انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557541220081121Local Consumption of Global Popular Culture: Indian Popular Films and Zahedani Spectatorsﻣﺼﺮف ﻣﺤﻠﻲ و ﻓﺮﻫﻨﮓ ﻋﺎﻣﻪ جهانی سینمای ﻋﺎﻣﻪ ﭘﺴﻨﺪ113244030FAJournal Article20200811Indian popular films, as a global popular culture, are consumed vastly in Iranian society. This is not a new phenomenon and can be traced back to the 1330s. But there has been no investigation about the way these films are consumed and how the spectators communicate with them .The present research employs the approach of cultural studies, explaining and interpreting the readings of Indian popular film among Zahedani spectators. In doing so, we have used a qualitative- synthetic method. This method includes: 1) interpreting the social, ideological and technical codes of Indian popular films, 2) analyzing the sociocultural contexts of spectators, and 3) explaining the reading of spectators. The findings of this research indicate that Indian popular films, as a global popular culture, create some structures and power relations in the world of narrative, which naturalize and are influenced by structures and power relations in the Indian social world. Whenever, due to globalizing processes, global popular culture is consumed locally, its discursive formation will change according to the discursive identity of local consumers and their concerns. The texts of global popular culture can provide a context in which local consumers are able to transcend the framework of space and time and overcome their social, cultural and political limitations.ﻓﻴﻠﻤﻬﺎی ﻋﺎﻣﻪ ﭘﺴﻨﺪ ﻫﻨﺪی ﺑﻪ ﻋﻨﻮان ﻧﻮﻋﻲ ﻓﺮ ﻫﻨﮓ ﺟﻬﺎﻧﻲ ﻋﺎﻣﻪ در ﺟﺎﻣﻌﺔ اﻳﺮان ، و در ﻣﻘﻴﺎﺳﻲ وﺳﻴﻊ ﻣﻮرد اﺳﺘﻔﺎده اﺳﺖ.ﭘﺪﻳﺪ اﻳﻦ اﻣﺮ ة و ﻧﻮﻇﻬﻮری ﻧﻴﺴﺖ ﭘﻴﺸﻴﻨﺔ دﻫ 30 آن ﺑﻪ ﺔ ﺑﺮﻣﻲ ﮔﺮدد؛ در اﻣﺎ ﺗﺎﻛﻨﻮن و ﻣﻮرد ﭼﮕﻮﻧﮕﻲ ﻓﺮاﻳﻨﺪ ﻣﺼﺮف اﻳﻦ ﻓﻴﻠﻤﻬﺎ ﻧﻮع ارﺗﺒﺎﻃﻲ ﻛﻪ ﺗﻤﺎﺷﺎﮔﺮان اﻳﺮاﻧﻲ ﺑﺎ آﻧﻬﺎ دارﻧﺪ، ﭘﮋوﻫﺸﻲ اﻧﺠﺎم ﻧﮕﺮﻓﺘﻪ اﺳﺖ . ﭘﮋوﻫﺶ ﺣﺎﺿﺮ در ﭼﺎرﭼﻮب ﺳﻨﺖ ﻣﻄﺎﻟﻌﺎت ﻓﺮﻫﻨﮕﻲ، ﺧﻮاﻧﺸﻬﺎﻳﻲ را ﻛﻪ ﺗﻤﺎﺷﺎﮔﺮان زاﻫﺪاﻧﻲ از و ﻓﻴﻠﻤﻬﺎی ﻋﺎﻣﻪ ﭘﺴﻨﺪ ﻫﻨﺪی دارﻧﺪ، درﻳﺎﻓﺖ ﺗﺒﻴﻴﻦ ﻧﻤﻮده اﺳﺖ .