@article { author = {Yousefian Kenari, Mohammad Jafar and Meshkati, Simin}, title = {Functions of Masks and Androgyny Intrigue in Characterization of Contemporary Iranian Drama}, journal = {}, volume = {6}, number = {11}, pages = {5-21}, year = {2016}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2016.288}, abstract = {Masks are taken in interpersonal communications. This article focuses on special masks that dramatic characters use intentionally as communicative tools to mispresent themselves. When someone appears unknown in front of others, he may give a definition of the situation intentionally or unwittingly. The character will be dressed in mask euphemistically to make the situation seem more acceptable than really is. This article checks the meanings of the characterizing in Iranian drama under the Goffman’s theory to examine how distinguish one character from the others. The question is ‘why and where are people wearing mask?’ Results give you an idea about Iranian drama costume of wearing in disguise, and explain how dress in men’s clothes or women’s costume is most used to conceal the truth. People conceal their gender when it is alien to their role. They attempt to wear in disguise to escape from death. Men’s dress gives women the opportunity to present themselves outside and feel more active, powerful and influential. Such action usually makes character eligible for being a hero. In contrast, wearing women’s dress causes pity, sympathy and compassion, hence surviving from difficult situations. The woman’s dress is allied with a sense of weakness. Women’s dress often makes a mockery of men and holds them up to ridicule. If characters find out that their countries are in danger and find their gender as an obstacle to protect their property, they will change their gender identity by wearing the masks. Gender is considered as a revolutionary changeable subject to deal with the desperate plight. In such a situation, the other’s gender can help them to survive. Using mask is also a tricky technique in modern style of writing to break the boundaries of time and space. Everyone tries to identify him/herself as historically fragmented Self. Androgenic intrigue expands the use of masks to express simultaneously male and female psyche. Androgenic intrigue in drama creates scary predictors which are often symbolic and have marginal roles. In Iranian dramatic literature there is no main role for these creatures, but in Western literature we see Orlando (both man and woman) who is omniscient and is aware of everything. Instead, strange creatures are living in Iranian dramatic literature ranging from Hermaphrodites (both man and woman, neither man nor woman), super women and super men. They have marginal and transient roles and usually appear symbolically on stage to predict bad occurrences. Human spirit is composed of both male and female sexuality. The composition of gender identity is the goal of social transformation which is called bourgeois revolution. These scary creatures which their gender is not specified sometimes can be found in the form of a baby. The baby is usually a symbol of the land and history. He/she is an old baby which raises fear and nobody accepts his/her responsibility.}, keywords = {Mask,Androgyny,Iranian Contemporary Drama,Characterizing}, title_fa = {کارکردهای استفاده از نقاب و تمهید آندروژنی در پرداخت شخصیت در نمایشنامه‌های معاصر ایران}, abstract_fa = {نقاب ابزاری است که شخصیت‌های نمایش برای برقراری ارتباط در موقعیت‌های بینافردی از آن استفاده می‌کنند. پژوهش حاضر بر نقاب‌های ویژه‌ای متمرکز است که شخصیت‌های نمایش از آن‌ها به عنوان ابزار برقراری ارتباط استفاده می‌کنند و با این هدف که هویتی دروغین از خود به نمایش بگذارند، آن‌ها را به چهره می‌زنند. پژوهش حاضر با استفاده از روش توصیفی- تحلیلی، به بررسی فرایند معنابخشی به شخصیت‌های نمایش در نمایشنامه‌های سه دهه‌ی اخیر در ایران می‌پردازد و با استفاده از مفهوم نقاب در نظریه‌ی نمایشی گافمن چگونگی خلق تفاوت در هر یک از شخصیت‌ها را بررسی می‌کند. این که به چه دلایلی و در چه موقعیت‌هایی شخصیت‌های نمایش بر چهره خود نقاب می‌زنند پرسشی است که به آن پاسخ داده شده است. یافته‌ها نشان می‌دهند مردپوش‌ها و زن‌پوش‌ها بیشترین کاربرد را در پوشیده نگهداشتن حقیقت در ادبیات نمایشی ایران داشته‌اند. مردپوش بودن به زنان فرصت می‌دهد در محیط خارج از خانه حضور یابند و به کنشگری فعال تبدیل شوند. در مقابل زن‌پوش بودن برای برانگیختن حس ترحم و دلسوزی و در نتیجه برای فرار از موقعیت‌های دشوار صورت می‌گیرد. آنجایی‌که نقاب‌ها به بیان همزمان روان مردانه و روان زنانه کمک می‌کنند تمهید آندروژنی شکل می‌گیرد. استفاده از این تمهید در ادبیات نمایشی ایران منجر به شکل‌گیری موجوداتی هراسناک و پیش‌گو شده است که اغلب نقشی حاشیه‌ای و جنبه‌ای نمادین دارند.