Film theoreticians such as Tom Gunning, Miriam Hansen, Anne Friedberg, Leo Charney, James Donald and Giuliana Bruno emphasize on the simultaneity of the invention of the cinema and the formation of modern cities in the world. Cinema, in effect, seems to have grown up in the context of modern cities. Film’s evolution, stirring away from theatrical static space and the single boundary of primitive filmmaking (fixed camera, moving actor) towards the spatial fluidity and complexity of contemporary cinema, has been concurs with the city dynamics. Scholars like Simmel, Benjamin and Kracauer, referring to cinematographic qualities of the images such as sequential and superimposing movements in large cities, emphasized the significance of cinema in perceiving the environment of modern cities, and believed multilayer film by its nature, more than any other media, has the capacity to represent the complex characteristics of a metropolis. The early filmmakers not only depicted urban spaces, but also screened these images to their audiences as the collective masses. With the circulation of motion pictures through the labyrinthian network of metropolis, as Miriam Hansen points out, cinema had acted as a bridge between people and the city and also helped to shape the image of the city in their minds. In this way, cinema had provided a horizon for experiencing modernity for urban dwellers. The interaction between filmmakers and the urban space continued through the subsequent decades, especially in German expressionism, Italian neorealism, American noir and the French new wave films. In many examples from these cinematic genres, the context of urban space plays significantly in the demonstration of the emotional texture of film's characters. Moreover, directors also by projecting psychological moods of characters on urban spaces endow different and distinctive emotional dimensions to cities. Any cinematic space may be connected to another by non-linear and complex methods. In film, due to a myriad of variables relationships, every space might be connected to any other space and every relation can produce unpredictable meanings. The spatial relationship in the film is not a kind of continuous and closed system. Filmic techniques have facilitated open systems and structures that know no boundaries. In many films, filmmakers not only represent the cityscapes but also invent their own cinematic city by using spatial combination among disparate parts of the city with the help of cinematic techniques like montage. The influence of reel landscapes in the filmic cities on real cities should not be ignored. Nowadays, cinema has moved beyond serving as a mere representation of urban spaces to challenging the traditional limitations of urban planning. In the same way that movies have borrowed from the dynamics of modern cities, urban spaces have reciprocally been developed in close interaction with cinematic spaces. This interaction has intensified in the past decades more than ever. It might be argued that in contemporary cities, a kind of intertwining relationship between urban plans and cinematic plans has been forming our perception of urbanity.

Purpose: The aim and objective of this report is to identify the benefits of interactive communication channels and to advice the FMCG business on how these new methods are better than the conventional methods.Design/ Methodology/Approach: In this research article facts about advertisement and its effectiveness were collected from different surveys conducted by various agencies. Mainly secondary data is used for this research. The present conceptual paper also demonstrates the previous literature and findings.Findings: For FMCG business, interactive communication channels are far better than traditional methods and they create brand awareness and brand differentiation among other FMCG brands. Although traditional methods have their own advantages but their effectiveness could not be measured, while it is possible in case of modern methods of advertisements. Moreover, people are becoming more accustomed to modern methods due to advancements of technologies.Research implications/limitations: This research will provide guidelines to managers and policy makers of FMCGs Corporations on effective use of all types of communication channels to increase their sales. This research has various limitations. It is only conducted on secondary data. To fill this gap future research can be conducted on primary basis. Only few formats of communication were discussed in this paper. More advanced formats (e.g. Enhanced Text) could be explored in future research by specifying any region or circumstances.Originality/value: Considering the previous literature on advertisement and communication channels, this research study provides the conceptual comparative analysis of traditional channels of communication and Modern tools of communication for selling of any product particularly FMCGs products. This study depicts the usefulness of modern technological tools in today's world in both retail and FMCGs businesses.

The world is embroiled in a pandemic of a new coronavirus at the end of 2019 and early in 2020, with such a large scale that it has severely involved the political, economic, and social systems in most countries around the world. The scale of the crisis is so widespread that many experts believe that the post-corona world will be substantially different from the pre-corona world. In the face of this massive epidemic, how people perceive risk and how to risk is communicated, plays a central role in deciding and choosing people's behavior. Fighting with this emerging phenomenon requires mobilizing all the possibilities of society and helping all people in the field of empathy and altruism. In this article, we briefly review aspects of the important concept of risk perception and communication in this pervasive crisis.

