Interdisciplinary Studies in Media and Culture

Abstract Introduction
This study aims to explain the process of filter bubble formation in users’ encounters with political news on the Instagram platform, focusing on the dynamic interaction between the user, the algorithm, and the social network. Despite the growing role of Instagram as a news source and concerns about algorithmic personalization leading to information isolation, there is a lack of process-oriented, qualitative research that examines how filter bubbles emerge in the specific socio-political context of Iran. This research addresses that gap by developing a grounded model of filter bubble formation.
Theoretical Framework: The study integrates three theoretical perspectives: Giddens’ structuration theory (duality of structure), Postman’s media ecology theory (media as environments that shape cognition and social organization), and Katz’s uses and gratifications theory (active, goal-oriented media selection). This synthesis allows the research to move beyond either/or explanations (algorithm vs. user) and instead capture the dialectical relationship between human agency and technological structure in platform-mediated news consumption.
Materials & Methods
A qualitative approach with a grounded theory strategy (systematic version of Corbin & Strauss) was employed. Data were collected through three complementary tools: (a) semi-structured interviews with 20 active Instagram users and 6 media/platform experts (selected via theoretical sampling until saturation); (b) non-participant observation of participants’ public profiles over one month; and (c) document analysis of 200 comments on 10 high-engagement political news posts from pages with varying political orientations. Data were analyzed using open, axial, and selective coding in MAXQDA software. Trustworthiness was ensured through member checking, triangulation, and peer review.
Discussion & Result
Analysis yielded 114 initial codes, later condensed into 28 basic concepts and then into three main categories: (1) strategic user actions (selective search strategies, membership and alignment of followed networks, confirmation-oriented interactions such as likes, comments, and shares); (2) algorithmic reinforcement mechanisms (invisible personalization under content restrictions, controversy-and-emotion-based prioritization, and double filtering—legal plus automated censorship); and (3) the socialized bubble context (like-minded sharing among followers, closed homogeneous groups acting as small-scale echo chambers, and active content forwarding that feeds back into the algorithm).
From these categories, the study develops a “Tripartite Interaction Paradigmatic Model” which demonstrates that the filter bubble forms through a self-reinforcing cycle: initial psychological motivations (reducing cognitive dissonance, identity reinforcement) → strategic user actions (selective following, engagement) → algorithmic data feeding → algorithmic reinforcement (personalization, emotional prioritization, double filter) → social network facilitation (sharing, closed groups, forwarding) → consequences (information isolation, confirmation bias, political polarization) → feedback to user, intensifying homogeneous interactions.
The study introduces three novel concepts grounded in the Iranian context: “strategic self-censorship” (users actively avoid opposing views not out of fear but to preserve cognitive comfort), “double bubble” (the overlap of algorithmic personalization with external political-legal restrictions on content visibility), and “complex trust effect” (users accept news because it is shared by a like-minded peer, not necessarily because of its veracity).
Conclusion
The filter bubble on Instagram is not merely a technical glitch or an algorithmic imposition; it is an inherent, emergent property of the adaptive system comprising user agency, platform algorithms, and social networks. The key paradox is that users simultaneously complain about information homogenization while reproducing it through their own selective behaviors. Breaking this cycle requires more than algorithmic transparency; it demands “critical algorithmic literacy” that enables users to recognize the hidden feedback loops they participate in. Policy interventions must target three levels simultaneously: enhancing users’ media/algorithmic literacy, ensuring algorithmic transparency and mandatory content diversity, and addressing the social network context (e.g., reducing group polarization). The study’s limitations include reliance on self-reported data, lack of access to Instagram’s actual algorithmic code, and context-specificity to Iran, which limits generalizability. Future research should adopt mixed-methods longitudinal designs and comparative studies across platforms (Twitter, Telegram).