}, keywords_fa = {نقاب,آندروژنی,نمایشنامه‌های معاصر ایران,شخصیت‌پردازی}, url = {http://dam.journal.art.ac.ir/article_288.html}, eprint = {http://dam.journal.art.ac.ir/article_288_39c0a288abc636562c90b06679de75c6.pdf} } @article { author = {Baniasadi, Nasim and sojoodi, farzan}, title = {Place in Iranian Contemporary Theatre with an Emphasis on “Cinderella”: A Semiotic Approach}, journal = {}, volume = {6}, number = {11}, pages = {23-38}, year = {2016}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2016.289}, abstract = {This study explores place as a semiotic layer in contrast and coordination with other semiotic systems and textual layers in theatrical performances. It aims to recognize the interrelations between place, time, character, situation and action in the dramatic text and on stage and to identify the role of codes of place in creating dramatic possible worlds and moving in these worlds we have studied “Cinderella”, written and directed by Jalal Tehrani. It also attempts to illustrate the wide network of elements contributing to the codes of place and the mutual effect of other layers on place. The impact and position of place as a structured semiotic system entering various levels of signification is also examined. Place is merged with different semiotic levels and leads to coaction with the world and others. Place semiotic system, therefore, interacts with other semiotic systems. As a result, a meaningful correlation emerges in performance. First, layer semiotics as the theoretical framework is introduced, then a brief overview of place semiotics is presented and then the semiotic functions of the layer of place is examined in contrast with other elements and systems of drama in performance. Tehrani, through creation of influential places, forms the space in a significant correlation with other semiotic layers of the play. In Tehrani’s works there is a meaningful relation between place and other sign systems. Place in his works is an aesthetic device which works in a mutual relation with other textual layers. Place has its impacts on other layers of performance and at the same time is under the significant impact of other layers. The actors does not move that much, and the change in place is created through change in the audience point of view. Therefore in most of his works the actors are fixed and this is the place which moves around them. Change in place in his works leads to change in dimensions. In the present study place is considered a cultural sub-code and the research is based on stratificational semiotics as its theoretical framework. This study is descriptive- analytical, and library sources and the film of performance are used.}, keywords = {Theater Place Semiotics,Layer Semiotics,Jalal Tehrani}, title_fa = {نشانه‌شناسی مکان در تئاتر معاصر ایران با تأکید بر اجرای سیندرلا}, abstract_fa = {پژوهش حاضر به بررسی مکان در قالب لایه‌ای رمزگانی در تقابل و همبستگی با سایر نظام‌های رمزگانی و همچنین لایه‌های متنی در اجراهای تئاتری می‌پردازد و با هدف شناخت روابط متقابل میان مکان، زمان، شخصیت، موقعیت و کنش در متن دراماتیک یا صحنه و شناخت نقش رمزگان مکان در خلق و حرکت در جهان‌های ممکن نمایشی، نمایش «سیندرلا» به نویسندگی و کارگردانی جلال تهرانی را مورد بررسی قرار می‌دهد. علاوه بر شناسایی شبکه‌ی گسترده‌ی عوامل دخیل در رمزگان مکان و تأثیرهای متقابل لایه‌های دیگر بر مکان، تأثیر و جایگاه مکان به مثابه یک نظام نشانه‌ای ساختمند که به سطوح گوناگونی از دلالت وارد شده، مورد بررسی قرار گرفته است. مکان با سطوح گوناگون نشانه‌ای ادغام و به هم‌کنشی با دنیا و دیگران منجر می‌شود. نظام نشانه‌ای مکان با نظام‌های نشانه‌ای دیگر در تعامل قرار می‌گیرد. به این ترتیب شاهد همبستگی معناداری میان مکان و سایر نظام‌های نشانه‌ای در اجرای تئاتری هستیم. نشانه‌شناسی لایه‌ای را به عنوان چارچوب نظری برگزیدیم و با توصیف نشانه‌شناسی مکان، با هدف اثبات فرضیه‌های پژوهش، به بررسی کارکردهای نشانه‌ای لایه‌ی مکان در تقابل با سایر عناصر و نظام‌های درام، در اجرا پرداختیم. نگارندگان از روش توصیفی- تحلیلی، تکنیک کتابخانه‌ای، فیلم‌اجرا و همچنین از چارچوب نظری معاصر درباره‌ی نشانه‌شناسی لایه‌ای بهره گرفته‌اند.