Background and goals: due to its undeniable role and importance, mathematics course, if it is not paid attention to; many weaknesses will be noticed in the students' learning, and the students who have weaknesses in this field, will have difficulties in their education and related issues. They will have problems in choosing their field as well as their field of work. Based on this, this study was conducted with the aim of the effectiveness of the interactive educational game on communication skills and solving mathematical problems of elementary school students in Kermanshah city. Methods: The method of this study is practical in terms of its purpose, and in terms of its implementation, it is part of semi-experimental research with a pre-test-post-test design. The population of this study included all primary school students of Kermanshah city in the academic year of 1402-1403. The sampling method was a random cluster in such a way that 30 people were randomly selected from among the schools of Kermanshah city, elementary schools, one school from among the elementary schools, and one class among the elementary classes. A group of 15 people (test and control) were placed. In order to collect data, the mathematical problem solving test and the children's communication skills questionnaire of Barton G (1990) were used, the validity based on the face validity method and the reliability based on Cronbach's alpha was reported as 87%. Findings: The results showed that the interactive educational game has an effect on communication skills and math problem solving of elementary school students in Kermanshah city. Conclusion: Based on the findings, interactive educational games can have an effect on communication skills and solving math problems of elementary school students in Kermanshah, and based on this, it is suggested that interactive games be used in the education of students..

The present article studies the impacts of modern communication technologies on media management using the documentary method. Five attributes, i.e. digitalization of content, interactivity, personalization, immediacy, and directivity were identified to be present in all media due to the influence of modern technologies. Given the national media management, the article offers a model for interaction between national media management and developments resulting from new technologies. The model contains a media matrix including public media like TV and radio, and modern media like the internet and cell phone. These media are intended for 4 kinds of different audience, i.e. mass audience, limited mass audience with needs to have access to streaming media, niche audience with needs to have access to personalized information, and finally specific audience with needs to have permanent access. Four types of contents were also considered in the model: general content, user-made content, segmented content and superior content. Finally, media’s major policies as well as economic profitability affect the whole interactivity so that media management goes along in accordance with requirements of modern technologies.

Despite the expansion of new media outlets and transformation in extra-organizational communication, one of the most important tasks of Public Relations continues to be establishing of professional communication with the media. Public Relations need to cooperate with the media in order to convey their organizational messages to the general public and their organizational legitimacy depend on their cooperation with media. At the same time, the media also need to cooperate with Public Relations Department to produce and publish their news and viewpoints. But what usually bars such interaction process, are numerous communication challenges. The main goal of this research is to identify challenges, provide solutions and effective communication models between journalists and media intermediates in Public Relations departments. In this research, a mixed method was use. In qualitative part, in-depth interviews were made with 15 professors and experts in communication, public relations and media sectors, and in the quantitative part, using the Q method and a questionnaire tool, the views of 40 Public Relations managers and experts of the ministries as well as editors and reporters of national newspapers, have been taken into consideration. The findings of the research showed that factors such as lack of expertise and professionalism, diverse organizational policies, political and factional approaches, lack of economic independence of the media, insufficient knowledge of Public Relations Departments and the media about each other's sphere of responsibilities and limitations, unreasonable expectations and sometimes having a negative attitude, are among the most prominent challenges faced by the Public Relations. Within the four structural, functional, behavioral and cognitive dimensions, factors such as law reform, human resources training and professionalism, interaction and dialogue, accountability, honesty and transparency, compliance with ethical principles, reasonable expectation and mutual acknowledging of duties are the most important solutions to solve challenges face by the Public Relations Departments. Adapting these factors by Public Relations entities will create the ideal model of communication between Public Relations and media.

