Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'

<!DOCTYPE html> <html lang="en"> <head> <meta charset="utf-8" /> <title>Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'</title>  <link rel="shortcut icon" type="image/ico" href="./data/ira/coversheet/favicon.ico" />  <meta name="viewport" content="width=device-width, maximum-scale=1, initial-scale=1, user-scalable=0" />   <meta name="keywords" content="Semiotics,signs,cinema,A Dragon Arrives,Māni Haghighi,postmodern narrative" /> <meta name="description" content="Introduction: The presence and application of semiotics in our surroundings are evident. Signs are used extensively throughout life, including in art. One of the prominent areas of their use in art is cinema and the film industry. Utilizing signs in this field not only aids in conveying concepts implicitly and indirectly but also serves to express various ideologies. Thus, interpreting works from this perspective can significantly help us understand and grasp the main concept.Mani Haghighi, the director of the film "A Dragon Arrives", has used his artistic and philosophical background, as well as his knowledge of semiotics, to provide an opportunity for us to explore signs and embedded concepts within the layers of the film. Research Objective: This article aims to introduce readers to the main ideas of semiotics and to analyze the film "A Dragon Arrives" from a semiotic perspective, allowing for a better understanding of the signs and the film itself.Research Methodology: The research method in this study is descriptive-analytical and aims to discover and explain the relationships between phenomena and signs present in the film. This work was conducted using library methods, supported by articles, existing books, and by studying visual information. Results: The findings of this research indicate that the director has used various signs, from character creation to the underlying layers of his work, to convey concepts. Even the environment in which the film's world is being shaped has been chosen with consideration of these tools, that is, signs and implicit concept conveyance.In the film "A Dragon Arrives" signs are extensively used and can be seen and interpreted throughout the entire story. Certainly, this extent of sign usage, as well as the methods of their use—especially those with metaphysical properties and drawing from local or historical traditions—are very influential in the storyline or, better to say, in the understanding of the story. Upon initial viewing, the film may come across as a complex crime drama with a non-linear, postmodern narrative. However, a closer analysis of the film reveals themes such as alienation, ignorance, superstition, and most importantly, the concept of death. Death is sometimes portrayed so alien and majestic that it has transformative effects on lives like an earthquake, sometimes so soothing that escaping it becomes difficult, and sometimes so ordinary and insignificant that it seems no one notices it.Moreover, analyzing the reactions of different character types to the same issue and their various responses becomes easier after interpreting the signs. This makes the characters’ developmental trajectory, collapse, and growth throughout the story more tangible, providing valuable information to the audience, especially considering that individuals might encounter and interact with such characters daily. Additionally, the use of signs and their application to define a multi-layered and complete story signifies the director’s mastery and skill in his craft. The issues raised in the film cannot be easily overlooked, and each can be the subject of extensive discussion, which alone is a valuable act of reminding the audience.Mani Haghighi's "A Dragon Arrives" stands as a testament to the director’s ability to intertwine semiotic elements with cinematic storytelling. The film becomes a fertile ground for semiotic analysis, offering viewers a layered narrative rich in hidden meanings and symbols. By delving into these layers, one uncovers a deeper understanding of not just the film but also the broader implications of the signs and symbols in our everyday lives. The use of semiotics in this film is not merely a stylistic choice but a profound method to engage the audience on a more intellectual level, prompting them to reflect on the underlying messages conveyed through the