Document Type : Research Article
Authors
1
M.A. Student of Sociology, Tarbiat Modares University
2
Assistant Professor, Department of Sociology, Tarbiat Modares University
10.22059/jisr.2024.358583.1399
Abstract
Purpose: Cinematic works serve as reflections of a society's cultural unconscious, enabling sociologists to study its hopes, aspirations, and societal concerns. This manuscript utilizes qualitative content analysis to examine the portrayal of social hope in 15 films from the Iranian New Wave Movement. The research aims to address two key questions: "How is social hope represented in Iranian New Wave Cinema?" and "How does this representation relate to the social context of the film production?"
Theoretical approach: Drawing from Simmel's sociological theory of art, the article examines how films mirror social hope dynamics, challenging "growth and progress" discourse, and cultivating an alternative discourse from social discontents. Despite extensive literature on "social hope" and the "sociology of hope," analytical formulations are limited. This article adopts Schneider's triple articulation—encompassing "agency," "purposefulness," and "feasibility"—as indicators to measure social hope.
Method and sampling: Employing qualitative content analysis, this research focuses on 15 films representing the Iranian New Wave Movement, a cinematic movement in Iran from 1347 to 1357. Noteworthy directors include Dariush Mehrjoei, Masoud Kimiaei, Nasser Taqvai, Bahram Bayzaei, and Amir Naderi. Purposeful stratified sampling was employed, selecting three works from each director, aligning with the research objective. This method ensured the selection of works most aligned with the study's purpose.
Findings: The study reveals diverse perspectives on social hope, ranging from steadfast faith to skepticism. In general, the films emphasize skepticism towards social hope, with most works expressing disbelief in its possibility or actively discouraging society through depictions of inactive, aimless, and disabled elements. Only four films in the sample population deviate from this trend. The article provides valuable insights into the cultural unconscious of the era, emphasizing the enduring influence of these cinematic narratives on shaping perceptions of societal hope.
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