واقعیت سینمایی و نسبت ایده و فرم زیباشناختی در اندیشه ژاک رانسیر نمونه مطالعاتی: باد ما را خواهد برد (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
مقاله حاضر بر آن است با تبیین نسبت ایده و فرم، به رابطه میان تصویر و واقعیت سینمایی بپردازد. در این مسیر با رجوع به آراء ژاک رانسیر و فیلم باد ما را خواهد برد ساخته عباس کیارستمی رویّه های زیباشناختی میان دو امر ناهمگون، یکی تصویر به مثابه قاب هایی نمادین و دیگری تصویر به مثابه ارگانیسمی زنده را مورد بررسی قرار می دهد. ژاک رانسیرتصویر سینمایی را چون یک نوشتار جمعی و مشترک در نظر می گیرد که تماشاگر سهمی در ساختن چیزی دارد که همزمان اشتراکی و انحصاری است. این تلاطم، بر اساس یک ایده پیشینی و معین به رهاییِ نیروهایی می انجامد که در ساختنِ چیزهایی تازه به کار می روند. در نتیجه واقعیت سینمایی برسازنده نسبتی از ساختن و فروپاشی، میان ایده ای که فُرم فیلم بر آن بنا شده، و ادراکِات تماشاگر است. یافته ها در این مقاله نشان داد تصویر سینمایی به سببِ ماهیت خود، قادر است با خنثی نمودنِ قدرت ایده که خود را در پیوند نماها و تاثیراتِ معین فُرمیِ آشکار می کند، نظامی خاص را بنا کند که به امرِ زیباشناختی تعلق داشته، و تاثیراتی خاص و نامتعین را بر بستری مشترک متجلی می سازد. روش انجام پژوهش توصیفی – تحلیلی بوده و داده ها از منابعِ کتاب خانه ای گرد آوری و نمونه کاوی شده اند.Cinematic reality and the relationship between idea and aesthetic form in Jacques Rancière's thought Case study: The wind will Carry us
This article tries to deal with the relationship between image and reality. Cinematic reality is a special, continuous and dialectical connection that, due to its nature, is consistent with human experiences on the one hand, and on the other hand, it can involve the human thoughts. In this sense, the image must be superficial which destroys any necessary relationship between a specific form and a specific mental content. This is a philosophical approach to cinema. According to Jacques Rancière, cinema has always been a favorable field for examining philosophical approaches. Rancière recognizes moving images as a factor that, due to their nature, involve the audience in a kind of association and thinking process. According to him, cinema is the only art that is complete with the audience. In the cinema, a double situation arises in which the viewer is involved in the passivity of the image that is represented and also affected by the image as the agent of liberating his imagination. According to Rancière, this double situation takes the spectator out of the passive state and brings him into an active and dynamic stream so that he can feel and act at the same time as s/he watches. This dynamic of the image considers cinema as a collective and shared writing, where the viewer has a share in creating something that is exclusive, collective and shared at the same time, but allows the viewer to participate in this shared thing in their own way. In this article, the aesthetic procedure of such a heterogeneous process is examined and its boundaries with the cinematic frame are also considered. For this purpose, the film "The Wind Will Carry Us” by Abbas Kiarostami has been selected as a study example. The main question is how the image is able to establish, in an aesthetic format, a permanent and coherent dialectic and at the same time heterogeneous and opposite between the idea and the form, in such a way that it does not exactly contain the idea nor completely negates it; rather, it should be the basis of an endless and constructive process. Among the works of Abbas Kiarostami, the film "The Wind Will Take Us" is able to represent such a process more than his other works. In this film, two symbolic functions (the order of images) and organic functions (the flow of life), connect the two realms of ideas and meaning in the cinematic image in such a way that the image goes out of its usual function, and releases the power that is the origin of fluidity and flow. It is pure life. As a result of this link, the images make their impact not from reality, but from moments that have been able to establish a relationship between thinking and perception that reveals a contradictory and dual situation and shows the pattern of methods that cause the collapse of previous and certain structures by re-establishing a link between human and social existence.
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