https://jrsm.qomirib.ac.ir/ Religious Studies of the Media en daily 1 Thu, 23 Oct 2025 00:00:00 +0330 Thu, 23 Oct 2025 00:00:00 +0330 https://jrsm.qomirib.ac.ir/article_236363.html Objective: This research aims to investigate the authority (hujiyyah) and permissibility of imitation (taqlid) of Artificial Intelligence (AI) derived fatwas within Shi’i Jurisprudence (Fiqh). Given the expanding applications of AI in inference processes, this article seeks to answer the question: Can fatwas extracted by AI systems be relied upon from a religious legal perspective? Examining this is significant because we may witness the widespread use of this technology in deriving religious rulings in the future. Methodology: Using a descriptive-analytical (qualitative) method, relevant data concerning the process of ijtihad (independent legal reasoning), the qualifications of the mujtahid, and the foundations of the authority of a fatwa were gathered and analyzed from religious sources. The primary focus was on elucidating the scope of the directives permitting imitation (taqlid) to examine its inclusion or exclusion concerning Artificial Intelligence. Findings: Given the rule-based and systematic nature of ijtihad, Artificial Intelligence possesses the theoretical capacity to infer religious rulings. However, the authority of a mujtahid’s fatwa in Shi’i Fiqh is contingent upon the delegated authority (wilayah tafwidhah) from the Imams (A.S.), and the religious evidences do not clearly indicate the permissibility of imitating the independent fatwas of AI, or their implication remains doubtful. The utilization of AI as an auxiliary tool in the mujtahid’s inference process is evaluated as desirable and necessary. Discussion and Conclusion: Despite the technical possibility of ijtihad by Artificial Intelligence, its independent fatwas lack authority (hujiyyah) due to the lack of established religious authority (wilayah shar’iyyah) for AI. Nevertheless, employing AI within the framework of jurists’ inference processes is recommended as a transformative technology. https://jrsm.qomirib.ac.ir/article_236353.html Objective: The present study examines the role of animation in cultivating the audience’s pragmatism (maslahat-andishi). In today’s world, the influence of media, especially animations, in teaching and nurturing ethical values and skills has received significant attention. Pragmatism, as a universal value that is consistent across all human beings and inherent in every person’s nature, plays a fundamental and foundational role in shaping ethical and social values. The objective of this research is to analyze how the value of pragmatism is represented in this animation and to investigate its impact on children’s behavior. Methodology: The research method is directional qualitative content analysis, which analyzes the animation Miraculous: Tales of Ladybug & Cat Noir and examines how pragmatism is depicted in the narratives and characters. Findings: The present study indicates that animations effectively illustrate the process of cultivating pragmatism by showcasing various challenges and obstacles faced by the characters, demonstrating how external challenges can be resolved through pragmatic values and internal volition. Discussion and Conclusion: The research concludes that animations can teach pragmatism as a solution for resolving problems to children by utilizing engaging narratives and challenges, thereby laying the groundwork for the realization of other social and ethical values within them. https://jrsm.qomirib.ac.ir/article_236351.html Objective: The primary objective of this research is to explicate the challenges related to the character element in writing dramatic works about the Infallibles (Maʿsūmīn) (A.S.) and to propose solutions for addressing them. Research Methodology: In this study, the collection of documents and research data was conducted through library-based research. The method and nature of the present study are descriptive–analytical, and within the category of descriptive research, it is classified as content analysis. Findings: In this research, one of the principal and fundamental elements of drama, namely character, was examined, and the challenges associated with it in relation to writing dramatic works about the Infallibles (A.S.) were identified and explicated one by one. Furthermore, through the analysis of content such as Qur’anic verses, narrations (riwāyāt), and existing scholarly sources in the fields of screenwriting and dramaturgy, efforts were made, as far as possible, to propose solutions to the identified challenges. Discussion and Conclusion: Portraying the lives of the Infallibles (A.S.) has been a major concern for many screenwriters and filmmakers, and addressing this subject has consistently encountered various obstacles. In recent years, some authors have published books and articles on these obstacles; however, on the one hand, most have examined the issue solely from a jurisprudential perspective, and on the other hand, they have focused only on the challenges