از ﺑﺮای اﻧﺠﺎم اﻳﻦ ﻛﺎر روش ﻳﻚ ﻛﻴﻔﻲـ »ﺷﻨﺎﺳﻲ ﺗﺮﻛﻴﺒﻲ « ﻛﻪ به ﻃﻮر کلی أ ﻣﺎن (و 1 :درﺑﺮﮔﻴﺮﻧﺪة اﺳﺘﻨﺘﺎج رﻣﺰﮔﺎن اﺟﺘﻤﺎﻋﻲ، ﻓﻨﻲ اﻳﺪﺋﻮﻟﻮژﻳﻚفیلم ﻋﺎﻣﻪ ﻤﻬﺎی ﻫﻨﺪی ﭘﺴﻨﺪ ؛ ( 2 زمینه تحلیل اﺟﺘﻤﺎﻋﻲ ـ و فرهنگی تماشاگران (3 درﻳﺎﻓﺖ ﺧﻮاﻧﺸﻬﺎی ﺗﻤﺎﺷﺎﮔﺮان ﻣﻮرد ﻣﻄﺎﻟﻌﻪ ﻣﻲ ﺑﺎﺷﺪ، اﺳﺘﻔﺎده ﺷﺪه اﺳﺖ . ﻧﺘﺎﻳﺞ ﭘﮋوﻫﺶﺣﺎﻛﻲاز آناﺳﺖ ﻛﻪ ﻓﻴﻠﻤﻬﺎی ﻋﺎﻣﻪ ﭘﺴﻨﺪ ﻫﻨﺪی، ﺑﻪ ﻋﻨﻮان ﻧﻮﻋﻲ ﻋﺎمه ﺟﻬﺎﻧﻲ، و ﺳﺎﺧﺘﺎرﻫﺎ در رواﺑﻂ ﻗﺪرﺗﻲ را در ﺳﻄﺢ جهان رواﻳﻲ ﺧﻠﻖ ﻣﻲ ﻧﻤﺎﻳﻨﺪ، ﻛﻪ ﺑﻪ ﻧﻮﻋﻲ متاثر از ﺳﺎﺧﺘﺎرﻫﺎ و رواﺑﻂ ﻗﺪرت ﻣﻮﺟﻮد ﺟﻬﺎن اﺟﺘﻤﺎﻋﻲ ﻫﻨﺪ و در راﺳﺘﺎی ﻃﺒﻴﻌﻲ ﺟﻠﻮه دادن آﻧﻬﺎ اﺳﺖ .وﻗﺘﻲ ﻛﻪ در اﺛﺮ ﻓﺮاﻳﻨﺪ عامه ﻫﺎی ﺟﻬﺎﻧﻲ ﺷﺪن، ﻓﺮﻫﻨﮓ ﺟﻬﺎﻧﻲ در ﻣﻘﻴﺎﺳﻲ ﻣﺤﻠﻲ ﻣﺼﺮف می ﺷﻮد، ﺻﻮرت ﮔﻔﺘﻤﺎﻧﻲ ﺑﻨﺪی ﮔﻔﺘﻤﺎﻧ اش ﻣﺘﻨﺎﺳﺐ ﺑﺎ ﻫﻮﻳﺖ ﻣﺼﺮف و ﻛﻨﻨﺪﮔﺎن ﻣﺤﻠﻲ ﺗﺎ ﻣﺴﺎﺋﻞ آﻧﻬﺎ، ﺣﺪود زﻳﺎدی ﺗﻐﻴﻴﺮ و ﻳﺎﺑﺪ، ﺣﺘﻲ ﻣﻮاردی ﻛﺎﻣﻼ ﺗﻐﻴﻴﺮ ﻣﻲ ﻛﻨﺪ.ﻋﺎﻣه ﻣﺘﻮن ﻓﺮﻫﻨﮓ ﺟﻬﺎﻧﻲ می تواند زﻣﻴﻨﻪ ﻣﺼﺮف اﻳﻲ را ﻓﺮاﻫﻢ ﻧﻤﺎﻳﻨﺪ ﻛﻪ ﻛﻨﻨﺪﮔﺎن ﻣﺤﻠﻲ، ﻗﺎﻟﺐ زﻣﺎن و ﺳﻴﺎﺳﻲ ﻣﻜﺎن را ﺑﺸﻜﻨﻨﺪ و ﺑﺮ ﻣﺤﺪودﻳﺘﻬﺎی ﻓﺮﻫﻨﮕﻲ، اﺟﺘﻤﺎﻋﻲ و ﺷﺎن ﻓﺎﺋﻖآﻳﻨﺪ. انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557541220081121Death and Society: Analyzing Bahman Farmanara’s movies from a sociology of cinema point of viewﻣﺮگ و ﺟﺎﻣﻌﻪ :ﻓﺮﻣﺎن ﺑﺮرﺳﻲ آﺛﺎر ﺑﻬﻤﻦ سینما آرا از ﻣﻨﻈﺮ ﺟﺎﻣﻌﻪ ﺷﻨﺎﺳﻲ335644032FAJournal Article20200811Our main goal in this paper is to analyze three movies by Bahman Farmanara, the Iranian filmmaker, and to examine their relationship to society in Iran. For this reason, and using Lucien Goldmann’s theory about great art and great artist, these three movies are analyzed from the sociology of cinema point of view. In order to study these movies, we have used two methods of internal and external criticism:; the former being based on technical semiotics and the latter conceived as an instrument for examining the relationship between movies and society. Studying the movies and examining each separately showed that these three movies have established a meaningful relationship with society in depicting the concept of death on the individual, class, and social levels. The movies represent ideas of those artists who have started their artistic career before the Revolution and have their own ethical and social ideas who have not been dissolved entirely in the current ideological system. In two of the movies, problems of two groups of people, artists and writers, along with their whishes and aspirations are explicitly presented and portrayed in the light of the concept of