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Representation of women in the cinematographic works of Dariush Mehrjooi

Number of pages: 138 File Format: word File Code: 30013
Year: 2013 University Degree: Master's degree Category: Social Sciences - Sociology
Tags/Keywords: cinema - Dariush Mehrjooi - Female characters - Qualitative content analysis - representation
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  • Summary of Representation of women in the cinematographic works of Dariush Mehrjooi

    Master's Thesis in Women's Studies

    Abstract

     

     

    Representation of women in the cinematographic works of Dariush Mehrjoui

     

     

    The place and position of women in the media can be explained under the concept of representation. Historically, media content has been filled with images of women that have reinforced social and cultural norms of femininity and traditional roles of women. Therefore, sociological investigations of cinema provide a platform for understanding how gender patterns are reproduced and redefined. Mehrjooi is an Iranian director, writer and translator who has been influential in shaping the new wave of Iranian cinema. He is one of the pioneers of women's issues in Iranian cinema. The purpose of this research is to pay attention to how women are represented in Mehrjooi movies. In this research, qualitative content analysis method and inductive categorization technique have been used. The leading female characters of 17 films from the beginning to the end of the eighties have been examined. The results of the images and dialogues of the films are categorized in three structural, individual and story levels. The results show that women have reproduced their gender stereotypes and schemas in structural components and in all periods. In individual components, there have been obvious changes and transformations in the redefinition of women's identity over time. In the story components, along with the director's increasing awareness and the objectification of the women's issue, the end of the sixties and the first half of the seventies was a golden period in the strong presence of women, as well as the redefinition of their position. dir="LTR">.

    Understanding art as a social production requires clarifying some of the ways in which different styles and other literary aspects have a value that certain groups attribute to them in certain contexts (Wolf [1], 1376: 9). According to the perspective of sociology of art, creative or innovative artistic activities arise from a complex connection of structural determinants and various conditions (ibid.: 12). Part of the subject of art deals with the visualization of truth and the description of reality; A process whose purpose is to reach the category of human, history and human society. Since the subject of art and thought is related to human nature and human ideals, and its audience is human societies, it is inherently necessary to present its intellectual and taste emanations and production works, both in form and in meaning, as a rule with man and his human nature (Hamidi Sharif, 1378). They are more in touch with their audience and naturally have a greater impact on them, because they capture the audience's visual and auditory abilities at the same time. By creating action, performing arts involve their audience more than other arts. In the meantime, cinema is a superior art in showing the reality and giving the masses a chance to understand what has been shown to them (Strinati [2], 2010: 121). So much so that cinema is considered to be the highest evolution of visual realism until today (Bazan [3], 1376: 10). 

    Cinema art is influenced by society from various dimensions and angles, and this influence is obvious in some dimensions and hidden in others. But the fact that it is hidden does not negate the necessity of knowing and explaining it (Raudrad, 1379). In general, gender, nationality, ethnicity, politics and religion influence the meaning of art. According to Dewey[4], art is the best way to understand culture. Therefore, art adopts a part of its meaning from its social context (Freeland[5], 2011: 160). The opinion that art is primarily a social force and the artist has a social responsibility was fully developed by French socialist sociologists such as Saint-Simon[6] and Comte[7]. Ruskin[8] also emphasized the social conditions and effects of art in an article about "The Nature of Gothic Art[9]" (Beardsley[10] and Haspers[11], 1387: 52).

    Cinema is a medium in a very broad framework and acts as a medium and in dealing with the society it is able to solve some of the disorders.

    Cinema is a medium in a very broad framework and acts as a medium and in dealing with the society it is able to cure some social disorders and in some cases add to it. This two-way function of cinema is its inseparable feature (Akbarlu, 2018). In fact, cinema has taken the first place among the new communication media that have been perfected as an art form in the 20th century. In other words, cinema is a perfected art form that the artist chooses as a conscious medium to present his point of view in it (Jaravi[12], 2019).

    In fact, cinema as a communication tool is a social product itself (Arianpour, 2014: 18) and is part of an objective, psychological, social and cultural context. it comes Cinema is one of the important tools of socialization in the modern world, which, by representing the patterns and norms governing social life in the form of performances, actually plays the role of creating and reproducing these norms in today's social life (Sultanigerd Farmarzi, 2015). In this communication concept of cinema, cinematographic works can be considered as a face and level of public culture and art or a form of common culture among people. Rail[13] defined the concept of culture among the people as "expressions of culture that are received from mass media and may originate from elites, masses, ordinary people or villagers". According to this definition, cultural issues become public culture when they are transmitted through mass media. In addition, cinematic works are messages created within a cinematic communication system, and in order to fully understand their nature, function, and effects, an approach is needed that emphasizes cinematic works as a "communication" process (Jowett [14] and Linton [15], 1373).