Abstract Introduction Board games are among the oldest cultural practices in human societies, yet in contemporary cultural research they are increasingly reconsidered as significant media forms rather than simple tools of leisure. Strategic board games, in particular, possess complex narrative structures, symbolic imagery, and interactive mechanics that enable them to convey cultural meanings and social values. Unlike linear media, board games require active participation, decision-making, and interaction among players, making them especially suitable for the study of identity as a lived and negotiated experience. Identity, in modern social theory, is understood as a fluid and historically contingent construct shaped through representation, discourse, and power relations. Scholars such as Stuart Hall emphasize that identity is produced within systems of meaning rather than merely reflecting an essential or natural core. Cultural texts—including games—play a crucial role in this process by organizing symbolic distinctions and normalizing particular values and worldviews. Despite the growing scholarship on digital games and identity, board games have received comparatively less attention, especially within the Iranian cultural context. This study addresses this gap by focusing on the representation of identity in strategic board games as cultural texts. Materials & Methods The research adopts a qualitative methodology grounded in cultural semiotics. Board games are treated as textual and symbolic systems composed of signs, rules, visual elements, and narratives. Data were collected through close textual analysis and purposeful sampling. Four strategic board games—Moukebdar, Munahhemana, Satrapan, and 7 Wonders—were selected based on their cultural diversity, strategic complexity, and representational richness. The analytical framework employs syntagmatic (combination) and paradigmatic (substitution) analysis to uncover explicit and implicit meanings embedded in the games. A total of 320 analytical units, including cards, tokens, boards, and character roles, were examined. These units were analyzed in relation to different dimensions of identity, such as religious, cultural, ethnic, historical, gender, and class identities. This approach allows for an in-depth interpretation of how meaning is structured through both narrative content and gameplay mechanics. Discussion & Result The analysis reveals that identity representation in strategic board games operates across multiple semiotic layers. In Moukebdar, religious and cultural identities associated with the Arbaeen pilgrimage are foregrounded through symbols of service, cooperation, and collective devotion. The game emphasizes values such as sacrifice, solidarity, and communal responsibility, integrating religious identity into both narrative themes and gameplay structures. Munahhemana prioritizes religious unity while simultaneously representing occupational and ethnic diversity. Roles such as preacher, merchant, farmer, and military commander highlight professional identities, while the shared religious framework reinforces collective cohesion. Ethnic diversity is visually represented through differences in appearance, yet unified through common religious belonging. In Satrapan, historical and civilizational identity is central. The game draws on symbols of the Achaemenid Empire, emphasizing administrative hierarchy, imperial power, and collective labor. Occupational roles such as satraps, workers, and soldiers reflect structured social organization and reinforce a national-historical narrative. 7 Wonders represents identity primarily through civilizational competition and social stratification. Ancient civilizations, professional roles, and gendered representations are embedded within the game’s mechanics, highlighting class differentiation, technological progress, and power dynamics. Across all four games, identity is not only represented thematically but enacted through rules, resource management, and systems of reward and competition. Conclusion This study demonstrates that strategic board games function as complex cultural media capable of representing and reshaping multiple dimensions of identity. Through their symbolic elements, narratives, and interactive mechanics, these games create spaces in which identities are performed, negotiated, and reinterpreted. Identity emerges not merely as a narrative backdrop but as an integral component of gameplay structure and player interaction By analyzing both Iranian and international board games, the research highlights the cultural specificity of identity representation while also revealing shared semiotic patterns. The findings underscore the importance of recognizing board games as meaningful cultural texts within the creative industries and cultural policy frameworks. Future research may expand this approach by incorporating player reception studies, exploring additional game genres, and examining the broader socio-cultural contexts of game production and consumption.

Abstract Introduction In recent years, rapid technological change, increasing media competition, and evolving audience behavior have significantly transformed the media environment. National broadcasters are no longer the sole source of entertainment and information, and audiences increasingly consume content through digital and social media platforms. Consequently, traditional promotional approaches are no longer sufficient to ensure audience engagement, especially for high-cost television productions. Special Alef series, as high-budget and culturally significant productions of IRIB, play a central role in shaping public discourse and cultural identity. However, despite their production scale and narrative importance, they face challenges in attracting and maintaining audience attention in the digital era. Social media platforms have become influential arenas for communication, interaction, and content circulation, offering new opportunities for marketing audiovisual products. This study aims to identify the capacities of social media for marketing Special Alef series and to explore how these platforms can support audience engagement, brand development, and content visibility. By integrating concepts from the marketing mix and viral marketing theories, the research examines how narrative elements, production features, distribution strategies, and organizational structures interact with social media dynamics to enhance promotional effectiveness. Materials and Methods This research is applied in purpose and qualitative in nature, employing an exploratory approach to understand the capacities of social media in marketing Special Alef television series. Data were collected through semi-structured, in-depth interviews with experts and practitioners in the field, including television producers, IRIB managers and policymakers, and specialists in marketing and digital media. A purposive sampling method was used to select participants with relevant experience and expertise. In total, 16 interviews were conducted to obtain diverse perspectives on production, marketing strategies, and digital media practices. The interviews focused on identifying opportunities, challenges, and practical mechanisms for integrating social media into the marketing process of high-budget television series. The collected data were analyzed using thematic analysis based on a systematic multi-stage coding process, including open, axial, and selective coding. To enhance credibility and reliability, triangulation of data sources and expert perspectives was applied. The analytical process aimed to identify key themes representing the structural, content-based, technological, and organizational dimensions of social media marketing capacities. Discussion and Results The findings reveal that the marketing potential of social media for Special Alef series is multidimensional and interconnected. Seven major thematic categories were identified: content and narrative capacities, production and technical capacities, platform and distribution capacities, promotional and interactive capacities, economic and budgetary aspects, organizational and procedural factors, and international opportunities. At the content level, the alignment of subject matter, genre, and character development with contemporary audience experiences plays a critical role in generating engagement and organic content circulation. Narrative suspense, memorable scenes, and relatable themes increase the likelihood of discussion and sharing across social media platforms. From a production perspective, large-scale production design, visual aesthetics, and technical sophistication serve as valuable marketing assets when strategically communicated. Behind-the-scenes content, production storytelling, and complementary media formats can transform production complexity into a branding advantage. Platform selection and distribution strategies also emerged as essential. Effective marketing requires platform-oriented content design, recognizing the distinct audiences and communication logics of each social media channel. Integrated distribution chains—from content creation to circulation and audience interaction—enhance visibility and engagement. Promotional strategies based on interactive campaigns, user-generated content, and influencer participation significantly increase the viral potential of television series. However, the absence of coherent campaign planning and limited integration between traditional and digital promotion reduce marketing effectiveness. Economic findings highlight the importance of allocating a defined budget to digital marketing, particularly for high-cost productions. Organizationally, the lack of strategic planning, specialized teams, and early-stage media integration remains a major barrier. At the international level, historical and religious themes provide opportunities for cross-border distribution, especially within the Islamic world, provided that production and marketing strategies consider global audiences. Conclusions The study demonstrates that social media marketing for Special Alef series cannot be treated as a secondary or post-production activity. Instead, it must be integrated into the entire lifecycle of media production—from script development and production to distribution and audience engagement. Effective marketing requires a shift from fragmented promotional actions toward an ecosystem-oriented, interactive, and data-driven approach. Content design, production planning, platform strategy, and promotional campaigns must operate as interconnected components of a unified system. The results confirm that social media can significantly enhance visibility, audience participation, and cultural impact when supported by strategic planning and organizational commitment. However, structural limitations, insufficient digital budgeting, and the absence of specialized marketing teams hinder the full realization of these capacities. Ultimately, successful marketing of Special Alef series depends on aligning narrative quality, production scale, and digital communication strategies with audience expectations and platform dynamics. By adopting integrated and strategic approaches, broadcasters can reduce the gap between production investment and actual audience engagement while strengthening the cultural and communicative impact of their flagship television productions.

