Elahe Dehghan Pishe; Reza Esmaeili
Abstract
The present study aimed to study and evaluate the state approvals in the field of The cabinet approval in mentioned period 1989 to 2009 in Iran. cinema from which keywords related to cinema is shown in their titles or texts will form this The method of this research is content analysis and the instrument ...
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The present study aimed to study and evaluate the state approvals in the field of The cabinet approval in mentioned period 1989 to 2009 in Iran. cinema from which keywords related to cinema is shown in their titles or texts will form this The method of this research is content analysis and the instrument used .research is a checklist with r= 0.91 using Scott formula. The content analysis checklist was constructed based on the model which classified arts policies into four types namely: facilitator, patron, architect and engineer. The findings revealed that in the investigated twenty-year process. the various states having come in 4-year intervals have been different in using the types of arts policies. The state in the first and second presidency of Akbar Hashemi Rafsanjani used the facilitator and engineer types; in the first presidency of Mohammad Khatami used the patron and architect types, in his second presidency the architect type; and finally in the first presidency of Mahmoud Ahmadinejad used the architect and engineer types more than the other types. Although there has been a difference between the types of arts policy in the cinema approvals in different periods of presidency. the architect and engineer types of arts policies have been used more than the facilitator and patron types.
Hojatollah Ayoobi
Abstract
Cinema is the most influential cultural instrument in the contemporary world. The seventh art first brought culture in theaters and then in homes by T.V. and modern audio – visual devices. Perhaps, for this reason, André Marlow paid special attention to the cinema and regarded it as a shortcut ...
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Cinema is the most influential cultural instrument in the contemporary world. The seventh art first brought culture in theaters and then in homes by T.V. and modern audio – visual devices. Perhaps, for this reason, André Marlow paid special attention to the cinema and regarded it as a shortcut to the popularization of culture or achieving cultural democracy. Since its birth, cinema in France experienced a significant progress and was the best before the Second World War. But with the entrance of Americans to this field, relying upon their modern technology and huge investments made considerable progress and challenged the French cinema. The French cinema needed government, help in this unequal competition and could not resist this all – out invasion on its own. The French government got involved in the sector of cinema to reach two goals: helping cultural and artistic cinema: and standing up against American cinema to defend the cultural diversity championed by the French. This article examines approaches results from a problem which is also considered a major concern for Iranian cinema. Relationship between government and cinema in France might absorb the attentions of our cultural policymakers.
