Cinema

In recent decades, the role-playing of the media has paved the way for the emergence of a new discourse named popular geopolitics that has the potential to link public opinion to geographical policies. Researchers in the context of popular geopolitics seek to evaluate methods of representing geographical phenomena and geopolitical events in media such as cinema. The current study, given the significance of The Concept of the Political as a kind of discourse in popular geopolitics and its impact on public opinion, seeks to choose the Middle East geopolitical region as the subject of the Hollywood cinema representation to examine the structures that try to guide public opinion and increase its power in the region with the help of The Political tools such as political romanticism and political theology. In this context, selected works of cinema made during the presidencies of George W. Bush and Barack Obama between 2000 and 2015 have been selected for this analysis.

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%).