Abstract
This paper undertakes an examination of cinematic narratives of common generational experiences in regard to the 8-year war of Iran. Through a structuralist approach, this paper aims to analyze representations of dichotomies relating to generational relations (including inter- and intragenerational relations) in Hatamikia’s cinema: idealism/pragmatism, duty-boundness/outcome-boundness, love-focusedness/reasonfocusedness, introversion/extroversion, and preterism/futurism. The logic employed for analyzing the oppositions is that of Parson’s action models. Here five films of Hatamikia are looked at which are part of the war genre and also dwell on generational relations: Mohajer (1990), Az Karkheh ta Rhein (1993), Ajans-e Shishei (1997), Moj-e Mordeh (2001), Be Nam-e Pedar (2006). In the course of representing generational relations, from Mohajer to Be Nam-e Pedar, the director has gone from the first part of the abovementioned oppositions to the second part. This may point to the formation of an independent social sphere which has gradually been formed after the War, and influenced by which, the director has leaned toward the second part in his preferred reading.
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