The book, A Short Guide to Writing about Film, is a description of how to analyze movies, and closely linked to thinking about film and writing about it. To achieve this goal, the author focuses on defining the terminology and professional concepts of cinema and movie analysis approaches. For analysis and critique, it is necessary to have theoretical plan for analyzing; but the described approaches in this book, are not the main movie analysis approaches, and for instance, approaches like formalism and ideology lack a theoretical basis; especially in this book, formalism is considered the same as structuralism.

The book Understand Film Studies, aims to equip its reader with necessary concepts for film critique; in this regard the author describes the definitions of aesthetic and film structure, film genres and documentary, and by giving examples and expressing the basic concepts of each one, clarify the topics. But the ten approaches mentioned in the book, do not have precision and comprehensiveness enough for film analysis. The emphasis on Hollywood films and special privilege on director as auteur, palliate the up to date content of the book, despite the subsequent text-based analysis.

This paper examines the evolution of the concept of photography in Iran during the two decades following the 1979 Islamic revolution and its relationship to a changing political discourse during that period. Since the state became a dominant player in culture and the arts during the post-Islamic revolutionary era, this paper puts the evolution of the concept of photography into a socio-political context. Using Discursive Institutionalism as a theoretical framework, we examine Iranian photographers’ ideas on photography as well as the discourses that affected photography organisations, revealing the forces driving changes in how photographic work was conceived. The first decade following 1979 the Islamic revolution was marked by eight year

Nowadays, the concept of sustainable development is progressively considered in all contemporary activities, including art and has been featured in the cinema since2004 with introduction of the term "Ecocinema" as a field of study. Earlier, film criticism and analysis of the ecological issues was limited to the scattered studies of critics such as Wilson, Armstrong, Seibert, Mitman, and Bous? with the focus on wildlife documentaries. But from this year, and within a short time, all kinds of cinematic genres, from fictional to documentary and experimental films have attracted the attention of critics. Similarly, many researchers from the humanities and social sciences have focused on ecological issues in cinema studies. As we see nowadays th

Causality is a significant concern to humankind and also a fundamental philosophic concept. Western philosophers whose ideas are discussed in this research, studied cause-effect relationship from different point of views. Cinematic narrative is a combination of causality ,time and space system. In classic narrative which are typically in Hollywood films, causality is the most important element that guarantee the coherence and unity of a plot. Since the causality in Aristotle's philosophical tradition was essential, the cause-effect relationship in classic cinematic narrative is also based on the principle of necessity. Cause-effect relationship in postmodern cinematic narrative is accidental. It seems that variation in cause-effect relation

The book “Making a Good Script Great”?aims to help its readers develop their skills to express a dramatic story. In this regard, the author, by explaining story structure based on the three-act structure, turning points, climax, and creating characters, introduces the reader the fundamental issues of rewriting the script. But, the author’s main intention is commercially oriented. . Her evaluation system is purely based on selling movies and Hollywood. Besides, reviewing American cinema is not seen in the book. Reducing the whole world of cinema to the Hollywood, putting the three-act structure as the basis, and the ignorance of any other alternative structures in all affairs of script, are considered content problems of the book.