of the character element without offering practical solutions. This research, while explicating the existing challenges related to the character element (in terms of transformability, existential dimensions, and visual representation) in writing dramatic works about the Infallibles (A.S.), also addresses the provision of solutions to some extent, with the aim of alleviating a substantial portion of the concerns and anxieties of screenwriters and directors. In this article, first, the character element in relation to the Infallibles (A.S.) was examined from the perspective of transformability (static versus dynamic character), and based on the six-stage theory of character transformation and the analysis of Qur’anic verses and narrations, it was demonstrated that transformation does occur in the Infallibles (A.S.), albeit in the form of ascension and spiritual perfection, and that depicting such transformation in film is permissible. The second challenge, concerning the depiction of the existential dimensions of the character of the Infallibles (A.S.) as the hero of the screenplay, was then explicated. Since portraying these figures as one-dimensional characters merely as ideals and exemplars is erroneous, the Infallibles (A.S.) should be positioned at the center of the narrative and introduced as dynamic and multidimensional heroes. Finally, the issue of the visual representation of the characters of the Infallibles (A.S.) in film was examined, and it was concluded that, from both religious and dramaturgical perspectives, this is permissible. https://jrsm.qomirib.ac.ir/article_217479.html Objective: This article aims to identify the components of a poetic atmosphere within the directorial code of Mehdi Zamanpour Kiasari’s works and to provide a practical understanding of these techniques. Research Methodology: This study is written using a descriptive–analytical method with a neo-formalist critical approach. In other words, while the method of analyzing the findings in this article is descriptive, since the object of study is a cinematic film, its critique is conducted using the neo-formalist approach. Findings: Poetry consists of four fundamental elements: thought, imagination, rhythm, and emotion. Poetic cinema is a form of cinema that, in its form and narrative, approaches these characteristics and blends realism with emotional content. The technical and objective representation of this claim, using the neo-formalist method in examining poetic schools and styles as well as filmmakers associated with poetic cinema, reveals four shared characteristics: (1) the use of non-professional actors, (2) filming in natural locations, (3) natural lighting, and finally, a simple narrative, which in a sense constitutes a protest against classical Hollywood cinema. Discussion and Conclusion: Zamanpour Kiasari has likewise succeeded in creating a poetic atmosphere through the correct repetition of these formulas. In the domain of directing, by employing découpage based on mise-en-scène, the use of static frames, directing performances from non-professional actors, natural lighting, minimalist mise-en-scène, traditional sets and costumes, event-based and occurrence-driven direction, and a figurative mode of expression, he has created simple yet profound emotional moments and has imbued his works with a poetic sensibility. https://jrsm.qomirib.ac.ir/article_236360.html Objective: In the era of new media, religious texts—especially the Holy Qur’an—are no longer reread solely within traditional written contexts, but are re-created in visual, cinematic, and digital formats. The objective of this article is to examine the methods of re-creating religious texts (particularly the Qur’an and Hadith) in contemporary media and to identify their capacities for conveying religious concepts in today’s world, in light of the challenges of fidelity to the sacred text and artistic innovation. Research Methodology: Using the qualitative meta-synthesis method, 22 related studies (from Islamic and Christian sources) in the field of media and religion were subjected to critical analysis. The theoretical framework of the study is based on narrative theory. Findings: Transposition of Qur’anic narratives into the contemporary era while preserving their ethical core (such as reconstructing the story of Joseph in the form of a modern family drama). Thematic narration: focusing on the universal concepts of the Qur’an (justice, resistance) without direct reference to specific characters. New media forms: employing animation, virtual reality (VR), and non-linear narration to convey spiritual experiences. Intertextual approach: a creative dialogue between the Qur’an and philosophical or mythological texts (such as juxtaposing the story of Job with the myth of Sisyphus). Ethical–artistic frameworks: observing the sanctity of sacred texts through indirect techniques (symbolism, involvement of religious institutions in production). Discussion and Conclusion: Religious storytelling in contemporary media is a meaning-making process that, by