@article{2018,title={THE NARRATIVE CODES OF IRANIAN CINEMA; RELIGION, CEN-SOR, POETRY AND AMBIGUITY},abstractNode={For the last 20 years, the Iranian films are regarded as one of the cinemas having the most innovative (avan-garde) and disparate narration form. It is an acknowledged reality that, Iranian cinema has a cinematic aesthetic enriched, depend by the genuine cultural archetypes and, in this sense, based on different narrative strategies. The alternative narration forms which have new/disparate and innovative features unsuitable to Hollywood codes appear to be the key determinants. The Iranian directors transform their narratives into deep expressions with coded images of poetic realism specific to their own culture and/or allegorical expression forms. In their films, the elements belonging to episodic structure of the Eastern Narrative, the ambiguity element of Iranian poetry tradition and the narrative forms of the Italian New Reality movement manifest itself in the form of a fusion. This article is set up on an approach to explain the narrative forms of Iranian cinema with the relationship between the geographical cultural circle and its genuine cultural heritage. The argument that the cultural innovation generated by the Iranian cinema cannot be handled separately from the artistic and linguistic traditions accumulated over the centuries constitutes the focal point of the approach. The analyzes carried out over the three Iranian directors of Iranian New Wave Movement and on their related films support (verify) this argument.},author={Mustafa SÖZEN},year={2018},journal={The Journal of Academic Social Science}}