2008-2649164020250522Semiotic analysis of movie posters "Red" and "Under the Moonlight" with influence of political discourses of the second half of the seventies of IranSemiotic analysis of movie posters "Red" and "Under the Moonlight" with influence of political discourses of the second half of the seventies of Iran520135910.30480/dam.2024.5443.1920FAUkabedArefiSpecialized Department of Art, Faculty of Civil Engineering, Architecture and Art, Islamic Azad University, Science and Research Branch, Tehran0009-0002-6968-1951HamidrezaShairiProfessor of French Department of Tarbiat Modares UniversityParastooMohebbiConstruction, art and architecture of research and science Azad universityJournal Article20240815The discourse point of view with the Semio-semantic approach believes that linguistic productions are subject to a complex process in which many semantic sign factors are involved; Therefore, what the language says, the image expresses in the form of shape. That is, the world is meaningful and there is no form that does not have meaning because the surrounding world has structures consisting of forms and shapes and these forms imply a meaning. Therefore, there is no separation between language and art, and art is like language, as a result, art acts as a medium and a discourse, and it is also a messenger and a communicator. Discourse, as an effective procedure, includes the formation of different areas such as politics, therefore, political discourse is determined as one of the results of politics in a historical and cultural context (based on power, ideology, and identity). Thus, a political discourse, by becoming dominant in any era, will be able to influence existing political, cultural, social and economic structures, so discourse systems create different dimensions of semantic signs in artistic texts, and these visual media, such as movie posters, as a part of society's culture are affected by social-political conditions, especially the prevailing political discourses. The present research, based on library and audio-visual sources, and with an emphasis on the approach and method of semantic signification and explanation of the discourse systems governing the visual space, tries to answer these questions, with what elements are these discursive and semantic systems shown in the movie posters of "Red" and "Under the Moonlight"? And how the process of narrative and semantic system of proposed movie posters has been formed under the influence of dominant political discourses? The findings of this research indicate that by explaining the meaning of the discourse systems in these movie posters, it is possible to determine the degree of influence of modern discourse (reformist) and classical discourse (fundamentalist) and in order to be influenced by political discourses in the society, sometimes the clarity of discourse is decreased and sometimes the discourse systems are led to the abyss of ambiguity or discourse reductionism.The discourse point of view with the Semio-semantic approach believes that linguistic productions are subject to a complex process in which many semantic sign factors are involved; Therefore, what the language says, the image expresses in the form of shape. That is, the world is meaningful and there is no form that does not have meaning because the surrounding world has structures consisting of forms and shapes and these forms imply a meaning. Therefore, there is no separation between language and art, and art is like language, as a result, art acts as a medium and a discourse, and it is also a messenger and a communicator. Discourse, as an effective procedure, includes the formation of different areas such as politics, therefore, political discourse is determined as one of the results of politics in a historical and cultural context (based on power, ideology, and identity). Thus, a political discourse, by becoming dominant in any era, will be able to influence existing political, cultural, social and economic structures, so discourse systems create different dimensions of semantic signs in artistic texts, and these visual media, such as movie posters, as a part of society's culture are affected by social-political conditions, especially the prevailing political discourses. The present research, based on library and audio-visual sources, and with an emphasis on the approach and method of semantic signification and explanation of the discourse systems governing the visual space, tries to answer these questions, with what elements are these discursive and semantic systems shown in the movie posters of "Red" and "Under the Moonlight"? And how the process of narrative and semantic system of proposed movie posters has been formed under the influence of dominant political discourses? The findings of this research indicate that by explaining the meaning of the discourse systems in these movie posters, it is possible to determine the degree of influence of modern discourse (reformist) and classical discourse (fundamentalist) and in order to be influenced by political discourses in the society, sometimes the clarity of discourse is decreased and sometimes the discourse systems are led to the abyss of ambiguity or discourse reductionism.https://dam.journal.art.ac.ir/article_1359_5c0a1f082323fee258dbf5d3d74d16c8.pdf2008-2649164020250522An analysis of Roohollah Khaleqi's piece “Hala Chera” from composing techniques and their role in expressing the concepts of the poem by “Shahriar”An analysis of Roohollah Khaleqi's piece “Hala Chera” from composing techniques