narrative.In conclusion, the application of semiotics in cinema, exemplified by "A Dragon Arrives", highlights the significance of signs in enhancing the depth and meaning of a film. The director's adept use of semiotic elements not only enriches the narrative but also invites the audience to engage in a more thoughtful and analytical viewing experience. By recognizing and interpreting these signs, viewers can gain a deeper appreciation of the film's themes and the director's artistic intentions. This approach underscores the importance of semiotics in the broader context of art and communication, offering valuable insights into how meaning is constructed and conveyed in various forms of media. Thus, the study of semiotics in films like "A Dragon Arrives!" is crucial for both filmmakers and audiences, fostering a richer understanding of the intricate layers of meaning that lie beneath the surface of cinematic works." /> <meta name="title" content="Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'" /> <meta name="googlebot" content="NOODP" /> <meta name="citation_title" content="Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'" /> <meta name="citation_author" content="Hejazi, Amirhossein" /> <meta name="citation_author_institution" content="M.A Student in Art Research, Faculty of Art, Islamic Azad University, Central Tehran Branch, Tehran, Iran" /> <meta name="citation_author" content="Dadkhah, Pejman" /> <meta name="citation_author_institution" content="Assistant Professor, Department of Photography, Faculty of Arts, Iqbal Lahori Institute of Higher Education, Mashhad, Iran" /> <meta name="citation_abstract" content="Introduction: The presence and application of semiotics in our surroundings are evident. Signs are used extensively throughout life, including in art. One of the prominent areas of their use in art is cinema and the film industry. Utilizing signs in this field not only aids in conveying concepts implicitly and indirectly but also serves to express various ideologies. Thus, interpreting works from this perspective can significantly help us understand and grasp the main concept.Mani Haghighi, the director of the film "A Dragon Arrives", has used his artistic and philosophical background, as well as his knowledge of semiotics, to provide an opportunity for us to explore signs and embedded concepts within the layers of the film. Research Objective: This article aims to introduce readers to the main ideas of semiotics and to analyze the film "A Dragon Arrives" from a semiotic perspective, allowing for a better understanding of the signs and the film itself.Research Methodology: The research method in this study is descriptive-analytical and aims to discover and explain the relationships between phenomena and signs present in the film. This work was conducted using library methods, supported by articles, existing books, and by studying visual information. Results: The findings of this research indicate that the director has used various signs, from character creation to the underlying layers of his work, to convey concepts. Even the environment in which the film's world is being shaped has been chosen with consideration of these tools, that is, signs and implicit concept conveyance.In the film "A Dragon Arrives" signs are extensively used and can be seen and interpreted throughout the entire story. Certainly, this extent of sign usage, as well as the methods of their use—especially those with metaphysical properties and drawing from local or historical traditions—are very influential in the storyline or, better to say, in the understanding of the story. Upon initial viewing, the film may come across as a complex crime drama with a non-linear, postmodern narrative. However, a closer analysis of the film reveals themes such as alienation, ignorance, superstition, and most importantly, the concept of death. Death is sometimes portrayed so alien and majestic that it has transformative effects on lives like an earthquake, sometimes so soothing that escaping it becomes difficult, and sometimes so ordinary and insignificant that it seems no one notices it.Moreover, analyzing the reactions of different character types to the same issue and their various responses becomes easier after interpreting the signs. This makes the characters’ developmental trajectory, collapse, and growth throughout the story more