2008-2649 16 43 2025 12 22 A Study on the Therapeutic Effect of Psychodrama in Improving Functionality of Parkinson's Patients )Case Study: Patients in Isfahan city) A Study on the Therapeutic Effect of Psychodrama in Improving Functionality of Parkinson's Patients )Case Study: Patients in Isfahan city) 4 21 1442 10.30480/dam.2025.5810.1982 FA Amirhossein Haririkashani Department facultyof Fine Art of University of Tehran Hamideh Naderi University College of Nabi Akram Journal Article 2025 04 21 Parkinson’s disease, as a progressive and debilitating disorder of the central nervous system, not only manifests motor symptoms but also leads to mood disturbances such as depression and reduced quality of life in patients. This study aimed to examine the effect of psychodrama as a non-pharmacological therapeutic intervention on alleviating depression and improving the quality of life in patients with Parkinson’s disease. In this semi-experimental study, 18 Parkinson’s patients from Isfahan were selected and assigned to either an experimental or a control group. The experimental group underwent psychodrama therapy for five weeks, with two 60-minute sessions per week, while the control group received only pharmacological treatments. The collection of data was done through the Beck Depression Inventory (BDI) and the Parkinson’s Disease Quality of Life Questionnaire (PDQL) and data analysis was done via independent t-tests in SPSS. The results indicated that psychodrama had a significant positive effect on reducing depression and enhancing patients' quality of life. Parkinson’s disease, as a progressive and debilitating disorder of the central nervous system, not only manifests motor symptoms but also leads to mood disturbances such as depression and reduced quality of life in patients. This study aimed to examine the effect of psychodrama as a non-pharmacological therapeutic intervention on alleviating depression and improving the quality of life in patients with Parkinson’s disease. In this semi-experimental study, 18 Parkinson’s patients from Isfahan were selected and assigned to either an experimental or a control group. The experimental group underwent psychodrama therapy for five weeks, with two 60-minute sessions per week, while the control group received only pharmacological treatments. The collection of data was done through the Beck Depression Inventory (BDI) and the Parkinson’s Disease Quality of Life Questionnaire (PDQL) and data analysis was done via independent t-tests in SPSS. The results indicated that psychodrama had a significant positive effect on reducing depression and enhancing patients' quality of life.

