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.

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.

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.

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.

After the holy Prophet passed away, compiling and transmitting the Prophetic tradition faced with many problems.Imam Ali, peace be upon him, emphasized on writing, transmitting, and reporting the Prophetic tradition, but after the holy Prophet the situation changed.In this article, the author at first presents some speeches from Imam Ali on the necessity of writing, recording, compiling, and disseminating hadith and then tries to report the Alavi's written HERITAGE which has been written in order to record and safeguard the holy Prophet's HERITAGE.

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.

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.

The staggering development of technology and industry and fading of spirituality in the human life in recent decades have led to more attention to metaphysics and search of meaning for life whose consequences have been manifested the most in CINEMA. In Iran, paying attention to spiritual and holy affairs increased during the imposed war. Meanwhile, Morteza Avini was one of those who tried to propose a new type of CINEMA which matches the spiritual aspects of Holy Defence. Thus, instead of using traditional method of narrative, he applied new methods based on intuition and illumination and used the name intuitive CINEMA for it. The gradual prominence of spirituality in CINEMAtic works caused new CINEMAtic genres like religious, conceptual, metaphysical and transcendental to be born in the arena of Iranian CINEMA.Accordingly, the main issue of this research is a comparative study of intuitive and conceptual CINEMA. Thus, first, the notion of intuitive CINEMA has been explored with regard to Avini ideas. Then, different definitions and views about conceptual CINEMA and similar genres have been proposed and its features have been investigated by providing several examples. Finally, the two CINEMAtic genres were compared.This study applies analytical-library method as well as documentary investigation and comparative analysis. The results of this study show that the production of conceptual CINEMA and definitions of intuitive CINEMA, though having fundamental difference in their attitude towards spirituality, are similar in some issues such as positive and benevolent attitude towards the world and also reminding the existence of God to the audience.