tangible, providing valuable information to the audience, especially considering that individuals might encounter and interact with such characters daily. Additionally, the use of signs and their application to define a multi-layered and complete story signifies the director’s mastery and skill in his craft. The issues raised in the film cannot be easily overlooked, and each can be the subject of extensive discussion, which alone is a valuable act of reminding the audience.Mani Haghighi's "A Dragon Arrives" stands as a testament to the director’s ability to intertwine semiotic elements with cinematic storytelling. The film becomes a fertile ground for semiotic analysis, offering viewers a layered narrative rich in hidden meanings and symbols. By delving into these layers, one uncovers a deeper understanding of not just the film but also the broader implications of the signs and symbols in our everyday lives. The use of semiotics in this film is not merely a stylistic choice but a profound method to engage the audience on a more intellectual level, prompting them to reflect on the underlying messages conveyed through the narrative.In conclusion, the application of semiotics in cinema, exemplified by "A Dragon Arrives", highlights the significance of signs in enhancing the depth and meaning of a film. The director's adept use of semiotic elements not only enriches the narrative but also invites the audience to engage in a more thoughtful and analytical viewing experience. By recognizing and interpreting these signs, viewers can gain a deeper appreciation of the film's themes and the director's artistic intentions. This approach underscores the importance of semiotics in the broader context of art and communication, offering valuable insights into how meaning is constructed and conveyed in various forms of media. Thus, the study of semiotics in films like "A Dragon Arrives!" is crucial for both filmmakers and audiences, fostering a richer understanding of the intricate layers of meaning that lie beneath the surface of cinematic works." /> <meta name="citation_id" content="7932" /> <meta name="citation_publication_date" content="2024/08/11" /> <meta name="citation_date" content="2024-08-11" /> <meta name="citation_journal_title" content="Interdisciplinary Researches of Art" /> <meta name="citation_issn" content="3060-7043" /> <meta name="citation_volume" content="2" /> <meta name="citation_issue" content="1" /> <meta name="citation_firstpage" content="121" /> <meta name="citation_lastpage" content="138" /> <meta name="citation_publisher" content="University of Guilan" /> <meta name="citation_doi" content="10.22124/ira.2024.28054.1025" /> <meta name="DC.Identifier" content="10.22124/ira.2024.28054.1025" /> <meta name="citation_abstract_html_url" content="https://ira.guilan.ac.ir/article_7932_en.html" /> <meta name="citation_pdf_url" content="https://ira.guilan.ac.ir/article_7932_49f9f2e451c7fc33e3832dd766e5fa67.pdf" /> <meta name="DC.Title" content="Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'" /> <meta name="DC.Source" content="Interdisciplinary Researches of Art" /> <meta name="DC.Date" content="11/08/2024" /> <meta name="DC.Date.issued" content="2024-08-11" /> <meta name="DC.Format" content="application/pdf" /> <meta name="DC.Contributor" content="Hejazi, Amirhossein" /> <meta name="DC.Contributor" content="Dadkhah, Pejman" /> <meta name="og:title" content="Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'" /> <meta name="og:description" content="Introduction: The presence and application of semiotics in our surroundings are evident. Signs are used extensively throughout life, including in art. One of the prominent areas of their use in art is cinema and the film industry. Utilizing signs in this field not only aids in conveying concepts implicitly and indirectly but also serves to express various ideologies. Thus, interpreting works from this perspective can significantly help us understand and grasp the main concept.Mani Haghighi, the director of the film "A Dragon Arrives", has used his artistic and philosophical background, as well as his knowledge of semiotics, to provide an opportunity for us to explore signs and embedded concepts within the layers of the film. Research Objective: This article aims to introduce readers to the main ideas of semiotics and to analyze the film "A Dragon Arrives" from a semiotic