applying bourdieu's concepts to the iranian movies

gavaznha(deer) and kandu(hive) as two of the pre-revolutionary movies in the history of iranian cinema carry signs of the iranian new wave. since these movies were somehow the social reality of their time, they succeeded in having a different influence on the minds of social actors. on the other hand, developing the screenplay’s characters in these two movies was quite distinct from the routine of cinema in that time. in other words, the characters displayed in these movies try to defy the normative patterns instead of following them. in this paper, we try to investigate the narrative mode of the mentioned movies by regarding the proposed subjects in each movie through relying on bourdieu’s theory of structuralism in relation to agency and structure. the results indicate that despite the fact that the social actor fades out under the influence of structures, but the existence of critical junctures or second sympathetic characters can help the crushed-under-the-gears-of-social-field-actor to stand against the regularities, and to exceed his social class and dignity. finally, the characters of these two movies show that the subject can cross the ideological geography of his time and space and resist against the current norms and values under the influence of mental metamorphosis, and proceed to give meaning to structures by escaping from the meaning of society’s prevailing values.