This article aims to study the significant language and expression methods of Abbas Kiarostami’s cinema by analyzing context structure a movie titled Shirin, focusing on its narrative internal elements in deconstructive manner .The is masterpiece which life’s passion intermingled with death, nothingness, despair. Analyzing Shirin an attempt rediscover human nature relation truth beneath life. T...

Producing cinematic image content for responsive video installations on multiple screens New forms of expression are emerging at the intersection of traditional filmmaking, computer games and installation art. The evolving medium is founded in cinematic visual language, but interactive modalities and heterogeneous exhibition formats make it possible to produce films that abandon linear time and...

The Belated Sensuality in the Films by Mohsen Makhmalbaf. From Apology of Heroic Masculinity to Female Alternative Narratives – Return Roots Aesthetics as a Way Knowledge This article aims describe transformation films Iranian director Makhmalbaf who started his career propaganda filmmaker newly established Islamic Republic Iran. He continued artistic search adopting polemic attitude and new st...

Jorjanie was born in 433 AH. Elgod said: there is no exact information about his birth place and his date of birth is in the middle of 11th century. He was a student of Ebn Abi Sadegh, the famous Iranian physician. Ebn Abi Sadegh joined the two famous Iranian physicians because he was student of Avicenna for some time and at the end of his life he had a student, which was brilliant and intellig...

The title of this paper raises two questions, each of which I would like to address in turn. The first question is: What exactly is an immanent ethics (as opposed to an ethics that appeal to transcendence)? The second question is: What is the philosophical question of desire? My ultimate question concerns the link between these two issues: What relation does an immanent ethics have to the quest...

This article is concerned with the ways in which gendered subjectivities are reconstituted within and through contemporary cinematic depictions of dance in films such as Center Stage (2000), Save the Last Dance (2001), Dirty Dancing: Havana Nights (2004), Step Up (2006) and The Company (2003). [1] My discussion explores the insightful, but largely unaccounted for, areas of overlap between femin...