    Therefore, different types of media can have different forms of influence on the destruction, durability, and flourishing of identity. and have cultural experience. In fact, the mass media should be considered to a large extent as the cause of the emergence of mass culture or popular culture. It is senseless to think that this flood movement can be stopped or that it is only the result of the business world. Studying the media with a gender-based approach raises the question of whether the selection and interpretation of media texts can ultimately lead to social changes and greater resistance of the women's society against the gender inequality in the society. All in all, it can be said that the culture of gender discrimination ruling the media is able to create different perceptions and responses by the audience, especially women (McQuail[16], 2015).

    Cinema as a widespread phenomenon and due to its visual nature and the use of previous arts, is considered one of the strongest media and due to Having these characteristics and attractiveness has more audiences and its influence on various socio-cultural dimensions is not hidden from anyone (Hadadpourkhiaban, 2018). Benjamin [17] assigns a special place to cinema and believes that for contemporary people, the representation of reality through film is incomparably more important than painting; Because this technological tool penetrates reality in a very precise way and reveals aspects of it that no other tool has such ability (Qassimi et al., 1378). dir="LTR">By presenting social norms, the media can introduce the audience to a model of human and social relations and change the society and its values. Mass media are influenced by society's values ??and can reproduce them. In fact, there is a relationship between the messages of the media and the value system of each society (Hadadpourkhiaban, 2018). This means that although the mass media of any society are affected by the society's culture, they are also able to choose in the process of cultural reproduction; Choosing which elements of culture to transfer in which way (Kirimi, 2015). Representation is defined as "the production of meaning through conceptual frameworks and language". The continuous and repeated flow of representation strongly affects the audience's perception and actions, because it is assumed that this representation is the reality (Moeinifar, 2008).

  • Contents & References of Representation of women in the cinematographic works of Dariush Mehrjooi

    List:

    List of Content

    Page Title

    Chapter One: General

    1-1- Introduction. 2

    1-2- statement of the problem. 4

    1-3- Importance and necessity of research. 7

    1-4- The purpose of the research. 8

    1-5- Research questions. 9

    Chapter Two: Research Background

    2-1- Introduction. 10

    2-2- Internal research. 10

    2-3- Foreign research. 15

    2-4- Criticism of previous researches. 19

    Chapter three: theoretical foundations of research

    3-1- Introduction. 21

    3-2- Media approach. 21

    3-2-1- Planting theory. 21

    3-2-2- Highlighting theory. 22

    3-2-3- The theory of the spiral of silence. 22

    3-2-4- Theory of media formatting 23

    3-2-5- Theory of mass society. 23

    3-2-6- Theory of representation. 24

    3-3- Feminist approach. 25

    3-3-1- The theory of sexual difference. 25

    3-3-2- The theory of sexual oppression. 25

    3-3-3- The theory of gender inequality. 26

    3-4- Auxiliary theories in determining concepts and categories 26

    3-4-1- Gender role theory. 26

    3-4-2- Pierre Bourdieu's theory of capital. 27

    3-4-3- Feminist theory of violence. 28

    3-4-4- The theory of women's spoken literature. 28

    3-4-5- Covering style theory. 29

    3-4-6- The theory of women's religious beliefs. 30

    3-4-7- The theory of symbolic destruction of women in the media. 30

    3-4-8- Feminist research theory. 31

    Chapter Four: Research Method

    4-1- Introduction. 33

    4-2- Paradigms 33

    4-3- Qualitative research. 35

    4-4- Content analysis 37

    4-5- Qualitative content analysis. 37

    4-6- Research technique. 39

    4-7- Analysis unit. 39

    4-8- Statistical community. 40

    4-9- sample size. 40

    4-10- Information gathering tool. 40

    4-11- Method of collecting data and information. 41

    4-12- validity and reliability. 42

    Chapter Five: Data Analysis

    5-1- Introduction. 44

    5-2- structural level. 46

    5-2-1- Role category. 47

    5-2-2- Category of activity. 50

    5-2-3- Action space category. 54

    5-2-4- Capital category. 56

    5-2-6- Category of violence. 62

    5-3- Individual level. 71

    5-3-1- Cover type category. 72

    5-3-2- Belief category 77

    5-3-4- Women's spoken literature. 80

    5-4- story level. 88

    5-4-1- The category of women's characterization. 88

    5-4-2- The type of story's approach to women. 94

    5-4-3- Determination of feminist film. 101

    Chapter Six: Conclusion

    6-1- Introduction. 104

    6-2- First part: structural components. 104

    6-3- The second part: individual components. 107

    6-4- The third part: Story components. 110

    6-5- Research proposals. 113

    6-6- Research limitations. 114

    Sources and sources

    Persian sources. 115

    English sources. 121

    Source:

    Sources and sources

    Persian sources

     

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