CINEMA is the most influential cultural instrument in the contemporary world. The seventh art first brought culture in theaters and then in homes by T.V. and modern audio - visual devices. Perhaps, for this reason, Andre Marlow paid special attention to the CINEMA and regarded it as a shortcut to the popularization of culture or achieving cultural democracy. Since its birth, CINEMA in France experienced a significant progress and was the best before the Second World I War. But with the entrance of AMERICANs to this field, relying upon their modern technology and huge investments made considerable progress and challenged the French CINEMA. The French CINEMA needed government, help in this unequal competition and could not resist this all - out invasion on its own. The French government got involved in the sector of CINEMA to reach two goals: helping cultural and artistic CINEMA: and standing up against AMERICAN CINEMA to defend the cultural diversity championed by the French. This article examines approaches results from a problem which is also considered a major concern for Iranian CINEMA. Relationship between government and CINEMA in France might absorb the attentions of our cultural policymakers.

The specificity of CINEMA in the classical era was the subject of various fields of knowledge and thinkers of formalism and realism, such as Montsberg, Arnheim, Lukacs, Stam, Krakouer, Carroll, Bazen, Burch and Wollen, and different opinions in this field can be identified. Moreover, contemporary CINEMA has been influenced by digitalism, and has changed a lot in terms of technology and thought, and differs in many ways from the special CINEMA of the classical period. The current research has examined the changes in the methods of expression of CINEMA in the digital age with a fundamental aim. The main issue of the research is to analyse the impact of digitalism on CINEMA and to reveal the process that has led to the specialty of CINEMA taking a leap in the current era. This research method is qualitative and data-based. In order to achieve a basic theory based on the targeted selection of 50 books and 50 academic articles from national and international databases, works of experimental CINEMA and 22 films from the years 2000 to 2022 from AMERICAN narrative CINEMA, which have received the most Oscar awards, reviewed and evaluated. The result shows that the aspects of self-image/self-image, synthesis/becoming, domestic/domestic approach, reconstruction or re-creation, reality constructionism, interaction and empathic action are central to Moore's particular attention to CINEMA in the digital age.

CINEMA has a dual function: it reflects the society and its changes, and it can create new world through which the society can see itself in another way, thereby CINEMA can cause social change. One of the manifestations of this duality is in CINEMA's relations with the state and state legitimacy. This paper presents an argument on system legitimacy in CINEMA with attention to the views of Weber and Habermas on the legitimacy and legitimation of rational systems.In the political CINEMA of the world today, attention to the subjects presented by CINEMA and their effects on <;ulturaland political systems is increasing. AMERICAN CINEMA has had remarkable success in the subject of government legitimacy, and in most cases reflects and establishes the legitimacy of the government and political system (on a macro level). Even movies critical of the political system have an ultimately positive view toward the political system and thus never lead the audience to anti-system conclusions.But in Iran this case is nearly reversed and the element of system legitimacy is almost absent. This shows recent changes in the Iranian society and the decreasing legitimacy of the political system among the people, and also indicates the (conscious or unconscious) efforts of intellectuals for voicing their unfavorable views about the political system.This paper analyzes the content of several famous Iranian movies from the past decade and compares them with AMERICAN CINEMA. The aim is to study the social characteristics of protagonists in action and political movies from a sociological perspective and analyze the way they see the society and government through issues such as: passiveness of characters, blaming the political and social structure, explosive actions, the lack of faultless characters within the system who can solve problems, and the view toward law.Finally hypotheses about the causes of this absence in Iranian CINEMA are presented (including the negative behavior of the government toward intellectuals and filmmakers, the opposition of intellectuals and filmmakers to the government, effects of Marxist art on Iranian intellectuals, weaknesses in the government's monitoring and protection of effective and pro-system CINEMA), and the social and political consequences of this problem have been discussed.

