Document Type : Original Article
Authors
1 Professor of Persian Language and Literature, University of Qom, Iran.
2 PhD student in Persian Language and Literature, University of Qom. Qom. Iran.
Abstract
Persian literature encompasses works with diverse themes; however, despite this richness, cinematic adaptations of literary works in Iranian cinema are significantly fewer compared to global cinema. The aim of research is to discover the reasons behind filmmakers' selection of these limited literary works, in order to answer the question of what common characteristics the stories chosen by Iranian directors possess. To arrive at this answer, using a descriptive-analytical method based on the collection and compilation of information, three stories by Gholam-Hossein Saedi "The Cow," "The Trash Can," and "Tranquility in the Presence of Others" which have been adapted by two Iranian directors, were selected. Based on Daniel Chandler's semiotic theory, the text of the stories was studied and analyzed, as this theory addresses various dimensions of the literary work from three perspectives: social, textual, and interpretative. The research results indicate that the three adapted stories by Gholam-Hossein Saedi, despite their differences, share common signs, especially within the category of social codes. These signs include identity transformation, confusion, helplessness and despair, a dark atmosphere, unfavorable social conditions, and dissatisfaction and malaise among the story's characters. These shared social signs reflect the social conditions of the 1960s and 1970s, suggesting that the reason for their selection by these two directors was their concern for contemporary issues. Furthermore, the shared social signs in the two stories "The Cow" and "The Trash Can," which were selected by Mehrjoui, have a higher frequency compared to the story "Tranquility in the Presence of Others."
Keywords
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