https://dam.journal.art.ac.ir/article_1442_5bbfc033866beec97553cf2794ef2c01.pdf

2008-2649 16 43 2025 12 22 Techniques of Representing National Identity in the Dramatic Components of The City of Tales By Bijan Mofid Techniques of Representing National Identity in the Dramatic Components of The City of Tales By Bijan Mofid 22 39 1447 10.30480/dam.2025.5945.2016 FA Sam Izadi PhD Candidate of Theater Studies, Faculty of Performing Arts and Music, College of Fine Arts, University of Tehran Rahmat Amini Associate Professor, Faculty of Performing Arts and Music, College of Fine Arts, University of Tehran Mohammad Bagher Ghahramani Associate Professor, Faculty of Performing Arts and Music, College of Fine Arts, University of Tehran Behrouz Mahmoudi Bakhtiari Associate Professor, Faculty of Performing Arts and Music, College of Fine Arts, University of Tehran Journal Article 2025 06 28 The representation of social identities—particularly those marginalized or silenced in dominant historical narratives—has emerged as a central strategy within modern cultural production to confront hegemonic discourse, recover lost subjectivities, and resist the alienating effects of modernization. Among all forms of cultural expression, theatre holds a distinctive place: once a performative medium for articulating aristocratic power and courtly ideals in the West, it has, through a profound shift in purpose and aesthetics, become a vital arena for reimagining collective identities, voicing cultural memory, and shaping national consciousness. In this regard, the quantity, quality, and unique formal traits of theatrical works serve as critical indicators for understanding the inner cultural and ideological dynamics of any society. In the context of Iranian theatre, the effort to stage a meaningful image of the Iranian nation has been a defining concern since its inception. Particularly during the politically vibrant decades of the 1960s and 1970s, Iranian playwrights produced a rich body of dramatic literature concerned with redefining national identity and reworking local tradition in the face of accelerated social change. This paper investigates Shahr-e Ghesseh ("City of Tales"), written and directed by Bijan Mofid, as one of the most prominent examples of dramatic engagement with Iranian national identity during this period. Anchored in Benedict Anderson’s theory of imagined communities and Stuart Hall’s theory of representation, this study explores how Shahr-e Ghesseh weaves together elements from Iranian folklore, particularly the tale of "Khaleh Sooskeh," with political allegory and social satire, producing a narrative that is both culturally resonant and structurally innovative. Mofid’s dramaturgy is marked by the creative integration of traditional Iranian performance techniques—such as naqqāli, ta'zieh, parde-khani, and ru-howzi—with Western dramatic elements, forming a hybrid aesthetic language through which Iranian identity is represented both thematically and formally. The analysis identifies specific content and formal features—such as stylized language, rhythmic dialogue, symbolic character construction, musical integration, and meta-theatrical narration—as key devices in articulating a uniquely Iranian theatrical mode. Ultimately, this hybrid dramaturgy not only embodies the performative imagination of national identity but also contributes to the broader project of indigenizing theatrical modernity in Iran. The representation of social identities—particularly those marginalized or silenced in dominant historical narratives—has emerged as a central strategy within modern cultural production to confront hegemonic discourse, recover lost subjectivities, and resist the alienating effects of modernization. Among all forms of cultural expression, theatre holds a distinctive place: once a performative medium for articulating aristocratic power and courtly ideals in the West, it has, through a profound shift in purpose and aesthetics, become a vital arena for reimagining collective identities, voicing cultural memory, and shaping national consciousness. In this regard, the quantity, quality, and unique formal traits of theatrical works serve as critical indicators for understanding the inner cultural and ideological dynamics of any society. In the context of Iranian theatre, the effort to stage a meaningful image of the Iranian nation has been a defining concern since its inception. Particularly during the politically vibrant decades of the 1960s and 1970s, Iranian playwrights produced a rich body of dramatic literature concerned with redefining national identity and reworking local tradition in the face of accelerated social change. This paper investigates Shahr-e Ghesseh ("City of Tales"), written and directed by Bijan Mofid, as one of the most prominent examples of dramatic engagement with Iranian national identity during this period. Anchored in Benedict Anderson’s theory of imagined communities and Stuart Hall’s theory of representation, this study explores how Shahr-e Ghesseh weaves together elements from Iranian folklore, particularly the tale of "Khaleh Sooskeh," with political allegory and social satire, producing a narrative that is both culturally resonant and structurally innovative. Mofid’s dramaturgy is marked by the creative integration of traditional Iranian performance techniques—such as naqqāli, ta'zieh, parde-khani, and ru-howzi—with Western dramatic elements, forming a hybrid aesthetic language through which Iranian identity is represented both thematically and formally. The analysis identifies specific content and formal features—such as stylized language, rhythmic dialogue, symbolic character construction, musical integration, and meta-theatrical narration—as key devices in articulating a uniquely Iranian theatrical mode. Ultimately, this hybrid dramaturgy not only embodies the performative imagination of national identity but also contributes to the broader project of indigenizing theatrical modernity in Iran.

