تحلیل بازنمود چهره و پیکر انسانی در اعلان‌های سینمایی هایگ اُجاقیان در دهه‌ی 30 و 40 ه. ش ایران بر مبنای روش گیلیان دیر

Research Problem The history of movie posters in Iran is older than its cinema. From the first Iranian performance with religious themes, theater entered Iran in Nasseri period in a new form gradually continued to its progress until end of the Qajar period. After the early 14th century, the first theater advertisements were produced in the city of Tabriz by using lithographic and lead printing methods, which like other printed works of that period, had writings in Nastaliq script and a completely symmetrical composition. The decorative borders and frames of those announcements were come from Western countries. Gradually, the desire using photos in advertisements were increased. The first announcement of the cinema was located on Lalehzar Street in Tehran, with an invitation to watch a movie at Faros Cinema. The interruption of these announcements was mostly followed to printing machines and the size of lead letters. No impression of the actors' faces seen in the first models of movie. The names and actions of famous actors were formed core of the advertisements. Gradually, the faces of actors were replaced the characters and images of the advertisements. But the flow of Iranian film production stopped from 1317 AH to 1326 AH, while announcement continued its way.Therefore, modeling from Western advertisements became one of the characteristics of cinematic advertisements of this period. Gradually, the Iranian/ Foreign style of poster arrived and movie posters experienced significant changes.  The activities of calligraphers and painters in this field have expanded, since 1327 AH and with the revival of Iranian cinema. They first applied their art to the Persian titles of foreign advertisements. In decade of the 30s, Armenian immigrants were the main artists of cinema announcement design. Cinematic graphics if this period is linked with names such as George Gazarov, Misha Geragosian and Hayek Ojaghian. Ojaghian entered the cinema in the 1930 AH by designing the film's banner. The current study is done with the aim of introducing Hayek Ojaghian and analyzing her cinematic announcements. This study seeks to find answers of the following questions: What are the features of Hayek Ojaghian's cinematic announcements? What is the function of components such as human face and body in his based on the Gillian Dyer method cinematic announcements?Research Method The current research has a fundamental nature, and is retrospective in terms of time, based on descriptive- analytical data. The data of this research is based on written sources and reliable internet sources. The analysis of information has been done through analyzing of 12 content and statistical populations in a targeted manner and was based on a conscious choice to obtain more information. This research was conducted based on the Gillian Dyer method and quantitative analyzing his works. Results This research shows that Hayek Ojaghian entered the cinema in the 1319 AH by designing the film’s entrance. He was one of the first famous designers in Tehran who designed the film banners by using oil pain. The predominant technique of the Hayek Ojaghian’s advertisement has been painting and color illustration. Her film, announcements focus on actor’s face of the film. In her works, the way of actor’s faces and bodies is formed by a kind of volumetric rendering, light shading and use of intermediate shades. The artist has enabled producing various and dynamic works by creating asymmetrical combinations. The color palette is not limited and warm colors are predominant in most of his works. His announcements show a tendency to display details and the descriptive and narrative nature of this artist's film announcements is quite evident. In most Ojaghian's works, the image of the main actor was placed at the top and a smaller image of the emotional or crime scenes of the film was placed at the bottom. The composition of written elements in the space of her announcements did not follow any particular rule, but her works are more principled than similar examples in terms of the main title design. Ojaghian often used newspaper script in her title design. This artist's works are among the first examples of Iranian cinema announcement in which the names of the actors and other details of the film have been mentioned. Considering Hayek Ojaghian's cinematic announcement in this period shows that this artist's advertisements were mostly produced by using simple painting and typography techniques with lack ideation. The composition of her works was imitated from American announcements and portraits arrangement. His announcement space is available for young men and women. But generally, his film announcements are designed male-oriented, and the characters have an expressive function, which means that face and body impression express the direction of the film. The half-length portrait of actors in the announcements was studied more frequent than the head and full-body portrait, and as we move from the announcements of the 30s to the 40s decade, the number of depicted on the announcements is increased.Keywords: Contemporary Graphic Design of Iran, Cinema of Iran, movie Announcement, Gillian Dyer, Hayek Ojaghian.