Representation of religious experience discourses in Iranian cinema after Islamic revolution

Abstract
Current research titled” Representation of religious experience discourses in Irans cinema after Islamic revolution” by a discourse analytic approach firstly tries to distinguish different philosophical discourses in society and then by a “discourse analysis method” tries to represent the religious experience concept in cinema discourses. ”Representation Theory” as theoretical framework leads us to choose discourse analysis as our research method. According to the type of “Text” which are here ”cinematic texts”, chosen a synthetic approach to core concepts of Chantal Mouffe and Ernesto Laclau. And discourse analytic facts of Van Dijk and Fairclough.
By using a “documentary research “approach we can find three main discourses. The first one is ”intellectualism ” discourse which has a functionalist view point to religion and religion history and the religion role as a social factor and by a humanistic ration they never accept religion as strict reality. Second ”religious intellectualism” discourse by following recent Christian theologians, the revelation bans to humanistic ration frame and interpret “spirituality” as “Religious Experience”. Third “Islamic Tradition” discourse by introducing “mystic experience” concept, trying to emphasize on revelationized ration as we see in Ibn Arabi - founder of Islamic mysticism-.
With these definitions, religious experience in each discourse will get a unique meaning. In intellectualist discourse  the metaphysical experience is accepted as a personal matter that can not be trusted. In religious intellectualism discourse, religious experience concept become more important than religion and understood as the only mean for human beings to communicate with the God and in this kind of relation there is no boundary to limit .In Islamic tradition discourse, religious experience will be defined by religious beliefs. So any kind of metaphysical experience can not be defined as religious experience and we never can limit sharia and religious rituals to any facts from religious experience.
On this basis and according to religious experience concept in any of three discourses, we try to take a look at films in Irans cinema after Islamic revolution.  So we chose films that can represent a complete discoursed meaning of religious experience. So we chose “Boie Kafoor,Atre Yas” and “Faryade Moorche ha” in intellectualism discourse ,”Marmoolak” in religious intellectualism discourse and “Zire Noore Mah” and “Tavallode Yek Parvaneh” in Islamic tradition discourse to be analyzed according to their discoursive factors and field of  discursivity.