balancing fidelity to the sacred text with artistic creativity, enables the reconstruction of religious experience for the contemporary audience. The success of these approaches depends on a profound understanding of religious texts, cultural sensitivity, and the intelligent use of media capacities. https://jrsm.qomirib.ac.ir/article_236361.html Objective: The aim of this study is to explain the link between media literacy and Islamic insight in young people. Considering the impact of the expansion of digital media on the new generation, this study examines how to strengthen Islamic insight through the three dimensions of media literacy (cognitive, analytical-critical, moral-value) in the light of Islamic teachings.Research methodology: The research method was conducted in a descriptive-analytical manner with a qualitative approach and based on documentary and library sources. In addition to reviewing specialized texts, conceptual content analysis was also used to extract key themes.Findings: The findings showed that the cognitive dimension of media literacy provides the basis for epistemic insight and leads to understanding the truth and distinguishing correct from incorrect; the analytical-critical dimension corresponds to socio-cultural insight and provides the ability to resist media distortions and cultural seditions; And the moral-value dimension, in conjunction with practical insight, helps individuals make responsible decisions and avoid deviation. Conclusion: Based on these results, it can be said that media literacy will be incomplete without the support of Islamic teachings and only in the light of religious insight will it become a tool for individual guidance and social empowerment. https://jrsm.qomirib.ac.ir/article_236348.html Objective: The present study seeks to analyze the aforementioned game from a semiotic perspective, examining the presence of explicit and implicit signs and religious elements in both form and content, and to assess the extent of its success in representing and transmitting religious concepts within the context of new media. Research Methodology: The research method involves library-based data collection and employs a qualitative descriptive–analytical approach in terms of both form and content. Findings and Conclusion: The attention paid to graphics, the manner of character illustration, the use of colors related to the subject matter, the appropriate reliance on Qur’anic stories, the simplification of content for a child audience, engaging the audience in participation and progression within the game, accompanying the narrative, and the use of various illustration styles and the execution of appealing details constitute the strengths of the game. Conversely, weak advertising in introducing the game, technical bugs, audience dissatisfaction due to limited or lack of access to certain stories and sections, and the failure to utilize the potential for expanding stages and designing new sections are identified as its weaknesses. https://jrsm.qomirib.ac.ir/article_236352.html Objective: The objective of this research is to conduct a comparative study of the function of mise-en-scène in depicting the infallible characters in two prominent works of cinema and television, namely the Imam Ali (peace be upon him) series and the Muhammad (peace be upon him) film. The present research examines the methods of utilizing visual and motion elements such as set design, costume design, lighting, and facial features in representing the infallibles.Research Methodology: In this research, a comparative analysis of the use of mise-en-scène in the two aforementioned works has been conducted. Data has been collected through observation and analysis of the scenes and visual and motion aspects of both works. The central approach in this method is the neoformalist approach to determine the strengths and weaknesses of the director in using mise-en-scène in both works.Findings: The results of the analysis show that in the Imam Ali series, the director has focused more on visual aspects such as set design, costumes, and lighting, but the use of facial features and other mise-en-scène components in this work is weak. This series has made less use of the more complex aspects of mise-en-scène and has paid more attention to simpler visual aspects. While in the film Muhammad Rasoolullah, the director was able to use all the tools of mise-en-scène effectively, especially in the set design and lighting that effectively highlighted the spiritual characteristics of the infallible characters and added to its impact.Conclusion: According to this research, the film Muhammad Rasoolullah is an outstanding example of the comprehensive and effective use of mise-en-scène in depicting infallible characters. This is while the series Imam Ali (peace be upon him) and other television works are currently in a stage of developing the use of mise-en-scène to depict religious characters. The present study deals with the evolution of this tool in cinema and television and its impact on audience perception.