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Abstract
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Considering that little research has been conducted in the theoretical field of Iranian cinema and hitherto almost no research has focused on myth-criticism and cinema, it sounds quite necessary to conduct this kind of research. Bahram Beyzai is one of the most prominent figures in the last 60 years and he is ranked among the most renowned figures in the field of cinema who dedicated their lives to preserve the cultural heritage of Iran through transforming its traditional signs into modern forms and avoiding cultural alienation. He experienced so many political and social conflicts, but he always tried to link Iran’s mythological origins to the new narratives through the medium of cinema and theater. In order to study his unique cinema, it seems necessary to adopt a novel systematic approach like Gilbert Durand’s myth-criticism which deals with studying myths and the collective unconscious mind that influenced the artist and his artworks. Myth-criticism is a new theory and approach which is a combination of its prior theories and approaches, namely positivism, psychoanalysis and new criticisms and completes them by focusing on their strong points. So by applying this approach on Bahram Beyzai’s cinematic works, it can be manifested how he turned his neurosis into his artworks and how he defined his artistic creativity through these works.
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