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.

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.

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.

Sociological analysis of gender relations in films has always been important to sociologists due to monitoring social relations and structures. In this research, the researcher tries to investigate quality of gender relations in Iranian films after the revolution. The fundamental question of the research is how gender inequality is represented and constructed in interaction of men and women in Iranian films. The theoretical framework in the research is social constructionist approach of Erving Goffman based on which concepts, variables and hypothesis of research have been defined and constructed. The Method of research is content analysis, by which 62 Iranian films are analyzed. In This article, it is tried to introduce brilliant thinking of Goffman and analyze gender displays in Iranian films by using Goffman’s visual analysis model.The findings of research approve the presence of significant gender displays in Iranian films within the framework of Goffman’s visual analysis model, while expressing the reconstruction and reproduction of gender values and norms in Iranian cinema after revolution.

Iranian cinema, has experienced basic and visible changes concerning attitudes toward women In several past decade. These changes are so great that show a developing feminist view is prevailing in the scene. These changes can be observed in situations and roles of women in Iranian cinema before and after Islamic revolution. I try in this research to analysis the quality of representation of women in Iranian films made from 1340 to 1370. My target in the research is evaluation of process of changes concerning attitudes towards women. The theoretical framework of essay is gender oppression theory, the concepts and hypothetical approach of this theory are analyzed in Iranian cinema. The research methods in study are qualitative content analysis as chief method and documentary method as complementary method. For example; some indexical Iranian films are analyzed through content analysis method and documentary method that has been used for general description of gender relationship and situation of women in Iranian cinema for the past four decades The main finding of the research is that prevailing attitudes toward women discernible in Iranian movies have changed from a patriarchal to a more feminist view.