}, keywords_fa = {نشانه‌شناسی مکان تئاتر,نشانه‌شناسی لایه‌ای,جلال تهرانی}, url = {http://dam.journal.art.ac.ir/article_289.html}, eprint = {http://dam.journal.art.ac.ir/article_289_ad99f1f8d176a95c0a9ed23dfddc628f.pdf} } @article { author = {Rouhani, Seyyed Ali and Mehrabi, Atefe}, title = {Aesthetic Aspects of Reflexive Documentary with Emphasis on Works of Errol Morris}, journal = {}, volume = {6}, number = {11}, pages = {39-50}, year = {2016}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2016.290}, abstract = {In the last two decades a specific branch of documentary film has been emerged. This new approach to documentary filmmaking has some particular characteristics: challenging the aesthetics of realism in documentary cinema, emphasizing on importance of identity and focusing on interpretation of documenter and using some cinematic devices which traditionally belong to fiction films. This new style of documentary filmmaking is called “Reflexive Documentary”. Reflexive Documentary is deeply under influence of modern epistemology. The relationship between the documenter and reality has been re-speculated and the so called axiomatic principles of conventional documentary aesthetics, has been challenged by that. Reflexive Documentary tries to suggest a new experience in documentary cinema. To achieve that goal it has invented its own method: using formal and political strategies, intentionally using cinematic devices like re-made scenes, estranging the spectator through means, apprising the audience about filmmaking process and stressing on the permanent distance between the subject and the object. Reflexive Documentary always admits the difference between the film and outer world. It never wants to fill this distance neither to solve the contradictions, rather by its criticizing perspective, it makes them even more noticeable for the audience. This distance gives the chance of having an active/critical stand point of view to the audience. It makes the audience to be aware of the fact that the absence of truth is a permanent status. In addition to estranging the spectator, self-awareness, irony and parody, there are other techniques which can actualize the political and formal strategies of Reflexive Documentary: using non-diegetic sounds and editing devices. Those devices could be found and also could be the subject of analysis in the outstanding films of this style. In this article the characteristics of the style has been introduced by using the theories developed by the film philosophy theoretician, Bill Nichols. He believes the emersion of this style was a remonstrative reaction to the conventional documentary filmmaking. According to this approach, the documenter can never show an event as if there was no camera there. She can never claim that the truth has been documented completely. Reflexive Documentary questions itself and it is the most self-aware method of referencing to the outside world. It has a pessimistic view towards classical documentary values such as totally realistic depiction of the word, the possibility of having camera as a non-interfering witness and the putative relation between an image and what it depicts. This article tries to give an understanding of creative use of possibilities or in Bill Nichols term reflexive strategies, in both formal and political aspects, by focusing on one of the most significant documentary filmmaker of our time, Errol Morris. This approach is clearly recognizable in his distinguished films like The Thin Blue Line, Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. and The Fog of War: Eleven Lessons from the Life of Robert S. McNamara. Errol Morris’s documentaries use different kinds of devices to raise questions about verisimilitude and validity of documentary film. The ultimate goal of using those devices is to reverse the presumed realism in documentary film. The success of this method is based on focusing on the audiences who are not passive and try to investigate the assertions about the truth.}, keywords = {Documentary Cinema,Reflexivity,Reflexive Documentary,Errol Morris}, title_fa = {زیبایی‌شناسی مستند انعکاسی با تاکید بر آثار ارول موریس}, abstract_fa = {سینمای مستند همواره بر پایه‌ی رابطه‌ی مستقیم میان واقعیت و تصویر عکاسانه از جهان بیرونی، تولیدات خود را متمایز از سینمای داستانی عرضه کرده است. این رابطه در فلسفه‌ی هنر معاصر مورد تردید قرار گرفته است. به گونه‌ای که در چند دهه‌ی اخیر فیلم‌های مستندی ساخته شده‌اند که توانسته‌اند با به چالش کشیدن زیبایی‌شناسی واقعگرایانه‌ی سینمای مستند، تأکید بر اهمیت هویت و تفسیر مستندساز از واقعیت و به‌کارگیری برخی تمهیدات سینمای داستانی سبک مستندسازی جدیدی پدید آورند که آن را مستند انعکاسی می‌نامند. مستند انعکاسی متأثر از تحولات معرفت‌شناسی معاصر با بازاندیشی درباره‌ی رابطه‌ی میان مستندساز و واقعیت، مبانی مفروض و بدیهی زیبایی‌شناسی متعارف سینمای مستند را مورد پرسش قرار می‌دهد و می‌کوشد با بهره‌گیری از استراتژی‌های شکلی و سیاسی و استفاده‌ی آگاهانه از تمهیداتی نظیر بازسازی صحنه‌ها، فاصله‌گذاری با سوژه، آگاه ساختن مخاطب از فرایند تولید اثر و تأکید بر شکاف همیشگی میان سوژه و ابژه تجربه‌ی جدیدی در ساخت و دریافت سینمای مستند پدید آورد. دراین مقاله کوشش شده است با بهره‌گیری از آرای بیل نیکولز، نظریه‌پرداز فلسفه‌ی فیلم و سینمای مستند، ویژگی‌های سبکی مستند انعکاسی معرفی و وجه زیبایی‌شناسانه‌ی آن با تأکید بر آثار یکی از مهم‌ترین مستندسازان معاصر، اِرول موریس، تشریح شود.