death. In these movies the problem of death is examined from an alternative viewpoint and not only is it not a hated concept, it is actually conceived as a factor which emancipates them from the undesirable society surrounding them. In the third movie social problems are portrayed in a way that is itself an expression of death, though this time on the level of society. The common aspect in these movies, however, is their hopeful vision towards rescue and freedom which is signified in the end of each story in relation to individuals, artists and the society in general. ﻫﺪف اﺻﻠﻲ در اﻳﻦ ﻣﻘﺎﻟﻪﺗﺤﻠﻴﻞ آﺛﺎرﺳﻪ ﮔﺎﻧﻪ ﺑﻬﻤﻦﻓﺮﻣﺎن آرا و ﻣﺘﻘﺎﺑﻞ راﺑﻄﻪ اﻳﻦ آﺛﺎر ﺑﺎ ﺟﺎﻣﻌﻪ اﻳﺮان اﺳﺖ بدین منظور ﺑﺎ ﺑﻬﺮه ﮔﻴﺮ ﻧﻈﺮﻳﺎت یاز ﮔﻠﺪﻣﻦ ﻟﻮﺳﻴﻦ ﭘﻴﺮاﻣﻮن اﺛﺮﻫﻨﺮی واﻻ و ﻫﻨﺮﻣﻨﺪ واﻻ، ﺷﺪه ﺳﻌﻲ اﻳﻦ ﺳﻪ ﻓﻴﻠﻢ از ﻣﻨﻈﺮ ﺟﺎﻣﻌﻪ ﺷﻨﺎﺳﻲ ﺳﻴﻨﻤﺎ ﺷﻮﻧﺪ ﺗﺤﻠﻴﻞ .ﻣﻄالعه اﻳﻦ فیلم ها از دو ﻧﮕﺮ ش ﻧﻘﺪ درون ﻧﻮﺷﺘﺎر ﻛﻪ دراﻳﻦ ﺑﻴﺸﺘﺮ ﺑﺮ ﻣﺒﺘﻨﻲ ﻧﺸﺎﻧﻪ ﺷﻨﺎﺳﻲ ﻓﻨﻲاﺳﺖ، و ﻧﻘﺪ ﺑﺮون ﻧﮕﺮ یه ﻋﻨﻮان اﺑﺰا ز ﺑﺮای ﺑﺮرﺳﻲ ﻓﻴﻠﻢ ﺑﺎ ﺟﺎﻣﻌﻪ، اﺳﺘﻔﺎده شده است. ﭘﺲ از ﻣﻄﺎﻟﻌﻪ ﻓﻴﻠﻢ ﻣﻲ و ﺑﺮرﺳﻲ ﻫﺮﻳﻚ ﺑﻪ ﺷﻜﻠﻲ ﺟﺪاﮔﺎﻧﻪ می توان ﮔﻔﺖ ، اﻳﻦ ﺳﻪ ﻓﻴﻠﻢ از ﻣﻨﻈﺮ ﻧﻤﺎﻳﺶ ﻣﻔﻬﻮم ﻣﺮگ در ﺳﻄﻮح ﻣﺨﺘﻠﻒ ﻓﺮدی، ﻃﺒﻘﺎﺗﻲ و اﺟﺘﻤﺎﻋﻲ را با جامعه بفر قرار کرده است و ﺑﻪ ﻧﻮﻋﻲ ﻣﻌﺮف ﺗﻔﻜﺮات ﻗﺸﺮ ﻫﻨﺮﻣﻨﺪ و اﻧﺪﻳﺸﻤﻨﺪ ﻗﺒﻞ از اﻧﻘﻼب ﻫﺴﺘﻨﺪ ﻛﻪ ﺗﻔﻜﺮات اﺧﻼﻗﻲ و اﺟﺘﻤﺎﻋﻲ وﻳﮋه ﺧﻮد را داﺷﺘﻪ ﻧﺸﺪه اﻧﺪ و ﺑﻪ ﻫﻤﻴﻦ دﻟﻴﻞ ﺑﻪ آﺳﺎﻧﻲ در دل ﻧﻈﺎم ﻓﻜﺮی ﻣﻮﺟﻮد ﺣﻞ اﻧﺪ. در دو ﻓﻴﻠﻢ اﺛﺮ از اﻳﻦ ﺳﻪ ﻣﺴﺎﻳﻞ دو ﻗﺸﺮ ﻫﻨﺮﻣﻨﺪ و ﻧﻮﻳﺴﻨﺪه ﺑﻪ وﺿﻮح ﻣﻄﺮح و دﻏﺪﻏﻪ ﻫﺎ وآرﻣﺎن ﻫﺎﻳﺸﺎن مفهموم در ﭘﺮﺗﻮ ﻣﺮگ،به ﺗﺼﻮﻳﺮ ﻛﺸﻴﺪ شده اﺳﺖ. ﻓﻴﻠﻢ در اﻳﻦ ﻣﺴﺌﻠﻪ ﻣﺮگ درزﻧﺪﮔﻲ اﻳﻨﺎن از زاوﻳﻪ دﻳﮕﺮ ای ﺑﺮرﺳﻲ ﺷﺪه اﺳﺖ، ﺑﻪ ﻃﻮری ﻛﻪ ﻧﻪ ﺗﻨﻬﺎ ﻣﻨﻔﻮر ﻧﻴﺴﺖ، ﺑﻠﻜﻪ ﻋﺎﻣﻞ از رﻫﺎﻳﻲ ﺟﺎﻣﻌﻪ ﻧﺎﻣﻄﻠﻮب ﭘﻴﺮاﻣﻮ ﻣﻲ ن ﺗﻠﻘﻲ ﺷﻮد درﻓﻴﻠﻢ دﻳﮕﺮ ﻣﺴﺎﺋ ﻞ اﺟﺘﻤﺎﻋﻲ وﻣﺸﻜﻼت ﮔﺮﻳﺒﺎن ﮔﻴﺮ ﺑﻪ ﺟﺎﻣﻌﻪ ﮔﻮﻧﻪ ﺑﻪ ای تصویر کشیده ﺷﺪه اﺳﺖ ﻛﻪ ﺧﻮد ﺑﻴﺎﻧﮕﺮ ﻧﻮﻋﻲ ﻣﺮگ، اﻳﻦ ﺑﺎر در ﺳﻄﺢ ﺟﺎﻣﻌﻪ اﺳﺖ. اﻟﺒﺘﻪ وﻳﮋﮔﻲ ﻣﺸﺘﺮک ﻫﺮ ﺳﻪ ﻓﻴﻠﻢ ﺑﺎرﻗﻪ اﻣﻴﺪی اﺳﺖ ﻛﻪ در ﭘﺎﻳﺎن داﺳﺘﺎن ﺑﺮای ﻧﺠﺎت و رﻫﺎﻳﻲ اﻓﺮاد، ﻃﺒﻘﻪ ﻫﻨﺮﻣﻨﺪان و ﻧﻮﻳﺴﻨﺪﮔﺎن و ﻧﻴﺰ ﺟﺎﻣﻌﻪ رو ﺑﻪ ﻧﺎﺑﻮدی درﺧﺸﻴﺪن ﻣﻲ ﮔﻴﺮدانجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557541220081121Generational relations in Iran’s war cinema (with a focus on Hatamikia’s cinema)رواﺑﻂ ﻧﺴﻠﻲ در سینمای ﺟﻨﮓ اﻳﺮان(باتاکید بر سینمای حاتمی کیا)578844035FAJournal Article20200811This paper undertakes an examination of cinematic narratives of common generational experiences in regard to the 8-year war of Iran. Through a structuralist approach, this paper aims to analyze representations of dichotomies relating to generational relations (including inter- and intragenerational relations) in Hatamikia’s cinema: idealism/pragmatism, duty-boundness/outcome-boundness, love-focusedness/reasonfocusedness, introversion/extroversion, and preterism/futurism. The logic employed for analyzing the oppositions is that of Parson’s action models. Here five films of Hatamikia are looked at which are part of the war genre and also dwell on generational relations: Mohajer (1990), Az Karkheh ta Rhein (1993), Ajans-e Shishei (1997), Moj-e Mordeh (2001), Be Nam-e Pedar (2006). In the course of representing generational relations, from Mohajer to Be Nam-e Pedar, the director has gone from the first part of the abovementioned oppositions to the second part. This may point to the formation of an independent social sphere which has gradually been formed after the War, and influenced by which, the director has leaned toward the second part in his preferred reading. <span lang="AR-SA" dir="RTL">رواﻳﺖِﺑﺮرﺳﻲ ﻫﺎی ﺳﻴﻨﻤﺎﻳﻲ از ﺗﺠﺮﺑه ﻣﺸﺘﺮک در ﺧﺼﻮص ﺟﻨﮓ ﻫﺸﺖ ﺳـﺎﻟﺔ ِ ﻫﺎی ﻧﺴﻠﻲاﻳﺮان، ﻣﻮﺿﻮع ﻣﻘﺎﻟﺔ ﺣﺎﺿﺮ اﺳﺖ . در اﻳﻦ ﻣﻘﺎﻟﻪ ﺗﻼش ﺷﺪه ﺗﺎ ﺑﺎ اﺗﺨﺎذ روﻳﻜﺮدی ﺳﺎﺧﺘﺎرﮔﺮاﻳﺎﻧﻪ ﺑﺘﻮان ﺑﻪ ﺑﺮرﺳﻲ ﭼﮕﻮﻧﮕﻲ ﺑﺎزﻧﻤﺎﻳﻲ دوﮔﺎﻧﮕﻲ ﻫﺎی ﻣﺮﺑﻮط ﺑﻪ رواﺑـﻂ ﻧـﺴﻠﻲ) اﻋـﻢ از : رواﺑـﻂ درون ﻧـﺴﻠﻲ و رواﺑﻂ ﺑﻴﻦ ﻧﺴﻠﻲ (ﭘﺮداﺧﺖ ﻛﻪ در آﺛﺎر ﺳﻴﻨﻤﺎی ﺟﻨﮓ ﺣﺎﺗﻤﻲ ﻛﻴـﺎ ﺑﺎزﻧﻤـﺎﻳﻲ ﺷـﺪه اﺳـﺖ از ﺟﻤﻠـﻪ : ﻋﻘﻴــﺪه ﮔﺮاﻳــﻲ/ﻋﻤــﻞ ﮔﺮاﻳــﻲ، وﻇﻴﻔــﻪ ﻣﺤــﻮری/ﻧﺘﻴﺠــﻪ ﻣﺤــﻮری، ﻋــﺸﻖ ﻣــﺪاری/ﻋﻘــﻞ ﻣــﺪاری، درون ﮔﺮاﻳﻲ/ﺑﺮون ﮔﺮاﻳﻲ و ﮔﺬﺷﺘﻪ ﮔﺮاﻳﻲ/آﻳﻨﺪه ﮔﺮاﻳﻲ . ﻣﻨﻄﻖ ﭘﻲ ﮔﺮﻓﺘﻪ ﺷﺪه است و ﺑﺮای ﺗﺤﻠﻴـﻞ ﺗﻘﺎﺑـﻞ ﻫـﺎی اﺳﺘﺨﺮاج ﺷﺪه، اﻟﮕﻮﻫﺎی ﻛﻨﺸﻲ ﭘﺎرﺳﻮﻧﺰ اﺳﺖ از ﻣﻴـﺎن آﺛـﺎر ﺣـﺎﺗﻤﻲ ﻛﻴـﺎ ﺑـﻪ ﺑﺮرﺳـﻲ ﭘـﻨﺞ اﺛـﺮ وی ﭘﺮداﺧﺘﻪ ﺷﺪ ﻛﻪ ﻫﻢ ﻣﺘﻌﻠﻖ به ژاﻧﺮ ﺟﻨﮓ ﺑﻮده اﻧﺪ و ﻫﻢ ﺑـﻪ ﻣﻮﺿـﻮع « رواﺑـﻂ ﻧـﺴﻠﻲ ﭘﺮداﺧﺘـﻪ اﻧـﺪ : مهاجر(1368) از کرخه تا راین (1371) آژاﻧﺲ ﺷﻴﺸﻪ ای ، (1376)، موج مرده (1378/79) و ﺑـﻪ نام پدر( 1384 ) ﻣﺆﻟﻒ در ﺳﻴﺮ ﺑﺎزﻧﻤﺎﻳﻲ رواﺑﻂ ﻧﺴﻠﻲ، از ﻣﻬﺎﺟﺮ ﺗﺎ ﺑـﻪ ﻧـﺎم ﭘـﺪر، از ﺳـﻮﻳﺔ اﺑﺘـﺪاﻳﻲ ﺗﻘﺎﺑﻞ ﻫﺎی ﻣﺬﻛﻮر ﺑﻪ ﺳﻮﻳﺔ دوم ﻣﺎﻳﻞ ﺷﺪه اﺳﺖ . اﻳﻦ اﻣﺮ ﻣﻲ ﺗﻮاﻧﺪ ﺷﺎﻫﺪی ﺑﺮ ﺷـﻜﻞ ﮔﻴـﺮی ﺳـﺎﺣﺖ ﺑﺎﺷﺪ ﻛﻪ ﭘﺲ از ﺟﻨﮓ ﺑﻪ ﺗـﺪرﻳﺞ اﻳﺠـﺎد ﺷـﺪ و ﻣﺆﻟـﻒ ﻧﻴـﺰ ﺗﺤـﺖ ﺗـﺄﺛﻴﺮ آن، در ّ اﺟﺘﻤﺎﻋﻲ ﻣﺴﺘﻘلی ﺧﻮاﻧﺶ ﻣﺮﺟﺢ ﺧﻮﻳﺶ ﺑﻪ ﺳﻮﻳﺔ دوم ﺗﻤﺎﻳﻞ ﻳﺎﻓﺘﻪ اﺳﺖ</span>انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557541220081121Modernity Problematic: Tehran in Pre-Revolution Cinemپروبلماتیک مدرنیته ﺷﻬﺮی:تهران در سینمای قبل از انقلاب اسلامی8911444036FAJournal Article20200811Movies in Iran can be an appropriate mediates to understand urban modernity. In this paper, movies produced three decades before the Revolution (1979) are studied. Our inquiry reveals how these films represent problems stemmed from urban renovation and the process of modernity. Moreover, they had a critical perspective toward the renovation trend so that they challenged their leaders’ political claims and promises in the authoritarian society. Arousing contrast between city and village as well modern life’s paradoxes are part of existing social and economic gaps which cinema has highlighted. Besides, the films produced in the decade to 1979 predicted the possibility of the occurrence of a revolution. The present study suggests that these films frequently gave a kind of political representation of Iranian modernity. ﺗﻬﺮان ﺑﻪ ﻋﻨﻮان ﻧﻤﺎد ﻣﺪرﻧﻴﺘﻪ ﺷﻬﺮی در ﺑﺴﻴﺎری از ﻓﻴﻠﻤﻬﺎی ﺳـﻴﻨﻤﺎﻳﻲ ﻣـﻮرد ﺗﻮﺟﻪ ﻗﺮار ﮔﺮﻓﺘﻪ اﺳﺖ . ﺑﺎزﻧﻤﺎﻳﻲ ﺗﻬﺮان در ﻓﻴﻠﻤﻬﺎ درواﻗﻊ ﺗﺎرﻳﺦ ﺗﺤﻮﻻت ﻣﺪر ﻧﻴﺘﻪ اﻳﺮاﻧﻲ<br /> ﻧﻴﺰ ﻫﺴﺖ .ازاﻳﻦ رو، اﻳﻦ اﻣﻜﺎن وﺟﻮد ﺧﻮاﻫﺪ داﺷﺖ ﻛﻪ ﺑﻪ ﻣﺪد ﺑﺎزﻧﻤـﺎﻳﻲ ﺷـﻬﺮ ﺗﻬـﺮان، ﺗﺄﻣﻠﻲ اﻧﺘﻘﺎدی از ﻣﺪرﻧﻴﺘﻪ اﻳﺮاﻧﻲ اراﺋﻪ دﻫﻴﻢ . در اﻳﻦ ﻣﻘﺎﻟﻪ، ﺳـﻴﻨﻤﺎی داﺳـﺘﺎﻧﻲ ﻗﺒـﻞ از اﻧﻘــﻼب اﺳــﻼﻣﻲ ﺑﺮرﺳــﻲ ﺷــﺪه اﺳــﺖ .ـﻪ ﻫــﺪف ﻧﻮﻳــﺴﻨﺪﮔﺎن اﻳــﻦ ﻣﻘﺎﻟــﻪ ﺑـ ﺗﺒﻌﻴــﺖ از ﻧﻈﺮﻳﻪ ﭘﺮدازاﻧﻲ ﭼﻮن زﻳﻤﻞ و ﺑﻬﺮه ﺟﺴﺘﻦ از روﻳﻜﺮد اﻧﺘﻘﺎدی واﻟﺘﺮ ﺑﻨﻴﺎﻣﻴﻦ آن اﺳﺖ ﻛﻪ ﺗﺨﻴﻞ و ﺑﻴﻨﺶ ﻏﺎﻟﺐ در ﻓﺮﻫﻨﮓ اﻳﺮاﻧﻲ را ﺑﻪ ﻣﺪد ﺑﺎزﻧﻤﺎﻳﻲ ﺷﻬﺮ در رﺳﺎﻧﻪ ﺳﻴﻨﻤﺎ ﻛﺸﻒ ﻛﻨﻨﺪ . ﺑﺮاﻧﮕﻴﺨﺘﻦ ﺗﻀﺎد روﺳﺘﺎ و ﺷﻬﺮ، اراﺋﻪ ﺗﺼﺎوﻳﺮی دوﮔﺎﻧـﻪ از اﻣـﺮ ﻣـﺪرن، ﺑﺎزﻧﻤـﺎﻳﻲ ﺳﻴﺎﺳﻲ ﺷﻬﺮ، ﺑﻪ ﻫﻢ رﻳﺨﺘﮕﻲ ﻧﻈﻢ ﻛﻴﻬﺎﻧﻲ ﺳﻨﺘﻲ در ﺷﻬﺮ ﻣﺪ رن، ﺷﻜﻞ ﮔﻴﺮی ﻋﻘﻼﻧﻴﺘﻲ ﻧﺎﻣﻨﺴﺠﻢ در زﻧﺪﮔﻲ روزﻣﺮه ﺷﻬﺮی و اﻧﻮاع ﮔﺴﺴﺘﻬﺎ و ﺷـﻜﺎﻓﻬﺎی اﺟﺘﻤـﺎﻋﻲ اﻗﺘـﺼﺎدی ﻣﻮﺟﻮد در زﻧﺪﮔﻲ از ﺟﻤﻠﻪ ﻣﺴﺎﺋﻠﻲ اﺳﺖ ﻛﻪ ﺳﻴﻨﻤﺎی ﭘﻴﺶ از اﻧﻘﻼب ﺑـﻪ ﺑﺎزﻧﻤـﺎﻳﻲ آن ﭘﺮداﺧﺘﻪ اﺳﺖ.انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557541220081121Representation of the ‘Golden Age’ Myth in the Historical Cinema of Iranﺑﺎزﻧﻤﺎﻳﻲ اﺳﻄﻮره ﻋﺼﺮ ﻃﻼﻳﻲ در سینمای ﺗﺎرﻳﺨﻲ اﻳﺮان : مطالعه موردی دوره صفوی11513244037FAJournal Article20200811The production of historical films and television series about a particular historical period does not just indicate the importance of that period to the film- and cultural policymakers of a society, but is generally a representation of the current or ideal state of that society. In fact, a historical period is used as an excuse for depicting what wants to be said about current circumstances. This paper tries to analyze the cinematic productions made about the Safavid era (three films produced before the Revolution and two television series made after) from the perspective of visual anthropology. This has been done through Levi Strauss and Barthes’ theories on mythology. The Safavid era is depicted as having been glorious and splendid, functioning as a “golden age” myth. This myth is used to resolve the incongruity between our current identity and the pride we feel in regard to our past.ﺳﺎﺧﺖ ﻓﻴﻠﻢ و ﺳﺮﻳﺎل ﺗﺎرﻳﺨﻲ درﺑـﺎره ﻫـﺮ دوره از ﺗـﺎرﻳﺦ، ﻧـﻪ ﺗﻨﻬـﺎ ﻧـﺸﺎن دﻫﻨـﺪه اﻫﻤﻴﺖ آن دوره ﻧﺰد ﻓﻴﻠﻤﺴﺎزان و ﺑﻠﻜﻪ ﺳﻴﺎﺳﺘﮕﺬاران ﻓﺮﻫﻨﮕﻲ ﻳﻚ ﺟﺎﻣﻌﻪ اﺳﺖ، ﺑﻠﻜﻪ ﻋﻤﻮﻣﺎ ﺑﺎزﻧﻤﺎﻳﻲ ای اﺳﺖ از ﺷﺮاﻳﻂ ﻓﻌﻠﻲ ﺟﺎﻣﻌﻪ، ﻳﺎ ﺷـﺮاﻳﻂ آرﻣـﺎﻧﻲ آن . در واﻗـﻊ، ﺑـﺮای ﺑـﻪ ﺗـﺼﻮﻳﺮ ﻛﺸﻴﺪن آﻧﭽﻪ از ﺷﺮاﻳﻂ اﻣﺮوزی ﻣﻲ ﺧﻮاﻫﻨﺪ ﺑﮕﻮﻳﻨﺪ ﺑﺮﻫﻪ ای از ﺗﺎر ﻳﺦ را ﺑﻬﺎﻧﻪ ﻗﺮار ﻣـﻲ دﻫﻨـﺪ . در اﻳﻦ ﻧﻮﺷﺘﺎر ﺗﻼش ﺷﺪه اﺳﺖ ﺗﺎ اﻧﺪک ﺳﺎﺧﺘﻪ ﻫﺎی ﺳﻴﻨﻤﺎﻳﻲ درﺑﺎره دوره ﺻﻔﻮی) ﺳﻪ ﻓﻴﻠﻢ ﻛﻪ ﭘﻴﺶ از اﻧﻘﻼب ﺳﺎﺧﺘﻪ ﺷﺪ و دو ﺳﺮﻳﺎل ﺗﻠﻮﻳﺰﻳﻮﻧﻲ ﺳﺎﺧﺘﻪ ﺷﺪه ﭘﺲ از اﻧﻘﻼب ( را از ﻧﮕـﺎه اﻧﺴﺎنﺷﻨﺎﺳﻲ ﺗﺼﻮﻳﺮی، ﺑﺮرﺳﻲ ﻛﻨﻴﻢ . در اﻳـﻦ راه از اﺳـﻄﻮره ﺷﻨﺎﺳـﻲ ﻳـﺎری ﮔـﺮﻓﺘﻴﻢ . دوره ﺻﻔﻮی ﻫﻤﭽﻮن اﺳﺎﻃﻴﺮ ﻣﺮﺑـﻮط ﺑـﻪ دوران ﻃﻼﻳـﻲ، ﺑـﻪ ﻋﻨـﻮان دوره ای ﺑـﻪ ﺗـﺼﻮﻳﺮ ﻛـﺸﻴﺪه ﻣﻲ ﺷﻮد ﻛﻪ از ﺑﺴﻴﺎری ﺟﻨﺒﻪ ﻫﺎ، ﺷﻜﻮه و ﺟﻼل در اﻳﻦ ﺳﺮزﻣﻴﻦ ﺣﺎﻛﻢ ﺑﻮد . و اﻳﻦ اﺳـﻄﻮره ای اﺳﺖ ﺑﺮای رﻓﻊ ﺗﻨﺎﻗﺾ ﺑﻴﻦ ﻫﻮﻳﺖ ﻛﻨﻮﻧﻲ ﻣﺎن و اﺣﺴﺎس اﻓﺘﺨﺎری ﻛﻪ ﻧﺴﺒﺖ ﺑﻪ ﮔﺬﺷﺘﻪ ﺧﻮد دارﻳﻢ.انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557541220081121A Qualitative Study on the Role of Gender in Reception of Science-Fiction Films by Tehrani Youthتحلیل درﻳﺎﻓﺖ ﺗﻬﺮاﻧﻲ ﺟﻮاﻧﺎن ﺗﺤﺼﻴﻠﻜﺮده ﻋﻠﻤﻲ از فیلمهای علمی -تخلیلی13316244038FAJournal Article20200811Today's media is saturated with various genres of media content. Traditionally considered a masculine