حسن محمدمیرزایی

The Islamic Revolution of Iran is known as one of the superb phenomena of the twentieth century, the essential political-religious revolution globally, which has left various effects at the national and international levels. Shia ideology is a crucial element in the etymology of this revolution. One of the basic principles of this ideology is political jurisprudence that has a two-way relationship with the Islamic Revolution. With a qualitative method and documentary study, the present study aimed to analyze the interaction between Shia political jurisprudence and the Islamic Revolution. To this aim, we reviewed documents and library resources and extracted the required data in research files. The results indicated that, on the one hand, Imam Khomeini, as the founder of the Islamic Revolution, by using Shia political jurisprudence, has founded and promoted this revolution. On the other hand, the Islamic Revolution has significantly impacted the development and promotion of Shia political jurisprudence by creating innovative spaces and arenas. This interrelationship is also associated with obstacles, challenges, and harms that the present article has partly addressed.

The transmission of values in a country like Iran, which has a society and political system based on religion, has a twofold importance. Cinema in our country can be improved by localizing it - as one of the most basic and most impressive media of the modern world- based on the Islamic Revolution values and principles. It is evident that the continuous monitoring and evaluation of products in this area becomes more serious. The present study is an attempt to analyze the content of one of the cinematic products and evaluate different dimensions of religiosity used in it. By making use of the five dimension model of religiosity of Glock and Stark (doctrinal, ritual, experiential, cognitive, and the one related to outcome) and by implementing the quantitative content analysis, the thrust of this research is to evaluate the dimensions and categories of religiosity used in the "The Gold and the Copper" movie through a descriptive-analytic approach. The main question of the article is: What dimensions of religiosity lie in this film and how have they been reflected in it? The results illustrate that the ritual and doctrinal dimensions (45/7% and 29/5% respectively) have the highest degree of contribution of the religious categories used in the film, while the cognitive dimension has the lowest degree (7%).