}, keywords_fa = {سینمای مستند,بازتابندگی,مستندانعکاسی,ارول موریس}, url = {http://dam.journal.art.ac.ir/article_290.html}, eprint = {http://dam.journal.art.ac.ir/article_290_251354cd7f72455227e93b7f3ea63809.pdf} } @article { author = {nedaei, amirhassan and Alvandi, Nahid and Irani, Setareh}, title = {A Study on Ritual Arts and Their Functions in the Film Spring, Summer, Fall, Winter, and Spring}, journal = {}, volume = {6}, number = {11}, pages = {51-63}, year = {2016}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2016.291}, abstract = {Cinema, as a modern media and one of the most affective forms of contemporary human’s art, has extended its areas and spheres of explorations effectiveness. One of these areas, which have entered into the set designing, is the aspect of traditional arts. With this way of set designing, one can make a film with a national and traditional point of view. In each country, traditional and ritual arts (as old forms of art) and cinema (as a modern art) are produced from history, historical activities, plural experiences and that nation’s beliefs. These elements have emerged in the culture. Hence, ritual arts in set designing for the films can be an important field of analyzing and studying in cinema studies. Cinema, as an art, has become a way of imagination to illustrate all things which are in human’s mind. Actually, Cinema has experienced many fields; from psychology to sociology and from philosophy to rituals. So the filmmakers who have a dominant attitude in an ideology, have used this mean to illustrate their thoughts. Spring, Summer, Fall, Winter and Spring (2003) is one of this type of films. Kim Ki-Duk considering Zen intellectual foundations has organized the elements of the film. Cinema with an extent of expression can belong to the sources of eternity and the transcendental realm, just like ritual arts. With this attitude, Spring, Summer, Fall, Winter and Spring is in search of exposure mysteries and visual codes to express ontological questions and raising the sense of existence. To reach this aim, Ki-Duk has used the traditional handmade creations in a way of metaphor, symbols and visual similitude and has created foundations based on colors, light and visual compositions, accompanied with music. This essay is attempting to study on the functions of Zen traditional and ritual handmade creations in the film Spring, Summer, Fall, Winter and Spring directed by Kim Ki-Duk; Korean filmmaker. This paper has descriptive-analytical method and we are trying to study and analyze traditional and ritual handmade creations. The results show that the traditional and ritual handmade creations in this film have several different functions. They have used not only as decorative elements but also as elements which make a believable space of a Korean position for audience. In some sequences they also have used to respect the traditions and this is a nostalgic attitude. Given that Spring, Summer, Fall, Winter and Spring is a transcendental film, we have to notice that the main function of these elements, based on Zen ritual, is a symbolic function. And this is because of eastern traditional thought of filmmaker; Kim Ki-Duk. So this function is preferable to the other ones. In other words, Kim Ki-Duk with an eastern point of view has acted to make an internal relation between these traditional and ritual handmade creations which are made by human and transcendental affairs.