perspective, allowing for a better understanding of the signs and the film itself.Research Methodology: The research method in this study is descriptive-analytical and aims to discover and explain the relationships between phenomena and signs present in the film. This work was conducted using library methods, supported by articles, existing books, and by studying visual information. Results: The findings of this research indicate that the director has used various signs, from character creation to the underlying layers of his work, to convey concepts. Even the environment in which the film's world is being shaped has been chosen with consideration of these tools, that is, signs and implicit concept conveyance.In the film "A Dragon Arrives" signs are extensively used and can be seen and interpreted throughout the entire story. Certainly, this extent of sign usage, as well as the methods of their use—especially those with metaphysical properties and drawing from local or historical traditions—are very influential in the storyline or, better to say, in the understanding of the story. Upon initial viewing, the film may come across as a complex crime drama with a non-linear, postmodern narrative. However, a closer analysis of the film reveals themes such as alienation, ignorance, superstition, and most importantly, the concept of death. Death is sometimes portrayed so alien and majestic that it has transformative effects on lives like an earthquake, sometimes so soothing that escaping it becomes difficult, and sometimes so ordinary and insignificant that it seems no one notices it.Moreover, analyzing the reactions of different character types to the same issue and their various responses becomes easier after interpreting the signs. This makes the characters’ developmental trajectory, collapse, and growth throughout the story more tangible, providing valuable information to the audience, especially considering that individuals might encounter and interact with such characters daily. Additionally, the use of signs and their application to define a multi-layered and complete story signifies the director’s mastery and skill in his craft. The issues raised in the film cannot be easily overlooked, and each can be the subject of extensive discussion, which alone is a valuable act of reminding the audience.Mani Haghighi's "A Dragon Arrives" stands as a testament to the director’s ability to intertwine semiotic elements with cinematic storytelling. The film becomes a fertile ground for semiotic analysis, offering viewers a layered narrative rich in hidden meanings and symbols. By delving into these layers, one uncovers a deeper understanding of not just the film but also the broader implications of the signs and symbols in our everyday lives. The use of semiotics in this film is not merely a stylistic choice but a profound method to engage the audience on a more intellectual level, prompting them to reflect on the underlying messages conveyed through the narrative.In conclusion, the application of semiotics in cinema, exemplified by "A Dragon Arrives", highlights the significance of signs in enhancing the depth and meaning of a film. The director's adept use of semiotic elements not only enriches the narrative but also invites the audience to engage in a more thoughtful and analytical viewing experience. By recognizing and interpreting these signs, viewers can gain a deeper appreciation of the film's themes and the director's artistic intentions. This approach underscores the importance of semiotics in the broader context of art and communication, offering valuable insights into how meaning is constructed and conveyed in various forms of media. Thus, the study of semiotics in films like "A Dragon Arrives!" is crucial for both filmmakers and audiences, fostering a richer understanding of the intricate layers of meaning that lie beneath the surface of cinematic works." /> <meta name="og:url" content="https://ira.guilan.ac.ir/article_7932_en.html" />  <link href="./themes/base/front/assets/css/social-icon-font.css" rel="stylesheet" type="text/css" />  <link href="./themes/base/front/assets/plugins/bootstrap/css/bootstrap.min.css?v=0.02" rel="stylesheet" type="text/css" /> <link href="./themes/old/front/assets/css/header.css?v=0.05" rel="stylesheet" type="text/css" /> <link href="./themes/old/front/assets/css/footer.css" rel="stylesheet" type="text/css" /> <link