En
  • دکتری (1392)

    پژوهش هنر

    دانشگاه هنر تهران،

  • کارشناسی‌ارشد (1377)

    کارگردانی انیمیشن

    تربیت مدرس، تهران، ایران

  • کارشناسی (1371)

    کارگردانی سینما

    هنر تهران، تهران، ایران

  • مطالعات انیمیشن
  • مطالعات سینما
  • مطالعات فرهنگی
  • فیلمنامه نویسی
  • کارگردانی

    داده ای یافت نشد

    ارتباط

    رزومه

    Structuralist Analysis of Musical Genre in Animation

    Mohammad Ali Safoora
    Journal PapersJournal of Interdisciplinary Studies in Communication and Media , Volume 3 , Issue 2, 2020 August 22, {Pages 101-118 }

    Abstract

    Genre in Film Studies is a set of rules and common agreements among three groups of audience, filmmakers and critics to classify types of films. This set of rules and accepted characteristics directly influences film formation. A cursory look at “Musical Animation” genre shows that this type of animation, due to its potential, has gained a huge popularity among cinemagoers. By investigating different theories, the present study tries to identify the main characteristics of this genre and provide an analysis of two chosen films based on these characteristics. Its vision is to cover part of the theoretical shortcomings concerning this genre in Iran. This article aims to prove a hypothesis in which this genre is fully explainable according

    Social Functions of Samurai Film Genre from Ideologic and Ritual-Mythologic approach

    Basir Salim Alaqeband, Mohammad Ali Safoora, Amir Hasan Nedai
    Journal PapersHonar--Ha-Ye-Ziba: Honar-Ha-Ye-Namayeshi Va Mosighi , Volume 24 , Issue 4, 2020 January 21, {Pages 43-54 }

    Abstract

    The notion to categorize and identify different kinds of literature and arts has a great importance. In order to investigate the essence and functions, a set of hypotheses known as the Genre Theory has been created. This theory can be followed to Aristotle’s thesis about kinds of poetry. In the middle of the 20th century, the neo-Aristotle school was formed to confront the new critique school which believed in literature free from any restraints, any cross-references or dependence and relationships with works of literature and they gave credit to avant-garde artists who didn’t pay attention to any established rules or conventions. Conversely, Aristotelians stood against these beliefs and supported the genre theory of the late 1930’s a

    A Semantic-Syntactic Examination of a Cinematic Genre, Case Study: The Samurai Genre

    Mohammad Ali Safoora, Basir Salim Alaqeband, Amir Hassan Nedai
    Journal Papers , Volume 1 , Issue 1, 2019 August 23, {Pages 169-195 }

    Abstract

    Samurai genre, as one of most important parts of Japanese cinema history, had a significant role, in its seven decades of life, in emerging artistic threads in Japanese cinema, binging about a relative economical constancy for this cinema, and attracting attentions around the world to this cinema. Since genre studies in cinema mostly have been concentrated on Hollywood, especially on its studio system period, other cinemas, including valuable genres like Samurai genre in Japan on which great filmmakers from Mizoguchi and Kurosawa to Kobayashi and Oshima made films usually were neglected. This article applies Semantic/Syntactic approach of Rick Altman in genre theory, which regarded by genre theory experts most authentic theory for explainin

    Statement Components of animation and how to Adapt from Iranian Tales and Legends (Case Study: Jamshid and Khorshid Cinematic Animation)

    Zeinab Baniasadi, Mohammadreza Sarfi, Yadollah Aghaabasi, Mohammad Ali Safoora
    Journal PapersJournal of Culture-Communication Studies , Volume 19 , Issue 44, 2019 February 20, {Pages 203-228 }

    Abstract

    Adaptation from ancient literature, especially tales and legends, and the discovery of the multi-layered relationships of legends with the statement style of animation, is one of the ways that many animate screenwriters have pay attention to it today. Considering the structural features and amazing abilities of Iranian tales and legends for adapting with the language of animation, learning the media language and using techniques such as adaptation and re-creation to turn legend to animation is very necessary. ?? This article, presents the adaptive critique of the common elements of the legend and the animated animation of "Jamshid and the Sun" and how these elements are transmitted in the process of adaptation of the myth to animation, by u

    The Origin of Cinematic Narratives from Viewpoint of Care of Being

    Mohammad Ali Safoora, Ali Asghar Fahimifar, Majid Beladpas
    Journal PapersInterdisciplinary Studies in Media and Culture , Volume 7 , Issue 14, 2018 February 20, {Pages 129-152 }

    Abstract

    Aim of this article is to bring to light the grounds and the origins of film narratives, namely its possibilities and necessities. Film narratives as the work and behavior of human being is necessarily originated in and grounded on the essence and the mode of his Being. In this article from the viewpoint of care of Being, that is, one original characteristics of human beings, and regarding to Heidegger's general thought of Being as such, essence of human being, and truth or unconcealment, has been tried to explicate the necessities and the possibilities of narratives as language, the necessities and the possibilities of cinematic montage on the basis of indeterminate presence and concrete acquisitions. Finally, researching the narratives fr

