عوامل تبیین مفهوم اسطوره عکس (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
در طول تاریخ، عکس هایی ثبت و منتشر شده اند که به جایگاهی فراتر از یک عکس معمولی رسیده اند. این عکس ها به بخشی از خاطره ی گروهی مردمانِ یک سرزمینِ مُشخص و یا کُلِّ جهان تبدیل شده اند. به همین دلیل، هنرمندان و مؤلفان با الهام از آن ها آثار دیگری از جمله فیلم، مجسمه، شعر، پرفورمنس و غیره را خلق نموده و باعث شده اند که آن عکس بار دیگر مورد توجه مخاطبان قرار گیرد. این میزان از استقبال و اقتباس نشان می دهد قدرت و دامنه ی اهمیت عکس مورد نظر تا آن اندازه بوده که دیگران نیز مایل بوده اند اثری مشابه آن را داشته باشند. پرسش ابتدایی این پژوهش آن است چگونه ممکن است عکسی از جایگاه فعلی خود به عنوان یک رسانه ی تبلیغاتی فراتر رفته و در جایگاه الگو قرار گیرد؟ «اسطوره عکس» عبارتی است که در این پژوهش تک وین یافته و تلاش شده که برای مفهوم و نیز عوامل مؤثر در تولید آن، و همچنین مراحل تکوین آن حدود و تعریفِ مُشخص بیابد. چنین عکس هایی می توانند آغازگر یا ادامه دهنده ی یک جریان و جُنبش فرهنگی یا سیاسی شوند؛ باعث برتری یک اندیشه ی درست یا نادرست در میان مُخاطبان گردند؛ در مقام تولیدکننده ی ایدئولوژی قرار گیرند؛ و نیز با تکثیر در سایر نظام های نشانه ای، باعث رُشد و گُسترش معنای خود و البته گُسترش آن رسانه گردند. نوع پژوهش کاربردی و روش پژوهش توصیفی - تحلیلی و روش گردآوری اطلاعات اسنادی و مطالعات کتابخانه ای است. این پژوهش به صورت بنیادی انجام شده است. نتیجه آن که پیرامتن ها، قابلیت تکثیر، و میزان اقتباس در سایر رسانه ها از عوامل مؤثر در شکل دهی به اسطوره عکس هستند. همچنین امور فنی عکاسی تأثیر چندانی بر این روند ندارند.Factors explaining the concept of Myth photograh based on hypertextuality
In the course of history, photos have been published that have found a place beyond an regular photo. These photos have become a part of a heritage and memory of the people of a land or the whole world. This has caused artists and authors to be inspired by them and create other works such as films, sculptures, poems, performances, etc. This reception and adaptation shows that the importance of these photos is such that others have become interested in them to create a work similar to or derived from it. Parody, travesty, and transposition are used more among the hypertext that are based on photos. Pastiche, charge and forgery are less used in the hypertext of the photo.The myth-photograhs can be placed in the position of producing ideology and become the initiator or continuation of a cultural or political movement. Also, by expanding in other symbolic systems, they cause the growth and multiplication of their meaning as well as the expansion of that medium. This research has been done by descriptive-analytical method and according to the hypertexyualité approach. The result has shown that five factors are effective in the popularity and reproduction of photos and can make them legendary: Propaganda of power institutions: these institutions are able to make a photo famous and use it repeatedly by reproducing and distributing it widely. The photo of raising the flag on Iwo Jima is the most famous example of this. This photo has many different hypertexts and examples can be found in at least five of Gennett's six. Public favor and opposition to the ruling power: It is possible that a photo has gained importance against the usual process and government propaganda, as well as with regard to the general public, and this causes many popular or popular hypertexts to be made based on it. Like Che Guevara's photo. - Dependence on occasions: occasions and commemorations make a certain photo appear more important at a certain time and become the subject of reproduction and adaptation. The same photo may receive less attention at one time, but at another time it becomes especially important. For example, Omar Khavar's photo is more popular than ever at the same time as the anniversary of the Halabja tragedy. Photo in the position of starting and reminding an event: there are photos that, due to the specific narrative of a memorable issue, have caused the participants in the anniversary ceremony of that event to repeat actions similar to the original photo and This makes photographers try to create a photo similar to the original photo. The photo of Victory Day in Times Square is one of the famous examples for this section. The importance of the photo is based on the effects of the paratext: the audience's information is based on observing the elements in the photo and also receiving marginal explanations about it. These explanations can be true or false. The paratext of the photo presents marginal narratives and refers to things that exist outside of the photo itself. The photo of the child and the vulture by Kevin Carter is the most famous photo that has such a feature. Because when everyone sees it, they remember that the photographer of that photo committed suicide. It can also be said that the photographer and his tools do not have much effect on the production of the myth-photograph. Because the spread of a photo among people is influenced by factors after photography. The myth-photograph is created after the photography and with attention to communication and advertising. It should be noted that in a certain period, a photo may be popular and reproduced. But after the excitement and excitement subsides, that photo will usually be forgotten. Alan Kurdi's photo is a good example for this category of photos. The question of this research is how a photo could go beyond an advertising media and become a role model? "Myth-photograph" is a term that was developed in this research and also managed to achieve a specific definition of the concept and the effective factors in its production. A Myth-photograph is a photo that has been adapted by other artists due to its many reproductions as well as its pre-textual properties, creating a hyppetexyualité. Such a photo can remain in people's minds for a long time due to its features such as the narrative in itself and how it is reproduced on the audience level.
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