https://dam.journal.art.ac.ir/article_1447_37228ee2f138ba459e6b605dfcbb00a3.pdf

2008-2649 16 43 2025 12 22 An Analysis of the Relationship Between Ideology and Cinema in Zhang Yimou's Cinema from the Perspective of Marxist Sociology of Art An Analysis of the Relationship Between Ideology and Cinema in Zhang Yimou's Cinema from the Perspective of Marxist Sociology of Art 40 57 1448 10.30480/dam.2025.5840.1991 FA Ali Rouhani assistant professor Armin Hamrang Yousefi ma in cinema, department of cinema, faculty of art. university of soore Journal Article 2025 05 03 This study aims to delve deeply into the evolution of Zhang Yimou’s filmmaking approach, critically analyzing how socio-economic contexts and ideological shifts influenced his works over time. Initially celebrated for his naturalistic mise-en-scène and socially critical narratives, Zhang Yimou transitioned to creating high-budget films with grandiose aesthetics. This transformation prompts a thorough examination of the underlying factors that catalyzed this shift in his cinematic style, and the extent to which these changes reflect the broader socio-political environment in which he operates.The research employs a dual-framework approach, integrating Marxist theory and Neoformalist analysis to dissect the ideological underpinnings, thematic content, and formal systems in Yimou’s films. By examining four distinct phases in Zhang Yimou’s career, this study aims to map out how prevalent ideologies shape and transform both the stylistic and narrative dimensions of his cinema. The Marxist perspective provides critical insights into the socio-economic forces at play, while the Neoformalist approach elucidates the intricate relationship between these forces and the formal aspects of the films. This combination of theoretical frameworks allows for a comprehensive understanding of how Yimou’s socio-cultural context influences his cinematic output. The analysis reveals that Zhang Yimou's filmmaking is a reflection of the dominant socio-political discourses of his time. His early works, characterized by naturalistic settings and critical undertones, give way to more stylized and commercially oriented films as China’s socio-economic landscape transforms. This shift not only affects the thematic content but also profoundly influences the formal characteristics of his films. For instance, the transition from a focus on the struggles of the proletariat in rural China to the depiction of historical epics with lavish production values mirrors the ideological shifts within Chinese society. The study identifies four distinct phases in Yimou’s career: his early naturalistic films, his socially critical works, his commercially successful mainstream films, and his highly stylized historical epics.This study underscores the complex interplay between ideology, content, and form in Zhang Yimou's films, demonstrating that his cinematic evolution is deeply intertwined with the socio-economic and political narratives of contemporary China. By understanding these dynamics, scholars can gain a deeper appreciation of the cultural and ideological currents that inform Chinese cinema. The findings suggest that as socio-political contexts evolve, so too do the aesthetic and narrative strategies employed by filmmakers like Yimou, highlighting the adaptive nature of artistic expression in response to changing ideological landscapes. This comprehensive analysis provides valuable insights into the ways in which the socio-political environment and prevailing ideologies can shape and transform the form and content of cinematic works over time. This study aims to delve deeply into the evolution of Zhang Yimou’s filmmaking approach, critically analyzing how socio-economic contexts and ideological shifts influenced his works over time. Initially celebrated for his naturalistic mise-en-scène and socially critical narratives, Zhang Yimou transitioned to creating high-budget films with grandiose aesthetics. This transformation prompts a thorough examination of the underlying factors that catalyzed this shift in his cinematic style, and the extent to which these changes reflect the broader socio-political environment in which he operates.The research employs a dual-framework approach, integrating Marxist theory and Neoformalist analysis to dissect the ideological underpinnings, thematic content, and formal systems in Yimou’s films. By examining four distinct phases in Zhang Yimou’s career, this study aims to map out how prevalent ideologies shape and transform both the stylistic and narrative dimensions of his cinema. The Marxist perspective provides critical insights into the socio-economic forces at play, while the Neoformalist approach elucidates the intricate relationship between these forces and the formal aspects of the films. This combination of theoretical frameworks allows for a comprehensive understanding of how Yimou’s socio-cultural context influences his cinematic output. The analysis reveals that Zhang Yimou's filmmaking is a reflection of the dominant socio-political discourses of his time. His early works, characterized by naturalistic settings and critical undertones, give way to more stylized and commercially oriented films as China’s socio-economic landscape transforms. This shift not only affects the thematic content but also profoundly influences the formal characteristics of his films. For instance, the transition from a focus on the struggles of the proletariat in rural China to the depiction of historical epics with lavish production values mirrors the ideological shifts within Chinese society. The study identifies four distinct phases in Yimou’s career: his early naturalistic films, his socially critical works, his commercially successful mainstream films, and his highly stylized historical epics.This study underscores the complex interplay between ideology, content, and form in Zhang Yimou's films, demonstrating that his cinematic evolution is deeply intertwined with the socio-economic and political narratives of contemporary China. By understanding these dynamics, scholars can gain a deeper appreciation of the cultural and ideological currents that inform Chinese cinema. The findings suggest that as socio-political contexts evolve, so too do the aesthetic and narrative strategies employed by filmmakers like Yimou, highlighting the adaptive nature of artistic expression in response to changing ideological landscapes. This comprehensive analysis provides valuable insights into the ways in which the socio-political environment and prevailing ideologies can shape and transform the form and content of cinematic works over time.