}, keywords = {}, title_fa = {بررسی کارکرد هنرهای آیینی ذن در فیلم بهار، تابستان، پاییز، زمستان و دوباره بهار}, abstract_fa = {سینما گاه می‌تواند چونان هنرهای آیینی به سرچشمه‌ی ازلی و ساحت متعالی هنر تعلق داشته باشد. با این نگاه، فیلم بهار، تابستان، پاییز، زمستان و دوباره بهار، ساخته‌ی کارگردان کره‌ای، کیم کی‌دوک (2003)، برای بیان پرسش‌های تأمل‌برانگیز وجودشناسانه و تعالی بخشیدن به هستی، از هنرهای آیینی در قالب استعاره، نماد و تشبیهات تصویری بهره می‌گیرد. این پژوهش که به روش توصیفی و تحلیلی انجام شده است، هنرهای آیینی را با توجه به فضای خاص فیلم و نگاه ویژه‌ی فیلمساز که در راستای مفاهیم استعلایی است، مورد تحلیل قرار داده است. برای انجام پژوهش ابتدا همه‌ی هنرهای سنتی از فیلم استخراج و سپس (از ابعاد استعلایی) مورد تحلیل و تأویل قرار گرفت. نتیجه آن‌که هنرهای آیینی در این فیلم گاه کارکردی دکوراتیو یافته‌اند، گاه برای باورپذیری فضای فیلم و گاه به منظور بزرگداشتی برای سنت و گذشته استفاده شده‌اند. اما با توجه به این‌که فیلم به گونه‌ی سینمای استعلایی تعلق دارد، کارکرد نمادین و آیینی (ذن) این دست‌آفریده‌ها در راستای هنر و اندیشه‌ی روح شرقی فیلمساز، نسبت به کارکردهای دیگر ارجحیت دارد. به‌عبارت دیگر در فیلم مذکور میان دست‌آفریده‌های سنتی که توسط انسان به وجود آمده‌اند و امر متعال رابطه‌ای درونی برقرار است.}, keywords_fa = {سینمای استعلایی,هنرهای آیینی,سینمای شرق,بهار,تابستان,پاییز,زمستان و دوباره بهار,کیم کی‌دوک}, url = {http://dam.journal.art.ac.ir/article_291.html}, eprint = {http://dam.journal.art.ac.ir/article_291_22d221b55248d71dada77329686922f0.pdf} } @article { author = {zabeti jahromi, Ahmad and Amiri, Fathollah}, title = {The Role of Modern Media Technology in Producing Wildlife Documentaries}, journal = {}, volume = {6}, number = {11}, pages = {65-79}, year = {2016}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2016.292}, abstract = {International TV channels have been using cutting-edge technologies to produce documentaries on wildlife and natural history for the past two decades. Nowadays, TV channels across the world are competing with one another to produce documentaries of higher quality. This competition offers one a whole new perspective on the production procedure of wildlife and natural history documentaries. Apart from the subject, that should be attractive enough, production technique and artistic representation are of grave significance when it comes to the appeal of these works. Undoubtedly, high technical knowledge and employment of modern equipment are among the factors that lead to the world’s best productions. Wildlife filmmakers make use of military equipment and new technologies to present a fresh and previously unseen picture of the world around. The production should rely on modern technologies in order to guarantee a creative and appealing representation of the reality. The best works are those which do not simply use technology for the sake of it, but creatively harness technology to achieve artistic effect. A technologically advanced film is worthless if it is not artistically arranged. The cosmos is full of secretes which remain to be uncovered. Mankind has always been fascinated by finding answers to the world’s mysteries. Such strive has yielded wonderful wildlife documentary sets such as “Planet Earth”. This paper explores technical aspects of documentary film-making. It is intended to present and describe the technical basis of international standards for producing such documentaries. Recent advances in documentary production have allowed for novel and newer perspectives on the natural world and the living environment of humans, plants and animals. The present paper outlines high diversity of cinematography methods, new filming equipment, and studies on wildlife documentaries which have revolutionized documentary film-making. Some of the technologies mentioned, like format topics, are the technical foundation of documentary film-making whilst others, such as special camera traps, are based on the authors’ personal experiences during 10 years of documentary film production. Techniques and technologies presented here have been employed in the making of documentary film “Zendegi Dar Kosoof” [Life in Eclipse] produced by the writer, F.Amiri.}, keywords = {Documentary Film,New Technology of Media,Wildlife Documentary Film,Planet Earth Documentary Series}, title_fa = {بررسی نقش فن‌آوری نوین رسانه‌ای در تولید فیلم‌های مستند با موضوع حیات وحش}, abstract_fa = {تولید فیلم‌های مستند با موضوع حیات وحش و طبیعت در شبکه‌های تلویزیونی سراسر جهان به جایگاهی از کمیت، کیفیت و رقابت رسیده است که باید با دیدی کاملا متفاوت، به پی‌ریزی و طراحی بنای آن اقدام کرد. داشتن دانش فنی و تسلط بر تجهیزات روز بدون تردید یکی از رازهای موفقیت بهترین مجموعه‌های روز دنیاست. مستندسازان حیات وحش با به خدمت گرفتن تجهیزات نظامی و نیز دیگر علوم تمام توان خود را برای ارائه‌ی تصویری نو و دیده نشده از جهان، به کار گرفته‌اند. بهترین آثار آن‌هایی هستند که بتوانند فن‌آوری را به خدمت هنر درآورند و نه آنکه خود ابزاری در خدمت فن‌آوری باشند. آنچه در این مقاله بررسی می‌شود، برخی جنبه‌ها و مقوله‌های فنی برنامه‌سازی مستند است. برخی از این فن‌آوری‌ها، مانند مبحث فرمت‌ها، اساس فنی تولید فیلم‌های مستند و برخی دیگر، مانند دوربین‌های تله‌ای، تجربه‌های شخصی نگارندگان در طی ده سال فعالیت در تولید مستندهای حیات وحش‌اند.