and their role in expressing the concepts of the poem by “Shahriar”2349140210.30480/dam.2025.5514.1928FASeyed PouriaNasiriDepartment of Music Composition, Faculty of Music, Iran University of Art, Tehran, Iran.SadjadPourghanadDepartment of Ethnomusicology, Farabi International Campus, Iran University of Art, Tehran, IranJournal Article20240928The Iranian national music repertoire features a large quantity of pieces by Iranian composers, among which is Ruhollah Khaleqi. One of the aspects that distinguish his compositions is the manner in which he uses poems by Iranian poets. The same-titled poem by Shahriar Tabrizi was the inspiration for the composition "Hala Chera". Golnoosh Khaleqi was re-composed and performed throughout time. The present research studied the method of composition and structure of the piece, taking Golnoosh Khaleqi's arrangement particularly into consideration. The research further studied how such methods enriched meaning and interpretation for the Hala Chera poem. No study background has previously been discovered associated with the composition analysis of Roohollah Khaleghi to date. The only researches which have been conducted were the reading and critique of his pedagogical works, especially the books related to the music conservatory. The research employed a descriptive research design, gathering data from library resources such as articles, thesis, books and the score. The primary objective of this study is to examine compositional techniques from the perspectives of instrumentation, modal progressions, and harmony. The results of these analyses were applied in how these techniques would aid in communicating the themes and ideas in this poem. The results show that the instrumentation adheres to the Western classical era orchestration logic, and the woodwinds, strings, the piano, and the Tar, Santoor and Tombak form the Iranian music instruments. Using monophonic, homophonic and contrapuntal textures are self-evident. The work uses Bayat-e Turk, Homayoun, Dashti, Shur, Nava and Bayat-e Isfahan modes. Triads, seventh chords and added-note chords are the work's chordal figures and its dominant harmonic language comes from harmonic tonal logic of traditional harmony. The sadness of the aforementioned modes is appropriate for the humble presentation of the poem, according to Khaleqi's comments. The texture and structure, which are mostly calm and ethereal, also indicate his weariness and fatigue from being rejected by his lover. Finally, the triad structure effectively conveyed the poet's openness to his complaints. Khaleqi also used compositional techniques to tint some words. These words are "death" and "loneliness," which were accompanied by changes in the orchstration, texture, and register.The Iranian national music repertoire features a large quantity of pieces by Iranian composers, among which is Ruhollah Khaleqi. One of the aspects that distinguish his compositions is the manner in which he uses poems by Iranian poets. The same-titled poem by Shahriar Tabrizi was the inspiration for the composition "Hala Chera". Golnoosh Khaleqi was re-composed and performed throughout time. The present research studied the method of composition and structure of the piece, taking Golnoosh Khaleqi's arrangement particularly into consideration. The research further studied how such methods enriched meaning and interpretation for the Hala Chera poem. No study background has previously been discovered associated with the composition analysis of Roohollah Khaleghi to date. The only researches which have been conducted were the reading and critique of his pedagogical works, especially the books related to the music conservatory. The research employed a descriptive research design, gathering data from library resources such as articles, thesis, books and the score. The primary objective of this study is to examine compositional techniques from the perspectives of instrumentation, modal progressions, and harmony. The results of these analyses were applied in how these techniques would aid in communicating the themes and ideas in this poem. The results show that the instrumentation adheres to the Western classical era orchestration logic, and the woodwinds, strings, the piano, and the Tar, Santoor and Tombak form the Iranian music instruments. Using monophonic, homophonic and contrapuntal textures are self-evident. The work uses Bayat-e Turk, Homayoun, Dashti, Shur, Nava and Bayat-e Isfahan modes. Triads, seventh chords and added-note chords are the work's chordal figures and its dominant harmonic language comes from harmonic tonal logic of traditional harmony. The sadness of the aforementioned modes is appropriate for the humble presentation of the poem, according to Khaleqi's comments. The texture and structure, which are mostly calm and ethereal, also indicate his weariness and fatigue from being rejected by his lover. Finally, the triad structure effectively conveyed the poet's openness to his complaints. Khaleqi also used compositional techniques to tint some words. These words are "death" and "loneliness," which were accompanied by changes in the orchstration, texture, and register.https://dam.journal.art.ac.ir/article_1402_7c54e5b1ddc177c6fc76423a07e04587.pdf2008-2649164020250522Design and development of the cinema industry's "Quality House"; a tool for managing the quality of film productionDesign and development of the cinema industry's "Quality House"; a tool for managing the quality of film production5165140410.30480/dam.2025.5655.1957FAMohammadsalehSoltaniPh.D