شمارۀ جدید فصلنامه (زمستان 1403) منتشر شد
Volume 15, Issue 4 (12-2024)
Social Problems of Iran 2024, 15(4): 47-91 |
Back to browse issues page
Download citation:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:
BibTeX | RIS | EndNote | Medlars | ProCite | Reference Manager | RefWorks
Send citation to:
Soltani-gordfaramarzi M, moradkhani H, Smaelzadeh A A. (2024). Discursive Representation of the Addict Subject in Post-Islamic Revolution Cinema. Social Problems of Iran. 15(4), 47-91. doi:10.61186/jspi.15.4.2
URL: http://jspi.khu.ac.ir/article-1-3802-en.html
URL: http://jspi.khu.ac.ir/article-1-3802-en.html
1- Faculty member at Academic Centre for Education, Culture and Research (ACECR), Alborz branch, Karaj, Iran , m.soltani55@gmail.com
2- Assistant professor of sociology, Department of sociology, Faculty of social science, University of Razi, Kermanshah, Iran.
3- Faculty member at Academic Centre for Education, Culture and Research (ACECR), Karaj, Iran.
2- Assistant professor of sociology, Department of sociology, Faculty of social science, University of Razi, Kermanshah, Iran.
3- Faculty member at Academic Centre for Education, Culture and Research (ACECR), Karaj, Iran.
Abstract: (257 Views)
The discursive representation of the issue of addiction and addicted subjects in Iranian cinema and their relationship with the social relations of their time has undergone major changes in the decades after the Islamic Revolution. Using Foucault's discourse analysis method, this article investigates how the subject of addiction and drug addicts is represented and its changes in the movies of the post-revolutionary years. In line with this goal, five prominent films (Tighe and Abrisham, Bad and Shaghaieq, Boutique, Cantauri, Abed and Yak Roz), each of which represented a period of historical-political changes of the last four decades in the representation of addiction and the subject arising from it, to the purposeful sampling method has been chosen for discourse analysis. The findings showed that in the early years of the revolution, the representation of addiction in movies was mainly done in the form of a political-revolutionary agenda and with the support of governmental institutions to manage and reduce addiction. But in the following decades, these representations got out of official control and led to the proliferation of discourses that sometimes contradicted the original goals. In general, although Iranian cinema has tried to provide a new understanding of the issue of addiction and the subject of the addict in line with the evolution of power and its related discourse actions in each period; At the same time, he has also sought to rethink the problem of addiction through his representations and establish a new way of thinking about the aforementioned theme thanks to the image. These representations have had a significant impact on social perception, cultural policies, and public perception of drug addicts. This article emphasizes the importance of historical analysis of Cinematic discourses to better understand the relationship of addiction with power relations, culture, and politics.
Keywords: Iranian cinema, Addict subject, Discourse analysis, Discourse representation, Cultural policy
Type of Article: Original Research |
Subject:
Media & Communication
Received: 2024/11/27 | Accepted: 2025/01/19 | Published: 2025/01/31
Received: 2024/11/27 | Accepted: 2025/01/19 | Published: 2025/01/31
References
1. Benjamin, Walter. (1973). The work of art in the age of mechanical reproduction, In Illuminations, London: Fontana.
2. Baker, Paul (2011). Key Terms in Discource Analysis, Continuum International Publisher.
3. Danesi, Marcel (2004). Messages, Signs and Meanings, Toronto: University of Toronto Press.
4. Fiske, John & Hartley, John (2003). Reading Television, Oxford, Routledge.
5. Gee, James Paul (2005). An Introduction to Discourse Analysis: Theory and Method, London: Routledge.
6. Halliday, Michael Alexander Kirkwood (1989). Language, Context and Text: Aspect of Language in a social Semiotics Perspective, Oxford: Oxfoed University Press.
7. Rafter, Nichole (2007). Crime, film and criminology: Recent sex-crime movies, Theoretical Criminology, 11(3), 403–420.
