نویسندگان
1 دانشیار گروه پژوهش هنر، دانشگاه الزهرا تهران
2 دانشجوی دکتری پژوهش هنر، دانشگاه الزهرا تهران، هیئت علمی گروه هنر دانشگاه آزاد واحد تهران شرق
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
The main purpose of this article is to identify how an ideology is textualized in the trilogy of the movie “outcasts” (Ekhrajiha). The question here is how these best-selling movies in the history of Iranian cinema, transfer ideology in the sense that Thompson puts it as the “symbolic forms”. Accordingly, the main interest of this article is to see how a popular art work such as that of “the trilogy can reflect ideas of the dominating class and convey its ideology and to see what methods and strategies are used for such function.
Using the concept of ideology and the methodology of Thompson’s textual analysis, some of the findings indicate that the most important goal of this trilogy has been to transfer the message of “national unity”. The findings also indicate that in the two first movies, the context in which such an issue discovered was related to the war period but in the third one it was related to the 2009 (1388 Iranian Calendar) presidential election.
Moreover, the paper managed to embark on a theoretical finding which emphasizes that “movie” operates as a kind of symbolic form that has this specific potential to narrate an ideology. It is also the means of power reproduction that can act as a means of representing such special concepts as the producer intends to deliver to its audience. At the same time, it can push other concepts into margins by overlooking them and replacing them by its own ideal meanings and concepts.
کلیدواژهها [English]
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