Analysis of several cinematic romantics according to theory of Sadra’s love

The purpose of this thesis at the first step was making clear how to represent the philosophical themes of love in romantic melodramas of the Iranian cinema and the analysis of Sadra’s mentalities about love contents and making clear the needs for its applying in cinema at the next step.

To reach the above mentioned purposes, the writer has tried by a descriptive _ analytic attitude as a qualitative research method to study how to represent the concept of love in Iranian cinema by providing an operational definition about love content in Mollasadra’s thoughts and in the following he proceed analysis of Sadra’s mentalities to use philosophical concept of love in cinema.

Thesis findings have been included two main topics according to research problem _ one, how the Iranian cinema face to themes of love and the another, love in Sadra’s philosophical thoughts and its relation to cinema. The analysis of research findings has had tangible results that the most important of them are: A) Iranian cinema has been Sadr al _ Mutallah’s case from a philosophical point of view and the end he intended for making love, never prove to be true in Iranian cinema. In this cinema love has always created by an accident and an event for lover and beloved. And it has depicted all of their needs to reach metaphorical love. B) In Sadra’s thought, human’s love has to be a bridge to reach a real love otherwise having a metaphorical love doesn’t reach the man to exaltation of the soul. C) Sometimes love can be manifested as a cinematic work in the artist thought and his/her work. And sometimes as a main concept of storytelling comes the subject of cinematic representation.