اثرات رفتار حرکتی دوربین به مثابه تجسمی از انسان در فیلم فرزندان بشر (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
ژان لویی بودری در بحث از تکنولوژی سینما و قیاس آن با غار افلاطون، با تکیه بر نظریات روانکاوانه، نظریه آپاراتوس را مطرح می کند و معتقد است آپارتوس سینما با ایجاد حالتی خواب آلود، تماشاگر را در فضایی به مانند مرحله ی آیینه ای لکان قرار می دهد تا بیننده مجدداً هویت خود را باز یابد. اما مخالفان این نظریه معتقدند، آنچه که بودری مد نظر دارد نیازمند نگاه و مکاشفه ای از بیرون غار یا سینما است، چرا که تا انسان ها یا تماشاگران فیلم در مکانی محصور شده اند، چگونه می توانند بنیان های فنی آنچه که بر آن ها روا می رود را دریابند؟ وینسنس هدیگر از دیگر منتقدان، رویکردی ذیل عنوان فلسفه ی تکنولوژی را مناسب جهت بررسی «درک سینما به عنوان تکنولوژی» می داند. محلی که تکنولوژی «میل به مجسم نمودن انسان» دارد. اما تحلیل او نه خود تکنولوژی سینما، بلکه فیلم هایی با روایاتی از تکنولوژی را مد نظر قرار می دهد. بنابراین پژوهش حاضر با استفاده از منابع کتابخانه ای به روشی توصیفی-تحلیلی، سعی دارد صرفاً تکنولوژی سینما را در نوع به کارگرفتن دوربین فیلمبرداری در فیلم فرزندان بشر بررسی کند، تا نشان دهد چگونه ابزار می تواند هویتی مستقل و انسان گونه فارغ از محتوای فیلم و آپاراتوس داشته باشد تا تماشاگر را درگیر بنیان های فنی و تکنولوژی سینما کند.The Effects of Camera Movement as an "Incarnation of human" in the Movie 'Childeren of Men".
In speaking about the cinema technology and comparing it with Plato’s allegory of the cave, relying on psychoanalytic theories, Jean-Louis Baudry proposes the theory of apparatus, believing that the cinema apparatus places the audience in an atmosphere similar to Lacan mirror stage and creates a sleepy state, allowing the audience to rediscover their identity. As one of the first theorists paying attention to cinema technology, he states, these media are more considered as instrumentalism plays a significant role in today’s media and their broadcast is increasing. It is strange that only their effect has been so far considered, i.e. the effect they have as a completed product, as well as their content, and only the effects of this instrumentalism, in the context of meaning, has been regarded and the technical foundations of these effects have been ignored. However, the proponents of this theory believe that what Baudry’s consideration requires a look and revelation from outside the cinema or the cave, since until humans or audiences are trapped in a place, how can they realize the technical foundations of what is happening to them? Critic Vinzenz Hediger, considers the approach of Philosophy of Technology to be appropriate for investigating “understanding cinema as technology”, a place where technology has a “desire to incarnation of human”. In his paper, he addresses cinema technology by analyzing three films about technology. Although his analysis focuses not on the technology of cinema itself, but on films with narratives of technology, the result is that it can be used in parallel with cinematic tools. In these three films, he talks about the units of artificial intelligence and their desire to achieve a human body. His approach focuses on the philosophy of “human” technology. The technology that is in relationship with human, which may have reciprocal effects. But he does not pay attention to the tools of cinema, or at least does not discuss it in the aforementioned paper. However, the tools of cinema, as an important part of cinema technology, seems to be very effective with his theories, because this study somehow considers cinema as a way of production that borrows everything from technology and is growing day by day. A context in which the tools themselves become a humanoid body and can show themselves in front of human beings, thus creating a place for themselves to have an independent narrative from their function, apart from the narrative of the film, such a film can have more conceptual layers and a new cinema can be formed; the issue that this study tries to answer. Therefore, the present study, using library resources in a descriptive-analytical manner, tries to examine cinema technology in the manner of using a video camera in the film of Children of Men, to show how the tools can achieve an independent and human identity regardless of the content of the film and the apparatus to engage the viewer in the technical foundations and technology of cinema.
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