تاثیر هویت مردانه بر شکل گیری آیکون زن در فیلم نوآرهای دهه ۱۹۴۰ میلادی هالیوود
آرشیو
چکیده
بیان مسئله: یکی از رویکردهای علمی در خوانش محتوای آثار هنری تصویری رویکرد آیکونولوژی است. باوجود آن که ازاین رویکرد تا به امروز بیشتر در خوانش آثار هنر تجسمی بهره برده اند، اما استفاده از آن در خوانش آثار سینمایی نیز با رعایت الزامات آن امکان پذیر است. آیکونولوژی شاخه ای از تاریخ هنر است که توجه خود را به محتوای اثر هنری در برابر فرم آن معطوف می کند. آنچه در خوانش آیکونولوژیک مطرح است شناسایی جزء تکرارشونده در اثر هنری، آیکون، و تفسیر دلایل شکل گیری آن بر مبنای شرایط فرهنگی و اجتماعی جامعه شکل دهنده آن آیکون است. با توجه به خصوصیات تکرارشونده ژانر فیلم نوآر و تصویر تثبیت شده آن از زن می توان فیلم های این گونه سینمایی را با استفاده از رویکرد آیکونولوژی موردبررسی قرارداد. در تاریخ هنر سینما ژانر نوآر همواره به عنوان یکی از نقاط اثرگذار این هنر برشمرده شده است. به همین منظور پژوهش حاضر به مطالعه تاثیر هویت مردانه بر شکل گیری آیکون زن در فیلم نوآرهای دهه 1940 میلادی آمریکا می پردازد. به همین جهت در این مقاله ابتدا رویکرد آیکونولوژی مختصراً معرفی می شود و سپس خوانش آیکونولوژیک پنج اثر شاخص فیلم نوآر با تکیه بر شخصیت زن در این فیلم ها صورت می گیرد.هدف: هدف این پژوهش نشان دادن امکان استفاده از رویکرد آیکونولوژی در خوانش آثار سینمایی و بررسی تاثیر هویت مردانه بر شکل گیری شخصیت تکرارشونده از زن در آثار فیلم نوآر شده اند.سؤال مقاله : دلایل شکل گیری شخصیت تکرار شونده زن در فیلم نوآرها چیست؟ هویت مردسالارانه جامعه چه تاثیری بر شکل گیری شخصیت زن در فیلم نوآرها داشته است؟روش تحقیق: در این مقاله از روش تحقیق توصیفی- تحلیلی استفاده شده و منابع کتابخانه ای مورد استناد قرار گرفته اند.نتیجه گیری: طبق یافته های این پژوهش آیکون زن در فیلم نوآرهای هالیوود حاصل سنت های بصری و روایی دوره خود از جمله وجود سیستم استودیویی، نقش پذیری زنان در جامعه آمریکا و هویت مردانه حاکم بر آن جامعه است.The Influence of Male Identity on the Formation of the Female Icon in Film-noirs of the 1940s
One of the scholarly approaches employed in interpreting the content of visual artworks is the iconological approach. Iconology, a branch within art history, meticulously examines the content of artworks through their form. Erwin Panofsky, through his endeavors in studying Middle Ages and Renaissance artworks, pioneered the method of iconology. In this approach, he designates the unit of meaning production in works of art as an icon, dividing the understanding of the icon's meaning into three stages. The initial stage is pre-iconography, representing the fundamental comprehension of an icon in a visual text. At this stage, the icon's appearance is considered in relation to its potential representation in the real world. The second stage, iconography, involves the investigation of the symbolic relationship between the visual appearance of the icon and its conventional attributions outside the work. The concluding stage of iconology involves interpretation, delving into the cultural and social factors that contributed to the formation of the icon and the attributed meaning, taking into account the symbolic values of the society. While primarily applied in the analysis of visual artworks, the iconology approach can also be adapted for the examination of cinematic works, provided it adheres to its prerequisites. By examining the recurring characteristics of the film noir genre and its established portrayal of women, it becomes plausible to analyze films within this genre through the iconology approach.In the early 1940s, the Hollywood studio system produced a series of films that garnered widespread acclaim. Coined as film noir when exhibited in France, these films initiated significant changes within the crime film genre. Film noir, particularly through alterations in visual style, critique of post-war American values, portrayal of new psychological character types, and an obsessive focus on gender issues, often depicted female characters as seductive, mysterious, treacherous, and from affluent backgrounds, leading male characters to ruin. Despite the recognition of genre characteristics in film noir research, a scholarly examination of the recurring female character, a pivotal element in this genre, is notably absent.This study aims to address the factors contributing to the formation of the recurrent female character in Hollywood film noirs. By substantiating the existence of this character and exploring the reasons behind its formation and repetition, the research seeks to enhance our understanding of film noir and its impact on global cinemas. Additionally, this investigation can pave the way for employing the iconology approach in the analysis of the female icon in cinema and broader gender studies within this artistic domain. The research focuses on investigating the factors behind the recurrent female character in film-noir works of the 1940s. The article introduces the iconology approach briefly and proceeds with an iconological analysis of five notable film noir works, emphasizing the female characters in these films. Due to the significance and influence of films in this genre, the study concentrates on five exemplary works, scrutinizing the leading female characters in chronological order of production: 1) The Falcon of Malta – recognized as the first film noir; 2) The Big Sleep – notable for the presence of Philip Marlowe and directed by Howard Hawks; 3) Double Indemnity – significant for establishing basic noir characteristics; 4) A Lady from Shanghai – important due to the presence of Rita Hayworth; and 5) From the Heart of the Past – acknowledged as a stabilizing film in the film noir genre.The central question driving this research is the elucidation of the factors contributing to the recurrent female character in 1940s film noirs. The research commences by describing the image of the female character in film noir, focusing on five specific and genre-defining cases. This initial description aligns with the first stage of the iconology approach, pre-iconography. Subsequently, in the iconography stage, a reevaluation of established conventions for this icon is conducted through the reexamination of other texts. The final stage involves an analysis of the social and economic conditions between the world wars, asserting that, in addition to economic crises and unemployment leading up to the Second World War, women's evolving roles in society influenced the visual representation of their characters. The study also addresses the impact of the genre category and the studio system in Hollywood, highlighting the audience's influence on films during this period. Furthermore, the research incorporates insights from Kristeva's theories, suggesting that the recurring female icon serves as a defense mechanism stabilizing the prevailing masculine identity in American society.
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