href="./inc/css/essentials.css?v=0.2" rel="stylesheet" type="text/css" /> <link href="./inc/css/cookieconsent.min.css" rel="stylesheet" type="text/css" /> <link href="./inc/css/print.css" rel="stylesheet" type="text/css" media="print"/>  <link 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class="article_title bold"> <a href="./article_7932_49f9f2e451c7fc33e3832dd766e5fa67.pdf?lang=en" target="_blank">Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'</a></span></h1> <div> <div class="margin-bottom-3"> </div> <p class="margin-bottom-3">Document Type : Original Article</p> <p class="padding-0" style="margin:12px -2px 0 -2px"><strong>Authors</strong></p> <ul class="list-inline list-inline-seprator margin-bottom-6 ltr"> <li class="padding-3"> <a href="./?_action=article&au=69238&_au=Amirhossein++Hejazi&lang=en">Amirhossein Hejazi</a> <sup class="ltr"><a class=" text-green" href="https://www.orcid.org/0009-0002-2163-3440" data-toggle="tooltip" data-placement="bottom" data-html="true" title="ORCID: 0009-0002-2163-3440" target="_blank"><i class="ai ai-orcid size-13" ></i></a></sup> <sup><a href="#aff1" >1</a></sup> </li> <li class="padding-3"> <a href="./?_action=article&au=69060&_au=Pejman++Dadkhah&lang=en">Pejman Dadkhah</a> <sup><a href="mailto:p.dadkhah@eqbal.ac.ir" data-toggle="tooltip" data-placement="bottom" title="Email to Corresponding Author"><i class="fa fa-envelope-o" ></i></a></sup> <sup class="ltr"><a class=" text-green" href="https://www.orcid.org/0009-0003-6164-1071" data-toggle="tooltip" data-placement="bottom" data-html="true" title="ORCID: 0009-0003-6164-1071" target="_blank"><i class="ai ai-orcid size-13" ></i></a></sup> <sup><a href="#aff2" >2</a></sup> </li> </ul> <p class="margin-bottom-3 ltr" id="aff1"> <sup>1</sup> M.A Student in Art Research, Faculty of Art, Islamic Azad University, Central Tehran Branch, Tehran, Iran </p> <p class="margin-bottom-3 ltr" id="aff2"> <sup>2</sup> Assistant Professor, Department of Photography, Faculty of Arts, Iqbal Lahori Institute of Higher Education, Mashhad, Iran </p> <div class="margin-bottom-3 ltr" id="ar_doi" title="DOI"><i class="ai ai-doi size-25 text-orange"></i> <span dir="ltr">10.22124/ira.2024.28054.1025</span></div> <p style="margin:12px -2px 0 -2px"><strong>Abstract</strong></p> <div class="padding_abstract justify ltr"><strong>Introduction:</strong> The presence and application of semiotics in our surroundings are evident. Signs are used extensively throughout life, including in art. One of the prominent areas of their use in art is cinema and the film industry. Utilizing signs in this field not only aids in conveying concepts implicitly and indirectly but also serves to express various ideologies. Thus, interpreting works from this perspective can significantly help us understand and grasp the main concept.<br />Mani Haghighi, the director of the film "A Dragon Arrives", has used his artistic and philosophical background, as well as his knowledge of semiotics, to provide an opportunity for us to explore signs and embedded concepts within the layers of the film. <br /><strong>Research Objective:</strong> This article aims to introduce readers to the main ideas of semiotics and to analyze the film "A Dragon Arrives" from a semiotic perspective, allowing for a better understanding of the signs and the film itself.<br /><strong>Research Methodology: </strong>The research method in this study is descriptive-analytical and aims to discover and explain the relationships between phenomena and signs present in the film. This work was conducted using library methods, supported by articles, existing books, and by studying visual information. <br /><strong>Results:</strong> The findings of this research indicate that the director has used various signs, from character creation to the underlying layers of his work, to convey concepts. Even the environment in which the film's world is being shaped has been chosen with consideration of these tools, that is, signs and implicit concept conveyance.