    Structuralist Analysis of Musical Genre in Animation

    Mohammad Ali Safoora
    Journal PapersJournal of Interdisciplinary Studies in Communication and Media , Volume 1 , Issue 1, 2018 November 22, {Pages 87-106 }

    Abstract

    Genre in Film Studies is a set of rules and common agreements among three groups of audience, filmmakers and critics to classify types of films. This set of rules and accepted characteristics directly influences film formation. A cursory look at “Musical Animation” genre shows that this type of animation, due to its potential, has gained a huge popularity among cinemagoers. By investigating different theories, the present study tries to identify the main characteristics of this genre and provide an analysis of two chosen films based on these characteristics. Its vision is to cover part of the theoretical shortcomings concerning this genre in Iran. This article aims to prove a hypothesis in which this genre is fully explainable according

    An Investigation to Analysis of Animation Market in Iran and the Obstacles of Animation Industry increment

    Mohammad Ali Safoora, Zahra Arab
    Journal PapersJournal of Applied Arts , Volume 4 , 2016 February 20, {Pages 23-33 }

    Abstract

    nimation as an artistic industry is considered as one of the main demarches for communication in contemporary world. A common way to show art as a national culture. It is a matter which is not only included in art but also depends significantly on industry events. Iran animation couldn’t be considered as an industry due to some factors, so Iran lacks the capacities of this strong media. The primary term and condition to develop national animation is to create a regulatory and monitoring system having economic, artistic and cultural managers and strategists. Considering the status quo, this field strongly requires a hierarchical and permanent system based on which can find the executive systems and the executional capacity of developmental

    Structural studies of TV Animation and exposure method for Animation content analysis

    MOHAMMAD ALI SAFOORA, MOHAJER KAMRAN AFSHAR, SHAKIB FATEMEH HOSSEINI
    Journal Papers , Volume 19 , Issue 1, 2014 January 1, {Pages 71-82 }

    Abstract

    In a very general classification, films can be divided into three groups including fiction, nonfiction (ie documentary, experimental….) and animation. Animation, as one major member of the three is a hybrid medium and art form which employs the expressive elements of other arts; that is it hybridizes and utilizes elements of dramatic arts (mainly cinema) and fine arts (painting, graphic design, etc.). Thus it may be said that to study these ‘structural elements’ and utilizing them in an appropriate manner in TV animation production would mediate the ideal effect and message to the viewer. It is possible to group animation productions into three major groups of short experimental animation, feature-length and TV animation. Nowadays, TV

    Environmental Design and Space Design Management in Animation, Educational &Analytical Approach

    Mohammad Ali Safoora, Hossein Safi, Seyed Badreddin Ahmadi
    Journal PapersHonar--Ha-Ye-Ziba: Honar-Ha-Ye-Namayeshi Va Mosighi , Volume 2 , Issue 41, 2011 October 23, {Pages 43-50 }

    Abstract

    In order to be attracted, each work of must encounter viewer in its environment. At first it is virtual and is the result of sensitive subjectivity of the artist, and then it will be changed to objectivity and forms a piece of artwork. The artist of filmmaker is changing the virtual environment of the film; the virtual situation which is made in the mind of the scriptwriter and himself; and uses images in, shots, scenes and sequences. However, before to set the images, shots, scenes and sequences, he must create the real environment of the narrative movie by pre-visualization like design and storyboard. Creation of environment is the first step in concretion of the imaginations of the filmmaker. There are different ways to create an environ

    Failure of Animation Mass Production in Iran: a Production-Management Approach in the Decade 1380-1390

    AHMAD LANGROUDI, MOHAMMAD ALI SAFOORA, AMIRHASAN NEDAEI
    Journal Papers , Volume 17 , Issue 2, January , {Pages 61-68 }

    Abstract

    Animation, in its shape and content, originates from imagination; its most important characteristic is the actualization or materialization of endless imaginations. The art of animation, when its variety of techniques and attractiveness is considered, is warmly accepted by a wide range of audiences across the globe. With the emergence of television and its serious need for this art, animations gradually moved towards industrialization. All these, with its importance in today’s world to achieve both cultural and financial goals, led various artists to be attracted to and employed in this huge industry. This large group of human resources is actually the building block of this industry which has made it change from its initial shape as an a

    دروس نیمسال جاری

    • كارشناسي ارشد
      روش تحقيق در سينما ( واحد)
      دانشکده هنر، گروه انيميشن و سينما
    • كارشناسي ارشد
      روش تحقيق در سينما ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (2) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (2) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (2) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (2) ( واحد)
    • كارشناسي ارشد
      كارگاه فيلم سازي پيشرفته (2) ( واحد)
    • كارشناسي ارشد
      كارگاه فيلم سازي پيشرفته (2) ( واحد)
    • كارشناسي ارشد
      كارگاه فيلم سازي پيشرفته (2) ( واحد)
    • كارشناسي ارشد
      كارگاه فيلم سازي پيشرفته (2) ( واحد)