https://dam.journal.art.ac.ir/article_1448_3af6bc5f4e4ecf061523b857cc3796d7.pdf

2008-2649 16 43 2025 12 22 A comparative study of Maurice Maeterlinck's play The Blind and Samuel Beckett's Waiting for Godot, focusing on the theme of waiting and looking at Henri Bergson's theory of time A comparative study of Maurice Maeterlinck's play The Blind and Samuel Beckett's Waiting for Godot, focusing on the theme of waiting and looking at Henri Bergson's theory of time 58 75 1449 10.30480/dam.2025.5784.1975 FA Mojtaba Ashrafi Ministry of Science, Tehran University of Arts, Faculty of Cinema and Theater Shahram Zargar Ministry of Science, Tehran University of Arts, Faculty of Cinema and Theater Nahid Shahverdyani Ministry of Science, Faculty of Foreign Languages and Literature, University of Tehran Journal Article 2025 04 11 The concept of waiting has undoubtedly been one of the most important concepts that has occupied the human mind since the beginning. Since the beginning of creation, man has always been waiting for a savior. But sometimes these moments of waiting become so long that death comes. Samuel Beckett and Maurice Maeterlinck are thinkers who have addressed this issue in their works. Their famous plays (The Blind and Waiting for Godot) have addressed this eternal concept approximately half a century apart. In this study, we try to first show how similar these two plays are in terms of dramatic plot and content, and also to what extent the concept of waiting has been common and influential in the works of these two. Time and waiting are intertwined concepts, and in this study, the theory of the modern philosopher Henri Bergson (theory of time) is used to some extent to further understand the subject. Bergson proposes another concept of time - the delay and stretching of time - in which time is no longer just the linear and abstract concept of the hour, and a minute may encompass hours or even years. In this research, we have tried to present a comparison between the two plays above, while using a qualitative analytical method, relying on library and documentary studies, and to some extent applying Bergson's theory of time. The research findings indicate that the theme of waiting is common and frequent in these two plays and even in some other works of these two authors. Also, Beckett's Waiting for Godot was greatly influenced by Maeterlinck's play The Blind. The concept of waiting has undoubtedly been one of the most important concepts that has occupied the human mind since the beginning. Since the beginning of creation, man has always been waiting for a savior. But sometimes these moments of waiting become so long that death comes. Samuel Beckett and Maurice Maeterlinck are thinkers who have addressed this issue in their works. Their famous plays (The Blind and Waiting for Godot) have addressed this eternal concept approximately half a century apart. In this study, we try to first show how similar these two plays are in terms of dramatic plot and content, and also to what extent the concept of waiting has been common and influential in the works of these two. Time and waiting are intertwined concepts, and in this study, the theory of the modern philosopher Henri Bergson (theory of time) is used to some extent to further understand the subject. Bergson proposes another concept of time - the delay and stretching of time - in which time is no longer just the linear and abstract concept of the hour, and a minute may encompass hours or even years. In this research, we have tried to present a comparison between the two plays above, while using a qualitative analytical method, relying on library and documentary studies, and to some extent applying Bergson's theory of time. The research findings indicate that the theme of waiting is common and frequent in these two plays and even in some other works of these two authors. Also, Beckett's Waiting for Godot was greatly influenced by Maeterlinck's play The Blind.

