shokrolah pouralkhas; mohammad yahyaei
Volume 8, Issue 2 , May 2019, , Pages 55-71
Abstract
Compared to other arts, cinema has an irrefutable share in the manifestation, creation and life of modern myths. This article, by analyzing the four narrations of the frontier films, two blind eyes, glass agency and bus of the night, analyzes the part of the representation of the oppressed hero in the ...
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Compared to other arts, cinema has an irrefutable share in the manifestation, creation and life of modern myths. This article, by analyzing the four narrations of the frontier films, two blind eyes, glass agency and bus of the night, analyzes the part of the representation of the oppressed hero in the Holy Defense Cinema, and to this end The theory of Baudrillard's representations of levels has been chosen as their framework. This article seeks to find the heroic mythological nature of the hero in holy defense cinema, and it turns out that the hero of the studied films is not a powerful hero that could be presented to her audience as a model and myth, and if two are on empowerment and innocence In the filmmaking articles of this article, the article is an element of innocence, which is more evident and the ability, if not to say, of an absent existence, has always found its place behind the scenes and beyond the content of the story.
