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The function of symbols and myths in the scripts of Bahram Beizai

Number of pages: 120 File Format: word File Code: 30994
Year: 2013 University Degree: Master's degree Category: Art - Graphics
Tags/Keywords: Aesthetics - cinema - genealogy - mythology - mythology - Screenplays by Bahram Baizai - Semiotics - Sign symbol - Structuralist semiotics - the myth
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  • Summary of The function of symbols and myths in the scripts of Bahram Beizai

    Dissertation for master's degree

    Abstract

    Semiotics, the general knowledge of the study of signs, emerged in the middle years of the 60s in the 20th century based on the ideas of Ferdinand de Saussure, a Swiss linguist. After that, the greats like Pierce, Barrett, Echo, Metz, etc. They developed it and today it is one of the important branches in various fields including art. It is worth mentioning that semiotics in Iran is a new and almost new subject that still has room for work and research in many fields. Based on the principles of semiotics, every text is a structure consisting of signs, including structural-oriented semiotics, cultural and so on. Semiotics is one of the methods of text analysis, and the task of the semiotician is to analyze and extract the meanings in the text and explain and close it in order to understand the text as well as possible. Also, mythology, which is included in the genealogy of a nation's culture, along with semiotics, leads to a better analysis of the text as well as textual interpretations. Between symbol and symbology, there is an ambivalent state, so that Peirce has explicitly included the symbol in his symbolic category. and in order to achieve this, the research has been based on the extraction of visual, verbal, textual and cultural signs, because Baizai is one of the few great Iranian directors who has a deep knowledge of the mythological roots of this ancient border and landscape, and in order to create his unique works, he has presented these roots to his audience in a semiotic format with the special beauty of its stylistic components. Also, for a more concise understanding of his works, visual and verbal signs have been used to understand the inner layers of the text.

    It should be said that Baizai, as a director and author, has always tried to avoid explicit expression to induce his thoughts and to use signs, myths and symbols at different and multiple levels to approach a pure artistic expression. This approach makes him one of the directors with a style that, with an obsessive and sometimes dramatic arrangement, aims to use all the visual elements in the film to convey artistic and indirect concerns, thoughts, and awareness. Key words: symbol, sign, myth, Bahram Baizai, screenplay.

    1 Introduction

    In fact, semiotics can be considered as an applied form of linguistics; Semiotic analyzes in all fields, from clothing and fashion design to advertising and so on. have been useful.

    The most fundamental and original concept that is raised in the knowledge of semiotics is the concept of sign. Semiotic theorists consider human as a type of sign that is capable of creating and changing meaning. The topics of semiotics and cultural criticism necessarily and always start from the sign. (Marzban, 1391: 8)

    In literary texts (screenplays), the way of speaking and creating an impression of the text by the author is very important. Because in the order in which he writes, signs are imagined and formed in the mind one by one, and maybe with bad language or even a mood, the order will be messed up and the text signs cannot show themselves, so this point is also very important. Or in other words, the text is included in an analysis of association.

    It is worth mentioning that the order of association is mostly in the form of writing and text and has a colorful presence, and it prompts the reader to follow the sequence of events, which are the same signs, as the author wants and actually happen according to the association relations of the author's mind (which is not 100 percent), but in the stage and film, this power is taken from the artist to some extent, and since each scene It is full of different signs (symbolic, indexical, symbolic), the order and the way it is placed and understood by the audience changes.

    This project, which consists of four chapters, in the first chapter is dedicated to the introduction of the thesis, and in the second chapter, which is the research records on semiotics, myth and symbol, and finally, Bahram Baizaei is discussed and the definition, introduction and review of each of them is discussed, as well as the opinions of thinkers. There is a relevant said.Of course, I consider it necessary to mention that the division of this chapter in the order mentioned indicates that the issues related to symbols and artistic symbology have a common root in semiotics and mythology, therefore, after the introduction of those two sections, the last section is dedicated to the introduction of Bahram Bayzaei's biography and his position among the experts, commentators and critics of Iranian cinema, and his artworks are titled as well as a brief description of five screenplays. The review is presented.

