In this article movies made by Ebrahim Hatamikia, the Iranian film director, are analyzed using a sociological approach. This analysis aims to understand two points: first, what are the meanings generated in these movies; and second, what is the relationship between these meanings and the contemporary social conditions of the films and the social group which Hatamikia represents. The theoretical framework of this article is influenced by the reflection approach in the sociology of cinema which is elaborated using Lucien Goldmann’s theory about great art and exceptional person that he has presented in the field of sociology of literature and is applied to the field of cinema here.
Semiology is used as the method of analyzing movies in order to understand their generated meanings, and external criticism is used for relating these meanings to their contemporary society. In this article Hatamikia’s movies including “Az Karkheh ta Raine”, “Borj-eh Minoo”, “Ajans-eh Shisheie”, “Ruban-eh Ghermez”, “Mowj-eh Mordeh”, “Ertefa'eh Past”, and “Be Nam-eh Pedar” are analysed. The path which the protagonists in these movies go through, taking that person through different stages of life in society, is followed in the movies. This examination showes the attitude of one important social group in Iran, soldiers who volunteered during the war of Iraq against Iran (Basijiha), and their families, who are forgatten today. This group’s ideas and attitudes are embodied artistically by a person whose ideas and attitudes are the same.
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