Document Type : Original Article
Author
Assistant Prof. in Communication, Faculty of Social Sciences, Payam Noor University, Tehran, iran
Abstract
During their lifetime, early humans reacted to their surroundings, that is, the terrifying and wonderful world that surrounded them; And based on the fear and fascination with the secret hidden in the universe, they created the first mythological stories. This chain of thought expanded over time until cinema encompassed myths to create storylines in structure, characters and style, and by embedding myths in human life, made it as a most practical form. In this article, using the method of structural analysis of narrative and communicative anthropology, the state of cinema during the construction period (1989-1997) is studied, and along with the analysis of the social, political and cultural situation, the structural analysis of the narrative of one of the outstanding works of this period (film Aagenseh Shisheai) has been discussed using the method of narrative analysis. The results showed that during the construction period, revolutionary values such as sacrifice and martyrdom, spirituality, contentment and simplicity, which were the achievements of the first period of the revolution, gradually faded in the characteristics of the heroes of the movies, and factors such as welfare seeking, competition for wealth and rising expectations and possibilities As one of the main necessities of the hero, welfare and materialism stood up against the revolutionary values; On the other hand, it seems that the political discourse governing the Iranian cinema during this period worked as a tool in the service of the government and in the way of persuading the people to watch works with heroes with a moral and value burden, while the general public did not accept this and they seek the heros with the characteristics of the world of that day.
Keywords
Main Subjects
)