}, keywords_fa = {فیلم مستند,فن‌آوری نوین رسانه‌ای,فیلم مستند حیات وحش,مجموعه‌ی مستند تلویزیونی سیاره‌ی زمین}, url = {http://dam.journal.art.ac.ir/article_292.html}, eprint = {http://dam.journal.art.ac.ir/article_292_72dbb0f2a7c3e967b8d37135046ec645.pdf} } @article { author = {Hosnaee, Mohammad Reza and Maleki, Fatemeh}, title = {The Camera Movement in Relation to Narration in Animated Films: a Practice-Oriented Study}, journal = {}, volume = {6}, number = {11}, pages = {81-95}, year = {2016}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2016.293}, abstract = {As a core element of film language, camera movement plays a crucial role in narrative explanation, character shaping, and theme development in cinema. Although camera movements in animation movies are often implemented to add excitement to shots, their best use is when new narrative is revealed. In this paper we have studied the aspects of narration that can be presented by camera movement in animation. We put our question on whether camera movement can have a role in narration or not; how narration theories can explain camera movement; what are the special and different abilities of camera movement in animation. We have analyzed case studies along with narration theories. The goal is to extract and categorize these usages of camera movement in by studying animation movies in a way that the result would be applicable and useful for animation directors. In order to reach this goal, first it is defined what is meant by the word narration in this paper and different theories of narration are used to reach our definition of narration. Afterward it is conveyed what is exactly meant here by camera movement and on the basis of the given definitions, the necessity of studying the relation between narration and camera movement is discussed. We use theories such as of MiekeBal and Bordwell. After defining Syuzhet, fabula and style, we argue about the membership of camera movement in those three parts of narration. Then the main part is discussed, which is explaining and discussing different applications of camera movement in animation considering many different aspects such as inducing feelings, defining genre of the animation and enriching the master shots. Applications of camera movement have been studied based on different aspects such as conscious absent mindedness camera; forming film genres such as comedy, surreal, documentary; making suspension and exaggeration in animation; application of still camera; and challenges between new technologies and art. During the main part of the discussion we study animations in a categorized approach to make the patterns being derived, we focus on useful applicable patterns.}, keywords = {narration,camera movement,Animation,applicable patterns}, title_fa = {حرکت دوربین در رابطه با روایت در انیمیشن: مطالعه‌ای در جهت استخراج الگوهای کاربردی}, abstract_fa = {در این نوشتار به بررسی مواردی از روایت که می‌تواند با حرکت دوربین در انیمیشن بیان شود می‌پردازیم. هدف اصلی پژوهش یافتن پاسخ این پرسش است که «آیا با تکیه بر نظریه‌های گوناگون ارائه شده درباره‌ی روایت و در کنار آن، از طریق مشاهده و تحلیل آثار انیمیشن، می‌توان به الگویی کاربردی در خصوص تأثیرات روایی حرکت دوربین در انیمیشن، برای ارائه به سازندگان فیلم انیمیشن، دست یافت؟» برای استخراج چنین الگوهایی، با تکیه بر نظریه‌های متعدد روایت، تعریفی مناسب از روایت که در این پژوهش مد نظر است، بیان و به همراه آن مقصود از حرکت دوربین و دامنه‌ی استفاده از آن مشخص شده است. پس از آن بر پایه‌ی این تعریف‌ها، لزوم بررسی ارتباط بین آن‌ها بیان می‌شود. در ادامه این پژوهش به مبحث استخراج کارکردهای حرکت دوربین وارد می‌شود و کارکردهای گوناگون آن را با تکیه بر مطالعه‌ی نمونه‌های موردی، به صورت دسته‌بندی شده از جنبه‌های گوناگونی چون بیان احساس، معرفی خصوصیت شخصیت داستان، تعیین ژانر (نوع) فیلم و تکمیل نماهای معرف، به عنوان الگوهای کاربردی بررسی و بیان می‌کند.