Abstract Introduction Contemporary Persian poetry is characterized by diversity in form, language, and aesthetic orientation. However, its social reception does not depend solely on literary quality; it is also shaped by the ways in which poetry is represented and circulated through media. Among media institutions, television has a particularly important role because of its wide reach and cultural authority. In recent years, television programs devoted to poetry have become influential spaces in which poetic taste is introduced, organized, and evaluated for a broad audience. This article examines how television may promote or modify contemporary poetic style through the lens of reception theory. The central concern is not only what kind of poetry appears on screen, but also how audiences interpret and respond to it. The case study of *Sarzamin-e She’r* provides a useful context for analyzing the relationship between media form, poetic representation, and audience reception. The study asks how the program represents contemporary poetic styles, which aesthetic tendencies it privileges, and how viewers decode its messages. Materials & Methods This research uses a qualitative design. The data are drawn from two main sources: first, content analysis of the television program *Sarzamin-e She’r*; second, in-depth interviews with audiences and viewers of the program. The analysis focuses on several dimensions of the program, including the types of poems presented, thematic choices, the mode of performance, the role of judges and critics, and the overall visual and auditory framing. Theoretical interpretation is based on reception theory, particularly the ideas of Hans Robert Jauss and Stuart Hall. Jauss’s concept of the “horizon of expectation” is used to explain how audiences bring prior assumptions to their engagement with poetry. Hall’s encoding/decoding model is used to classify audience responses into preferred, negotiated, and oppositional readings. This framework makes it possible to examine poetry not as a fixed meaning, but as a mediated cultural product whose significance is shaped through interpretation. Discussion & Result The analysis shows that *Sarzamin-e She’r* is not simply a poetic competition, but a media event that organizes and legitimizes a particular view of contemporary poetry. The program gives special prominence to modern poetic forms, especially Nimaic and free verse, while classical forms are less central or appear in more limited contexts. This suggests that the program promotes a contemporary poetic taste aligned with modern literary developments rather than reproducing a strictly traditional canon. everal features of the program contribute to this effect. The selection of poets, the competitive structure, the language of evaluation, and the combination of visual and musical signs all work together to encode a particular aesthetic message. Poetry is not presented as an abstract literary object, but as a public and performative cultural practice. In this sense, the program helps move poetry out of elite literary spaces and into a broader social arena. At the same time, audience reception is not uniform. Interviews indicate that viewers do not all interpret the program in the same way. Some accept its poetic values and approve of its aesthetic direction, corresponding to preferred readings. Others partially accept its message but also question some of its choices, which reflects negotiated readings. A smaller group resists or challenges the program’s implicit hierarchy of poetic forms, representing oppositional readings. This diversity supports the reception-theory claim that meaning is not fixed by the media text alone. The main result of the study is that television can function as an active producer of cultural meaning. *Sarzamin-e She’r* does not merely reflect contemporary poetry; it helps define which poetic styles are visible, legitimate, and desirable in the public sphere. In doing so, it contributes to the reconfiguration of Persian poetic aesthetics in contemporary media culture. Conclusion The findings show that television can play a significant role in shaping the development and reception of contemporary poetry. Through its structure, selection criteria, and presentation style, *Sarzamin-e She’r* promotes modern poetic tendencies and encourages the public visibility of poetry. Reception theory helps explain why the effects of the program are not identical for all audiences: viewers interpret its messages in different ways depending on their expectations, experiences, and cultural positions. Overall, the article concludes that television is not a passive intermediary in literary culture. Rather, it is an active institution that can influence poetic taste, establish aesthetic hierarchies, and transform the relationship between poetry and its audience. The case of *Sarzamin-e She’r* demonstrates that media can reshape the social life of poetry by bringing it into new forms of public circulation and cultural recognition.

Abstract Introduction
Game streaming, as a novel form of interactive media, has transformed digital entertainment by turning players into content creators and facilitating real-time engagement with audiences. Beyond serving as a platform for leisure, it has become a space for the emergence of new cultural practices, virtual communities, and the redefinition of concepts such as identity and power. Globally, platforms like Twitch and YouTube have established creative economies worth billions of dollars annually by enabling direct interaction between streamers and audiences. In Iran, however, this ecosystem operates under unique technical, cultural, and political constraints. Despite the rapid growth of digital gaming and evolving media consumption patterns, live game streaming has become a primary site for digital interaction. In 2024, more than 18 billion hours of live streams were viewed on Twitch alone, demonstrating the emergence of a lifeworld based on moment-to-moment representation, direct audience connection, and digital identity construction. Iranian game streaming, though widely embraced by youth, is shaped by infrastructural limitations, regulatory oversight, and socio-cultural tensions, creating a space where streamers emerge as cultural agents navigating complex challenges.

