نویسندگان

• محمدرضا جوادی یگانه ¹
• حمیده هاتفی ²

¹ دانشیار گروه جامعه‌شناسی دانشگاه تهران

² کارشناس ارشد مطالعات زنان و پژوهشگر مرکز تحقیقات رادیو

چکیده

ﭘﻮﺷﺶ زﻧﺎن در اﻳﺮان ﻫﻢ اﺳﺖ زﻣﺎن اﻣﺮی ﻓﺮﻫﻨﮕﻲ، ﻣﺬﻫﺒﻲ و اﻳﺪﺋﻮﻟﻮژﻳﻜﻲ .  در ﻋﻴﻦ ﺣﺎل ﺑﺎزﻧﻤﺎﻳﻲ آن ﻧﻴﺰ ﺗﺎﺑﻌﻲ از اﻣﻮر ﻣﺬﻛﻮر اﺳﺖ .اﺷﻜﺎل در اﻳﻦ ﻣﻘﺎﻟﻪ ﺑﻪ   ﺑﺎزﻧﻤﺎﻳﻲ ﭘﻮﺷﺶ زﻧﺎن و ﺗﻐﻴﻴﺮات ﺣﺎدث در ﺷﻜﻞ ﺑﺎزﻧﻤﺎﻳﻲ ﭘﺮداﺧﺘﻪ ﺷﺪه  اﺳﺖ .ﺑﻬﺮه ﻧﻮﻳﺴﻨﺪﮔﺎن ﺳﻌﻲ دارﻧﺪ ﺑﺎ   ﮔﻴﺮی از ﻣﺒﺤﺚ ﻓﺮﻫﻨﮓ ﻋﺎﻣﻪ ﺗﺄﺛﻴﺮات ﺳﻴﻨﻤﺎ را ﺑﺮ اﺷﻜﺎل ﺑﺎزﻧ ﻧﻤﺎﻳﻨﺪ ﻤﺎﻳﻲ ﭘﻮﺷﺶ زﻧﺎن ﺗﺒﻴﻴﻦ  .ﺑﺮ ﻳﺎﻓﺘﻪ اﺳﺎس   ﻫﺎی ﭘﮋوﻫﺶ ﻛﻪ از ا 103 ﺗﺤﻠﻴﻞ ﻣﺤﺘﻮای ﻓﻴﻠﻢ در ﺳﻪ دورة ﺗﺎرﻳﺨﻲ ﭘﺲ از  ﻧﻘﻼب ﺑﻪ دﺳﺖ آﻣﺪه در ﺷﻜﻞ ﭘﻮﺷﺶ زﻧﺎن در ﻓﻴﻠﻤﻬﺎ ﺗﻐﻴﻴﺮاﺗﻲ ﺑﺮوز ﻧﻤﻮده اﺳﺖ ﺑﻪ اﻳﻦ ﺻﻮرت ﻛﻪ ﺑﻪ ﻃﻮر ﻛﻠﻲ ﭘﻮﺷﺶ ﺑﺪن و ﺳﺮ زﻧﺎن ﺳﻴﺮی ﻧﺰوﻟﻲ داﺷﺘﻪ و از ﻏﻠﺒﻪ ﭼﺎدر در دورة ﺟﻨﮓ ﻛﺎﺳﺘﻪ و ﺑﻪ ﺳﺎﻳﺮ اﻧﻮاع ﭘﻮﺷﺶ ﻣﺘﻤﺎﻳﻞ ﺷﺪه اﺳﺖ . ﻧﻮﻳﺴﻨﺪﮔﺎن ﻧﺸﺎن داده ﺳﺎ اﻧﺪ ﻛﻪ ﺳﻴﻨﻤﺎ از ﺑﺎزﻧﻤﺎﻳﻲ ﻫﮋﻣﻮﻧﻴﻚ زﻧﺎن ز ﭘﻮﺷﺶ  )اﻳﺪﺋﻮﻟﻮ ﭼﺎدر ﺑﻪ ﻣﺜﺎﺑﻪ ژ ی رﺳﻤﻲ (ﺑﻪ در دوره اول  ﺑﺎزﻧﻤﺎ ﺗﺪرﻳﺞ ﺑﻪ ﺳﻤﺖ ﻳ ﭘﻮﺷﺶ ﻲ ﺿﺪ ﻫﮋﻣﻮﻧﻴﻚ  )ﭼﺎدر اراﺋﻪ ﺗﺼﻮﻳﺮ ﻣﻨﻔﻲ از (  در دوره ﺳﻮم ﺗﻐﻴﻴﺮ ﻣﻮﺿﻊ داده  اﺳﺖ.

کلیدواژه‌ها

• ﺳﻴﻨﻤﺎ
• ﭘﻮﺷﺶ زﻧﺎن
• ﻓﺮﻫﻨﮓ ﻋﺎﻣﻪ ﭘﺴﻨﺪ
• ﺣﺠﺎب
• رﺳﺎﻧﻪ
• ﺑﺎزﻧﻤﺎﻳﻲ ای

عنوان مقاله [English]

Women’s Apparel in Cinema after the Islamic Revolution

نویسندگان [English]

• Mohammadreza JAvadi yegane ¹
• Hamideh Hatefi ²

² M.a Woman Studies

چکیده [English]

The covering of women in Iran is simultaneously a cultural, religious and ideological issue. Therefore its representation is dependent on the values and norms of these dimensions. This article looks at the representation of women’s clothing and the changes that have occured therein. The authors, using discussions on popular culture, have tried to explain cinema’s impact on the forms of representation of women’s clothing. According to the findings that come from content analysis of 103 films during 3 periods after the Revolution, the covering of women has changed so that the total coverage of body and head has diminished in importance. The domination of chador from the Iran-Iraq war period has decreased in favor of other types of dress. The authors reveal that cinema has gradually moved from a hegemonic representation of women’s dress (chador) as a formal ideology towards the representation of counterhegemonic dress (presenting a negative image of chador) in the third phase of films analyzed.

کلیدواژه‌ها [English]

• cinema
• popular culture
• dress
• women
• hijab
• media representation