Ethical Narration Of Iranian Family Movies

Iranian films have entered a golden period of development since the 1990 s.Since Abbas’ s "Where is My Friend’s Home",the Iranian film industry has begun to open up a fresh and simple poetic style film with its unique theme and image style in the world,which is different from the "Hollywood style" in the eastern way.Since the new century,Iranian films have sprung up in the international film festivals,with excellent works frequently produced.Makidi,Jaffa Panasi,Asha Fahati and other directors have continuously won various international film festival awards.Looking at the film types of Iran that have attracted much attention in the world,it can be seen that family movies are the most extensive theme of these excellent Iranian film works.As the basic unit of society,the family,to the greatest extent,epitomizes the current situation of the local society in Iran,and its constituent individuals reflect the traditional religious ideology and culture of Islam,Each individual role that constitutes the family is shrouded in the special civilization of Iran,the ancient oriental country,and is examined by the public.The multi-level expression of the dimension of family in Iranian family-themed films can be said to give the world a perspective to examine Iran,and it is also the "microphone" for Iranian film directors to speak for Iran in the trend of modernization.Based on the Islamic religious culture of Iran’s current social situation,this paper intends to take the Islamic national ethics contained in the family theme films as a breakthrough,analyze the vitality of the unique Islamic ethics and its modernization transformation into the films,and analyze the reasons why Iranian films can stand among the world’s films.At the same time,the analysis of the reasons for the success of Iran’s family-themed films can provide positive enlightenment for the expression of the same film themes,especially the use of narrative techniques,in China,which is also an ancient oriental civilization.This article mainly takes the Iranian family movie theme as the research object,discusses its ethical narrative content and narrative form.The paper consists of four parts:The first part describe the main concepts,including the concepts of "ethics" and "family ethics",as well as the definition and development of Iranian family movies.This part innovatively summarizes the development history of Iranian family films at different stages,and summarizes the directors and works in the development of this theme in combination with the evolution of its narrative tone in different periods;The second part analyzes the ethical narrative,that is,the presentation of the Iranian social situation in the film,which is mainly divided into three parts.Mainly through the division of the narrative objects of the family theme,the overall social picture displayed in the family unit is displayed,and the main contradiction points of Iranian society are summarized,so as to pave the way for the discussion of the ethical phenomenon later;The third part discusses the Islamic ethics and its evolution carried by the ethical characters in the family construction,mainly from three dimensions of character relations,namely "father and son","men and women" and "middle class and bottom class".Through these three pairs of common images of family integration and opposition,this paper discusses the social contradictions caused by the backlog of Islamic human relations tradition and the social fission caused by the intervention of modern thought in the tradition,as well as the author’s perspective of sticking to and dialectically treating Iran’s traditional culture based on the national position;The fourth part mainly discusses the ethical narrative form of family theme films,which is divided into three parts: time,space and image.Through the analysis of space-time ethics and narrative symbols to explore the ethical implications behind them,it highlights that ethical narrative not only conveys the narrative content level,but also conveys Iran’s national cultural characteristics at the level of narrative form,giving a unique label to the "Islamization" of the film.