Materials & Methods
This study adopted a descriptive phenomenological approach to explore the lived experiences of Iranian game streamers. Descriptive phenomenology emphasizes faithful representation of participants’ experiences without imposing pre-existing theoretical frameworks, focusing on uncovering subjective and cultural meanings. Six streamers (four men and two women) were purposively selected based on long-term streaming experience, weekly activity, and a minimum of 500 followers, with the support of the National Foundation for Computer Games. Participants included three professional streamers earning over 20 million Iranian rials monthly and three semi-professional streamers earning below 10 million rials, with diversity in gender, age, education, and game genre specialization. Data were collected via semi-structured interviews addressing platform usage, audience interaction, challenges, content creation, and identity formation. Interviews were transcribed verbatim and analyzed using Colaizzi’s seven-step method, including deep familiarization with the texts, identification of significant statements, formulation of meanings, clustering into thematic groups, structuring major categories, drafting a comprehensive description, and returning to participants for validation. Credibility was ensured through participant validation, detailed documentation, and triangulation with researcher observations. Saturation was reached after six interviews, consistent with prior phenomenological studies indicating that major themes typically emerge within 5–6 interviews (Gust et al., 2006; Saunders et al., 2018). An illustrative example of the analytical process includes the statement “Streaming allows me to be myself and express freely,” which was conceptualized as “self-expression and sense of freedom,” later grouped with similar concepts to form the semantic cluster “self-expression and digital identity construction.”
Discussion & Result
Analysis revealed that Iranian game streaming constitutes a complex, multi-layered, socially embedded practice shaped by cultural, technical, economic, and psychological factors. Five major themes emerged: (1) critique of local structures and digital divides, (2) identity and representation in digital spaces, (3) human connection and emotional bonds, (4) creative and media performance challenges, and (5) streamer lifestyle. Collectively, these themes provide a comprehensive depiction of streamers’ lifeworlds.
Findings align with international studies highlighting entertainment, interaction, and identity formation as key motivations (Hilvert-Bruce et al., 2018), but introduce new insights specific to Iran: streamers navigate structural constraints including platform limitations, content oversight, and gender disparities rarely addressed in Western contexts. Streaming remains a space for identity expression and social belonging (Lin et al., 2019), yet Iranian women streamers experience dual dynamics of opportunity and restriction: they gain visibility, skill recognition, and independence, but face societal pressures and stereotypes. Additionally, Iranian streamers contend with dual constraints—algorithmic biases on global platforms and content regulation on domestic platforms—resonating with findings from Edwards et al. (2022) and Kenny (202).
This study contributes to knowledge by framing game streaming as a cultural-media experience, using descriptive phenomenology to capture raw participant perspectives, and analyzing gender and power dynamics. It bridges global and local research gaps, demonstrating how Iran’s cultural, political, and technical context shapes streaming practices. Practical implications suggest policymakers should develop domestic platforms with higher technical quality and flexible content policies, provide targeted support for female streamers through training, funding, and legal recognition, and recognize streaming as a culturally meaningful and socially impactful activity. Researchers are encouraged to conduct larger-scale quantitative studies, explore audience-streamer dynamics, and undertake comparative regional analyses. Limitations include the small, urban, highly educated sample and exclusive focus on streamer perspectives. Future research should expand geographic and demographic diversity and examine interactions between streamers and audiences to gain a more comprehensive understanding.
Conclusion
Persian game streaming in Iran constitutes an emerging cultural-media ecosystem in which streamers act as both content creators and cultural agents. They navigate technical constraints, cultural sensitivities, and gendered dynamics while creatively constructing professional identities. Streaming offers spaces for self-expression, emotional engagement, community building, and social interaction, yet it also poses challenges related to structural limitations, visibility, and competition. Iranian streamers operate within multi-layered power structures encompassing platform algorithms, domestic regulatory oversight, and socio-cultural norms. Nevertheless, they exercise creative agency by using VPNs, forming informal support networks, developing locally adapted streaming styles, and cultivating emotional communities. These practices illustrate the applicability of de Certeau’s “everyday tactics” (1984) in digital contexts. The study underscores that game streaming is a significant socio-cultural phenomenon, with implications for policy, education, digital economy, gender equity, and the formation of a distinctive Persian subculture influenced by both global streaming cultures and local cultural norms.