8. Rafter, Nicole (2006). Shots in the Mirror: Crime Films and Society (2nd ed.). New York: Oxford University Press.
9. Hersey, Curt (2005). scripting treatment: representations of recovery from addiction in Hollywood films, Contemporary drug problems, 32(3), by Federal Legal Publications, Inc.
10. Rantala, Varpu (2013). Techniques of the invisible: cinematic images of being addicted. Noroic studies on alcohol and drugs, 30(1-2), 105-122.
11. Room, R. (2015). Portraying the alcoholic: Images of intoxication and addiction in American alcoholism movies, 1931-1962. Substance Use & Misuse, 50(4), 503-507.
12. Baudrillard, Jean (2010). The Consumer Society. Translated by Pirouz Izadi, Tehran: Sales Publications. (in Persian)
13. Bennett, Andy (2005). Culture and Everyday Life. translated by Leila Joafshani and Hasan Chavoshian. Tehran: Akhtaran publishing. (in Persian)
14. Deleuze, Gilles (2007). Foucault. Translated by Nikoo Sarkhosh & Afshin Jahandideh, Tehran: Ney Publication. (in Persian)
15. Duvinage, John (1997). Sociology of art , translated by Mehdi Shabi, Tehran: Markaz Publications. (in Persian)
16. Hayward, Susan (2002). Key Concepts in Cinema Studies. Translated by a Group of Translators, Tehran: Farabi Publishing. (in Persian)
17. Jørgensen, Marianne & Phillips, Louise (2010). Discourse Analysis as Theory and Method. Translated by Hadi Jalili, Tehran: Ney Publishing. (in Persian)
18. Mahdizadeh, Seyed Mehdi (2008). Media and Representation. Tehran: Office of Media Studies and Development. (in Persian)
19. Meshaiechi, Adel (2016). A genealogy is gray. Tehran: Naheed Publications. (in Persian)
20. Mills, Sara (2003). Discourse. Translated by Fattah Mohammadi, Tehran: Hezareh-ye Sevvom Publishing. (in Persian)
21. Milner, Andrew & Browitt, Jeff (2006). An Introduction to Contemporary Cultural Theory. Translated by Jamal Mohammadi, Tehran: Ghoghnoos Publishing. (in Persian)
22. Mirsardo, Tahereh (2006). A Study on the Representation of Social Groups (Addicts and Disabled People) in the 2006 TV Series. General Directorate of Media and Communication Studies, Research Center for Program Evaluation and Studies, Islamic Republic of Iran Broadcasting (IRIB). (in Persian)
23. Pournorouz, Manijeh (2003). Content Analysis of the Image of Addiction and Addicts in the TV Series "Mosafer". Department of Media and Communication Studies, Research Center for Studies and Program Assessment of Islamic Republic of Iran Broadcasting (IRIB). (in Persian)
24. Ravodrad, A. (2005). Sociological Theories of Art and Literature. Tehran: University of Tehran Press. (in Persian)
25. Soltani Gordfaramarzi, Mahdi (2012). An examination of the portrayal of addiction and addicts in Iranian cinema after the Islamic Revolution. The National Headquarters for Control of Narcotics Substances, Education and Research Center. (in Persian)
26. Soltani Gardfaramarzi, Mahdi & Esmaeilzadeh, Ali Asghar (2014). The portrayal of addiction in Iranian cinema. Addiction Research Quarterly, 8(29), 21-35. (in Persian)
27. Storey, John (2003). Cultural Theory and Popular Culture: An Introduction. translated by Hosein Payandeh, Tehran: Agah Publishing. (in Persian)
28. Sullivan, T. (2005). Key concepts in communication. translated by Mirhasan Raiszadeh, Fasel No Publications. (in Persian)
29. Wolff, Janet (1988). The Social Production of Art. Tehran: Markaz Publishing. (in Persian)
30. Zimeran, M. (2005). An introduction to semiotics of art. Ghesseh Publications. (in Persian)
Send email to the article author
| Rights and permissions | |
 |
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License. |