<br />In the film "A Dragon Arrives" signs are extensively used and can be seen and interpreted throughout the entire story. Certainly, this extent of sign usage, as well as the methods of their use—especially those with metaphysical properties and drawing from local or historical traditions—are very influential in the storyline or, better to say, in the understanding of the story. Upon initial viewing, the film may come across as a complex crime drama with a non-linear, postmodern narrative. However, a closer analysis of the film reveals themes such as alienation, ignorance, superstition, and most importantly, the concept of death. Death is sometimes portrayed so alien and majestic that it has transformative effects on lives like an earthquake, sometimes so soothing that escaping it becomes difficult, and sometimes so ordinary and insignificant that it seems no one notices it.<br />Moreover, analyzing the reactions of different character types to the same issue and their various responses becomes easier after interpreting the signs. This makes the characters’ developmental trajectory, collapse, and growth throughout the story more tangible, providing valuable information to the audience, especially considering that individuals might encounter and interact with such characters daily. Additionally, the use of signs and their application to define a multi-layered and complete story signifies the director’s mastery and skill in his craft. The issues raised in the film cannot be easily overlooked, and each can be the subject of extensive discussion, which alone is a valuable act of reminding the audience.<br />Mani Haghighi's "A Dragon Arrives" stands as a testament to the director’s ability to intertwine semiotic elements with cinematic storytelling. The film becomes a fertile ground for semiotic analysis, offering viewers a layered narrative rich in hidden meanings and symbols. By delving into these layers, one uncovers a deeper understanding of not just the film but also the broader implications of the signs and symbols in our everyday lives. The use of semiotics in this film is not merely a stylistic choice but a profound method to engage the audience on a more intellectual level, prompting them to reflect on the underlying messages conveyed through the narrative.<br />In conclusion, the application of semiotics in cinema, exemplified by "A Dragon Arrives", highlights the significance of signs in enhancing the depth and meaning of a film. The director's adept use of semiotic elements not only enriches the narrative but also invites the audience to engage in a more thoughtful and analytical viewing experience. By recognizing and interpreting these signs, viewers can gain a deeper appreciation of the film's themes and the director's artistic intentions. This approach underscores the importance of semiotics in the broader context of art and communication, offering valuable insights into how meaning is constructed and conveyed in various forms of media. Thus, the study of semiotics in films like "A Dragon Arrives!" is crucial for both filmmakers and audiences, fostering a richer understanding of the intricate layers of meaning that lie beneath the surface of cinematic works.</div> <p class="padding-0" style="margin:12px -2px 0 -2px"><strong>Keywords</strong></p> <ul class="block list-inline list-inline-seprator margin-bottom-6 ltr"> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=10852&_kw=semiotics&lang=en" >semiotics</a> </li> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=34928&_kw=signs&lang=en" >signs</a> </li> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=2191&_kw=cinema&lang=en" >cinema</a> </li> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=34929&_kw=A+Dragon+Arrives&lang=en" >A Dragon Arrives</a> </li> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=34930&_kw=M%C4%81ni+Haghighi&lang=en" >Māni Haghighi</a> </li> <li class="padding-3"> <a class="tag_a" href="./?_action=article&kw=34931&_kw=postmodern+narrative&lang=en" >postmodern narrative</a> </li> </ul> <p class="padding-0" style="margin:12px -2px 0 -2px"><strong>Main Subjects</strong></p> <ul class="block list-inline list-inline-seprator margin-bottom-6"> <li class="padding-3"> <a href="./?_action=article&sb=103&_sb=The+symbol+and+semiotics+of+art&lang=en" >The symbol and semiotics of art</a> </li> </ul> </div> <hr> <div class="page_break"></div> <div class="panel"> <div class="panel-heading card-header"> <h4 class="panel-title "> <a data-toggle="collapse" data-parent="#accordions" href="#collapsesRef"><i class="fa fa-plus"></i> References</a> </h4> </div> <div id="collapsesRef" class="panel-collapse collapse"> <div class="panel-body justify"> <div class="padding-3 margin-top-3 ltr justify">Buckland, W. (2011). The Cognitive Semiotics of Film. (M. Ghafari, Trans.). Ket<em>ā</em>b-e m<em>ā</em>h-e honar, 157, 51-69. