ساختار شکنی در مفاهیم( تاریخ ،افسانه،مرگ،مکان) در فیلم "آتش سبز" ساخته ی محمدرضا اصلانی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
این مقاله با بررسی صورت بندی روایی فیلم آتش سبز که با تکیه بر ساختارتو درتوی افسانه های ایرانی و بر اساس شناختی عمیق از هنر (نگارگری و خوش نویسی، معماری ...) و ادبیات ایران در چندین سطح به نقل تاریخ و فرهنگ کرمان و چهره های مهم آن سرزمین می پردازد،به دنبال آن است که در ورای روایات پیچیده فیلم معانی عمیق و شگرف مستتر در بطن آن را دریابد. هدف فیلم بازنمایی دقیق و واقع نمایی تاریخی نیست از این رو برای ارائه حکایات تاریخی از ظرف قصه بهره می برد افسانه، اسطوره و تاریخ را در هم می آمیزد و با پرهیز از تکرار تصاویر و ساختار رایج، از حکایات تاریخی و افسانه ها شکل و ساختاری بدیع به آن ها می بخشد. نتیجه مهم این بررسی آن است که فیلم آتش سبز با بسیاری از مفاهیم رایجی که معمولاً در روایات تاریخی به کار می رود برخوردی شالوده شکنانه دارد؛ مفاهیمی چون افسانه و اسطوره، تاریخ، زمان، مکان، شخصیت، مردن و زنده بودن. البته همگی این برخوردها، تأویل ها و بازخوانی ها در فرم و ساختار فیلم منجر به زبانی نوین می شود که شکلی پیچیده به فیلم می دهد ،پیچیدگی که در عین حال ناشی از پیچیدگی فرم ها و اشکال در هنر ایرانی و زبان و مفاهیم در شعر و ادبیات و مبانی حکمی آن هاست.Deconstructive approaches to the concepts ofhistory,legend ,death and place in the movie “Green Fire”by Mohammad Reza Aslani
The "Atashe Sabz "(green fire) movie by Mohamadreza Aslani narrates the history and culture of the Kerman city in different periods but for this purposes it uses the very complicated and strange form and structure which is based on the Iranian legends, fictions and miniatures, which in some cases are very complicated with different layers somehow similar to Hezaro yek Shab (One thousand and one night) stories :the old fictions that narrated by Shahrzad who wants to save herself from death by telling story and every story leads to new story before ending and this new one leads to another newer and these make Labyrinth –like form stories. Aslani tries to tell us his historical narrations through such structure, and with a visual form which inspired by Iranian traditional painting in color, form and composition, so give the legendary and mystic form to these historical narrations. However this special form of movie it is not similar to the common legendary type movies both in form and content. It is obvious that the film aim is not to represents the reality of history and the exact happenings in that specific period of times , but it wants or prefers to make the images and frames sequences and shots , dreamy and imaginative that all of them are based on the deep knowledge and recognition of Persian art, literature and aesthetics. So not only the film mix the history, mythology and story but also avoids current structure, form and images from the historical stories and adventures instead give them an unique and new form and structure . The deconstructive approach to the acceptable and current concepts which is very common in the historical narrations is the most important point of the film, the concepts such as: history, fiction, legend, mythology, time, place, character, death and life. This essay in different parts shows these deconstructive approaches first in the concept of place by concentrating on the fort as a center of film in the different historical events ,which most of them are tragic and at the same time as a dreamy place for the legends so gives the special character to the fort who is a witness beyond the time .second deconstructive approach is about the concept of history by interweaving the different historical events in each other and also with the fiction that cannot be recognized. This interweaving also occurs in the characters through the different periods of time, When we see the the specific characters in history, legend and present time . Therefore we face to these deconstructive approaches continuously in the whole movie about time, reality, truth, death and life…. Of course all of these approaches and reinterpretations leads to a very new language in film that shapes a complicated form of it .Meanwhile This complicacy is due to(come from) the complicacy of the form and structure of Iranian art and complicacy of language in Iranian literature ,and the philosophy behind them.
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