https://javm.iribu.ac.ir/ Quarterly Scientific Journal of Audio-Visual Media en daily 1 Mon, 22 Dec 2025 00:00:00 +0330 Mon, 22 Dec 2025 00:00:00 +0330 https://javm.iribu.ac.ir/article_240959.html This study aims to design a model of cognitive persuasion for audiences within the Islamic Republic of Iran Broadcasting (IRIB), using the grounded theory approach. The central research question explores the key components of cognitive persuasion in national media and how a context-specific model can be extracted through field data analysis. The research follows a qualitative methodology based on Strauss and Corbin’s version of grounded theory. Data were collected via semi-structured interviews with 21 experts in cognitive science, communication, media, and policy-making, and were analyzed through open, axial, and selective coding stages. The findings revealed that cognitive persuasion in IRIB emerges from the interaction between cognitive components (such as attention, memory, emotion, intuition, and reasoning) and contextual elements (such as indigenous narrative, popular narrators, and trust-based communication). Based on the data analysis, a localized theory was developed and presented in both a paradigmatic model and an executive framework applicable to media production and policy. The conclusion emphasizes that audience cognitive persuasion requires multilayered, meaning-driven messaging designed at the intersection of cognitive science and indigenous sociocultural dynamics. https://javm.iribu.ac.ir/article_240931.html Commercial advertising, as a powerful tool for transmitting commercial, cultural and ideological messages, plays an important role in representing local, national and global values. Advertising semiotics, by analyzing visual, textual and audio signs, reveals the hidden layers of the message and its goal is to discover how values are transmitted, emotions are induced and the audience is persuaded through symbols, metaphors and myth-building around a brand. This research, by applying Roland Barthes' semiotics and utilizing the emerging concepts of post-digital semiotics, emotional semiotics and brand myth-building in the era of globalization, analyzes the commercial video of Zamzam (representing Iranian values) and Coca-Cola (representing global values) in the last year to examine the characteristics between these two brands. The findings show that Coca-Cola advertising promotes dynamic visual cues such as Marvel heroes, legendary characters, consumerist and sensationalist values and creates a myth of a modern and Hollywood lifestyle. In contrast, Zamzam advertising, while being collectivist and simple, uses cues such as water (a symbol of purity and life in Iranian and Islamic culture) and strengthens national and spiritual identity. The findings indicate a conflict between Coca-Cola's global myths and Zamzam's indigenous identity. This research helps to understand cultural interactions in advertising and its impact on audience perception. https://javm.iribu.ac.ir/article_240934.html In the contemporary era, media serves as the primary agent of religious socialization, playing a pivotal role in establishing rituals. However, challenges such as formalism and false polarization between happiness and grief have jeopardized its civilizational function. The main question of this research is: What is the optimal model for institutionalizing rituals in the media based on the dialectic of happiness and grief in Islamic teachings? The research method is descriptive-analytical, utilizing "Thematic Analysis," with data extracted from a deep investigation of the Quran, Nahj al-Balagha, and mystical texts. The theoretical framework relies on the integration of three approaches: philosophical foundations (happiness and grief as psychological qualities), the mystical theory of "paradoxical unity" (grief of love as a prelude to the joy of union), and the normative approach of "Quranic moderation." Findings indicate that in divine logic, grief and happiness are not mutually exclusive contradictions; rather, spiritual grief is the breeding ground for inner vitality. Accordingly, the conceptual model of the research was designed based on four pillars: "Promoters of Constructive Happiness" (such as heartfelt assurance), "Promoters of Constructive Grief" (such as the pain of longing and responsibility), "Reducers of Morbid Happiness" (such as neglectful joy), and "Reducers of Morbid Grief" (such as despair). Results suggest that for the national media to transition from mere "mirror-holding" to the status of "civilization-building media," a strategic revision is required at three levels: macro-policy-making, content production (reforming visual language and metaphors), and audience management. https://javm.iribu.ac.ir/article_241993.html This study examines the alignment of the children’s television program Anadana, broadcast by the Hamedan Provincial Television Network, with children’s developmental and educational stages. As a significant component of children’s media experience in Hamedan, evaluating its content is essential for assessing its developmental appropriateness and improving program quality. The research employed a quantitative content analysis method grounded in Gerbner’s cultivation theory. The theoretical framework integrated Erikson’s psychosocial development theory, Bandura’s social learning theory, and Gerbner’s cultivation approach.The statistical population consisted of 47 episodes aired in 2024 (1403), all analyzed using a census method. A total of 329 content items—including songs, stories, dramatic segments, and animations—were identified as units of analysis. Data were collected through a researcher-developed coding sheet with confirmed validity and reliability and analyzed using SPSS software and the non-parametric chi-square test.Findings indicate that the program’s content demonstrates relatively appropriate alignment with children’s cognitive, linguistic, and physical development. However, weaknesses were observed in promoting social, emotional, and moral development, as well as creativity. Limited representation of positive behavioral role models, insufficient gender balance, and the absence of a clearly goal-oriented educational approach were also identified. Although the program effectively incorporates entertainment elements, simple child interaction, and indigenous cultural features, revisions are necessary to enhance its consistency with psychosocial developmental stages. Overall, improving content quality and developmental alignment is essential to strengthen the program’s contribution to children’s holistic development. https://javm.iribu.ac.ir/article_241995.html Cinema in Iran, particularly after the Islamic Revolution, has been a site of varied efforts by artists, especially filmmakers, to articulate Iranian identity and worldview. More specifically, the cinema of Abbas Kiarostami, one of the most internationally recognized Iranian directors, displays distinctive formal characteristics. Examining the relationship between his films and foundational Iranian visual art traditions such as Persian miniature painting, which is deeply rooted in Iranian modes of perception and worldview, can therefore be analytically productive. Accordingly, the main research question of this study is whether Kiarostami’s films can be considered instances of a visual translation of the underlying strategies of Persian miniature painting, particularly in terms of cinematic framing and mise-en-scène. Although the study refers to certain formal similarities between the two media, its concern extends beyond surface-level resemblances. This is because painting and cinema, despite their visual affinities, differ in fundamental ways, with temporality constituting one of the most significant distinctions. For this reason, the study adopts Gilles Deleuze’s cinematic theory concerning the relationship between cinema, time, and action as its analytical approach, alongside the essential characteristics of Persian miniature painting. Within this framework, three films by Abbas Kiarostami are selected and analyzed as case studies. The findings indicate that several features of Kiarostami’s cinema demonstrate a deep relationship with key characteristics of Persian miniature painting, including the rejection of a single fixed point of view, top–bottom spatial organization, the simultaneity of visual layers, and the avoidance of meaning constructed through action. This qualitative study employs description.