Abstract Introduction Cinema, as a key medium of mass communication, not only depicts social and cultural realities but also offers a powerful space for exploring psychological conflicts, human anxieties, and the complexities of everyday experience. Through its dramatic structures—built upon tension, contradiction, and character struggle—film provides a unique opportunity to visualize internal states and recreate lived experiences. This capacity has made cinema an effective tool for analyzing the emotional, cognitive, and behavioral dimensions of characters, and for understanding the deeper layers of human psychology. Psychology, in turn, provides theoretical and clinical frameworks—such as the DSM-5 classification of personality disorders—that help explain maladaptive patterns of thinking, feeling, and behavior and offer a structured approach to identifying personality pathology. Recent therapeutic approaches, including cinema therapy and film therapy, highlight the psychological potential of film by emphasizing its role in fostering self-awareness, emotional regulation, and reflective engagement. Through identification with characters and observation of narrative crises, viewers can better recognize their own emotional conflicts and behavioral tendencies, making cinema a valuable medium for both therapeutic and educational purposes. Despite this significance, research on the portrayal of personality disorders in cinema remains limited and uneven. Many studies rely on descriptive or interpretive analyses without grounding their evaluations in established clinical criteria such as the DSM-5. Consequently, the existing body of literature lacks theoretical coherence, methodological rigor, and systematic comparability—issues that are particularly evident in Persian-language scholarship. To address these shortcomings, the present study conducts a systematic review of cinematic representations of personality disorders, using the DSM-5 framework as its analytical foundation. By integrating clinical concepts with cinematic analysis, the study seeks to offer a more comprehensive and scientifically grounded understanding of how personality disorders are portrayed in film. Ultimately, this work aims to bridge the gap between psychology and film studies and to contribute to the development of more rigorous interdisciplinary research in this field. Materials & Methods This study conducted a systematic review of research on personality disorders in cinema, using keywords such as personality disorders, psychological representation, film psychology, and cinema and character. It included national studies from 2016 to 2025 and international studies from 2009 to 2025, searched across major national and international databases. Following PRISMA guidelines, 68 studies were initially identified; after removing duplicates, inaccessible texts, and studies with thematic overlap or focus on other disorders, 22 studies met the inclusion criteria and were analyzed Discussion & Result Findings indicate that cinematic portrayals, especially in feature films, go beyond entertainment to provide a nuanced platform for psychological reflection. Through narrative techniques, acting, and visual elements, films can depict complex psychological structures in alignment with clinical criteria. Representations across clusters A, B, and C reveal different dimensions of psychopathology shaped by cultural, social, and historical contexts. In cluster A, studies of films such as The Remains of the Day and Lars and the Real Girl show how schizoid traits—emotional detachment, social withdrawal, and fear of contact—can be rendered in clinically accurate yet empathetic ways. Schizotypal characters, exemplified by Kabir in Kabir Singh or Riley in Inside Out, highlight magical thinking, interpersonal sensitivity, and detachment from reality, illustrating the tension between personal suffering and social interaction. Cluster B disorders—including antisocial, borderline, histrionic, and narcissistic personalities—are frequently represented due to their dramatic potential. Analyses of characters such as Mavis (Young Adult), Kevin (Split), Joker, and Patrick Bateman reveal that while these portrayals often meet diagnostic criteria, narrative exaggeration and romanticization can blur the line between clinical reality and cinematic dramatization, sometimes conflating pathology with charisma. Cluster C representations focus on internalized anxiety rather than external dramatization. Characters like Bob Wiley (What About Bob?) and those with avoidant traits illustrate chronic fear of rejection, social hesitation, and pervasive insecurity. Films use inner monologues, close-ups, body language, pacing, and silence to translate these internal experiences to the audience, fostering empathy and psychological understanding. Despite these insights, domestic research on cinematic personality disorders remains limited, and international studies tend to focus on cluster B disorders. Other types, such as paranoid, schizotypal, and avoidant disorders, are underrepresented. This highlights a significant theoretical gap in interdisciplinary psychology and film studies and underscores the need for systematic, clinically grounded frameworks—such as DSM-5—to analyze cinematic characters comprehensively. Conclusion In conclusion, cinema not only serves as a powerful medium capable of depicting personality disorders with nuance and accuracy but also provides an effective platform for psychiatric education, narrative-based therapy, and promoting mental health literacy. However, risks such as oversimplification, stereotyping, or romanticization of mental disorders must be acknowledged. Therefore, the involvement of mental health professionals in film analysis or content creation is essential to ensure responsible and clinically informed portrayals. Future interdisciplinary research combining cinema, psychology, psychiatry, and cultural studies has the potential to create new perspectives on the psychological representation of human experience in art.

Abstract Introduction
The relationship between the media, public opinion, and the legislative process forms a core pillar in democratic and semi-democratic systems. In the context of the Islamic Republic of Iran, where the legislative body functions within a unique hybrid political structure, the influence of media on the Islamic Consultative Assembly (Majlis) becomes particularly nuanced. This study addresses the extent to which media representations of public concerns—especially those related to women’s rights and social justice—affect legislative behavior.
Materials & Methods
This study adopts a qualitative content analysis method complemented by semi-structured interviews. The media analysis focused on leading national newspapers and digital outlets over a five-year period (2017–2022), particularly during peak cycles of legislative activity on gender-related issues. Content was coded based on themes of representation, frequency, tone, and framing of public demands. In addition, interviews were conducted with 15 current and former members of parliament, as well as media analysts and legal experts. These were analyzed thematically to understand perceptions of media influence and the channels through which public discourse is transmitted to and interpreted by the legislative body.
Discussion & Results
The analysis reveals a complex relationship between media narratives and legislative responses. While public concerns—particularly surrounding women's socio-economic rights, family law, and gender-based protections—frequently surface in media, their translation into legislative action is uneven. Three key patterns emerged:
1. Agenda-Setting Function: Media coverage significantly influences the issues placed on the legislative agenda. Issues that receive sustained media attention—especially in conjunction with social movements or executive attention—are more likely to be debated in parliament.
2. Ideological Mediation: The effectiveness of media in influencing legislative behavior is conditioned by dominant ideological discourses. Content aligning with Islamic values and national policy priorities tends to receive more favorable attention in parliamentary debates, whereas progressive gender discourses often face resistance or dilution.
3. Institutional Filtering: Beyond ideological considerations, institutional dynamics such as parliamentary commissions, oversight by the Guardian Council, and executive-legislative coordination shape which media-transmitted public demands find legal embodiment.
A notable example is the legislation regarding women heads of households. Despite strong media emphasis on their socio-economic vulnerabilities and the calls for empowerment policies, legislative output remains limited, often taking the form of short-term welfare rather than structural reform. Interview data confirmed that MPs are aware of media narratives but frequently cite constraints such as budgetary limits, political prioritization, and oversight bodies in justifying legislative inaction.
Conclusion
This research highlights that while Iranian media serves as an important vehicle for reflecting public opinion, its influence on legislation is indirect and constrained. The parliament demonstrates selective responsiveness to media-amplified concerns, especially when those concerns align with broader ideological and institutional frameworks.
To enhance the responsiveness of the legislature to public opinion, several recommendations emerge:
-Institutionalizing formal feedback loops between media and legislative bodies.
-Strengthening independent media capable of consistent agenda-setting.
-Encouraging civic engagement through media to legitimize public demands.
-Revisiting parliamentary procedures to allow for broader inclusion of socially driven policy inputs.
Ultimately, this study underscores the necessity of viewing legislative behavior not as a direct reaction to public discourse, but as a filtered, context-dependent outcome shaped by multiple socio-political forces.

