Elham Eil; Mohammad Aref
Abstract
The present article tries to study the analytical and cognitive symbol of the color of pomegranate film, a work of Russian-Armenian director Sergei Parajanov from the point of view of symbolic anthropology. Symbolic anthropology, which has been created along the lines of the 1970s and with the efforts ...
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The present article tries to study the analytical and cognitive symbol of the color of pomegranate film, a work of Russian-Armenian director Sergei Parajanov from the point of view of symbolic anthropology. Symbolic anthropology, which has been created along the lines of the 1970s and with the efforts of thinkers such as Geertz, Theres and Douglas in the humanities, sees culture as a set of meanings that are understood and interpreted through symbols and symbols. The cinema is also used as a textual media for transmitting cultural meanings. One of the most suitable tools for analyzing cinematic texts is the use of semiotics, which is a cohesive and fruitful way in cinematic studies. Pomegranate, a film adapted from the life of Sayat Nawa (Armenian poet of the eighteenth century), is a mixture of evangelical symbols, religious portraiture, indigenous art and Armenian folk architecture. This article is based on the Clifford Geertz view, using qualitative content analysis and library methodology, with the approach of symbolic anthropology. The findings show that Parajanov is an expensive Armenian ethnographer who has well-known ethnic and ethnic elements in Armenia, and has witnessed the transformation of indigenous, religious, and religious symbols into the life of the Armenian people during the Soviet era. He has been able to express the mystical thoughts of the Armenian poet by effectively using colloded collages. This article deals with the classification of 10 symbols and symbols in the color of pomegranate film.
