الخطاب الديني في السينما الايرانية والامريكيىة دراسة تحليلة مقارنة

Abstract

This comparative analysis examined the topic "religious discourse in Iranian and American cinema" by dismantling and analyzing four films; Two Iranian films the willow tree and the scandange, and two American films inspired by a problematic question of its reproduction chairman: what is the ideology underlying the religious discourse in Iranian and American cinema through the chosen sample films and what is the difference between them? And what cognitive models do speech writers produce? This research was based on a methodological duality combining discourse analysis with a comparative approach, as well as on ideological control theory in ton van dyke's cognitive models. General features of the level of religious discourse in Iranian and American cinema based on the sample films analysed tended to be very different; Towards religions; The American films mother and robstrange took a belligerent orientation, while the Iranian films the willow tree and the scandal took a corrective orientation of the position of religion in society, but at the level of power; American cinema relied on the superhero model, while Iranian cinema went on to embody the perfect model. Successively; As far as the opening and closing of discourse is concerned, the religious discourse in American cinema is closed, defined-definitely not open to the recipient, while the religious discourse in Iranian cinema remains incomplete and confusing, thus allowing the recipient to participate in the discourse and complete its cognitive model in accordance with his orientation and beliefs, and the rhetorical treatment of religion; The American films are structurally oriented, while the Iranian films are Oxyologically an Braxologically oriented finally; Regarding the alternatives for each speech, American cinema relied on the constructive alternatives while Iranian cinema used the discursive alternatives. The religious discourse in the two Iranian films embodies the sufi belief that the divine self will come to the human self, united to bring about anthropology and the rule of reality and the laws of nature, as it implies an atheistic orientation that intersects with the human deification of the American films and its transgression of god, respectively; This study confirms the atheistic orientation of American cinemas through both analytic films and their implicit and explicit call for atheism, divinity and complicity with the devil through the heart and changeability of values.