    In the third chapter, the analysis is done on Baizai's selected screenplays, and also the common themes in Baizai's works are given, and finally, in the fourth chapter, the summary and conclusion of the whole project and the proposal section are also mentioned. be analyzed symbolically. The symbolic analysis of Beidai's screenplays will help to know more about the artistic and creative aspects of this author and will lead to a deeper and better aesthetic understanding of his works. 1-3 statement of the problem and the topic of the research In some cultures, the meaning of what is imaginary and unreal and has a purely legendary aspect has been found. In the Oxford dictionary, it is understood that myth is taken as a legend and imaginary speech (Hilens, 2007: 24)

    But myth should be understood as a Minoan story and confusion, which is a description of an action, belief, symbol or natural phenomenon, at least a part of which is taken from traditions and narratives and is inextricably linked with rituals and religious beliefs, in myth it is about how Everything emerges and continues its existence (Amoozgar, 2009: 4-3)

    The knowledge of mythology is the study of myths and their function and reflection in art, literature, philosophy, etc.  According to Mircea Eliadeh, it is impossible to provide a comprehensive definition of myth, but from one perspective, myth tells a kind of sacred history and recounts an event that happened in the primeval and beginning time. There are also several divisions. Although the knowledge of semiotics is considered a new approach in artistic and literary criticism, but despite its short life, it has gained a wide range and special importance in the new criticism.

    The sign (Sign) from the point of view of Ferdinand de Saussure, the founder of Semiology) in Europe, consists of two parts: the signified. And from Peirce's point of view, in the American tradition of semiotics, it consists of three parts: the sign, the subject, and the interpreter. The knowledge that examines signs and how they are formed and interpreted is called semiotics. According to the definition of Umberto Eco, a prominent contemporary semiotician, semiotics deals with everything that can be considered a sign. A symbol is an object, a person, a situation, an action or something else that has a literal meaning, but it also has other meanings. (Moqdadi, 1378, 582)

    In a text, whether a story, a film or a painting, some elements of the text can have other secondary meanings in addition to their apparent meaning. Symbols in this landscape can be private and created by the artist in his artwork and On the other hand, they have found a general and universal aspect. The use of signs, symbols, and myths in an artistic work leads to its semantic and technical richness.

    Bahram Bayzaei (1317) is one of the prominent contemporary filmmakers and playwrights who shows a great tendency to materialize and benefit from myths in his works. He is especially interested in the elements of Iranian culture. Mohammad Abdi in the book. "The Life and Cinema of Bahram Bayzaei" writes: Bahram Bayzaei is a perfect example of an original cinematographer, whose works and ideas revolve around certain axes, and he deals with constant topics in each film, which are all his real concerns. Therefore, it is easy to search for special connections between his films. Every character in the film is repeated in another film in a way And somehow it continues

  • Contents & References of The function of symbols and myths in the scripts of Bahram Beizai

    List:

    The first chapter of thesis introduction. 1

    1-1 Introduction. 2

    2 research objectives. 3

    Statement of the problem and the topic of the research. 3

    4 The importance of the research problem (research necessity). 4

    5 The motivation of the researcher in choosing the topic. 5

    6 The scope of research and specifying the unit of analysis. 5

    7 Determining the research question. 6

    The second chapter of research records. 7

    2-1 Semiotics. 8

    2-1-1 History of semiotics. 8

    2-1-2 Definition of sign .. 9

    2-1-3 Ferdinand de Saussure. 10

    2-1-4 axes of cohabitation and succession. 12

    2-1-5 Semiotics in America. 13

    2-1-6 Semiotic developments after Saussure. 14

    2-1-7 Its sign and function in cinema. 15

    2-1-8 visual signs in cinema. 17

    2-1-9 reading the text .. 18

    2-2 myths. 19

    2-2-1 The definition of myth.. 19

    2-2-2 The importance and function of mythology. 20

    2-2-3 mythological characters. 21

    2-2-4 Iranian mythology.. 21

    2-2-5 mythological analysis. 22

    2-2-6 The function of myth in cinema. 22

    2-2-7 Myth and literature.. 24

    2-2-8 Criticism of cognitive myth.

    2-3-symbol.28

    2-3-1 definition of symbol..28.

    2-3-2 the word symbol.. 30

    2-3-3 symbols in semiotics. 30

    2-3-4 Symbolism..33.

    2-3-5 Symbolism in literature.33.

    2-3-6 Jung's view on symbols.34

    2-3-7 Symbols in cinema.35

    2-4 Bahram Baizai.36

    2-4-1 Biography and works.37

    2-4-2 Baizai's place in Iranian cinema.44

    2-4-3 Critics' view of Bahram Beizai's works.45

    2-4-4 Descriptive filmography of Baizai's works.48

    2-4-4-1 Tara's guerilla..48

    2-4-4-2 The death of Yazdgerd..49

    Be 2-4-4-3, little stranger. 51

    2-4-4-4 Passengers ..53

                 2-4-4-5 Dog killing. 57

    Chapter 3 analysis of inference.