}, keywords_fa = {روایت,حرکت دوربین,انیمیشن,الگوهای کاربردی}, url = {http://dam.journal.art.ac.ir/article_293.html}, eprint = {http://dam.journal.art.ac.ir/article_293_d2b7677ce2ee044647644e1de2ccae42.pdf} } @article { author = {Honarmand, Amin and Shenassa, Roham}, title = {An Analysis of Dionysus Opera by Wolfgang Rihm; Storytelling and Choice of Symbols}, journal = {}, volume = {6}, number = {11}, pages = {97-112}, year = {2016}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2016.294}, abstract = {Wolfgang Rihm, the German composer could have become a poet or an artist. He chose to become a composer, expressing himself through music. Rihm is an extraordinary composer –in terms of both his encyclopedic knowledge and his creative output, which also has something encyclopedic, something all-embracing about it. The same is true about his activities as a teacher (he is a professor of composition at Karlsruhe University of Music), as a writer (he has published several volumes of written works, including interviews), as a lecturer (he is a charismatic speaker), and as a representative of his craft in public bodies. Wolfgang Rihm has premiered his latest opera (Dionysus) in 2010. Similar to his previous stage-works as he claims, the scenario and libretto which is an operatic fantasy is written all by himself. In this fantasy, Rihm has brutally combined Greek Myths with Nietzsche’s controversial life events and thoughts in a surprisingly delusional manner. A work of immense ambition and delirious, at times up-itself complexity, it draws its text from Nietzsche’s Dionysian Dithyrambs –the philosopher’s final confrontation with the ecstatic god of his own aesthetic theories, written in the years preceding his mental breakdown in Turin in 1889. Rihm in Dionysus opera utilizes music and orchestral excitations, different types of symbols in stage design and manipulated libretto, in order to express his philosophical perception of Nietzsche’s thoughts. Rihm’s approach, as one might expect, is far from naturalistic. Nietzsche, played by baritone is designated simply and impersonally as “N”. An ensemble of singers surrounds him, playing multiple symbolic roles, ambivalently delineated. The principal soprano is at once the mythical Dionysus’s lover Ariadne and –perhaps– the novelist and psychologist Lou Andreas Salomé, to whom Nietzsche was briefly drawn. The leading tenor is simply called “a Guest”. Sometimes he designates Nietzsche’s friend Heinrich Köselitz, sometimes Apollo, the ostensibly rational god of Nietzschean theory – though he also proves capable of the ultimate act of horror and betrayal, which finally drives N over the edge. Rihm assumes that the audience has considerable knowledge of Nietzsche’s work, biography and central position in specifically German-language culture. Since it is hard to separate fact from the fiction, the writers in this article try to decrypt and explain the scenario and symbols to make the opera intelligible.}, keywords = {Wolfgang Rihm,Frederic Nietzsche,Greek Myths,Storytelling,Choice of symbols}, title_fa = {تحلیل و بررسی اپرای دیونیزُس اثر ولفگانگ ریم؛ روایت داستانی و نمادگزینی}, abstract_fa = {ولفگانگ ریم، آهنگساز معاصر آلمانی است که دیدگاه فیلسوفانه‌ی خود را به زبان موسیقی و به‌خصوص در قالب اُپرا ارائه می‌دهد. وی آخرین اُپرای خود یعنی اپرای دیونیزس را در سال 2010 به روی صحنه برده است. سناریو و لیبرتوی این اپرا -یا به گفته‌ی خود ریم، این فانتزی اپرایی- همانند تمامی اپراهای دیگرش، توسط خود او تدوین شده است. سناریوی تخیلی و فراطبیعی این فانتزی، برگرفته از وقایع و رویدادهای زندگی پرماجرا و جنجال‌برانگیز فردریش نیچه است که به شکلی شگفت‌انگیز و خشن با داستان‌های اساطیری یونان باستان در هم می‌آمیزد؛ لیبرتوی این اپرا نیز بر پایه‌ی آخرین سروده‌های نیچه یعنی مستانه‌سرایی‌های دیونیزسی است. در این فانتزی، موسیقی و هیجانات ارکستری، عناصر گوناگون در طراحی صحنه و انواع نمادهایی که در لیبرتو و ارکستر گنجانده شده‌اند، به کار گرفته می‌شوند تا ریم از پس آن‌ها و در قالب یک اپرا، دیدگاه شخصی خویش را نسبت به افکار و زندگی تراژدی‌وار نیچه به تصویر بکشد. شیوه‌ی داستان‌پردازی یا روایت داستانی و نمادگزینی او در این اپرا، به عنوان طرح اصلی این پژوهش در نظر گرفته شده است. نگارندگان مقاله به رمزگشایی و آشکار ساختن روابط و نمادهای به‌کار گرفته شده در لیبرتو، ارکستر و صحنه‌ها می‌پردازند.}, keywords_fa = {ولفگانگ ریم,فردریش نیچه,اساطیر یونان,روایت داستانی,نمادگزینی}, url = {http://dam.journal.art.ac.ir/article_294.html}, eprint = {http://dam.journal.art.ac.ir/article_294_01945b5ef96b3225be4ef427f824e8e9.pdf} } @article { author = {Zaker Jafari, Narges and Mash-hadi farahani, Mahshid}, title = {Mutual Relations between Iranian and Chinese Musical Instruments}, journal = {}, volume = {6}, number = {11}, pages = {113-126}, year = {2016}, publisher = {}, issn = {2008-2649}, eissn = {}, doi = {10.30480/dam.2016.295}, abstract = {Iran plateau has always been akin to a gargantuan crossroad lying between the East and The west. Since days of yore, Iran has established ties with other