Document Type : Original Article
Authors
1
PhD of sociology, Shiraz University, Shiraz, Iran
2
PhD student in Sociology, Shiraz University, Shiraz, Iran
3
PhD of Sociology, University of Tehran, Researcher, Parliamentary Research Center, Tehran, Iran.
Abstract
The present study was conducted with the aim of recognizing the order and preference of the discourse represented by the Iranian family in the series Mikael. The research method in this study is discourse analysis. The analysis unit is the serial and observation unit of the discourse relations in the film. The components of this method are: Identification of central signs, articulation and determination of discourse, identification of floating sign, discourse relationship, outcome of discourse confrontation and relationship with the text (social context). Findings show that in Michael's series, three discourses of right-seeking, conservative and extremist are represented and the end of the discourse ends with the superiority of right-wing discourse. The main themes of the right-wing discourse were flexibility in traditions, women's independence, positive thinking style, right-wing advocacy, and family orientation; Central features of conservative discourse include fate, respect, fear and insecurity, distrust of the police, family friendliness, conservative support, and central points of extreme family discourse, including extremism and traditionalism, patriarchy, malice, and revenge. Violent problem-solving styles have been stigmatizing, labeling, and breaking the law. The results of the research indicate that there is no single representation of the Iranian family and we are faced with a multitude of family types in Iran, and similarly in these series, they deal with the discourse confrontations of this type of family and in the end The series, according to the discourse in question, are looking for the superiority of the discourse and the type of family they are considering.
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