Document Type : Original Article
Abstract
This article critically studies eventual approaches of power, via the analyzing of six movies by Masoud Kimiaee which produced before 1979, Ghiesar, Reza Motori, Dash Akol, Ghavaznha, Khak, and Safar-e Sang. Critical discourse analysis in cinema, on one hand, considers to cinema itself as an art, regarding it as a valid, valuable, thinkable and philosophical medium; on the other, consider it as a juncture of politic, economy and culture that, in this article, authors articulate some of them from the sociological perspective. By the same token, studying of the movies of Masoud Kimiaee is a reason for us to understand social and political relations, in general, and the power relations, in particular. It seems that structural patterns in which these films represent contribute to the kind of subjects that can be seen concretely in the Iranian society: subalterns that were strive to affect the counters of change in their society. In this cinema, the gradual trend of three discourses (Rebellious, Tragic and Epic-Revolutionary) in related to those social conditions, generate a resistant subject that finally transfigure to a revolutionary subject. In each of these discourses two kinds of resistance (frictional or intentional) are realized by the protagonist of the movies which are manifest in their everyday life or the politic of government. The rebellious discourse owns both kind of resistance; Tragic discourse engages more rather with the frictional resistance in the daily life; and in the epic-revolutionary discourse we face more rather with intentional resistance in the level of the politic of government.
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