Audience Interpretation in Iranian Postmodern Cinema Based on Eco’s Semiotics: A Case Study of Abbas Kiarostami’s Shirin

Objective This study investigates the process of audience interpretation within Iranian postmodern cinema through Umberto Eco’s semiotic framework, analyzing the role of cultural and social pre-interpretations in shaping multilayered meanings in Abbas Kiarostami’s Shirin (۲۰۰۸). Methodology The research adopts a descriptive-analytical approach, examining visual signs, such as emotional facial expressions of actresses, and auditory signs, including dialogues and the evocative soundtrack, in Shirin. Data were systematically collected from credible archival and library sources to ensure a thorough analysis of the film’s semiotic structure. Findings The findings demonstrate that Kiarostami’s strategic omission of the visual narrative, coupled with a focus on close-ups of women’s faces, creates a semiotic void that actively engages the audience in reconstructing the narrative and generating multilayered meanings. Cultural pre-interpretations, particularly knowledge of Nezami’s Khosrow and Shirin, facilitate diverse and nuanced readings, while visual and auditory codes, such as expressive facial reactions and atmospheric music, guide and frame these interpretations, transforming passive spectators into active model readers who co-create the film’s meaning. Conclusion Shirin functions as an Ecoian semiotic machine, fostering a profoundly cultural and personal experience through the dynamic interplay of authorial intent, textual structure, and audience engagement, offering a robust theoretical framework for analyzing the influence of cultural contexts in Iranian postmodern cinema.Objective This study investigates the process of audience interpretation within Iranian postmodern cinema through Umberto Eco’s semiotic framework, analyzing the role of cultural and social pre-interpretations in shaping multilayered meanings in Abbas Kiarostami’s Shirin (۲۰۰۸). Methodology The research adopts a descriptive-analytical approach, examining visual signs, such as emotional facial expressions of actresses, and auditory signs, including dialogues and the evocative soundtrack, in Shirin. Data were systematically collected from credible archival and library sources to ensure a thorough analysis of the film’s semiotic structure. Findings The findings demonstrate that Kiarostami’s strategic omission of the visual narrative, coupled with a focus on close-ups of women’s faces, creates a semiotic void that actively engages the audience in reconstructing the narrative and generating multilayered meanings. Cultural pre-interpretations, particularly knowledge of Nezami’s Khosrow and Shirin, facilitate diverse and nuanced readings, while visual and auditory codes, such as expressive facial reactions and atmospheric music, guide and frame these interpretations, transforming passive spectators into active model readers who co-create the film’s meaning. Conclusion Shirin functions as an Ecoian semiotic machine, fostering a profoundly cultural and personal experience through the dynamic interplay of authorial intent, textual structure, and audience engagement, offering a robust theoretical framework for analyzing the influence of cultural contexts in Iranian postmodern cinema.

کلیدواژه ها:

Eco ، Interpretation ، Iranian Postmodern Cinema ، Kiarostami ، Semiotics ، Shirin