    3-3-1 Mehr / Mitra ..63

    3-3-2 Nahid / Anahid .63

    3-4 common elements in the works of Baizai. 64

    3-4-1 Women in Ellipse works. 64

    3-4-1-1 Woman and nature .. 75

    3-4-1-1-2 trees .. 75

    3-4-1-3 urban space .. 77

    3-4-2 death (separation) .. 78

    3-4-3 mirrors .. 85

    3-5 The function of display in Baidaei's cinematographic works. 88

    3-5-1 The semiotics of place in Tazzieh. 95

    3-6 symbolic signs. 97

    7-3 cultural signs.97

    Chapter four summary, conclusion and suggestions.100

    4-1 summary and conclusion.101

    4-2 suggestions.103

    4-3 sources and references.104

    4-3-1 articles..104.

    4-3-2 books..106

    4-3-3 theses.108

     

    Source:

    4-3-1 articles

    Abparvarm Masoud; Mythology and Cinema; Farabi Magazine; Number 12, Fall 2013; pp. 181-174

    Azmani Hamira; Women in a Man's World; Cinema Review Magazine; Fall 2013; Number 3; pp. 83-68

    Alam Hoshang; Analyzing the truth and the mirror of women's presence; Azma Journal; February 86; number 55; pp. 6-8

    Ohdi (Iranbad) Behnam; Rooh Naaram Bahram Peshtiban; Ferdowsi Journal; D. Vehman 86; No. 61, 60; pp. 39-38

    Babayimir Hossein; Screenplay workshop: about creating a screenplay; Cinema review magazine; Spring 88 No. 64, 65; pp. 145-141

    Brahnireza; Margizdgerd; Specialized Quarterly Journal of Dramatic Literature; winter 86; second period; number two; pp. 98-86

    Blah Blah; script; Translated by Hamid Abianeh; Surah Andisheh magazine; Surah movie special issue; Autumn 70; first period; pp. 107-103

    Sayyed Ahmad stability; Investigating the relationship between identity and history with the technique of playing in the game in Ellipse works; Farabi Magazine, (Spring and Summer 71, No. 14) pp. 146-139

    Thank you Said; adaptation of thought; Scene magazine; Autumn 88; new period; number 68; pp. 31-29

    Jasmi Bahram; Bahram Baizaei, modern Gnosticism and social application; second period; number two; winter 86; pp.87-81

    Dehbashi Ali; Bahram Baizai; National Theater; Simia 2 magazine; second period; Number two; Winter 86; pp. 4-3

    Computer108

     

    Source:

    1-4-3-1 articles

    Baprouram Masoud; Mythology and Cinema; Farabi Magazine; Number 12, Fall 2013; pp. 181-174

    Azmani Hamira; Women in a Man's World; Cinema Review Magazine; Fall 2013; Number 3; pp. 83-68

    Alam Hoshang; Analyzing the truth and the mirror of women's presence; Azma Journal; February 86; number 55; pp. 6-8

    Ohdi (Iranbad) Behnam; Rooh Naaram Bahram Peshtiban; Ferdowsi Journal; D. Vehman 86; No. 61, 60; pp. 39-38

    Babayimir Hossein; Screenplay workshop: about creating a screenplay; Cinema review magazine; Spring 88 No. 64, 65; pp. 145-141

    Brahnireza; Margizdgerd; Specialized Quarterly Journal of Dramatic Literature; winter 86; second period; number two; pp. 98-86

    Blah Blah; script; Translated by Hamid Abianeh; Surah Andisheh magazine; Surah movie special issue; Autumn 70; first period; pp. 107-103

    Sayyed Ahmed stability; Investigating the relationship between identity and history with the technique of playing in the game in Ellipse works; Farabi Magazine, (Spring and Summer 71, No. 14) pp. 146-139

    Thank you Said; adaptation of thought; Scene magazine; Autumn 88; new period; number 68; pp. 31-29

    Jasmi Bahram; Bahram Baizaei; Modern Gnosticism and social application; second period; number two; winter 86; pp.87-81

    Dehbashi Ali; Bahram Baizai; National Theater; Simia 2 magazine; second period; Number two; Winter 86; pp. 4-3

    My personal computer; The dramatic face of women in literary works - Bahram Bayzaei's play; Cinema and Theater magazine; third year; September 75; number 15; pp. 68-61

