Volume 14, Issue 28 (9-2024)
mth 2024, 14(28): 0-0 |
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Ghadyani M, Shokri M, Khani M. (2024). Study of the Characteristics of Iranian Postmodern Cinema Based on Umberto Eco's Semiotics (Case Study: The Film "Shirin" by Abbas Kiarostami). mth. 14(28), : 6
URL: http://mth.aui.ac.ir/article-1-2034-en.html
URL: http://mth.aui.ac.ir/article-1-2034-en.html
1- PhD student in Art Philosophy, Faculty of Humanities, Islamic Azad University North Tehran, Iran.
2- Assistant Professor, Faculty of Humanities, Islamic Azad University, North Tehran, Iran. ,mohammadshokry44@gmail.com
3- Assistant Professor, Faculty of Humanities, Islamic Azad University, North Tehran, Iran.
2- Assistant Professor, Faculty of Humanities, Islamic Azad University, North Tehran, Iran. ,
3- Assistant Professor, Faculty of Humanities, Islamic Azad University, North Tehran, Iran.
Abstract: (131 Views)
This study examines Iranian postmodern cinema through the semiotic framework of Umberto Eco, focusing on its key characteristics. Eco's semiotics emphasizes signifier and signified, interpretation, culture, and a set of indices that are distinctly prominent in this cinema. Iranian postmodern cinema, characterized by its non-linear narratives and meta-narratives, emerges within a unique cultural context that inspires multilayered meanings. Understanding these meanings requires the audience’s familiarity with the cultural, historical, and geographical contexts of the films, making cultural literacy an essential component of interpretation. According to Eco’s theories, cinematic images carry embedded codes that the audience can decode through active perception and interpretation. Films such as Abbas Kiarostami's Shirin employ complex visual codes and semiotic techniques, engaging viewers in the process of meaning production. These codes and visual symbols encourage a participatory role for the audience, making them co-creators of the film's narrative depth. Key elements of this cinematic style include pluralism, bricolage, intertextuality, and metafiction, all of which challenge traditional cinematic norms and conventions. This research is theoretical-applied in its aim and descriptive-analytical in its methodology. Its scope includes a selection of works from global and Iranian postmodern cinema, with a particular focus on Kiarostami’s Shirin. The findings reveal that the signs and indices in Shirin not only serve as tools for conveying deeper meanings but also contribute to a better understanding of women’s experiences in contemporary Iranian society. Furthermore, semiotic elements in this film foster meaningful interactions between the audience and the filmmaker, creating a platform for fundamental questions about identity, social experiences, and cultural dynamics. This interaction is particularly significant in reflecting the social and cultural issues of contemporary Iran, highlighting the relevance of postmodern cinema in analyzing complex semantic structures. By applying Eco’s semiotics, this study underscores how Iranian postmodern cinema challenges conventional narrative forms, encouraging active audience engagement with cultural and existential questions. It illustrates how films like Shirin transform the cinematic experience into a dialogue that bridges individual and collective experiences. Additionally, this research demonstrates the critical role of cultural context in shaping the audience’s interpretive processes, deepening their connection to the film's themes. This highlights how Iranian postmodern cinema not only entertains but also educates and provokes critical thought among its viewers.
Article number: 6
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