Abstract Introduction Culture is the creation of a human group. Families and work groups are known as the places where culture is formed. Culture is a set of learned behaviors, beliefs, habits, and traditions that are common among a group of people. Culture may be introduced into a society by other people. Ethnography means a description of people and cultures. In fact, the researcher provides an objective description of the current situation in a society in the third person. Documentary photography is one of the oldest and most important genres of photography, which aims to record and represent objects, events, and various scenes in our environment in a realistic manner. Photographs are very important as a source of information about what happened in the past in terms of their application and scope. Documentary photography has had and continues to have a special place and application throughout the history of Iranian photography. The introduction of photography to Iran dates back to the time of Nasser -Din Shah Qajar. Given that culture has anthropological roots and photography has a special focus on anthropology, and given that anthropology formed a significant structural link with photography in the late 19th century, photography provided the opportunity for further study in the field of discovering the relationships between image and culture, images and power, and how humans interact within social structures. In this study, an interpretive ethnographic approach was used. The interpretive approach to ethnography is a middle ground, neither simply explaining nor seeking change or transformation. The goal of interpretive ethnography is to discover the meanings of the observed social interactions. Materials & Methods This research addresses the question of how the role of documentary photography in representing culture with an ethnographic approach has been. The research method is qualitative with a descriptive-analytical approach to the use and application of documentary photography in representing culture with an ethnographic approach, an interpretation of an important photography movement, namely documentary photography in Iran. Because photography is not just a simple tool, but rather provides a unique visual language to represent various human customs, emotions, cultures, and civilizations, the researcher serves as a key tool in data collection. The research community was selected using a purposive sampling strategy of photographs of Iranian photographers who have been continuously engaged in documentary photography in contemporary Iran for at least ten years and have a special cultural representation in their works. In this sense, they can provide us with targeted awareness in the field of the research subject. The sampling method was a purposive mixed sampling method based on the intended characteristics of the research, the researcher's mind, and her approach to the research topic with a homogeneous approach with the aim of reducing diversity and facilitating the analysis of findings in the study group (documentary photographers). Then, sampling was carried out from within the information. The type of qualitative data is visual, which includes images (photos) in the form of indirect observation. Indirect observation, both as a subject and as a method, refers to the use of visual media to achieve research objectives. Qualitative data is in the form of words or images, not numbers. Discussion & Result The researcher is the data collection tool in qualitative research. In this research, the researcher used research literature, etc. as a data collection tool. On the other hand, photography has a long history in anthropology and ethnography, the camera is the means and tool for data collection in this research. Qualitative data analysis is by Thematic Content Analysis. Thematic Content analysis uses interpretation to the minimum extent possible. It uses it only for naming and grouping themes. For coding, theme analysis, the software MAXQDA has been used. Conclusion By analyzing six photographs of Iranian documentary photographers who have dealt with cultural description in the ways of realistic description, confessional description, and impressionistic description with an ethnographic approach. It was found that documentary photographers in Iran have been able to represent, through an ethnographic approach and indirect observation tools such as cameras, aspects of these symbols, signs, and icons that show parts of everyday culture, customs, and traditions, as well as social, political, cultural, and economic changes in society. Finally, we can look at material forms such as tools (musical instruments, war tools, means of transportation and agricultural tools), buildings and cities, types of food and drinks and clothing (types of clothes, shoes, hats, etc.), and behavioral manifestations such as rituals and ceremonies, customs and traditions, celebrations and festivals, rituals, folk games, social and customary habits, music and speech manifestations such as beliefs, beliefs, knowledge and philosophy which are expressed in the form of words and sentences.