    Sujodi Farzan; layered semiotics and its application in the semiotic analysis of works of art; Articles of semiotic consensus of art, Tehran; Farhangistan Publication; 2013; pp. 75-59

    ________; An introduction to food semiotics: examining a sample of cinematic discourse; In the collection of articles on art semiotics; by the efforts of Hamidreza Shairi; Tehran; Art Academy publication; 2015; pp. 97-83

    Shariati Sara; Vahid Shalchi; Representation of the moral issue in Iran's popular cinema, from dog killing to ceasefire; Quarterly Journal of the Iranian Association for Cultural and Communication Studies; Summer 88; fifth year; number 15; pp.115-93

    Shahba Mohammad; cinema and theater semiotics/writing semiotics; Spring 84; Art Academy Quarterly; pp.4-35

    Sheikh Mehdi Ali; Examining the symbol of the tree in the films of Abbas Kiarostami; Summer 81; Khayal 2; pp. 77-50

    Sadeghi Leila; If the director would pay back only 1/3 of his thought (Segkeshi, Bahram Bayzaei); Bidar magazine; July 81; number 16; pp.101-99

    Tahirpour Mohammad; Women in velvet works; Azma magazine; number 24; July 82; pp. 40-39

    Qasimkhan Alireza; Mythological foundation of film genres; The publication of Book Month of Art; Mehro Aban 83; Number 74-73; pp. 112-119

    Qitouri Amer; language, sign and meaning; Culture magazine; Spring 87; No. 34; pp.107-88

    Kandari Mehran; symbolist and symbolism in literature; Persian literature special culture magazine; summer and autumn 82; pp.254-245

    Kianian Reza; game for oval; Specialized Quarterly Journal of Performing Literature Simia 2; winter 86; second term publication; number two; pp.98_89

    Marandi Seyyed Mohammad; Fatemeh Akbari; A review of the dialectic of Hegel's gods and servants in the death of Yazdgerd by Bahram Beizai and Sardanapos by Lord Byron; Applied Literature Journal; Summer 91; Number 6; pp. 187-208

    Meythami Reza; Mythology and Symbolism (translation and summary); Mehr and Aban 81; Mahhanar Book; pp. 121-125

    Nowrozi Toraj; Images of native culture in Iranian cinema: the attitude of the use of ritual and myth in Bahram Bayzaei's films; Iranology Journal; seventh year; Summer 74; number 2; pp.397-382

    Variji Kazemi Abbas; Mohammad Reza Javadi Yeganeh; Introducing the content analysis research of movies after the Islamic revolution about the attitude towards women; Tehran; publication of women's strategic studies; number 32; Summer 2015; pp. 202-208

    Yatharbi Chista; The image of women in dramatic literature; Ferdowsi publication; November and Azar 86; No. 58 and 57, pp. 76-75

     

     

     

    4-3-2 Books

     

    Ahmadi Babak; From visual signs to text (toward the semiotics of visual communication); Tehran; Center publishing house; 10th edition; 2009

    ________; truth and beauty; Tehran, Center Publishing; 15th edition; 1374

    ________; text structure and interpretation; Tehran; Published by the 14th printing center; 1391

    Iliademircha; myth and reality; Translated by Mani Salehi Allameh; Tehran, Parse Kitab Publishing; 2013

    Amouzgarjaleh; Mythological history of Iran; Tehran; published by Samit; 1381

    Baharmehrdad; A research in Iranian mythology; Tehran; Nasser Agha; 1381

    Beizaei Bahram; The role of myth in literature; a literary meeting in the cafeteria of the city theater; 1382

    ________; Dog killing; Tehran; Publication of Enlighteners and Women's Studies; 14th edition; 1392

    ________; Death of Yazdgerd; Tehran, Roshangan Publishing and Women's Studies; 9th edition; 1389

    ________; Passengers; Tehran; Publication of Enlighteners and Women's Studies; 3rd edition; 2013

    Pakbazrouyin; Encyclopaedia of Art; Tehran; Publication of Contemporary Culture; 7th edition; 1387

    Payandeh Hossein; A critical reading of commercial advertisements on Iranian television; Tehran, Roshangar Publishing House, 1385

    Chandler Daniel; Basics of semiotics; Translated by Mehdi Parsa; Tehran; publication of Surah Mehr; 4th edition; 1387

    Rahimi Mohammad Ali; Armin Rahbin; The roots of the show in ancient Iranian rituals; Tehran; Ahura publication; First edition; 1383

    Znerar.

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