One of the most fundamental problems in today's cinema is a discussion of what is referred to lack of mutual understanding between officials and artists. The record review in Hoze Honari as one of the major determinants of coordination in Iranian cinema, it can be a reference for all those involved in Iran's cinema and efficient. But what Hoze Honari as a critic the revelation of values in The New Iranian Cinema refers to Debate success in the sacred films as a cinema with special audience and yet have a value. Avini’s theory of cinema of the 60s, has raised him as the "Benchmark Index" of this movement. In this paper with the comparative methods, we scrutinize the sacred defense, with an emphasis on the Avini’s theory in 6 movies chos

Although the status of women in dramatic literature of resistance has always been criticized by critics and researchers of theatre in our Country, there has been no change in the authors’ approach or their policy making. It seems that despite diagnosing the problem researchers and writers feel uncertain in how to tackle the problem and change the conditions. The main reason is the lack of knowledge about the nature of patriarchy that imposes its unwritten and unchangeable rules on dramatic literature in the form of unattainable tablets. This article seeks to find out the patriarchy rules governing the dramatic literature of resistance, and to prove them for detailed explanation of the subject with focusing on seven specified plays named: