عکاسی و سیاست در ایران پیشاانقلابی: نبرد بر سر تصویر ایران (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
رابطه تنگاتنگ عکاسی با واقعیت به عنوان واقع گراترین شکل بازنمایی، به آن قدرت اقناعی منحصربه فردی می بخشد. همین امر باعث میشود که عکس به ابزاری بی رقیب در انتقال پیام های سیاسی و ترویج باورهای ایدئولوژیک بدل شود. هرچند از عکاسی میتوان در راستای پیشبرد منافع طبقات حاکم بهره گرفت، عکاسی در دست منتقدان و مخالفان وضع موجود نیز میتواند به ابزاری برای مبارزه سیاسی بدل شود. این مقاله می کوشد با تمرکز بر گفتمان های سیاسی پیش از انقلاب اسلامی، نشان دهد که چگونه عکاسی می تواند فراتر از فعالیتی هنری، به کنشی سیاسی بدل شود. یافته های پژوهش نشان میدهد که دو جریان واقعگرایی آرمانگرایانه و واقعگرایی انتقادی در عکاسی در این دوران، در واقع انعکاسی از تقابل میان دو گفتمان پهلویسم و جریان چپگرا در سالهای منتهی به انقلاب بوده است که در آن هر جریان سیاسی تلاش میکرد از طریق عکس و عکاسی مشروعیت گفتمانی خود را به اثبات برساند. در پژوهش حاضر از روش تحقیق توصیفی- تحلیلی استفاده شده و از منابع کتابخانه ای و اسنادی به منظور جمع آوری داده ها بهره گرفته شده است. در این تحقیق تلاش شده است با اشاره به گفتمان های سیاسی رقیب در دوران پهلوی، بستری برای تبیین سیر تحول معنای عکاسی و تحلیل تصاویر عکاسی در ایران فراهم آید.Photography and Politics in Pre-Revolutionary Iran: The Battle over Iran’s Image
T he purpose of this study is to investigate the role and the contribution of photography in socio-political events in the decades leading up to the revolution of 1979. Photography has always been used by political actors in their pursuit for power since it is an ideal tool of mass communication. The close relationship between photography and reality, gives it a unique persuasive power as the most realistic form of representation. This makes photograph an inimitable tool for conveying political messages or promoting specific ideas in the society. Although the programmed use of photography can promote the ideology of the ruling party, the critics and opponents of the status quo can also use it as a tool for political resistance. In other words, the study attempts to demonstrate how the political struggle for power resonated in disputes about the changing meaning of photography in Iran during the Pahlavi era. By focusing on pre-revolution political discourses in Iran, the paper tries to indicate how photography can become a political action beyond artistic activity. The fall of the Qajar dynasty, as well as global changes such as Marxist revolutions and anti-imperialist movements in third-world nations, prepared the door for new political discourses in Iran. Reza Shah's ascension to power as the founder of the Pahlavi dynasty spurred the emergence of political discourses, particularly Pahlavism. Pahlavism was indeed a mixture of nationalism, archaism blended with western-oriented policies. With the growing demand for change, however, Iran's political scene was split into two main rival groups: revolutionaries, mostly the left-minded Marxist-inspired forces, and pro-Pahlavists, also known as regime loyalists. Meanwhile, the rise of the middle class, along with the need for a modern state to deploy mass media for propaganda, thrust photography into the spotlight. The social necessity of photography gradually gave way to an expressive form of a representation. Thus, the competing, rival political forces began to develop their own version of photography in representing the social realities. Trying to depict Iran as a progressive, modern country, the Pahlavist agenda utilized photography to promote western ideals as well as pre-Islamic icons. The Pahlavist-inspired photography, which painted an idealized Iran, portrayed Shah as a great leader and displayed growing towns, modern-looking Iranians, with no trace of poverty or inequality. The approach could be named as Idealist realism represented by, photographs published in newspapers and magazines, as well as the works by photographers such as Bruno Barbey and Roloff Beny. On the other hand, revolutionary groups, notably Marxist-inspired lefties, used photography to illustrate social disparities and miseries in order to both question the picture portrayed by the and agitate the masses. The social documentary proved to be the best method for them. I this regard, one could refer to works by photographers such as Kaveh Golestan, Hengameh Golestan and Nasrollah Kasraian. Parallel to the political struggle for power, therefore, there was a struggle over Iran’s image. The study uses the descriptive-analytic method to build up a socio-political context in which the concept of photography in Iran was changed.
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