Semiotic analysis of the movie Mahdi position

Subject Areas : The Impact of Media

Taher Purmohammad ¹ , Iraj mahmoudi ²

1 - Master of Science in Social Communication, Tabriz Branch, Islamic Azad University, Tabriz, Iran
2 - Assistant Professor Department of Psychology, Miandoab Branch, Islamic Azad University, Miandoab,Iran

Received: 2024-11-13 Accepted : 2024-12-01 Published : 2025-02-07

Keywords: Keywords: semiotics, holy defense, movie, position of Mahdi,

Abstract :

With the aim of semiotics and how it works on the basis of the film, the current research aims to investigate the film The Position of Mahdi by Hadi Hejazifar by using the method of semiotic analysis. The semiotic method of this research is according to John Fiske's method in three levels: descriptive (social codes), representational (technical codes) and ideological (ideological codes). In this regard, the film Mahdi's position, which was one of the productions of Iranian cinema in 1400, was studied based on John Fisk's semiotic analysis method. Mahdi's position film has been noticed from different angles about one of the commanders of the eight years of holy defense. In this film, the trace of the filmmaker's sufficient knowledge of all aspects of the film character's life is clear. Using the technology needed to make a film and the artistic literacy of the director himself in the current situation and also with the help of the production agents of a movie including; Actors, cinematographer, composer, editor, scene designer, screenwriter, other factors, and also by using detailed details about the location and time, he can easily introduce the different dimensions of Shahid Mehdi Bakri's personality. Based on the semiotics of John Fiske and the analysis of representation or technical codes of the six scenes, it is concluded that the film is about a commander of the holy defense who stands to the death in defense of his homeland in family relationships, thoughts, human perspective and command. From the recognition and representation of such works, it can be concluded that making a movie about commanders and influential figures during the eight years of the Holy Defense is an effective factor in promoting the culture of sacrifice and martyrdom and transferring the concepts of the Holy Defense to the current generations.

References:

Alan Casier, Dennis Donito, William Herman, (1981), Principles of Film Criticism, translated by Jamal Haj Agha Mohammad, printed (electronic 2011).#
Stemm, Robert (2003), Introduction to Film Theory, translated by Ehsan Norouzi, Tehran: Soure Mehr Publications.#
Eco, Umberto. (2009), Levels of Analysis of Cinema Codes, from the book: Constructivism, Semiotics of Cinema.#
Barthes, Roland (1996), The Myth of Today, translated by Shirin Dokht Daghiqian, Markaz, Tehran.#
Jarvi, Y. C. (2000), The General Relationship of Cinema with the Sociology of Media, Azam Ravdrad, Farabi Cinema Quarterly, No. 38.#
Jinker, William, (2002), Film Literature, the Place of Cinema in the Humanities, translated by Mohammad Naghi Ahmadian and Shahla Hakimian, Tehran: Soroush Publications.#
Chandler, Daniel. (1400), Fundamentals of Semiotics, translated by Mehdi Parsa, Tehran: Soure Mehr Publishing Company.#
Hajhosseini, Mohammad, (2016), Comparative Study of Religious Values in Iranian Cinema of the 1960s and 1980s[In Persion].#
Dandis, Donis A.: (2010) Basics of Visual Literacy, translated by Masoud Sepehr, 23rd edition, Radio and Television Publications.#
Dansi, Marcel (2008) Semiotics of Media, translated by Goodarz Mirani and Behzad Doran, Tehran: Chapar Publications, Anise Nama.#
Dahlgren, Peter, (2001), Television and the Public Sphere, translated by Mehdi Shafqat, Tehran: Soroush.#
Sajoudi, Farzan. (2011) Applied Semiotics, Tehran: Alam Publishing.#
Saussure, Ferdinand (2003), Course in General Linguistics, translated by Kourosh Safavi, Tehran: Hermes.#
Sharbat, Mojtaba, Morad Piri, Hadi: (2018), Introduction to the Sciences and Education of Sacred Defense, Tehran, Sacred Defense Sciences and Education Research Institute.[In Persion]#
Alavi Tabatabaei, Abolhassan (1987), Characteristics of the Promised War Cinema in Iran, Film Monthly, No. 55.#
Fisk, John. (2001), "Culture and Television" Translated by Mojgan Boroumand, Arghanun Magazine, Tehran: Ministry of Culture and Islamic Guidance Publications, No. 19.#
Fisk, John. (2009), Introduction to Communication Studies, Translated by Mehdi Ghobraei, Tehran: Media Studies and Development Office Publications Translated by Alaeddin Tabatabaei, Hermes Publications.#
Phillips, William H. (2009), Introduction to Film, Translated by Fattah Mohammadi, Tehran: Farabi Cinema Foundation.#
Caller, Jonathan (1990), Ferdinand de Saussure, translated by Kourosh Safavi, Hermes, Tehran
Goldar, Zohreh, Masoudi, Mojmadali and Eskandari, Mohammad (1990) Representation of the Eight-Year Iran-Iraq War in the Cinematic Works of Mohammad Ali Bashe Ahangar. Year 6. Issue 2. .[In Persion]#
Mohammadi Pashak, Mohammad Reza. (1997) Companion to Your Memory, Tehran: Publications of the Congress of Commemoration of the Martyr Generals of the Revolutionary Guard and 36,000 Martyrs of Tehran Province. .[In Persion]#
Nader Nejad, Fatemeh. (2017), Semiotic Analysis of the Status of Girls in Iranian Cinema. .[In Persion]#
Nichols, Bill. (2013) Constructivism and Semiotics of Cinema; translated by Alaeddin Tabatabaei, Tehran: Hermes Publications.#
Woollen, Peter (1989) Signs and Meaning in Cinema. Tehran: Soroush Publications.#
Hall, Stuart, (2008), Excerpts from the Act of Representation, taken from Shaghasemi, Ehsan, Communication Theories: Critical Concepts in Cultural and Media Studies, Tehran, Institute for Cultural and Social Studies.#