Student at KNTU UniversityAbdollahAaghaieDepartment of Industrial Engineering, Faculty of Industrial Engineering, KNTU University of Technology, TehranJournal Article20250104Designing and developing a "Quality House" is one of the "Quality Function Deployment" tools in the field of quality management. By creating a link between customer needs and product design requirements, this tool prioritizes the features required for designing a product based on customer needs so that the designed product has a greater and more accurate relationship with customer demands. The use of the Quality House is prominent in the production of industrial products, but examples of using this tool in the creative and cultural industries are not very numerous; while using this tool can also help improve the quality of cultural products. This research, using the "Quality House" tool to produce a "movie" as a product in the cinema industry, has tried to direct the design and development of a movie based on customer demands (movie viewers in the cinema). First, based on a review of similar research and prioritization based on the requirements of the cinema industry, a list of movie customer needs has been obtained. This list identifies the preferences of moviegoers and shows what factors can increase the satisfaction of customers of a movie. Next, the product design requirements are determined; these requirements indicate the features, elements, and factors that can affect the satisfaction of customers' needs and requests. Then, by examining and determining the ratio between customer requests and product design requirements, the movie quality house is developed. The "Quality House" tool is one of the specialized tools in the field of quality management, the use of which in the industry can lead to product design based on customer needs and requests. By applying this tool in the field of creative industries, and specifically the cinema industry, this research uses this industrial tool to improve the quality of an artistic product (movie). Finally, this research concludes that six main factors have the greatest impact on the quality management of a movie compared to other factors. This result means that by managing the quality of these six factors, "quality assurance" of the production of a motion picture will be achievable.Designing and developing a "Quality House" is one of the "Quality Function Deployment" tools in the field of quality management. By creating a link between customer needs and product design requirements, this tool prioritizes the features required for designing a product based on customer needs so that the designed product has a greater and more accurate relationship with customer demands. The use of the Quality House is prominent in the production of industrial products, but examples of using this tool in the creative and cultural industries are not very numerous; while using this tool can also help improve the quality of cultural products. This research, using the "Quality House" tool to produce a "movie" as a product in the cinema industry, has tried to direct the design and development of a movie based on customer demands (movie viewers in the cinema). First, based on a review of similar research and prioritization based on the requirements of the cinema industry, a list of movie customer needs has been obtained. This list identifies the preferences of moviegoers and shows what factors can increase the satisfaction of customers of a movie. Next, the product design requirements are determined; these requirements indicate the features, elements, and factors that can affect the satisfaction of customers' needs and requests. Then, by examining and determining the ratio between customer requests and product design requirements, the movie quality house is developed. The "Quality House" tool is one of the specialized tools in the field of quality management, the use of which in the industry can lead to product design based on customer needs and requests. By applying this tool in the field of creative industries, and specifically the cinema industry, this research uses this industrial tool to improve the quality of an artistic product (movie). Finally, this research concludes that six main factors have the greatest impact on the quality management of a movie compared to other factors. This result means that by managing the quality of these six factors, "quality assurance" of the production of a motion picture will be achievable.https://dam.journal.art.ac.ir/article_1404_277a671494af6aed1168737044d38ea6.pdf2008-2649164020250522The Role of the Environmental Element of Decor in the Development of Interactive Narratives in Video GamesThe Role of the Environmental Element of Decor in the Development of Interactive Narratives in Video Games6780140510.30480/dam.2025.5474.1922FAAliRazizadehDepartment of Media Arts, Religion and Media Faculty, IRIB University, Qom, Iran.ArefeAnsariMaster of Dramatic Literature, The Institute of Higher Education for Islamic Art and Thought, Qom, Iran,Journal Article20240905This study aims to examine the role of the environmental element of decor in the development of interactive narratives in video games. The significance of this research lies in demonstrating how decor can serve as an effective tool for constructing rich, immersive, and multifaceted narrative environments. Through the strategic and purposeful use of decor, interactive storytelling in games can be expanded and deepened, allowing this environmental element to contribute directly to the