Extended Abstract Introduction Media studies, as part of the humanities, use this concept to explain phenomena and analyze the way different events are presented and their function in the issue of power, and thus try to increase the level of knowledge and awareness of the audience about the structures and Develop the processes that govern power structures and critically analyze and critique the impact of power structures on human social life. In the process of representation is one of the important factors for the transfer of concepts and application of narrative knowledge. Exploitation of narrative in many aspects of human life provides the opportunity to use in a desirable way that part of the information that can be useful in achieving useful goals. These narratives are produced and provided to the audience in various formats such as news, stories, reports, films, etc. The crucial point in the representation of reality by the media is that the media can not be considered as a neutral tool. The media relies on language and meaning, and these two elements themselves always rely on power in the context of discourse. Therefore, the representation of events by the media, a debate on moral and immoral issues, has an ideological orientation and takes steps to weaken or establish a special power and discourse. CINEMA is very important because of the representative role it plays in the field of culture. CINEMA representations cover a wide range of topics and areas such as culture, economics, politics, war, and so on. This diverse range of media coverage in CINEMA has led researchers to place a significant role on the functions of CINEMA and deem it worthy of further scrutiny. One of the fields of study in which the study of the role of media and CINEMA is of great importance is the field of politics. The importance of CINEMA in the field of politics in general, and foreign policy in particular, is due to the fact that it can be used to influence public opinion. Examining this issue can help researchers in the fields of media, CINEMA and foreign policy in the field of media functions in representing political and geopolitical events, public diplomacy and factors influencing public opinion. Given that in contemporary America, the United States is in a superior position in terms of cultural and media hegemony over other countries in the world, this country seems to have a wide capability and ability to use various media such as newspapers. Use magazines, cyberspace, television networks, radio and CINEMA to represent their actions globally, or have their actions covered or criticized by various serious and entertainment media. In the meantime, it seems that the role and function of entertainment-making media such as CINEMA in representation and through it international trends is significant. Accordingly, this study will attempt to examine the main signs of AMERICAN power building in the field of foreign policy through artistic tools, especially CINEMA. Methodology In this article, the relationship between CINEMA representations and media coverage with US foreign policy was examined, and by selecting several films, an attempt was made to analyze the function of CINEMA in the process of empowerment for the United States. The purpose of this study is to analyze the organizational, behavioral and functional realities of Hollywood and how it is effective in the field of foreign policy. Accordingly, an attempt will be made to answer the question that the representations that take place in the field of CINEMA, from the perspective of the relations between What impact has the nation had on US foreign policy?   Findings The findings of this study show that the most important function of AMERICAN foreign policy CINEMA goes back to its representative role. This means that a diverse range of global audiences will become acquainted with, understand, and even identify with the political processes and attitudes that govern AMERICAN politics and culture, as well as the interpretations of the world offered by AMERICAN CINEMA. To think. Here, both the products of AMERICAN patriotic and critical CINEMA are linked at a specific point: the representation of America in the global dimension. By creating an ideal image of the United States, these films strengthen the country's soft power in foreign policy and international relations. Therefore, it must be said that AMERICAN CINEMA cannot be considered an independent position in AMERICAN foreign policy and lacks any effective power to direct AMERICAN foreign policy. In other words, in the foreign policy of this country, CINEMA plays the role of a tool for the development of cultural and public diplomacy and the development of soft power. In general, the studies of this research show that CINEMA can be used as a complementary tool in foreign policy or even for its critique due to its storytelling and illustration capabilities. Conclusion Therefore, in the discussion of international relations, it should be said that CINEMA was very important in introducing and representing AMERICAN foreign policy. He spoke of the direct influence of CINEMA on AMERICAN foreign policy, but these representations have the potential to strengthen America's soft power around the world through their illustrations. Therefore, it can be emphasized that CINEMAtic films can serve as a complementary element in the long run of public diplomacy of countries and by showing freedom of expression, criticism, And their illustrations bring with them a range of audiences, thereby helping to reinforce the positive image of countries like the United States whose CINEMAs have global influence.

Studying the Effect and Function of AMERICAN MobiMobile CINEMA as an effective propaganda tool has had more importance and expansion, especially, after the world war two and changes of dominant techniques in the world. When the world great powers employed the cultural diplomacy strategies to stabilize their situation and dominance on colonies and third world countries using propaganda tools including mobile CINEMA, which Herbert I. Schiller called it cultural Imperialism. Iran is one of the few countries in which the AMERICAN mobile CINEMA has long activated. This paper has considered what was been the causes of presence of AMERICAN mobile CINEMA in Iran; and it has concluded using the existing reports and documents through descriptive and analytic methods: AMERICAN mobile CINEMA has started its operations through the program of Truman four principle (Point IV Program) and due to prevent Communism influence and producing the protective belt to AMERICAN interests, and it was gradually operated through showing the educational and recreational films to change views and propagate the AMERICAN life style, in one side, and through news and propagative films, in other side, stabilizing its supported governance aimed to dominate Iran. le CINEMA in Iran

