Paper Information

Journal:   CULTURAL STUDIES & COMMUNICATION   WINTER 2012 , Volume 7 , Number 25; Page(s) 11 To 37.
 
Paper: 

THE NARRATIVE AND IDEOLOGICAL STRUCTURES OFLRANIAN POPULAR CINEMA (1376-1386)

 
 
Author(s):  SHOHLIBOR ABDOLVAHAB*
 
* UNIVERSITY OF TEHRAN
 
Abstract: 

Iranian popular films, as a type of national culture, are consumed vastly in Iran. Although they are neglected in common cultural studies is Iran, according to recent cultural theories, they are some cultural texts including the ideological cods that they have an important role in the construction of collective social perception. Therefore, a question that can be addressed is what the narrative and ideological structures of Iranian popular films are? In the process of interpretation of the narrative and ideological structures of Iranian popular films I use a qualitative-syntactic method. This method includes Roland Barthes’s structural analysis and John Fiske’s critical semiology. The results show that in Iranian popular Films: l) The narrative structure is linear and in three parts, 2) crisis and social problems that based on the conflict between traditional and modern attitudes in Iran are the most important contents, 3) most of them have represented urban middle class problems, 4) narration is happen in modern urban spaces, 5) reformist modern woman is the most represented character and 6) critic of pathological aspects of traditional and modern attitudes are the best ideological material.

 
Keyword(s): NARRATIVE STRUCTURE, IDEOLOGICAL STRUCTURE, IRANIAN POPULAR CINEMA, CULTURAL STUDIES, STRUCTURAL ANALYSIS, CRITICAL SEMIOLOGY
 
References: 
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