چکیده:
Women have played an important role in various movements and motions, including the Sacred Defense. Since cinema has a significant impact on conveying these spheres of presence and the real character of women in war, this essay examines 'explaining how female characterization is done in Sacred Defense cinema.' The method of data collection in this research includes documents such as books, articles, and films. Subsequently, a qualitative analysis method is used to describe and analyze female characterization in the film 'Days of Life.' The results obtained for the question of how female characterization is in the Sacred Defense are as follows: in Sacred Defense cinema, women have a faint presence, and their presence is mostly behind the front lines in the roles of mother, sister, wife, or rescuer, which has become stereotypical. In the analysis of the film 'Days of Life,' it was revealed that this film provides a non-stereotypical image of women. Finally, it must be stated that all spheres of women's presence have not been addressed in Sacred Defense cinema.
خلاصه ماشینی:
Examining Female Characterization in Sacred Defense Cinema With a Case Study of the Film "Days of Life" Fatemeh Ahmadi 1 Abstract Women have played an important role in various movements and motions, including in the Sacred Defense.
Since cinema has a significant impact on conveying these spheres of presence and the real character of women in war, this essay examines "explaining how female characterization is done in Sacred Defense cinema.
Therefore, the present research, by examining female characterization in Sacred Defense cinema through a case study of the film "Days of Life," is considered new in terms of subject matter and case study.
In this research, the characterization, spheres of presence, and roles of women in the Sacred Defense, female characterization in Sacred Defense cinema, and the explanation of female characterization in the film "Days of Life" are addressed using the qualitative analysis method.
In examining the role of female characters in Holy Defense cinematic films, it must be said that from the year 59, when the first war-related films were produced in Iranian cinema, until the year 67, when Ebrahim Hatamikia came into focus in Holy Defense cinema with "The Watchman," women in war cinema were only considered as a factor for addressing the family life of the combatant, albeit in its most superficial form, which included the woman's presence in the home, looking after children, seeing off the combatant to the deployment site, etc.
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