animated screenplay adaptation has certain discrepancies such as not dealing with the genre of adaptation, not considering the spirit of the tale, sudden change in the story’ s end without providing the foregrounds, changing the tale’ s theme, and not introducing the tale’ s author. Furthermore, alterations made in the tale caused the work to get out of its main genre which is tragic epic, and thereby induced distortion in such popular tale.