https://dam.journal.art.ac.ir/article_1449_6005b3f6b855dac533f51970c94e38f3.pdf

2008-2649 16 43 2025 12 22 The Necessity of Revising the Format for Presenting Master’s Theses in Directing and Acting Based on Practice as Research Methodology The Necessity of Revising the Format for Presenting Master’s Theses in Directing and Acting Based on Practice as Research Methodology 76 87 1450 10.30480/dam.2025.5901.2006 FA Mohammad Reza Hajimollaali soore University of Tehran Journal Article 2025 06 07 This article addresses the necessity of revising the way in which acting and directing students write their MA theses in Iran. And so forth, the current state of the thesis submission process along with the dualism of theory and practice, the dominance of philosophical, theoretical and psychological discussions over creative practice in the academic system, the lack of attention to the essential and cognitive difference between the knowledge obtained from science and the awareness produced by artistic works, the students' disinterest and confusion over purely theoretical discussions and the repetition and imitation of topics and approaches, the increasing use of artificial intelligence tools in writing theoretical theses and the growing number of MA and PhD students; is presented as the problem statement. One of the reasons that graduate studies in the Iranian university system cannot significantly enter the fields of practice and the prevailing artistic discourse in society and the market might be the overwhelming dominance of theoretical discussions over practice. This is why graduate studies in theater and performance have a closed and limited status within the university system and do not extend beyond it. In order to overcome these issues, the present article proposes the "Practis as Research" approachTo prove the nature and capabilities of this method, "Practice as research" or "Practice Led Research" approach by Bradley Housman and the "multifaceted" model by Rubin Nelson are explained. Finally, a Master`s thesis in directing carried out with a "Practice as research" approach is provided as an example. Ultimately, the article concludes that, considering the intrinsic characteristics of artistic fields, the growth and expansion of technology, (for example AI) and contemporary historical and cultural conditions, changes in the presentation of Master's theses in artistic disciplines (Acting and Directing) are inevitable. The action-based research approach, due to its multiple capabilities, can be a way to overcome these problems. Since the late last century and the early present century, there has been a global shift towards action and practice, and practice-based research approach is expanding in all artistic disciplines at universities in most countries around the world, but it has greater expansion and acceptance in the fields of theater and performance owing to the nature of these two disciplines, paradigms of logocentrism and modernism. This article addresses the necessity of revising the way in which acting and directing students write their MA theses in Iran. And so forth, the current state of the thesis submission process along with the dualism of theory and practice, the dominance of philosophical, theoretical and psychological discussions over creative practice in the academic system, the lack of attention to the essential and cognitive difference between the knowledge obtained from science and the awareness produced by artistic works, the students' disinterest and confusion over purely theoretical discussions and the repetition and imitation of topics and approaches, the increasing use of artificial intelligence tools in writing theoretical theses and the growing number of MA and PhD students; is presented as the problem statement. One of the reasons that graduate studies in the Iranian university system cannot significantly enter the fields of practice and the prevailing artistic discourse in society and the market might be the overwhelming dominance of theoretical discussions over practice. This is why graduate studies in theater and performance have a closed and limited status within the university system and do not extend beyond it. In order to overcome these issues, the present article proposes the "Practis as Research" approachTo prove the nature and capabilities of this method, "Practice as research" or "Practice Led Research" approach by Bradley Housman and the "multifaceted" model by Rubin Nelson are explained. Finally, a Master`s thesis in directing carried out with a "Practice as research" approach is provided as an example. Ultimately, the article concludes that, considering the intrinsic characteristics of artistic fields, the growth and expansion of technology, (for example AI) and contemporary historical and cultural conditions, changes in the presentation of Master's theses in artistic disciplines (Acting and Directing) are inevitable. The action-based research approach, due to its multiple capabilities, can be a way to overcome these problems. Since the late last century and the early present century, there has been a global shift towards action and practice, and practice-based research approach is expanding in all artistic disciplines at universities in most countries around the world, but it has greater expansion and acceptance in the fields of theater and performance owing to the nature of these two disciplines, paradigms of logocentrism and modernism.

https://dam.journal.art.ac.ir/article_1450_4ce55adf36dd5411f5636323ede1ff8c.pdf

2008-2649 16 43 2025 12 22 Indigenizing the Crime Genre in Iranian Cinema: Social, Cultural, and Spatial Foundations in Khuzestan Indigenizing the Crime Genre in Iranian Cinema: Social, Cultural, and Spatial Foundations in Khuzestan 88 103 1451 10.30480/dam.2025.5881.2000 FA Saeed Serajeddin Mirqaed IRIBU Shahab Esfandiary Associate Professor, Department of Cinema, University of Art, Tehran, Iran Seyyed Emad Hosseini IRIBU 0009-0003-4414-9050 Journal Article 2025 05 29 This paper explores the possibility of indigenizing the crime genre in Iranian cinema by focusing on the socio-cultural and geographical specificities of Khuzestan province. Drawing upon genre theory and the structural elements of subgenres such as detective, gangster, and suspense thrillers, the study aligns these frameworks with local realities. The first part analyzes the internal mechanisms of the crime genre, emphasizing its narrative flexibility and capacity to reflect social tensions. The second part introduces Khuzestan as a fertile ground for developing crime narratives, due to factors such as honor killings, tribal conflicts, arms possession, contraband networks, and informal justice systems. The study reveals that visual and narrative elements such as informal neighborhoods, borderlands, armed subcultures, and anti-legal traditions in Khuzestan provide rich material for genre storytelling. Archetypes like the local investigator “Farizeh” or tribal theft masterminds allow for the construction of culturally specific protagonists. The paper argues that creative engagement with these native elements could pave the way for a fully localized crime genre, shaped by Iranian realities and resonant with domestic audiences. This paper explores the possibility of indigenizing the crime genre in Iranian cinema by focusing on the socio-cultural and geographical specificities of Khuzestan province. Drawing upon genre theory and the structural elements of subgenres such as detective, gangster, and suspense thrillers, the study aligns these frameworks with local realities. The first part analyzes the internal mechanisms of the crime genre, emphasizing its narrative flexibility and capacity to reflect social tensions. The second part introduces Khuzestan as a fertile ground for developing crime narratives, due to factors such as honor killings, tribal conflicts, arms possession, contraband networks, and informal justice systems. The study reveals that visual and narrative elements such as informal neighborhoods, borderlands, armed subcultures, and anti-legal traditions in Khuzestan provide rich material for genre storytelling. Archetypes like the local investigator “Farizeh” or tribal theft masterminds allow for the construction of culturally specific protagonists. The paper argues that creative engagement with these native elements could pave the way for a fully localized crime genre, shaped by Iranian realities and resonant with domestic audiences.

