احسان انصاری

With the development and evolution of communication and the emergence of mass communication tools and visual media such as cinema, the issue of representation has become very important. Representation, due to its link with discourse, can be done by relying on different strategies and therefore becomes important in relation to power, and this causes the attention to be paid to the representation of different social groups and identities. This research aimed to understand how are the representations of Kurdish People in iranian cinematic works of two periods before and after the ۱۹۷۹ Revolution, and analyze the characteristics of the representation of the Kurdish people in the two mentioned periods and finally compared the representation of the Kurdish people in each of these two periods and determined its relationship with the dominant discourse of that period. To conduct this research, ۶ films were sampled from the both pre-revolutionary and post-revolutionary periods, in which the representation of the Kurdish people was implied somehow, or the focus was on identity, culture, history and politics of the Kurds. For this purpose, three films namely "Dalahoo", "Sadegh Kordeh" and "Ghazal" from the pre-revolutionary iranan cinema and three films namely "Marz", "Takhteh Siyah" and "Zhani Gal" from the post-revolutionary iranan cinema were selected and viewed according to Norman Denzin method. The findings of the research are presented in the form of analyzing the text of the films using the method of critical discourse analysis in the form of issues such as "ruralization and assimilation of ethnicities", "absence of female Kurds", "elimination of the political issue and egoism of the Kurdish personality", "centrism", "distance from the homeland" and "Aggressive spirit" in works related to pre-revolutionary cinema, and "urban Kurdish presence", "nativeism", "presence in homeland", "revolutionary discourse, human rights attitude and humanitarian criteria in film production", "presence of Kurdish women" and "defensive spirit" in works related to post-revolutionary cinema are presented in comparison with each other in the final result.

Key Words: Representation, Discourse, Cultural Identity, Kurdish People, Iranian Kurdistan, Iranian Cinema, Kurdish Cinema