cultures in different territories including diplomatic, political, military and commercial grounds and has even shared religious beliefs with those cultures. The relation between Iran and china dates back to the ancient time. The influence of Chinese culture on the culture of Iran has increased markedly since the invasion of the Mongolians. This landmark, in the history of Iran, has had a profound impact on the course of art developments especially on the evolutions of painting. The main question is what bearing the cultural exchanges between Iran and china has had on the music of each country. A lot of research has conducted on the influence of Chinese culture on the other territories such as painting, yet very little research has ever been carried out in the realm of music. What is noticeable about this research is that the mutual impact of Iranian and Chinese music on one another has been studied. The results of the present research suggest that musical interactions between Iran andChina fall into two periods, namely pre-Islamic era and Islamic era. During the pre-Islamic era, it was the Iranian music which was holding a great sway on Chinese culture. For instance, the influence of the Barbat in the city of Turpan, China, owing to the Silk Road and the immigration of Manichaeists can be mentioned which ensued by the emergence of the Pipa. In post-Islamic era, especially since the dawn of Mongols rule, an enormous impact of Chinese and Mongolian musical culture on Iranian music can be witnessed, and the presence of Chinese and Mongolian musical instruments in Iran bears the testimony of such profound influence. In the music books on the Ilkhanate and Timurid dynasties, the instruments such as the Shudarga, the Pipa, the Yatouqan, the Jabchiq or Khitanpanflues which belongs to Khitan (North China) are mentioned, whereas the Ozan and the Ney Chavour are attributed to Turkish tribes. The Yatouqan is considered an absolute stringed instrument and the Jabchiq is the only wind instrument whose origin is attributed to the Chinese swath of lands. The names of Chinese and Mongolian instruments in music books, since the rule of Mongols, have enjoyed a great consequence. The existence of these names is indicative of the influence of these instruments in the Iranian musical culture, among which the Shudarga, the Tiqan, the Komuz and the Pipa can be referred to in the historical accounts. The Shudarga was paid a considerable heed in the illustrated historical resources and Persian miniatures of various schools as of the Safavid rule. The resources employed in this paper can be categorized into written and illustrated ones. Written resources include ancient musical manuscripts, historical and social passages recorded during different Islamic eras. Illustrated ones consist of paintings, murals and other depicted documents handed down to us from pre-Islamic and Islamic epochs. The research methodology used in the paper is historical, descriptive and analytical.}, keywords = {Iranian musical instruments in China,Chinese musical instruments in Iran,the Shudarga,the Pipa,the Yatouqan,the Jabchiq}, title_fa = {روابط متقابل میان سازهای موسیقایی ایران و چین}, abstract_fa = {هدف از پژوهش حاضر، مطالعه‌ی تأثیرات متقابل سازهای موسیقایی ایران و چین در طول تاریخ است. بر اساس نتایج این پژوهش، می‌توان تاریخ تبادلات موسیقایی ایران و چین را به دو دوره‌ی باستان و اسلامی تفکیک کرد. در دوره‌ی باستان فرهنگ موسیقایی ایران بر موسیقی چین نفوذ داشته است، می‌توان به نفوذ بربت ایرانی در اوایل دوره‌ی ساسانی اشاره کرد که از طریق جاده‌ی ابریشم و نفوذ مانویان در منطقه‌ی تورفان چین رخ داده و سبب ظهور ساز چینی پیپا شده است. در دوره‌ی اسلامی و به‌ویژه از عصر مغول به بعد، شاهد تأثیرات فرهنگ موسیقایی چین و مغول بر موسیقی ایران‌ایم که این تأثیر اغلب با حضور سازهای مغولی و چینی در ایران نمایان شده است. در کتاب‌های موسیقایی دوره‌های ایلخانی و تیموری سازهای «شدرغو»، «پیپا»، «یاتوغان»، «جبچیق» یا «موسیقار ختائی» متعلق به اهل ختای (چین شمالی) معرفی شده و سازهای «اوزان» و «نایچاوور» نیز وابسته به اقوام ترک خوانده شده‌اند. نام این سازها در کتب تاریخی‌ـاجتماعی این اعصار نیز نشان از حضورشان در فرهنگ موسیقایی ایران دارد. در میان سازهای نامبرده، حضور ساز شدرغو در منابع تصویری تا دوره‌ی صفوی شایان توجه بوده و حاکی از اهمیت این ساز در فرهنگ موسیقایی ایران است.}, keywords_fa = {سازهای ایرانی در چین,سازهای چینی در ایران,پیپا,شدرغو,یاتوغان,جبچیق}, url = {http://dam.journal.art.ac.ir/article_295.html}, eprint = {http://dam.journal.art.ac.ir/article_295_6b30c4fa77432e501e2ba92fbc7f8563.pdf} }