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Showing 2 results for Semiotics
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Volume 1, Issue 2 (4-2015)
Abstract
This study aims to achieve a semiotic understanding of collective memory of the Iran-Iraq war. For this purpose, samples of images in virtual social networks shared in response to the news of discovery and return of the bodies of more than 175 divers have been analyzed. Visual signs in photographs, cartoons, graphic designs, prints, paintings and posters, in methods of historical pictures and frame-images, give forms and contents to the collective memory of the Iran-Iraq war. To identify signs that represent the past and discern their roles in the narrative patterns of the collective memory of war for today›s society, Peirce and Geertz›s theories have been used. The results show several themes in the narrative patterns of the collective memory of war, which include: the sanctity of patriotic death, contrastive meaning of everyday life and heroic life, sincerity against corruption in the models of action, shift to the body, martyr›s body as a cultural object, and the politicization of the collective memory of war. These themes reflect the occurrence of fundamental changes in the system of representation of war in three decades have passed since the end of war.
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Volume 1, Issue 3 (5-2016)
Abstract
Starting with the first Iranian film, A Girl from Lurestan (Dokhtare Lor), a silent film, viewers are faced with notable insight drawn from ethnic cultures and life in Iran. Different directors have attempted to properly present the lives of ethnic groups in Iranian Cinema and furthermore, employ it to enrich and foster their stories, cultural backgrounds, contexts and motifs. The directors of such films, nevertheless, often reproduce typical images or characteristics of these ethnic groups and sometimes their movies act as an agent for spreading a stereotype among pop culture and the public. Some elements such as food, clothing and place are key components that indicate the cultural image of the ethnicity. Some Iranian ethnic groups such as the Gikak, Lor, Turk, and Kurds have been shown more in Iranian Cinema. This article is dedicated to discuss the representation of Kurdish Ethnic cultures in Iran as an Iranian ethnic group whose presence in Iranian cinema has been remarkable in recent decades. This article concentrates on the key elements in the culture of Kurdish Ethnic groups, including clothing, food and place and reviewed the movies that have driven inspiration from this ethnic culture.
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