Women Representation in Three Iranian Films by “Bahram Beizai”

This article pays to the narration analysis of three films of Bahram Beizai’s cinematic works whose names are: Perhaps Some Other Time, Travelers and the Killing Dogs, having been constructed between 66 to 79 time intervals. The principle aim of this article is answering to these questions: The first thing is that: how has the woman been represented in cinematic works of Bahram Beizai who is one of the most noticeable man stage directors in the cinema of Iran and that does his masculinity influence on his kind of view towards women and their problems or not?

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By reviewing the research literature, we come to this conclusion that most of the activities in the area of Iran cinema is based on the axis of artistic and aesthetics look, or in other words, on the introspective criticism of cinema and the especial activity in the field of cinema concerning the representation of women and their problems in the works of a film maker man is not seen. For this reason, the cinematic works of this prominent stage director was chosen and examined for this analysis red rock entertainment testimonials.
Key concepts:

In this article the effort has been made to investigate the place and the picture of a woman in cinematic works of Bahram Baizai, one of the most noticeable man stage directors in the cinema of Iran. In other word, we are searching for this answer that how this stage director has represented women in his works and what features he has attributed to them?

Another aspect of this research which is very significant and can be a new horizon in the activity concerning women in mass media is the investigation of the role of a film maker and stage director’s gender in representing women and their problems. That, to what extent does the gender of a film maker (either a man or woman) influence on the kind of the stage director’s view on women? Is the film maker and stage director men’s view towards women and their problems different from those of women?

Some of the theorists believe that generally mass media, including cinema, represents women as a means or marginal existence in such a way that this representation hasn’t got to do with the reality as well as the complexity of their life. Generally, in mass media, men are regarded as wise, powerful, efficient creatures, and the source of power with high positions whereas women are considered emotional, dependent, weak and passive.

According to Tuchman: “symbolically, the cinema has ignored women, drives them to the margin and by showing the majority of men in all sorts of cinematic programs, in fact, tells the society that women are not so much important. Not only does the television tell us that women are not worth except at the status of a housekeeper and mother, but also, by depicting women as inefficient and humble individuals who are always at the service of men, symbolically despise and scorn them.”(Based on the quote of Ven Zoen, 2001, page 16)

1-The representation: The meaning of representation in mass media in Richard Dyer includes: “The method of the construction of mass media about individuals, places, things, cultural identities and other abstract concepts. The manifestation of representations may be in oral, written forms or dynamic pictures.”(Dyer, 1993, page 18)

“Therefore, the concept of representation in this research includes the method of the manifestation of a social reality which in this research women have been regarded as the social reality.”(Sedighi Khooydaki, 1384,page12)

2-Gender: “Before the definition of the concept of gender, the meaning of the generic state should also be defined so that the meaning of the word gender becomes more obvious. There is a meaningful difference between gender and generic state whose origin should be searched in culture.”

“Gender” refers to the biological differences between man and woman and generic state is the personal, psychological features that the society determines it and is along with being man or woman or so called “femininity” and “masculinity”.

Femininity is a term for the description of being woman that is made up, paid to and attributed to women in society. For example, femininity is along with such features as kindness, affection, sensitiveness, dependence and roles such as mother, wife and nurse. But, masculinity is the opposite of that and features like logic, wisdom and the roles such as manager, physician, lawyer and etc. have been considered suitable for men.

Therefore, in this article, with the definition of these present concepts, we are searching for this matter that how women have been manifested and portrayed in the works of this stage director and, one the other hand, how much the experiences, awareness and characteristic features that women acquire in the society influence on the method of this representation. We will investigate this case in the chapter which is related to the analysis of this stage director’s films.
The experimental background:

The focus of the researches mainly done about cinema, has been more on the investigation of technical, aesthetics and optical aspects of films having taken advantage of the method of the introspective criticism of the film. That is, they have paid to the investigation of the techniques of film taking, photo taxis, sound, picture, and montage. The reason is that in Iran the cinematic studies in the field of sociology has no place and film and cinema are treated more as an artistic, aesthetic phenomenon. In this field, after various researches, it was specified that a research under the title of “The Representation Woman in Iran Cinema” has been rare and especially a research having paid to the representation of woman in the works of a man stage director has not been done. But, some researches have been done about the sociology of Iran cinema. (Sedighi Khooydaki 1384)
The meaning of narration:

The psychological analysis of the film is the newest branch of semiotics which having been appeared from inside of the critical innovations which have presented new definition about the theory of film in the 1970’s decades. Although it has created its especial terms and research methods, openly its root is in the main movements of semiotics in our period. “The narrative analysis like all the researches of semiotics intends to remove the apparently natural and justified skin between the signifier and the world of story and reveals the deeper system of associations and cultural relations which are stated from among the narrative form. If the conventional elements of narrative structure (characters), sketching the plan and conspiracy, scenery, moving point and timing are seen from behind the methodology of semeiotics, they can be regarded as the systems of signs having been organized based on different signs. Each of the signs transfers totally especial messages related to the world of story in different ways.”

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