Textbooks play a pivotal role in language learning classrooms. The problem is that among a wide range of textbooks in market which is appropriate for a specific classroom and a group of learners. In order to evaluate ELT textbooks theorists and writers have offered different kinds of evaluative frameworks based on a number of principles and criteria. This study evaluates a series of ELT textbook, namely, AMERICAN English File by the use of Littlejohn’s (1998) evaluative framework to see what explicit features of the book are, what pedagogic values it has, whether it is in line with its claimed objectives, and what its merits and demerits are. Littlejohn believes that we should evaluate a textbook based on its own pedagogic values and we should see what is in it not what teacher and evaluators think must exist in it. Consequently his framework is claimed to be devoid of any impressionistic ideas and it is in-depth and objective rather than being subjective. Nine ELT experts and ten ELT teachers helped the researcher rate the evaluative checklists. The results of the study show that although a number of shortcomings and drawbacks were found in AMERICAN English File, it stood up reasonably well to a detailed and in-depth analysis and that its pedagogic values and positive attributes far out-weighed its shortcomings. The internal consistency between ratings was computed via the statistical tool of Cronbach’s alpha that indicated a desirable inter-rater reliability.

In a sense, broader than reducing it to a genre, meta-CINEMA or the self- representation and self-reference of CINEMA, can be regarded as a dispute over the status of CINEMA in society. Meta-CINEMA is also about “the relationship between CINEMA and society or, generally, the nature of CINEMA in the experience of modernity in Iran; this is because, more than anything else, CINEMA is the most important cultural product of modernity. Therefore, I deemed it possible to provide an analysis of the status of CINEMA in the Iranian CINEMAtic society, and consequently, of modernity, by taking advantage of the meta-CINEMA of the Iranian post-Revolution CINEMA. In this article the meta-CINEMA of the Iranian CINEMA after the 1979 revolution is studied. This article aims to investigate the experience of modernity in Iran by analyzing self-references of the Iranian post-Revolution CINEMA. A study of some prominent meta-films of the Iranian post-Revolution CINEMA indicates that the following three are the forms which meta-CINEMA discloses result, about modernity: CINEMA as a threat to the order of affairs, CINEMA as the real alongside the everyday life, and CINEMA as a form which we are unable to create.

Iranian state CINEMA shows how the Islamic Republic deals with the medium of CINEMA, of which from the very beginning, the leaders of the revolution, emphasizing its importance, promised to “ change its form” in the Islamic government and demanded the intervention and monitoring of the government. By establishment of the Farabi CINEMA Foundation in 1983, that demand was realized, and since then, the CINEMA that the government wished to promote and distribute has gradually found its formation through applying the policies, guidelines, and supporting of the Farabi Foundation. Four decades have passed since the establishment of the Farabi CINEMA Foundation, during which its directors and managers, each based on the political culture of the government from which they were allowed to operate, as well as their own values and beliefs, have been the agents and implementers of CINEMAtic policies. In this study, we tried to identify and analyze the policies of Farabi CINEMA Foundation, the type of CINEMA they recommend and support, as well as their policymakers and managers views in five post-revolutionary States, in historical institutionalism and “ narrative analysis” approach, in three parts of “ production, releasing, and the Fajr Film Festival. The findings of this study showed that the policymakers and directors of the Farabi CINEMA Foundation have been thinking of producing Iranian films and creating National CINEMA since its establishment, but each with a specific and different perception of the medium of CINEMA, the concept of national CINEMA, and the audience. Therefore, they attempt to create a special order in the production and distribution of films in Iran. According to this study, Iranian CINEMA policymakers do not have the same understanding of what kind of CINEMA Iranian people and society deserve to have and promote. They also do not agree with their critics on a common definition of culture, value, people, national CINEMA, and national interests, so they are constantly arguing with each other to prove their legitimacy, and each witness the “ people” to prove the correctness of their policies.

This paper undertakes an examination of CINEMAtic narratives of common generational experiences in regard to the 8-year war of Iran. Through a structuralist approach, this paper aims to analyze representations of dichotomies relating to generational relations (including inter- and intragenerational relations) in Hatamikia's CINEMA:idealism/pragmatism, duty-boundness/outcome-boundness, love-focusedness/reasonfocusedness, introversion/extroversion, and preterism/futurism. The logic employed for analyzing the oppositions is that of Parson’s action models. Here five films of Hatamikia are looked at which are part of the war genre and also dwell on generational relations: Mohajer (1990), Az Karkheh ta Rhein (1993), Ajans-e Shishei (1997), Moj-e Mordeh (2001), Be Nam-e Pedar (2006). In the course of representing generational relations, from Mohajer to Be Nam-e Pedar, the director has gone from the first part of the abovementioned oppositions to the second part. This may point to the formation of an independent social sphere which has gradually been formed after the War, and influenced by which, the director has leaned toward the second part in his preferred reading.