رسانه سینما پیوستاری سیال و دوگانه باور (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سینما هنری است که شکل گیری، پیوستگی و پویایی اش وابسته به تماشاگری است که بطور مداوم با جامعه پیرامونش ارتباطی زنده و لحظه ایی دارد. بیننده گاه در طلب غوطه ور شدن در خیال خود و گریز از واقعیتهای اجتماعی و گاه برای درک و رویت امور واقعی ندیده به تماشای گونه های فیلم می نشیند. ارتباط دو طرفه سینما وابسته به تغییرات دایم محیطی است که تکنولوژی، ایدئولوژی و سواد رسانه ایی بر آن تاثیرگذار است. از این روی سینما در گذر تاریخی تبدیل به رسانه ایی پر از جهش و پویا شده است. این پژوهش با هدفی بنیادین صورت گرفته و مسئله اصلی آن امکان سنجی حضور و تعامل مخاطب در جهان سیال فیلمیک و سینماتیک سینما می باشد. روش تحقیق تحلیل محتوا و بر اساس جمع آوری اطلاعات از منابع کتابخانه ای و آرشیوهای صوتی و تصویری و مصاحبه می باشد. نتیجه حاصله نشان از آن دارد که تماشاگر متاثر از عواملی همچون همذات پنداری، باورپذیری و لذت که در هر دوره دارای ویژگی خاص و متاثر از بافت فرهنگی، اقتصادی، سیاسی و غیره می باشد، خواسته یا ناخواسته خود را در جهان فیلم قرارداده و سعی دارد حضورش را به روابطی تعاملی و آگاهانه تر تبدیل نماید.Cinema, a Fluid Dualist Continuum
Since its inception, cinema, has been an ongoing process of creative development. Initially, it was a means of recording reality, but gradually the role of imagination became prominent. Over time, the role of reality and imagination in films became more distinct; films were organized and divided into two genres: feature or fictional films and documentary or real films. Each genre has grown such that they have their own followers and audiences. Filmmakers have expressed and implemented various innovative and exquisite methods in narration and form, in order to create styles in their works, and to entice audiences, critics and artists. Cinema is a phenomenon whose survival and future have been repeatedly questioned, but undergoing significant transformations within the industry, it is constantly redefining itself with new forms and creative processes. The historical course of cinema and the numerous examples indicate that this transformation has taken place with a variety of managers, filmmakers and creators, thus expanding their efforts with every possible method. Having purposeful methods in classical, modern and postmodern periods has led to the emergence of various attractions and dynamic presence of this media for more than a century. This continuous development over time has created a special idealism that has allowed cinema to remain an attractive and novel media among audiences. Its audience could have been gone long ago, if cinema wasn’t a dynamic media and if it had been repeating its classical formulas over and over again. Cinema is an art that has continuity, and dynamism with a constant relationship with either the society as a whole or the individual, thus connecting on all levels with its audiences. An audience may occasionally seek to be immersed in his/her imagination and to escape from social realities and maybe sometimes he/she seeks to understand real things through watching different genres and styles. Today's world is going toward redefining concepts and old limiting definitions are no longer held accountable. New filmmakers have broken the boundary between reality and imagination in order to make their works believable, and with different intellectual and ideological approaches they are trying to make new aesthetics visible in their works. The two-way cinema relationship depends on permanent environmental change that is affected by technology, ideology and media literacy; hence, cinema has become a fluid and dynamic media. This research was conducted with a fundamental purpose and the feasibility studying of the presence and interaction of the audience in the world of film and cinema. This content analysis method study is done through reviewing and interview method by gathering information from library resources and audiovisual archives. The result of this study shows that the audience is influenced by factors such as identification, credibility and pleasure that has a special status in each era and is influenced by the cultural, economic, political, and other factors. Thus the audience willingly or unwillingly places himself/herself in the film-world and tries to turn his/her presence into a more interactive and conscious one.
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