نشانه‌شناسی فیلم «اژدها وارد می‌شود»

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Fahimi far, A., Sheikh Mehdi, A. & Gholāmali, A. (2018). Philosophical Approach to Causality Principle in Postmodern Cinematic Narrative (A Study of Taste of Cherry). Quarterly Scientific Journal of Audio-Visual Media, 12 (28), 53- 70. (In Persian)

Hall, S. (2003). Decoding and encoding. (Sh. Vaghfi pour, Trans.). Tehran: Talkhun. (In Persian)

Hayāti, V. (2009). Postmodern film. Revāgh-e honar va Andisheh, 34, 38- 51. (In Persian)

Jafari, A. & Mozafari, A. (2013). Representation of middle-class life in Iranian sinemā (The Typology of A “separation”). Quarterly Scientific Journal of Audio-Visual Media, 9 (21), 127- 150. (In Persian)

Khāleghpanāh, K.(2008). Semiotics and Film Analysis: a Semiotic investigation of Turtles Can Fly. Cultural Studies & Communication, 4 (12), 163-182. (In Persian)

Milner, A. & Browitt, J.(2008). Contemporary Cultural Theory: An Introduction. (J. Mohammadi, Trans.). Tehran: Qoqnoos. (In Persian)

Sajādi far, V., Ishāni, T. & Bāvān puri, M.(2019). Semantic semiotic analysis in the film “Salesman”. Dramatic literature and visual arts, 7, 73- 88. (In Persian)

Shahbā, M. (2005). Cinema and theater semiotics, Semiotics of writing. Khiāl, 13, 4- 35. (In Persian)

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Sojudi, F. &Roudi, F. (2010).Analysis of narrative from classic to modern. Comparative Literature Research, 1(4), 155- 171. (In Persian)