چکیده:
The phenomenology of Indian popular films, based on the dual identification of philosophical-technical codes, is a prelude to understanding an indigenous discourse as global popular culture. The discursive formulation of Indian popular films, based on the structure of indigenous philosophical-religious thought and the creation of a dreamlike and imaginative narrative world, influenced by philosophical, religious, and mythological components and elements, has made it possible for a global phenomenon to manifest alongside traditionalism and localism. The main concern of this writing is to dissect a seemingly contradictory narrative discourse that, despite 'massification,' 'clichéing,' 'audience-centricity,' etc., reflects the philosophical-religious heritage of a culture-nurturing and school-producing land. While the narrative discourse and artistic structure of the works of Indian intellectual cinema, despite realism, characterization, poeticism, etc., remain unable to express the minimums of their ethnic and traditional cultural identity.
خلاصه ماشینی:
3 Maulana Jalal al-Din Rumi, Masnavi Ma'navi, edited by Mohammad Estalami, Tehran, Zavar Publications, 1362, Book One, verses 696-699.
In this way, they consider God to be One and the prophets to be from the One Light, and they regard their religions as various garments adorning the body of the Single Witness; as he says: Wherever I knock on a door, you are the owner of that house Wherever I go, you are the ray of my abode In the tavern, in the monastery, you are the Beloved My purpose from the Kaaba and the idol house is you You are the purpose; the Kaaba and the idol house are but pretexts Thus, the multiplicity of laws expresses the various faces of a single reality, which throughout the ages and Ibid, Book One, verses 682-691.
1 As Rumi says: Every prophet and every saint has a path Even if there are a hundred books, there is not more than one door The essence of these ways is a single home But they all lead to the Truth, they are one 2 There is no intention for a hundred directions except the mihrab These thousands of ears of grain are from a single seed 3 Causes of Religious Differences Rumi, in explaining the story of "Moses and Pharaoh," says: When the world of unity entered into determination and matter and became limited in form, matter, body, and shape, these various manifestations appeared.
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