نشانه شناسی فیلم «اژدها وارد می شود»
آرشیو
چکیده
وجود نشانه ها و کاربرد علم نشانه شناسی در پیرامون ما واضح و مبرهن بوده و از نشانه ها در سرتاسر زندگی ازجمله در هنر استفاده های زیادی صورت گرفته است. یکی از بسترهای استفاده از آنها در هنر، سینما و صنعت فیلم سازی است. استفاده از نشانه ها در این حوزه علاوه بر کمک به بیان مفاهیم به صورت ضمنی و غیرمستقیم، برای بیان ایدئولوژی های مختلف نیز کاربرد دارد. در نتیجه خوانش آثار با این دید می تواند به در درک و دریافت مفهوم اصلی کمک زیادی انجام دهد. مانی حقیقی کارگردان فیلم اژدها وارد می شود با پیشینه هنری و فلسفی خود و دانشش در زمینه نشانه شناسی توانسته است در این اثر فرصت خوبی را جهت مطالعه نشانه ها فراهم آورد و مفاهیمی را در لایه های پنهانی فیلم برای مخاطبان بگنجاند. در این مقاله سعی شده است تا علاوه بر آشنایی با مفاهیم اصلی نشانه شناسی، با تحلیل این فیلم و خوانش آن از منظر نشانه شناسی به درک بهتری از نشانه ها و همچنین فیلم اژدها وارد می شود دست یافته شود. روش تحقیق در این پژوهش از نوع توصیفی تحلیلی بوده و با هدف کشف و تبیین روابط میان پدیده ها و نشانه های موجود در فیلم صورت گرفته است. گردآوری اطلاعات بر حسب روش کتابخانه ای و با کمک مقالات، کتاب های موجود و از طریق مطالعه اطلاعات تصویری صورت گرفته است. یافته های این پژوهش بیانگر آن است که کارگردان اثر، از شخصیت سازی تا لایه های زیرین اثرش برای انتقال مفهوم از انواع نشانه ها بهره بری داشته و حتی محیطی که جهان فیلم در آن در حال شکل گیری است، با توجه به همین ابزار، یعنی نشانه ها و انتقال ضمنی مفهوم انتخاب شده است.Exploring Cinema Semiotics: A Critical Analysis of 'A Dragon Arrives'
Introduction: The presence and application of semiotics in our surroundings are evident. Signs are used extensively throughout life, including in art. One of the prominent areas of their use in art is cinema and the film industry. Utilizing signs in this field not only aids in conveying concepts implicitly and indirectly but also serves to express various ideologies. Thus, interpreting works from this perspective can significantly help us understand and grasp the main concept.Mani Haghighi, the director of the film "A Dragon Arrives", has used his artistic and philosophical background, as well as his knowledge of semiotics, to provide an opportunity for us to explore signs and embedded concepts within the layers of the film. Research Objective: This article aims to introduce readers to the main ideas of semiotics and to analyze the film "A Dragon Arrives" from a semiotic perspective, allowing for a better understanding of the signs and the film itself.Research Methodology: The research method in this study is descriptive-analytical and aims to discover and explain the relationships between phenomena and signs present in the film. This work was conducted using library methods, supported by articles, existing books, and by studying visual information. Results: The findings of this research indicate that the director has used various signs, from character creation to the underlying layers of his work, to convey concepts. Even the environment in which the film's world is being shaped has been chosen with consideration of these tools, that is, signs and implicit concept conveyance.In the film "A Dragon Arrives" signs are extensively used and can be seen and interpreted throughout the entire story. Certainly, this extent of sign usage, as well as the methods of their use—especially those with metaphysical properties and drawing from local or historical traditions—are very influential in the storyline or, better to say, in the understanding of the story. Upon initial viewing, the film may come across as a complex crime drama with a non-linear, postmodern narrative. However, a closer analysis of the film reveals themes such as alienation, ignorance, superstition, and most importantly, the concept of death. Death is sometimes portrayed so alien and majestic that it has transformative effects on lives like an earthquake, sometimes so soothing that escaping it becomes difficult, and sometimes so ordinary and insignificant that it seems no one notices it.Moreover, analyzing the reactions of different character types to the same issue and their various responses becomes easier after interpreting the signs. This makes the characters’ developmental trajectory, collapse, and growth throughout the story more tangible, providing valuable information to the audience, especially considering that individuals might encounter and interact with such characters daily. Additionally, the use of signs and their application to define a multi-layered and complete story signifies the director’s mastery and skill in his craft. The issues raised in the film cannot be easily overlooked, and each can be the subject of extensive discussion, which alone is a valuable act of reminding the audience.Mani Haghighi's "A Dragon Arrives" stands as a testament to the director’s ability to intertwine semiotic elements with cinematic storytelling. The film becomes a fertile ground for semiotic analysis, offering viewers a layered narrative rich in hidden meanings and symbols. By delving into these layers, one uncovers a deeper understanding of not just the film but also the broader implications of the signs and symbols in our everyday lives. The use of semiotics in this film is not merely a stylistic choice but a profound method to engage the audience on a more intellectual level, prompting them to reflect on the underlying messages conveyed through the narrative.In conclusion, the application of semiotics in cinema, exemplified by "A Dragon Arrives", highlights the significance of signs in enhancing the depth and meaning of a film. The director's adept use of semiotic elements not only enriches the narrative but also invites the audience to engage in a more thoughtful and analytical viewing experience. By recognizing and interpreting these signs, viewers can gain a deeper appreciation of the film's themes and the director's artistic intentions. This approach underscores the importance of semiotics in the broader context of art and communication, offering valuable insights into how meaning is constructed and conveyed in various forms of media. Thus, the study of semiotics in films like "A Dragon Arrives!" is crucial for both filmmakers and audiences, fostering a richer understanding of the intricate layers of meaning that lie beneath the surface of cinematic works.
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