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Chandler, D. (2008). The basics semiotics. (M. Parsa, Trans.). Tehran: Sureh Mehr. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Fahimi far, A., Sheikh Mehdi, A. & Gholāmali, A. (2018). Philosophical Approach to Causality Principle in Postmodern Cinematic Narrative (A Study of Taste of Cherry). Quarterly Scientific Journal of Audio-Visual Media, 12 (28), 53- 70. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Hall, S. (2003). Decoding and encoding. (Sh. Vaghfi pour, Trans.). Tehran: Talkhun. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Hay<em>ā</em>ti, V. (2009). Postmodern film. Rev<em>ā</em>gh-e honar va Andisheh, 34, 38- 51. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Jafari, A. & Mozafari, A. (2013). Representation of middle-class life in Iranian sinemā (The Typology of A “separation”). Quarterly Scientific Journal of Audio-Visual Media, 9 (21), 127- 150. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Kh<em>ā</em>leghpan<em>ā</em>h, K.(2008). Semiotics and Film Analysis: a Semiotic investigation of Turtles Can Fly. Cultural Studies & Communication, 4 (12), 163-182. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Milner, A. & Browitt, J.(2008). Contemporary Cultural Theory: An Introduction. (J. Mohammadi, Trans.). Tehran: Qoqnoos. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Saj<em>ā</em>di far, V., Ish<em>ā</em>ni, T. & B<em>ā</em>v<em>ā</em>n puri, M.(2019). Semantic semiotic analysis in the film “Salesman”. Dramatic literature and visual arts, 7, 73- 88. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Shahbā, M. (2005). Cinema and theater semiotics, Semiotics of writing. Khiāl, 13, 4- 35. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Sojudi, F. (2008). Applied semiotics. Tehran: Nashr-e Elm. (In Persian) </div> <div class="padding-3 margin-top-3 ltr justify">Sojudi, F. &Roudi, F. (2010).Analysis of narrative from classic to modern. Comparative Literature Research, 1(4), 155- 171. 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(2024). Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'. <em>Interdisciplinary Researches of Art</em>, <em>2</em>(1), 121-138. doi: 10.22124/ira.2024.28054.1025</p> </div> </div> </div> </div> <div id="cite-mla" class="modal fade" tabindex="-1" role="dialog" aria-labelledby="myModalLabel" aria-hidden="true"> <div class="modal-dialog"> <div class="modal-content">  <div class="modal-header"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> <h4 class="modal-title" id="myModalLabel">MLA</h4> </div>  <div class="modal-body"> <p>Amirhossein Hejazi; Pejman Dadkhah. "Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'". <em>Interdisciplinary Researches of Art</em>, 2, 1, 2024, 121-138. doi: 10.22124/ira.2024.28054.1025</p> </div> </div> </div> </div> <div id="cite-harvard" class="modal fade" tabindex="-1" role="dialog" aria-labelledby="myModalLabel" aria-hidden="true"> <div class="modal-dialog"> <div class="modal-content">  <div class="modal-header"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> <h4 class="modal-title" id="myModalLabel">HARVARD</h4> </div>  <div class="modal-body"> <p>Hejazi, A., Dadkhah, P. (2024). 'Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'', <em>Interdisciplinary Researches of Art</em>, 2(1), pp. 121-138. doi: 10.22124/ira.2024.28054.1025</p> </div> </div> </div> </div> <div id="cite-vancouver" class="modal fade" tabindex="-1" role="dialog" aria-labelledby="myModalLabel" aria-hidden="true"> <div class="modal-dialog"> <div class="modal-content">  <div class="modal-header"> <button type="button" class="close" data-dismiss="modal" aria-label="Close"><span aria-hidden="true">×</span></button> <h4 class="modal-title" id="myModalLabel">VANCOUVER</h4> </div>  <div class="modal-body"> <p>Hejazi, A., Dadkhah, P. Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'. <em>Interdisciplinary Researches of Art</em>, 2024; 2(1): 121-138. doi: 10.22124/ira.2024.28054.1025</p> </div> </div> </div> </div> </div> </div>   <section class="alternate padding-xxs"> </section>   <div class="container"> <footer id="footer"> <div class="scrollup" id="scroll" href="#"><span></span></div> <div class="row"> <div class="col-md-2">  <h4 class="">Explore Journal</h4> <ul class="footer-links list-unstyled"> <li id="fli_home"><a href="./?lang=en">Home</a></li> <li id="fli_about"><a href="./journal/about?lang=en">About Journal</a></li> <li id="fli_Edb"><a href="./journal/editorial.board?lang=en">Editorial Board</a></li> <li id="fli_submit"><a href="./author?lang=en">Submit Manuscript</a></li> <li id="fli_contactus"><a href="./journal/contact.us?lang=en">Contact Us</a></li> <li id="fli_glossary"><a href="./journal/glossary?lang=en">Glossary</a></li> <li id="fli_sitemap"><a href="./sitemap.xml?usr&lang=en">Sitemap</a></li> </ul>  </div> <div class="col-md-3">  <h4 class="">Latest News</h4> <ul class="footer-posts list-unstyled"> </ul>  </div> <div class="col-md-3">  <div></div>  </div> <div class="col-md-4">  <h4 class="">Newsletter Subscription</h4> <p>Subscribe to the journal newsletter and receive the latest news and updates</p> <form class="validate" action="" method="post" data-success="Subscription saved successfully." data-toastr-position="bottom-right"><input type="hidden" name="lang" value="en" /> <input type="hidden" name="_token" value="b0704652be3be8fd850713d4ee622022bdf5519cf2dbe404"/> <div class="input-group"> <span class="input-group-addon"><i class="fa fa-envelope"></i></span> <input type="email" id="email" name="email" required="required" class="form-control required sbs_email" placeholder="Enter your Email" oninvalid="this.setCustomValidity('Enter a valid email address.')" oninput="this.setCustomValidity('')"> <span class="input-group-btn"> <button class="btn btn-primary mybtn" type="submit">Subscribe</button> </span> </div> </form>   <div class="margin-top-20"> <a class="noborder" href="https://www.linkedin.com/in/journalofira/" target="_blank" class="social-icon social-icon-border social-facebook pull-left block" data-toggle="tooltip" data-placement="top" title="Linkedin"> <i class="fa fa-linkedin-square" aria-hidden="true"></i> </a> <a class="noborder" href="https://guilan.academia.edu/ira" target="_blank" class="social-icon social-icon-border social-facebook pull-left block" data-toggle="tooltip" data-placement="top" title="Academia"> <i class="ai ai-academia"></i> </a> <a class="noborder" href="./ju.rss?lang=en" class="social-icon social-icon-border social-rss pull-left block" data-toggle="tooltip" data-placement="top" title="Rss"><i class="fa fa-rss-square" aria-hidden="true"></i></a> </div> </div> </div> <div class="copyright" style="position: relative"> <ul class="nomargin list-inline mobile-block"> <li>© Journal Management System. <span id='sp_crt'>Powered by <a target='_blank' href='https://www.sinaweb.net/'>Sinaweb</a></span></li> </ul> </div> </footer> </div>  </div>   <a href="#" id="toTop_old"></a>  <div id="preloader"> <div class="inner"> <span class="loader"></span> </div> </div>  <script type="text/javascript">var plugin_path = './themes/base/front/assets/plugins/';</script> <script type="text/javascript" src="./themes/base/front/assets/js/scripts.js?v=0.08"></script>   <script type="text/javascript"> $('ul.nav li.dropdown').hover(function() { if (window.matchMedia('(max-width: 767px)').matches) return; $(this).find('.dropdown-menu').stop(true, true).delay(200).fadeIn(500); }, function() { if (window.matchMedia('(max-width: 767px)').matches) return; $(this).find('.dropdown-menu').stop(true, true).delay(200).fadeOut(500); }); var btn = $('#toTop_old'); $(window).scroll(function() { if ($(window).scrollTop() > 300) { btn.addClass('show'); } else { btn.removeClass('show'); } }); btn.on('click', function(e) { e.preventDefault(); $('html, body').animate({scrollTop:0}, '300'); }); window.cookieconsent.initialise({ "palette": { "popup": { "background": "#222" }, "button": { "background": "#f1d600" } }, "content": { "message": "This website uses cookies to ensure you get the best experience on our website.", "dismiss": "Got it!", "link": "" } }); </script> </body> </html><div id="actn_modal" class="modal fade" tabindex="-1"> <div id="" class="modal-dialog modal-dialog madal-aw"> <div class="modal-content"> <div class="modal-header"> <button type="button" class="close pull-right" data-dismiss="modal" aria-hidden="true" href="#lost">×</button> <h5 class="modal-title"></h5> </div> <div class="modal-body"></div> <div class="modal-footer"></div> </div> </div> </div>

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Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'