چكيده لاتين
The present study analyzes the narrative representation of the concept of the “Other” in post-revolutionary Iranian cinema. The main aim of this research is to examine how the “Other” is portrayed and how ideology influences this representation in films produced after the 1979 Revolution. Accordingly, the study seeks to answer the following questions: Which individuals or groups are represented as the “Other”? How are the characters’ relationships with the “Others” depicted? What issues are associated with the “Other” as an individual or a group? and finally, how do these representations affect the recognition or denial of the “Other’s” destiny in Iranian society?
The research integrates theoretical perspectives related to “Otherness,” “Othering,” and “Representation,” particularly the views of Foucault and Simmel, as well as the methodological frameworks of Kristin Thompson and Edward Branigan. The study applies the narrative analysis method. The data set consists of 25 selected films from the winners of the Fajr Film Festival across four decades (the 1980s, 1990s, 2000s, and 2010s). The analytical tool involves examining both the explicit and implicit content of these films to identify shared and changing patterns in the representation of the “Other.”
The findings indicate that the representation of the “Other” in each decade is shaped by the social and political conditions of its time. In the 1980s and 1990s, the “Other” is mainly represented as marginalized or isolated groups and individuals who are often excluded. The representation of the “Other” during these decades also expanded through family and social conflicts, with a strong emphasis on justice-seeking elements. In the 2000s, Iranian cinema began to pay more attention to intellectuals and independent women; however, dominance and ambiguity in the fate of the “Other” continued to prevail. In the 2010s, the “Other” remained associated with the poor and independent women, whose narratives are marked by domination, alienation, poverty, and death.
The study concludes that Iranian cinema serves as a mirror reflecting the country’s ideological and social tensions, and that the process of Othering plays a crucial role in illustrating the social order and dominant norms.