The advancement of digital technologies has impacted a variety of artistic media and provided the artists with diverse modes for expressing their ideas. One of these methods is using digital technologies in the form of interactive installations that achieve their artistic goals through the affective presence of their audience.Understanding great artistic works occur simultaneously at the four levels of perception, emotional, mental, and spiritual. Therefore, a part of the strong effect of digital media is created by the five senses. Using the five senses in understanding artistic works has always been an effective method for aligning the audience with the work. Digital systems recreate and present a simulation of this method in most cases. Nowadays, technology creates messages alongside novel capabilities for artistic media to present a different presence and understanding for their audience. Technologies have different special capabilities and capacities that limit different types of interaction between audiences, content, environments, active message providers while creating different capabilities and interactions. Besides information transfers, digital capabilities present different experiences to the audience alongside. Any digital artifact is a wide page of video games, physical figures, interfaces, appearances, and feel of a user experience section. Any digital artifact will be shown to the user when needed. Still, artistic works that are created by the digital industry are capable of communicating for concept transfer while being able to recreate the creator's experiences indirectly for the audience or visitor. All techniques presented by digital technologies to the artist for creating their works can help users to leave behind their passive state and gain a novel active state.Erving Goffman is an American sociologist that has many different theories in the field of sociology and social interaction. Erving Goffman was an idol-like character in the world of sociology for years and came to this high level of theory crafting in the 1980s. The framework analysis is one of his major theories. He published the framework analysis theory in 1974, which presented a novel analysis method that had gained his attention from the early 1950s. Goffman defines social organizations as places that limit the senses with their fixed obstacles where a certain kind of activity happens in it regularly. We regularly observe that these environments are divided into the behind-the-scenes, where the necessary preparations for a process are predicted, and front-of-the-scenes, where the process is performed. There are interactions in the Goffman social organizations that lead to information transfers. Goffman believed that when somebody is present in front of others, they usually start gathering information regarding him or active their previously known information. Information regarding anybody helps define the situations, enables others to know what he expects, and what they can expect from him. It seems that a fundamental dialectic is the foundation of all social interaction; when somebody is in the presence of others, they want to discover the facts of their situations while if they have information regarding that situation, they will be able to predict what will happen and facilitate the conditions for occurrence. Therefore, most knowledge and information regarding people's situations in facing others are gained using interactions when people are in the presence of each other. So, a definition of the intended situation is presented to the audience so that they could gain some knowledge regarding that situation. When there is an occurrence or interactions that happen on the contrary of the created situation or expectations, they create the following situations. The present research seeks to analyze the art of interactive digital installations using Erving Goffman’s “framework theory” theory through adopting a descriptive-analytical method and collecting data through desk research. The research also aims to address the manner of framework development in audience’s mind and examine how the audience develops a desire to interact with the piece of art. It is assumed that an interactive piece of art can adapt to the framework theory that addresses audience’s comprehension and how he plays a role in social life since it requires the audience to participate as a part of the piece to complete its concepts. This is because the audience of an interactive piece of art is first witness to another audience’s interaction with the piece, and is afterwards put in the piece’s specific framework and plays a role based on his inference.  Thus, should the audience encounter a predictable piece of art, the encounter shall be analyzed through the primary framework in which the witness is also considered to be the observer; but should the audience encounter an unpredictable piece that cannot be framed, he enters phases such as solution-seeking and story-making, marking the experience as a complex one in his mind. Such phases are guided by communicating with audience that have previously interacted with the piece. In the initial framework step, the audience or participator becomes the spectator of another audience member interacting with the work. During the second framework, the audience decides to interact with the work. He enters the work in the response step and interacts with the work under a controlled and planned method during the control step. After the work interaction step, the audience reflects on the work. The audience member understands the work message during the fixation step and terminates their connection. Here, the three-dimensional concept of the audience image creates a virtual reality, which considerably motivates him and other audience members. This situation is a scenario that provides digital layouts for its audience. Digital layouts have turned into one of the leading fields of digital art due to their technology-provided capabilities, and attention to the interactive nature of modern arts in the artistic work experience and interactive arts. Virtual reality allows you to touch three-dimensional images, which allows the audience to fully enter the virtual world created by the artist. Works of interactive arts intend to attract the audience by collaborating with the desired piece; therefore, the audience can be encouraged to collaborate with the piece by using the Guffman framework theory that believed in presenting an effective pattern by the main artist because in this way the audience member can create a story that will happen in front of him with experimental complexities while problem-solving.  According to the proposed theory, the relationship between the digital interactive art of the mirror from Nobimichi Asai with the stages of audience interaction has been analyzed in five stages of response, control, reflection, belonging and disconnection. In such a way that the audience will only see the work of art if they are observers; But it is in the second context that interaction takes place.  If the artist announces the framework and program of the audience's presence in the work of art to the audience and he is aware of the work process, this information will probably make the audience more willing to accompany and participate in the event; Also, if a model is presented as a general framework of the work, the audience, while finding solutions, will create a story and become familiar with the empirical complexities of the work, so a greater tendency to interact with the work will appear in him, which is one of the main goals of each work.

The present article describes a new concept to detect the cephalic position. This concept conceives a methodology of low cost computational and provisional that it allows a man-machine communication, based on the localization of the voluntary cephalic position. The program works with image processing and the cephalic position has a rate of 1/50 of second. The system does not require calibration and the user just requires an emitter which has a weight smaller to 2 grams to interact.