Document Type : Original Article

Authors

• Arash Hasanpour ¹
• Baharak Mahmoudi ²

¹ literature and humanities, university of Isfahan

² allameh tabatabaei university

Abstract

The cultural life of objects is one of the fields of cultural studies and cultural sociology and interdisciplinary discipline that is limited and lacking in Iranian research. In this article, we will attempt to address this research deficiency by considering the social and cultural existence of the 'door' as an object and emerging. This will be accomplished through an interpretive study of the two films "Paternal House" (Kianoush Aiyari) and "Lovely Trash" (Mohsen Amir Yousefi). Our theoretical and methodological approach in this article is based on Simmel's ideas and theories. The results of this study, by accepting the premise that "man is a creature, boundary-bound," suggest that the "door" phenomenon in these works is a static, stopping, and confining factor. In the film, the men in the paternity house make doors, knock down walls, and hide, but it is women who break through the walls and unlock the doors, revealing the truth. In these films we also see the dialectic of the inside and the outside, hidden and revealing, as well as personal and impersonal, through the 'in' element. Studying these two films shows that the Door is also intertwined with gender, individuality, domination, secrecy, and history. They also act alongside the "in" element, such as walls, frames, windows, and locks, as a semantic motif and context that open social and cultural interpretations to text reading.

Keywords

• The Social History of Objects
• Door
• Dialectical Approach
• George Simmel