Farnam Moradi Nejad; marzieh piravi vanak; Ahmad Alasti
Abstract
The definition of cult movies as "sometimes deserted films which have so –called serious fans and followers who never forget their beloved bed-movie during the time and Repeatedly discuss about it and feel joy by frequent viewing", is one the accepted definition in context of cinematic studies ...
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The definition of cult movies as "sometimes deserted films which have so –called serious fans and followers who never forget their beloved bed-movie during the time and Repeatedly discuss about it and feel joy by frequent viewing", is one the accepted definition in context of cinematic studies and history. This research paper investigates the issue of precise recognition of behavioral /identical characteristics of statistical society of level A(N=54) who are individuals that introduce themselves as a fan or cultist of five Iranian selected cult movies during four years through social networks. Through the research and by using an analytical/surveying method as the first phase of recognition, basically the influence coefficient of ((cult)) and ((blockbuster)) terms in two statistical sets of mass people of two Iranian metropolis Isfahan and Tehran (C level-N=203) and students of cinema and other artistic disciplines in different colleges and art schools in cities like Isfahan Art and Culture University, Yazd Art and Culture university,Payame-noor-University.Iranian Young Cinema Society, Tehran Radio and Television Art school (B level-N=115) determined and it was found that we can't find the cult movie's cultist haphazardly. By questioning about identical/individual/ecological/behavioral characteristics of this set ,research foundlings can be summarized :the dominant cluster of cultists of this five selected Iranian cult movies are masculine ,mid-ages ,high-educated ,secluded person who are familiar with cult term and the main reason of their cultist acts refers to first their judgment about directorship/formal and stylistic aspects and particularly the script /narrative/subtexts/dialogues and then self-identification t and other reasons
Seyyed Emad Hosseini; Seyyed Emad Hosseini; marzieh piravi vanak; sanaa shayan
Abstract
Many scholars believed that the current cinema studies has reduced to a simplistic cultural critique. But at now we have a great legacy of the works in the cultural and cinematic studies outside of the western main tendency , without have attracted any necessary and appropriateattention towards their ...
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Many scholars believed that the current cinema studies has reduced to a simplistic cultural critique. But at now we have a great legacy of the works in the cultural and cinematic studies outside of the western main tendency , without have attracted any necessary and appropriateattention towards their nature and identity. This unfair neglecting mentioned above reminded to us the necessity for renewed focus and attention thecurrent cinematic resistance flows against the western mainstream. In the recent years, the de-westernizing of film studies approach as a novel method for standing towards the western cinematic hegemony, have taken into consideration from many of the world cinematic theorists and thinkers. The De-westernizing approach nowise means the complete denial, negation and rejection of the western cinematic`s forms, genres, products, thought, critics or even the ideological aspects of them, but simultaneously with respecting and regards to the values of the classic cinema studies(of the west), warns to the need of moving beyond the west mainstream and refused from the prevalent and common dichotomy of West/Other This article that is based on analytical-descriptive method and was conducted by using of library resources, seeking to illustrated how the de-westernizing approach as a new and novel method defined its targeting and purpose as the decentralization from the west, and not excommunication of the west or relocation of the central signifiers and the focuses.