narrative design and emotional resonance of video games. The central research question explores how the design, selection, and arrangement of various decor components, such as architectural structures, furniture, decorative objects, and cultural or historical items including posters, family photographs, labels, and inscriptions, contribute to the formation, progression, and complexity of interactive narratives. These elements are examined not merely as aesthetic features, but as narrative carriers that shape the player's experience, guide exploration, and enrich the storytelling process. Methodologically, the research employs a documentary data collection method, analyzing information from academic literature, prior studies, and a carefully curated selection of video games that exemplify the use of environmental storytelling. These games are chosen based on specific narrative qualities and the presence of well-integrated decor elements. The data are analyzed through an inductive, analytical-interpretive approach, which involves a detailed, cyclical process of observation, coding, and categorization of decor elements and their narrative functions. The findings indicate that decor functions as more than a visual backdrop in game design. It operates as a dynamic narrative agent, shaping the emotional tone of the environment, enhancing character development, and contributing to world-building. Effective decor design enables players to engage with narrative layers in subtle and meaningful ways, uncovering hidden stories embedded in the environment and strengthening immersion. Furthermore, the integration of decor with other game elements, such as mechanics, spatial design, and interactive objects, creates a cohesive and emotionally engaging narrative experience. The study concludes that thoughtful implementation of decor enhances both the storytelling depth and the player's interpretive interaction with the game world. As such, decor emerges as a vital component in the design of compelling, story-rich video games.This study aims to examine the role of the environmental element of decor in the development of interactive narratives in video games. The significance of this research lies in demonstrating how decor can serve as an effective tool for constructing rich, immersive, and multifaceted narrative environments. Through the strategic and purposeful use of decor, interactive storytelling in games can be expanded and deepened, allowing this environmental element to contribute directly to the narrative design and emotional resonance of video games. The central research question explores how the design, selection, and arrangement of various decor components, such as architectural structures, furniture, decorative objects, and cultural or historical items including posters, family photographs, labels, and inscriptions, contribute to the formation, progression, and complexity of interactive narratives. These elements are examined not merely as aesthetic features, but as narrative carriers that shape the player's experience, guide exploration, and enrich the storytelling process. Methodologically, the research employs a documentary data collection method, analyzing information from academic literature, prior studies, and a carefully curated selection of video games that exemplify the use of environmental storytelling. These games are chosen based on specific narrative qualities and the presence of well-integrated decor elements. The data are analyzed through an inductive, analytical-interpretive approach, which involves a detailed, cyclical process of observation, coding, and categorization of decor elements and their narrative functions. The findings indicate that decor functions as more than a visual backdrop in game design. It operates as a dynamic narrative agent, shaping the emotional tone of the environment, enhancing character development, and contributing to world-building. Effective decor design enables players to engage with narrative layers in subtle and meaningful ways, uncovering hidden stories embedded in the environment and strengthening immersion. Furthermore, the integration of decor with other game elements, such as mechanics, spatial design, and interactive objects, creates a cohesive and emotionally engaging narrative experience. The study concludes that thoughtful implementation of decor enhances both the storytelling depth and the player's interpretive interaction with the game world. As such, decor emerges as a vital component in the design of compelling, story-rich video games.https://dam.journal.art.ac.ir/article_1405_d3b935e805dea1c81556ccc96efe5a20.pdf2008-2649164020250522The uncanny valley phenomenon in computer graphics character reproduction and solutions to overcome itThe uncanny valley phenomenon in computer graphics character reproduction and solutions to overcome it8395140610.30480/dam.2025.5610.1948FAMohammad RezaHosnaeeDepartment of Animation. Faculty Cinema. Iran university of artJournal Article20241210This article reviews the topic of the uncanny valley in order to assess its effects on the perception of characters that currently use computer graphics, animation, and computer simulation. This will be based on an examination of how the uncanny valley problem is produced in live-action film, motion picture, and computer games, the theories of scholars on this subject, and practical solutions to overcome this phenomenon. The question now is what factors play a role in producing the uncanny valley phenomenon? This article aims to find solutions to