The present article is an attempt to find out the narrative variables and coding analysis of post-Revolution religious cinema in Iran, extract the religious categories emphasized by it and way of putting the narration and film codes in the service of religious categories. For this purpose, a conceptual framework of religious cinema and cinematic narratology and semiotics was developed and in the light of social tie of art some allusions were made to social context of Iran. Barthes-McQuilan approach and identification of indexes of narratology in the major and minor scenes were used for narrative analysis; and, Eco’s approach and identification of the significations of the ten codes were used for semiotics. On the basis of maximal definition of religious cinema and the viewpoints of the experts of this field as well as through assessment of the landmark religious films, the “Coper and Gold” film was selected because of its religious themes, suitable utilization of semiotic codes and principles of narration. The findings of the research include the followings: prioritizing the behavioral and epistemic aspects of religion; avoiding the expression of convictional categories and secularization of religion; congruence with public sphere of the believers; utilizing unconscious codes for offering profound concepts; and putting narration and film codes at the service of religious narrative and codes.
This paper has focused on extracting different religious aspects and indexes in after-revolution Iranian religious cinema, studying narrative and semiotic characteristics of this cinema and knowing serving manner of narration and codes of the film to religion. For this purpose, framework of religious cinema, cinematic narration and semiology and generalities of the Iranian social context based of art’s social connection will be presented. The methodology of this paper is combined of Barthes-McQuilan’s approach in narratology and Umberto Echo’s approach in semiology. By using Barthes-McQuilan’s approach different indexes have been recognized in primary and secondary scenes of the films. Also, by using Echo’s approach different codes including perceptive codes, codes of recognition, codes of transmission, tonal codes, iconic codes, iconographic codes, codes of taste and sensibility, rhetorical codes, stylistic codes and codes of the unconscious have been detected in the scenes of the films. By using religious cinema definition, expert opinions and evaluation of main Iranian religious cinema, “Gold and Copper” Film has been selected. Emphasis of this film to ritualistic and intellectual aspects of religion, avoiding the film from ideological aspects and secularization, alignment of the film to religious public sphere and complete serving of the film’s narration and codes to religion are some results of this paper.