A Review of Urban Images of Tehran in the Iranian Post-revolution Cinema

Goharipour, Hamed

doi:10.1007/978-3-319-26115-7_5

Cited by 3 publications

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“…Then, the relationship between city, society, and cinema has been taken into consideration from the perspective of art, film, media studies (Barber, 2002;Donald, 1999;Massood, 2003;Mazierska & Rascaroli, 2006;Mennel, 2008;Shiel & Fitzmaurice, 2001;Webb, 2014), architecture (Kraus and Petro, 2003;Koeck, 2012;Penz and Lu, 2011), and archeology (Penz et al, 2017). In recent years, this relationship has also been addressed by scholars with a background in urban studies (AlSayyad, 2006), concentrating on urban issues represented in the cinema of both developed countries (Clapp, 2013;Goharipour, 2020Goharipour, , 2021 and the global south (Goharipour, 2016(Goharipour, , 2019. These efforts show that the role of visual representations in urban and social literature is a thriving topic, becoming increasingly important.…”

Section: Introductionmentioning

confidence: 99%

Reading the represented city and society: signs, theory, and the dynamic interpretativeness of Peircean semiotics

Goharipour

Gibson

2021

Qualitative Research

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In the era of visual media, cities, and society are represented, experienced, and interpreted through images. The need for interdisciplinary visual approaches, therefore, is indisputable. By focusing on cinema, this paper aims to develop a conceptual, methodological framework through which theory helps a broad range of researchers in social sciences, humanities, and arts interpret the represented phenomenon. Based on Peirce’s model of signs, the framework provides the basis for a dynamic interpretation of the city and society. This paper shows that Peircean cinesemiotics takes advantage of theory in three ways: First, as the basis that provides scholars with clues necessary for identifying eligible “image-signs”; second, as the guiding framework that helps them reach a final interpretation; third, as ideas are being criticized from visual perspectives. As an example of its application, using Jane Jacobs’ “The Death and Life of Great American Cities,” the final part of the paper applies Peircean cinesemiotics to an image-sign from Death Wish (2018) and interprets it as the representation of safety/crime in a neighborhood.

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