realm, the science-fiction genre is dominated by scientific and technological facts and imaginations. Thus, women are deprived from this realm due to the historical definition of gender identity;, despite that, science-fiction is considered a resourceful space for the study of socio-cultural understanding of gender and definition of masculinity and femininity (James & Mandelson, 2003). This paper focuses on the gendered reception of science-fiction films by Tehrani youth. Using a qualitative methodology, we have conducted in-depth interviews with 28 Tehrani male and female participants. The findings reveal that consumption, reception and impacts of sciencefiction movies are highly influenced by Iranian concepts and values concerning gender, and members of two genders correspond to and interpret the genre (signs, latent meaning, and ideology) according to their expressed values corresponding to social definitions of, as well as expectation from, masculine and feminine roles.ﺟﻬﺎﻧﻲ ﻛﻪ در آن ﻣﺤﺪوده ﻫﺎی ﺷﻨﺎﺧﺘﻪ ﻫﺎ و ﻧﺎ ﺷﻨﺎﺧﺘﻪ ﻫﺎ درﻫﻢ آﻣﻴﺨﺘﻪ ﺷﺪه اﺳﺖ، ﻓﺮد را در ﺑﺮاﺑﺮ ﻋﺮﺻﻪ ای ﭘﺮﺗﺤﺮک از ﻧﻤﺎدﻫﺎ و ﻧﺸﺎﻧﻪ ﻫﺎ ﻗﺮار داده اﺳﺖ . ﺟﻬﺎن رﺳﺎﻧﻪ ای ﺑﻪ ﻃﻮر ﻋﺎم و ﻓﻴﻠﻢ ﺑﻪ ﻃﻮر ﺧﺎص ﺑﻪ ﻋﻨﻮان ﻧﻘﻄﻪ ﻣﺮﻛﺰی ﺻﻨﺎﻳﻊ ﻓﺮﻫﻨﮕﻲ در ﻛﺎﻧﻮن ﺑﻴﻦ ﺗﻮﺟﻬﺎت اﻟﻤﻠﻠﻲ ﻗﺮار دارد و اﺑﻌﺎد اﺛﺮﮔﺬاری آن در ﺑﺴﻴﺎری از ﻣﺒﺎﺣﺚ آﻛﺎدﻣﻴﻚ ﻣﻮرد ﺗﻮﺟﻪ اﺳﺖ ﺑﻪ ﻫﻤﻴﻦ دﻟﻴـﻞ در روﻳﻜـﺮد ﻣﻄﺎﻟﻌـﺎت ﻓﺮﻫﻨﮕـﻲ ﺗﻮﺟﻪ ﺑﻪ ﻧﺤﻮه ادراک و درﻳﺎﻓﺖ ﻣﺨﺎﻃﺒﺎن از ﻣﺤﺘﻮای رﺳﺎﻧﻪ اﺳﺖ ای ﺑﻪ وﻳﮋه ﻓﻴﻠﻢ ﺷﺎﻳﺎن ﺗﻮﺟﻪ ﺑﻮده . ﻓﻴﻠﻢ ﻳﻜﻲ از ﻋﺮﺻﻪ ﻫﺎی رﺳﺎﻧﻪ ای اﺳﺖ ﻛﻪ ﺗﻮﺟﻪ ﺑﺪان ﺑﻪ ﻋﻨﻮان ﻳﻚ اﺑﺰار ﻗﺪرﺗﻤﻨـﺪ از زاوﻳـﻪ اﺛﺮات ﻓﺮﻫﻨﮕﻲ، اﺟﺘﻤﺎﻋﻲ، اﻗﺘﺼﺎدی، ﺳﻴﺎﺳﻲ، اﺧﻼﻗﻲ و ... ﺣﺎﻳﺰ اﻫﻤﻴﺖ اﺳﺖ؛ ﮔﺮﭼﻪ ﻧﺒﺎﻳﺪ اﻳﻦ ﻣـﺴﺌﻠﻪدرﻳﺎﻓﺖ ﻫﺮ ﻣﺨﺎﻃﺐ از ﻣﺤﺘﻮای ً را ﻧﺎدﻳﺪه ﮔﺮﻓﺖ ﻛﻪ ﻗﺪرت ﻓﻴﻠﻢ واﺑﺴﺘﻪ ﺑﻪ ﻧﻮع ﺑﺮداﺷﺖ، ادراک و ﻧﻬﺎﻳﺘﺎ رﺳﺎﻧﻪ اﺳﺖ ای . در اﻳﻦ ﻣﻴﺎن ژاﻧﺮ ﻋﻠﻤﻲ ـ ﺗﺨﻴﻠﻲ ﺑﻪ ﻋﻨﻮان ﻳﻜﻲ از ژاﻧﺮﻫﺎی ﭘﻴﭽﻴﺪه و ﻣﻮرد ﺗﻮﺟﻪ ﺟﻮاﻧﺎن ﺑـﻪ دﻟﻴﻞ ﭘﻮﺷﺶ ﮔﺴﺘﺮده ﻣﺒﺎﺣﺚ ﻣﺨﺘﻠﻒ ﻧﮕﺎﻫﻲ وﻳﮋه را ﻣﻲ ﻧ ﻃﻠﺒﺪ و ﺤﻮه ادراک و درﻳﺎﻓﺖ ﺟﻮاﻧﺎن از اﻳـﻦ ژاﻧﺮ ﻗﺎﺑﻞ ﺗﻮﺟﻪ اﺳﺖ؛ ﻟﺬا در اﻳﻦ ﻣﻘﺎﻟﻪ ﻣﺎ ﺑﻪ دﻧﺒﺎل ﺗﺤﻠﻴﻞ ﻧﺤﻮه درﻳﺎﻓﺖ ﺟﻮاﻧﺎن ﺗﺤﺼﻴﻠﻜﺮده ﺗ ﻬﺮاﻧﻲ از ژاﻧﺮ ﻋﻠﻤﻲ ـ ﺗﺨﻴﻠﻲ ﺑﻮدﻳﻢ و ﻫﺪف ﺗﺤﻠﻴﻞ ﻧﺤﻮه اﺛﺮﮔﺬاری ﺟﻨﺴﻴﺖ و رﺷﺘﺔ ﺗﺤﺼﻴﻠﻲ ﺑﺮ درﻳﺎﻓﺖ ﺟﻮاﻧﺎن از ژاﻧﺮ ﻋﻠﻤﻲ ـ ﺗﺨﻴﻠﻲ ﺑﻮد . ﺑـﺪﻳﻦ ﻣﻨﻈـﻮر ﭼﻬـﺎار فیلم 2001 1 ادﻳـﺴﻪ ﻓـﻀﺎﻳﻲ، ﻣـﺎﺗﺮﻳﻜﺲ ﻫـﻮش، ﻣﺼﻨﻮﻋﻲ و ﭼﻬﺎر ﺷﮕﻔﺖ اﻧﮕﻴﺰ اﻧﺘﺨﺎب ﺷﺪه اﺳﺖ و ﺑﺎ ﻛﻤﻚ روش ﻛﻴﻔﻲ و ﺗﻜﻨﻴﻚ ﻣﺼﺎﺣﺒﻪ ﻋﻤﻘـﻲ ﺑـﺎ 28 ﻧﻔﺮ از زﻧﺎن و ﻣﺮدان ﺗﺤﺼﻴﻠﻜﺮده در رﺷﺘﻪ ﻫﺎی ﻣﺨﺘﻠﻒ ﻣﺼﺎﺣﺒﻪ ﺻﻮرت ﮔﺮﻓﺘﻪ اﺳﺖ و ﻧﺘﺎﻳﺞ ﻛﺴﺐ ﺷﺪه ﺣﺎﻛﻲ از آن اﺳﺖ ﻛﻪ زﻧﺎن ﻋﻼﻗﻪ ای ﺑـﻪ اﻳـﻦ ژاﻧـﺮ ﻧﺪارﻧـﺪ؛ ﺟﻮاﻧـﺎن ﺑﺮاﺳـﺎس ﺟﻨـﺴﻴﺖ و رﺷـﺘﻪ ﺗﺤﺼﻴﻠﻲ ﺑﺮداﺷﺘﻬﺎ و درﻳﺎﻓﺘﻬﺎی ﮔﻮﻧﺎﮔﻮﻧﻲ از اﻳﻦ ژاﻧﺮ اراﺋﻪ ﻣﻲ دﻫﻨﺪ و ﻋﻼوه ﺑﺮ اﻳـﻦ دو ﻣﺘﻐﻴـﺮ ﻋﻮاﻣـﻞ دﻳﮕﺮی ﻧﻴﺰ ﺑﺮ درﻳﺎﻓﺖ ﻣﺆﺛﺮﻧﺪ و اﺳﺖ اﻳﻦ ژاﻧﺮ دارای ﻛﺎرﺑﺮدﻫﺎی ﻣﺨﺘﻠﻔﻲ است.انجمن مطالعات فرهنگی و ارتباطاتمطالعات فرهنگی و ارتباطات2008-557541220081121Semiotics and Film Analysis: a Semiotic investigation of Turtles Can Flyﻧﺸﺎﻧﻪ فیلم ﺷﻨﺎﺳﻲ و تحلیل : ﺑﺮرﺳﻲ ﻧﺸﺎﻧﻪ فیلم ﻻکﭘﺸﺖها پرواز می کنند16318244039FAJournal Article20200811Semiotics is a method of textual analysis. The semiotic approach seeks to discover the mechanisms of production through language and representation. This paper aims to investigate semiotics and its application based on the analysis of a movie. For this purpose, initially, epistemological status of semiotics, known as social constructionism, and its philosophical implications, and theoretical consequences are explained. Then, the main themes of methodology of semiotics will be explained in the framework of social, cultural, and technical codes and language functions. In the concrete analysis of Turtles Can Fly, the epistemological explanation and themes of the first section are employed. Film semiotics does not consider art as mere reflection of reality and thus helps us avoid the approach of raw realism. ﻧﺸﺎﻧﻪ ﺷﻨﺎﺳﻲ ﻳﻜﻲ از روش اﺳﺖ ﻫﺎی ﺗﺤﻠﻴﻞ ﻣﺘﻦ .ﻧﺸﺎﻧﻪ روﻳﻜﺮد ﺷﻨﺎﺳﻲ در ﭘﻲ دﺳﺘﻴﺎﺑﻲ ﺑﻪ ﭼﮕﻮﻧﮕﻲ ﻋﻤﻠﻜﺮدﻫﺎی ﺗﻮﻟﻴﺪ ﺑﻪ واﺳﻄﻪ زﺑﺎن و ﺑﺎزﻧﻤﺎﻳﻲ اﺳﺖ . ﻫﺪف اﻳﻦ ﻣﻘﺎﻟﻪ ﻛﺎوﺷﻲ در ﻧﺸﺎﻧﻪ ﺷﻨﺎﺳﻲ اﺳﺖ و ﭼﮕﻮﻧﮕﻲ ﻛﺎرﺑﺮد آن ﺑﺮ ﭘﺎﻳﻪ ﺗﺤﻠﻴﻞ ﻳﻚ ﻓﻴﻠﻢ . ﺑﺮای اﻳﻦ ﻫﺪف ﻧﺨﺴﺖ ﺟﺎﻳﮕﺎه ﻣﻌﺮﻓﺖ ﻧﺸﺎﻧﻪ ﺷﻨﺎﺧﺘﻲ ﺑﺮﺳﺎﺧﺖ ﺷﻨﺎﺳﻲ ﻣﻮﺳﻮم ﺑﻪ دﻻﻟﺖ ﮔﺮاﻳﻲ اﺟﺘﻤﺎﻋﻲ و ﻫﺎی ﻓﻠﺴﻔﻲ و ﭘﻴﺎﻣﺪﻫﺎی ﻧﻈﺮی آن را ﺗﻮﺿﻴﺢ ﺧﻮاﻫﻴﻢ داد و ﺳﭙﺲ ﻣﻀﺎﻣﻴﻦ ﻋﻤﺪه روش ﻧﺸﺎﻧﻪﺷﻨﺎﺳﻲ را در ﻗﺎﻟﺐ رﻣﺰﮔﺎن ﻫﺎی ﻣﻲ اﺟﺘﻤﺎﻋﻲ، ﻓﺮﻫﻨﮕﻲ، ﻓﻨﻲ و ﻏﻴﺮه و ﻛﺎرﻛﺮدﻫﺎی زﺑﺎﻧﻲ ﻋﻤﺪه ﺗﻮﺿﻴﺢ دﻫﻴﻢ . در ﺗﺤﻠﻴﻞ ﻻکﭘﺸﺖ ﻣﻲ » اﻧﻀﻤﺎﻣﻲ ﻓﻴﻠﻢ « ﻫﺎ ﻫﻢ ﭘﺮواز ﻛﻨﻨﺪ ﺗﻮﺿﻴﺤﺎت ﻣﻌﺮﻓﺘﻲ و ﻣﻀﺎﻣﻴﻦ روﺷﻲ ﺑﺨﺶ ، ﻧﺨﺴﺖ را ﺑ ﮔﺮﻓﺖ ﻪ ﻛﺎر ﺧﻮاﻫﻴﻢ .ﻧﺸﺎﻧﻪ ﻧﻤﻲ ﺷﻨﺎﺳﻲ ﻓﻴﻠﻢ، ﻫﻨﺮ را ﺑﺎزﺗﺎب ﺻﺮف واﻗﻌﻴﺖ داﻧﺪ، و از اﻳﻦ ﻧﻈﺮ ﺑﻪ ﻣﺎ ﻛﻤﻚ ﻣﻲ واﻗﻊ ﻛﻨﺪ از روﻳﻜﺮد ﻛﻨﻴﻢ ﮔﺮاﻳﻲ ﺧﺎم ﭘﺮﻫﻴﺰ .