Abstract Introduction Despite growing academic interest in the digital self-presentation of sports celebrities, the literature remains fragmented. Existing studies often focus on discrete aspects of identity such as sponsorship disclosure (Browning & Sanderson, 2012; Hambrick et al., 2010), fan engagement (Frederick et al., 2012), or gender representation (Lebel & Danylchuk, 2012), lacking an integrative framework for understanding the broader processes of digital identity construction. Moreover, few studies combine insights from sport, culture, media, and identity theory to develop a coherent model. Addressing these gaps, this study conducts a meta-synthesis of qualitative research on the digital identity of sports celebrities. Through thematic synthesis, it analyzes findings from a diverse set of studies to develop an integrated conceptual framework. The process by which sports celebrities construct their identity on social media is a significant and underexplored topic. This research aims to examine the key factors that shape the digital self-construction of sports celebrities within social platforms. Materials & Methods This study employs a meta-synthesis approach to systematically analyze and integrate findings from previous research on the construction of digital identity among sports celebrities. Unlike traditional narrative reviews, meta-synthesis involves the interpretive integration of qualitative studies to generate new conceptual insights (Sandelowski & Barroso, 2007; Noblit & Hare, 1988). This method is particularly suited to the evolving and multidimensional nature of identity within mediated sports contexts, where individual studies often explore distinct yet interconnected aspects of self-presentation, branding, and symbolic representation of athletes. Given the complex, multilayered, and conceptual nature of the issue of "digital identity construction of athletes on social media," selecting a systematic meta-synthesis approach that provides both analytical coherence and meaningful interpretation was essential. Among various qualitative synthesis methodologies, the Sandelowski and Barroso (2007) method was chosen due to its seven-stage structure and its capability to transform qualitative study findings into high-level themes. This method facilitates comparative analysis across studies, conceptual classification at multiple levels, and the semantic reproduction of themes into a conceptual model. Results & Discussion The meta-synthesis revealed five overarching themes that encapsulate the multifaceted nature of digital identity construction among sport celebrities. These themes, grounded in the conceptual patterns and codes across the 51 included studies, illuminate how sport celebrities engage in self-representation, relational interaction, and symbolic negotiation in social media spaces. The findings of this meta-synthesis illuminate the strategic, situational, and symbolic nature of digital identity construction among sports celebrities. Rather than passive participants in a media system, athletes emerge as active agents who deliberately manage and perform their digital presence, crafting identities that are simultaneously authentic, heroic, lived, transitional, and culturally meaningful. These layered identities reflect complex intersections between the self, audience, platform affordances, and broader sociocultural discourses. Conclusion This meta-synthesis offers a nuanced and integrative understanding of how digital identities are constructed and performed by sports celebrities within the complex ecosystem of social media. By synthesizing qualitative insights from diverse studies, it reveals a multifaceted identity architecture comprising authentic, lived, heroic, transitional, and socially meaningful dimensions. These findings challenge reductive views of athlete self-presentation as mere marketing or image management. Instead, they emphasize the active agency of sports celebrities as cultural producers who navigate tensions between personal expression, commercial interests, and sociocultural expectations. The digital identities they construct are not static; rather, they are fluid, contextually grounded, and deeply embedded in broader cultural narratives. Theoretically, this study extends existing frameworks of digital identity and athlete branding by integrating cultural and symbolic dimensions often overlooked in quantitative or narrowly focused research. Practically, the findings provide valuable insights for sports managers, marketers, and communication professionals seeking authentic engagement with athletes and audiences in digital spaces.