this problem in film through a descriptive and analytical approach and by studying the factors affecting the production of the uncanny valley phenomenon. The findings of the article indicate that although technological advances have enabled us to produce virtual characters that closely resemble real humans, the lack of sufficient similarity in reproducing natural movements, especially in the faces of virtual characters, has caused unwanted emotions in the audience. The article also confirms that the problem created by the uncanny valley phenomenon can be solved using the methods studied in the article.This article reviews the topic of the uncanny valley in order to assess its effects on the perception of characters that currently use computer graphics, animation, and computer simulation. This will be based on an examination of how the uncanny valley problem is produced in live-action film, motion picture, and computer games, the theories of scholars on this subject, and practical solutions to overcome this phenomenon. The question now is what factors play a role in producing the uncanny valley phenomenon? This article aims to find solutions to this problem in film through a descriptive and analytical approach and by studying the factors affecting the production of the uncanny valley phenomenon. The findings of the article indicate that although technological advances have enabled us to produce virtual characters that closely resemble real humans, the lack of sufficient similarity in reproducing natural movements, especially in the faces of virtual characters, has caused unwanted emotions in the audience. The article also confirms that the problem created by the uncanny valley phenomenon can be solved using the methods studied in the article.https://dam.journal.art.ac.ir/article_1406_7d0dd262121cdfb049154ef7895a0bf2.pdf2008-2649164020250522Drivers, uncertainties and Scenarios for the Future of Iranian Music in the Horizon of 1414 (2035)Drivers, uncertainties and Scenarios for the Future of Iranian Music in the Horizon of 1414 (2035)97117140710.30480/dam.2025.5659.1958FAPouyanAzadehAssistant Professor, Faculty of Music, Iran University of Arts, Tehran, IranرضایانRezayanfutures studies department. faculty of governance. university of Tehran.EhsanTahmasebMaster's student in Futures Studies, Faculty of Governance, University of Tehran, Tehran, IranSajadTaherkhaniMaster of Educational Management, West Tehran University, Tehran, IranAmirPouraval Ghaffari,Master's student in Futures Studies, Faculty of Governance, University of Tehran, Tehran, Iran, MahmodFathollahiPhD student in Theater, University of Tehran, Tehran, IranJournal Article20250104Music, beyond being merely a tool for human entertainment, serves as an identity-forming, meaning-creating, and cohesion-enhancing element, as well as a language for expressing emotions, conveying messages, and establishing connections. In fact, music can be considered an empowering factor, an unparalleled strength, and a competitive advantage for cultures. In a world characterized by ambiguity, uncertainty, volatility, and complexity, music can enhance cultural influence, reduce communication costs, and help manage socio-political transformations. Understanding music and its dimensions enables governments and even non-state actors to harness its potential more effectively. Given the vast scope of music’s influence and its susceptibility to other domains, numerous driving forces and factors impact musical transformations in Iran and globally. Many of these drivers remain unpredictable and are marked by ambiguity and uncertainty. These uncertainties confront policymakers and strategists with future scenarios. This study employs a mixed-method approach in scenario planning to identify plausible future scenarios for music in Iran by the horizon of 1414 (2035) in response to the central question: "What are the plausible future scenarios for music in Iran?" The eight-step Schwartz method was utilized to identify five key driving forces and twelve strategic uncertainties, ultimately leading to the formulation of three scenarios titled "Abu Ata," "Fusion," and "Modulation." These three scenarios, as comprehensive depictions of Iran's musical future, indicate that by the studied horizon, music will move toward personalization, content transformation, shifts in traditional expertise, increased interactivity, mass accessibility, and broader cultural, political, and economic influence. Furthermore, music is expected to become the vocal language of the environment over the next decade.Music, beyond being merely a tool for human entertainment, serves as an identity-forming, meaning-creating, and cohesion-enhancing element, as well as a language for expressing emotions, conveying messages, and establishing connections. In fact, music can be considered an empowering factor, an unparalleled strength, and a competitive advantage for cultures. In a world characterized by ambiguity, uncertainty, volatility, and complexity, music can enhance cultural influence, reduce communication costs, and help manage socio-political transformations. Understanding music and its dimensions enables governments and even non-state actors to harness its potential more effectively. Given the vast scope of music’s influence and its susceptibility to other domains, numerous driving forces and factors impact musical transformations in Iran and globally. Many of these drivers remain unpredictable and are marked by ambiguity and uncertainty. These uncertainties confront policymakers