Document Type : Original Article
Authors
1 PhD student in Persian Language and Literature, Islamic Azad University, Torbat Heydariyeh, Iran
2 Associate Professor, Department of Persian Language and Literature, Hakim Sabzevari University, Sabzevar, Iran
3 DAssistant Professor of Persian Language and Literature, Torbat Heydariyeh Branch, Islamic Azad University, Torbat Heydariyeh, Iran.
4 Ph.D and Researcher of Philosophy of Art, North Tehran Branch, Islamic Azad University, Tehran, Iran.
Abstract
This article tries to analysis an adaptation film "Bloody Cow" by Behrouz Afkhami from a novel by Jafar Modarres Sadeghi based on the intersemiotics and the pattern of Roland Barthes’ narrative codes. In the criticism of cinematic works, we pay attention to the aesthetic aspects, staging, visual elements of the film and the theme of the film, mainly, and its semantic and signs meanings, semiology components are paid less attention. In analysis of cinema, the semiotic approaches pay attention to examines, analyzes and interprets the act of signification and the process of textualization, and the film as a signal visual system, including "image", "index” and the "symbol". In the intersemiotics approach, base on Roland Barthes’ pattern of narrative codes, ie. hermeneutic, cultural, semantic, active and symbolic codes, it is possible to analyze the analysis of cinematic films, including the adaptation of "Blood Cow". The result of this research is that by examining the distinctive sign system between these two linguistic-literary text and the visual text, it is possible to analyze the intersemiotics between a literary-narrative text (in this research: Blood cow novel) and the adaptation-narrative film (in this research: Blood Cow film). The analysis of intersemiotics of cinematic works, including the adaptation film"Bloody Cow" base on these narrative codes, enriches textual and cinematic studies.
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