    دروس نیمسال قبل

    • كارشناسي ارشد
      كارگرداني پويانمايي (1) ( واحد)
      دانشکده هنر، گروه انيميشن و سينما
    • كارشناسي ارشد
      كارگرداني پويانمايي (1) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (1) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (1) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (3) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (3) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (3) ( واحد)
    • كارشناسي ارشد
      كارگرداني پويانمايي (3) ( واحد)
    • كارشناسي ارشد
      فيلمنامه نويسي پويانمايي ( واحد)
    • كارشناسي ارشد
      فيلمنامه نويسي پويانمايي ( واحد)
    • كارشناسي ارشد
      فيلمنامه نويسي پويانمايي ( واحد)
    • كارشناسي ارشد
      فيلمنامه نويسي پويانمايي ( واحد)
      داده ای یافت نشد
    • • عضو انجمن آسیفا (خانه سینما) از سال 1375 تا کنون
    • • مسئول بخش انیمیشن مرکز گسترش سینمای مستند و تجربی، 1386-1388
    • • عضو شورای انیمیشن مرکز گسترش سینمای مستند و تجربی، 1395-تاکنون
    • • عضو شوراهای مختلف طرح و برنامه در سیمای استانها و مجلس و مرکز پویانمایی صبا 1380 تاکنون
    • • عضو کمیته برنامه ریزی انیمیشن- معاونت سیما (1390-93)
    • • عضويت در هيات انتخاب و داوري جشنواره هاي مختلف
    • • دبیر بخش پایان نامه های نظری جشنواره بین المللی انیمیشن تهران 1375
    • • دبیر نهمین جشن مستقل سینمای انیمیشن ایران (خانه سینما 96)
    • • عضو کارگروه فرهنگی اجتماعی دانشکده هنر تربیت مدرس 1396
    • • استاد مشاور فرهنگی انجمن های علمی تربیت مدرس 1396
    • • برگزاری هفته انیمیشن هر ساله در دانشگاه تربیت مدرس (با همراهی گروه)
    • • برگزاری کارگاه های متعدد سینما و انیمیشن هر ساله (با همراهی گروه)
    • • برگزاری کارگاه های متعدد سینما و انیمیشن هر ساله (با همراهی گروه)
    • • انتخاب به عنوان یکی از پژوهشگران برتر (براي آثار هنري) در دانشگاه تربیت مدرس1382
    • • دریاف سه جایزه برای فیلم از جشنواره رشد، ترافیک، و ترافیک ورسانه برای فیلم (خودروهای ماندگار) 1388و 1389 و...
    • • دريافت جايزه اوال از جشنواره پيامبر اكرم براي فيلم (آب و گل). 1386
    • • دريافت جايزه اول از جشنواره بين‏الملل فيلم رُشد (ساری) برای فیلم داستانی(آب و گل)1382
    • • دريافت جايزه اول از جشنواره رویش برای فیلم داستانی(آب و گل)- 1384
    • • دريافت جايزه اول از جشنواره سیما (تلویزیون ایران) برای فیلم داستانی (نیاز)- 1374
    • • دريافت جايزه اول از دومین جشنواره فیلم دانشجويان ايران برای فیلمهای انیمیشن (شوک و اکولوژی)- 1376
    • • دريافت جايزه اول(جایزه شبکه اول تلویزیون) از جشنواره بين‏المللی سينمای جوان برای فیلم انیمیشن(اولین نیلوفر)-1378
    • • دريافت جايزه بهترین فیلم (جایزه شهرداری) از جشنواره فيلم وارش برای فیلم (روز نامه)-1381
    • • دريافت جايزه بهترین فیلم تجربی از جشنواره فيلم وارش برای فیلم (روز نامه)-1381
    • • دريافت جايزه دوم (جایزه داوران دانش آموز) از جشنواره بين‏الملل فيلم رُشد برای فیلم انیمیشن(شوک)-1378
    • • دريافت جايزه دوم از سومین جشنواره فیلم دانشجويان ايران برای فیلم انیمیشن(اولین نیلوفر)- 1377
    • • دريافت جايزه سوم (جایزه نانو) از جشنواره بين‏الملل فيلم کوتاه تهران برای کلیپ(درنگ)-1384
    • • دريافت جايزه سوم از اولین جشنواره فیلم دانشجويان ايران برای فیلمنامه (آب وگل)-1375
    • • دريافت جايزه سوم از جشنواره فيلم پلیس برای فیلم (خاطرات پیاده رو)-1383
    • • دريافت جايزه سوم از جشنواره فيلم سبز در بخش فيلمنامه برای فیلمنامه(آب و گل)-1379
    • • دريافت جايزه سوم از جشنواره فيلم شهر برای فیلم (پنجره های اطراف ما)- 1384
    • • شركت در جشنواره‏هاي متعدد داخلي و خارجي و دريافت چندین جايره از جمله سه جايزه متوالي از سه دوره جشنواره فيلم دانشجويان سراسر كشور و نيز انتخاب به عنوان دانشجوي نمونه در دانشگاه تربیت مدرس 1378
    • • کانديد دريافت جايزه از جشنواره بين‏المللی فيلم فجر برای فیلم مستند (روزنامه).

    مهم

    جدید

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