and strategists with future scenarios. This study employs a mixed-method approach in scenario planning to identify plausible future scenarios for music in Iran by the horizon of 1414 (2035) in response to the central question: "What are the plausible future scenarios for music in Iran?" The eight-step Schwartz method was utilized to identify five key driving forces and twelve strategic uncertainties, ultimately leading to the formulation of three scenarios titled "Abu Ata," "Fusion," and "Modulation." These three scenarios, as comprehensive depictions of Iran's musical future, indicate that by the studied horizon, music will move toward personalization, content transformation, shifts in traditional expertise, increased interactivity, mass accessibility, and broader cultural, political, and economic influence. Furthermore, music is expected to become the vocal language of the environment over the next decade.https://dam.journal.art.ac.ir/article_1407_fc1348e59611ad73caccb4aad0b3ff76.pdf2008-2649164020250522Functions of the body/object to portray violence in Reza Abdo's works Emphasizing Eric Fromm's opinionsFunctions of the body/object to portray violence in Reza Abdo's works Emphasizing Eric Fromm's opinions119138140910.30480/dam.2025.5294.1945FASaraMohammadbeigi SalkhoriIran University of ArtRezaMahdizadehInstructor, Faculty of Cinema and Theater, University of Art0009-0007-0151-6534Journal Article20241202As one of the most foundational instruments of acting, from the teachings of Stanislavski all the way to the most modern schools of theater, the body has always been playing a crucial role in the creation of essence and the transmission of concepts. Through the process of reification, an actor's body transforms into an element which is beyond mere physique; one which demonstrates deeper layers of character and essence, and plays a fundamental role in adding depth and immersiveness to a performance. The manner of reflection of concepts such as violence in theater with a focus on the active aspects, and the motional and behavioral possibilities of the actor, is the presented question here which based on studying the theories of Erich Fromm concerning the manifestations of the images of violence, and also relying on doucumentative and academic sources, leads this qualitative yet practical research towards the analysis of the works of Reza Abdoh as one of the most distinctive contemporary Iranian artists. He who is known for his tendency to the experimental and the unconventional, and for his focus on controversial topics such as violence, identity and human experience; on which he often bases the foundations of his works. The analysis of the The Law of Remains play shows that by using performative, reactive, retaliatory and vampirical violence based on Erich Fromm's theory, Abdoh takes advantage of a combination of body, object and body as an object to create a sensorial and physical experience for the audience; giving a new meaning to the reification of body in theater. By using radical mise en scènes, he elevates the body beyond a performative tool and transforms it into the main active party in violence. This research not only emphasizes on the innovative and artistic aspects of Abdoh's works, but also as a part of the global theater discourse, it presents inspirational suggestions regarding the revision and reassessment of the roles of the body and the elements on the scene in contemporary theater.As one of the most foundational instruments of acting, from the teachings of Stanislavski all the way to the most modern schools of theater, the body has always been playing a crucial role in the creation of essence and the transmission of concepts. Through the process of reification, an actor's body transforms into an element which is beyond mere physique; one which demonstrates deeper layers of character and essence, and plays a fundamental role in adding depth and immersiveness to a performance. The manner of reflection of concepts such as violence in theater with a focus on the active aspects, and the motional and behavioral possibilities of the actor, is the presented question here which based on studying the theories of Erich Fromm concerning the manifestations of the images of violence, and also relying on doucumentative and academic sources, leads this qualitative yet practical research towards the analysis of the works of Reza Abdoh as one of the most distinctive contemporary Iranian artists. He who is known for his tendency to the experimental and the unconventional, and for his focus on controversial topics such as violence, identity and human experience; on which he often bases the foundations of his works. The analysis of the The Law of Remains play shows that by using performative, reactive, retaliatory and vampirical violence based on Erich Fromm's theory, Abdoh takes advantage of a combination of body, object and body as an object to create a sensorial and physical experience for the audience; giving a new meaning to the reification of body in theater. By using radical mise en scènes, he elevates the body beyond a performative tool and transforms it into the main active party in violence. This research not only emphasizes on the innovative and artistic aspects of Abdoh's works, but also as a part of the global theater discourse, it presents inspirational suggestions regarding the revision and reassessment of the roles of the body and the elements on the scene in contemporary theater.https://dam.journal.art.ac.ir/article_1409_86d84bf1dcc0867f1eb731665d476fc4.pdf