https://dam.journal.art.ac.ir/article_1451_d724d136b094eb52f42d598486833175.pdf

2008-2649 16 43 2025 12 22 The Principle of Subtraction in Kiarostami’s Cinema: Representing Absence Across Visual, Aural, and Narrative Levels The Principle of Subtraction in Kiarostami’s Cinema: Representing Absence Across Visual, Aural, and Narrative Levels 104 121 1452 10.30480/dam.2025.5821.1987 FA Khosro Sina Assistant Professor, Department of Cinema, Faculty of Art and Architecture, University of Kurdistan, Kurdistan, Iran 0000-0002-0299-6724 Journal Article 2025 04 27 This study systematically examines the concept of the “Principle of Subtraction” across three levels—visual, auditory, and narrative—in four landmark films by Abbas Kiarostami. The central question is how absence manifests at these levels and what effects it has on the viewer's perceptual and ethical experience. Absence in Kiarostami's cinema is presented not as a lack but as a deliberate choice with multilayered aesthetic functions. The primary goal is to propose an analytical model that connects this phenomenon to key theoretical frameworks in film studies. The research employs a qualitative, scene-based analysis of four films from Kiarostami's peak creative period: Where Is the Friend's House? (1987), Through the Olive Trees (1994), Taste of Cherry (1997), and The Wind Will Carry Us (1999). The theoretical framework integrates six influential approaches, including Eco's “Open Work,” Rancière’s “Distribution of the Sensible,” and Abbott’s “Suspension of Judgment,” which were operationalized into measurable indicators. Findings reveal that absence, through narrative suspensions, reduced detail, and the use of silence, prompts the audience to actively reconstruct meaning. This process not only enhances cognitive engagement but also leads to a unique ethical experience in which definitive judgment is deferred. A comparative analysis with minimalist filmmakers such as Bresson, Tsai Ming-liang, and Tarr shows that Kiarostami's unique distinction lies in linking absence to ecological sensibility and the depiction of human-nature coexistence. The study concludes that absence in Kiarostami's cinema functions not as a flaw but as a creative tool for generating meaning and elevating the viewer from a passive recipient to an active participant. This study systematically examines the concept of the “Principle of Subtraction” across three levels—visual, auditory, and narrative—in four landmark films by Abbas Kiarostami. The central question is how absence manifests at these levels and what effects it has on the viewer's perceptual and ethical experience. Absence in Kiarostami's cinema is presented not as a lack but as a deliberate choice with multilayered aesthetic functions. The primary goal is to propose an analytical model that connects this phenomenon to key theoretical frameworks in film studies. The research employs a qualitative, scene-based analysis of four films from Kiarostami's peak creative period: Where Is the Friend's House? (1987), Through the Olive Trees (1994), Taste of Cherry (1997), and The Wind Will Carry Us (1999). The theoretical framework integrates six influential approaches, including Eco's “Open Work,” Rancière’s “Distribution of the Sensible,” and Abbott’s “Suspension of Judgment,” which were operationalized into measurable indicators. Findings reveal that absence, through narrative suspensions, reduced detail, and the use of silence, prompts the audience to actively reconstruct meaning. This process not only enhances cognitive engagement but also leads to a unique ethical experience in which definitive judgment is deferred. A comparative analysis with minimalist filmmakers such as Bresson, Tsai Ming-liang, and Tarr shows that Kiarostami's unique distinction lies in linking absence to ecological sensibility and the depiction of human-nature coexistence. The study concludes that absence in Kiarostami's cinema functions not as a flaw but as a creative tool for generating meaning and elevating the viewer from a passive recipient to an active participant.

https://dam.journal.art.ac.ir/article_1452_805b11e2242e7fcdcd1afa30d292cccd.pdf