Abstract Introduction The rapid integration of artificial intelligence and digital communication technologies into daily life has profoundly altered human social interaction. Contemporary animated films frequently reflect these shifts, serving as cultural artifacts that critique or explore the human-technology relationship. The animation Ron’s Gone Wrong presents a futuristic society where the tech giant “Bubble” markets “B-bots”, flawless, algorithmically driven smart devices, as ultimate “best friends” for children. The protagonist, Barney, is a socially marginalized boy who receives a defective B-bot named Ron, who notably lacks core software programming, safety protocols, and standard communication algorithms. The central problem addressed in this study is how linguistic anomalies and communication breakdowns, traditionally viewed as mere technical errors in human-robot interaction, function as deliberate narrative and sociolinguistic devices. The primary objective of this research is to analyze the pragmatic failures and sociolinguistic divergences in Ron’s speech. Ultimately, the study aims to demonstrate how Ron’s inability to follow standardized algorithmic communication actually generates an “anti-language,” which paradoxically fosters a more authentic, albeit messy, social identity and serves as a profound critique of modern digital communication paradigms. To thoroughly analyze the communication dynamics within the film, this study employs an interdisciplinary theoretical framework drawing from both pragmatics and sociolinguistics. From a pragmatic perspective, the study utilizes Paul Grice’s Cooperative Principle and its associated maxims of Quantity, Quality, Relation, and Manner to evaluate how Ron continuously violates conversational norms. Furthermore, John Austin and John Searle’s Speech Act Theory is applied to analyze how the intended illocutionary force of utterances is systematically misinterpreted by the defective robot. On the sociolinguistic front, the research leverages theories of language and identity, focusing on how linguistic choices actively include or exclude individuals from social groups. Crucially, the concept of “anti-language,” frequently associated with M.A.K. Halliday, is adapted to explain Ron’s communication style. In the context of the film, the dominant, standardized language is the flawless, algorithmically curated speech of the normal B-bots, representing corporate power and social conformity. Ron’s broken, glitchy communication acts in direct opposition to this, functioning as an anti-language that actively resists these digital power structures and enables the negotiation of a new, alternative social identity. Materials and Methods This research utilizes a qualitative discourse analysis approach, framed as an in-depth case study of the animation Ron’s Gone Wrong. The data corpus consists of carefully selected scenes, dialogues, and relevant non-verbal contexts that highlight communication breakdowns between Ron, Barney, and the broader society. The analytical procedure was conducted smoothly across three interconnected phases. Initially, the researchers identified and coded specific instances of communication failure, categorizing them according to distinct linguistic phenomena such as literal interpretations of metaphors, overt violations of Gricean maxims, and misfires in speech acts. Following this identification phase, each coded example was interpreted through the dual lenses of pragmatics and sociolinguistics to comprehend the underlying mechanics of the breakdown. Finally, these isolated examples were synthesized to identify broader thematic patterns, specifically focusing on how these micro-level linguistic failures cohesively contribute to the macro-level narrative regarding identity formation and the film’s overarching critique of algorithmic culture. Discussion and Results The analysis reveals that the film systematically employs pragmatic failures not merely for comedic effect, but as a sophisticated narrative device to critique contemporary digital culture. A prominent pragmatic finding is Ron’s consistent failure to grasp the illocutionary intent behind social media terminology. For instance, Ron interprets the concept of “likes” and “friending” literally, attempting to physically acquire friends and tangible objects to represent digital metrics, which vividly highlights the stark divide between complex human social meaning and the literal, machine-like processing of algorithms. From a sociolinguistic perspective, the findings demonstrate that while the fully functioning B-bots utilize flawless communication, their language is inherently inauthentic and uniform, trapping children in echo chambers of algorithmic perfection. Conversely, Ron’s “anti-language”, characterized by misunderstandings, inappropriate responses, and rigid literalism, strips away the artificiality of digital interaction. Through these ongoing pragmatic failures, Ron and Barney build a relationship based on shared vulnerability, exclusion, and continuous mutual interpretation, proving that human imperfection and the messy negotiation of meaning are essential for genuine connection. This study bridges a significant gap in existing linguistic and media literature. Traditional pragmatic studies focusing on communication breakdowns typically center on intentional violations by human actors, such as the use of sarcasm, irony, or deceit. Conversely, studies in the realm of human-robot interaction often treat machine communication failures strictly as technical bugs or design flaws that need to be corrected by engineers. The originality and scholarly value of this research lie in its treatment of a robot’s accidental communication failure as a deliberate vehicle for sociolinguistic resistance and social critique within a narrative framework. By framing a smart agent’s technical glitches as a functional “anti-language,” this paper provides a novel interdisciplinary methodology for analyzing AI and robotics in modern media, clearly demonstrating how technological flaws can masterfully highlight the absolute necessity of human imperfection. Conclusions The study concludes that Ron’s Gone Wrong offers a profound, multi-layered critique of digital-age communication through specific pragmatic and sociolinguistic mechanisms. The film ultimately argues that algorithmic perfection is detrimental to genuine social development, illustrating that it is precisely through communication breakdowns, the violation of conversational maxims, and the inherent struggle to understand one another that authentic meaning and deep social identities are forged. Ron’s defective nature allows him to bypass the corporate-mandated “perfect” communication, inadvertently teaching his human companion that true friendship is a messy, highly interpretive, and profoundly imperfect process. While this study successfully maps these dynamics within a single case study, the authors acknowledge the limitation of focusing primarily on verbal language. Consequently, future research is highly recommended to conduct comparative analyses with other media exploring AI relationships, as well as intercultural analyses examining how the pragmatics of Ron’s glitches and ironies are handled in various translations and dubbings to understand the global reception of these themes.

Abstract . Cognitive biases can lead to misinterpretation of information, flawed analyses, and ultimately detrimental financial choices. The present study aims to identify and analyze these biases in the Iranian stock market, employing machine learning algorithms to model investor behavior. Data related to 10 selected stocks from the Iranian market were collected over a specified time period, preprocessed, and prepared for training machine learning models. In this research, two algorithms—logistic regression and random forest—were applied for performance comparison. The results indicated that the random forest model, with an accuracy of 97%, significantly outperformed the logistic regression model, which achieved 71% accuracy. These findings demonstrate the higher effectiveness of more sophisticated algorithms in understanding and analyzing investors’ irrational behaviors. The study was conducted without any bias in model selection, and all results are presented transparently and reproducibly. The primary objective is to enhance rational decision-making in the capital market through data-driven analysis and artificial intelligence tools. Finally, we demonstrate that each identified cognitive bias manifests in specific behavioral patterns in the Iranian financial market, influenced by the cultural roots of the population.

Abstract This paper explains the effects of political economy shocks, including international sanctions, on the Iranian middle class, and shows that these pressures lead to the erosion of cultural capital, the weakening of social roles, and changes in media consumption of this class. The argument begins with formulating the research problem in terms of the link between economic crises, and the transformation of the middle class’s position.

Theoretically, the paper draws on the perspectives of Marx, Weber, Bourdieu, and Halbwachs on class, cultural capital, social status, and collective memory, but relies on the interpretive framework of Weber and Bourdieu.

We argue that when livelihood pressures intensify, a part of the middle class is forced to reduce cultural consumption, and prioritize immediate livelihoods. In such a situation, the media also find a dual function for this class: on the one hand, they become a tool for raising awareness, maintaining social ties, representing dissatisfaction, and transmitting lived experiences, and on the other hand, in times of crisis, they can become a space for anxiety, despair, polarization, and erosion of social trust. The results show that supporting the middle class is necessary for achieving sustainable economic, social, and political development in Iran.