خوانش تطبیقی مفهوم «فاصله گذاری» در آثار سینمایی و معماری: باتکیه بر مصادیق معماری دوره مدرن و پُست مدرن (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
یکی از زمینه های ارتباطی سینما و معماری تأمل درمفاهیمی است که در سینما موجود بوده و در معماری قابل پیگیری است. دراین میان مفهوم "فاصله گذاری" سینماگران را متأثر ساخته است. تماشاگران درطول فیلم، دچار تشددهای عاطفی و همذات پنداری با بازیگران شده و همه چیز را واقعیت می انگارند، اما با "فاصله گذاری" این تفکر برهم زده می شود. آن ها آگاه می گردند که درحال تماشای یک نمایش هستند و از باور به واقعی بودن وقایع جداشده، بانگاهی بافاصله و هوشیار، باذهنی آماده تفکر به اثر می نگرند و خیال پردازی ها محو می گردد. مسئله پژوهش، پیگیری مفهوم "فاصله گذاری" در معماری و هدف آن خوانش نمودهایی از آن در آثارمعماری است. روش پژوهش کیفی بوده، ابتدا مبتنی بر منابع کتابخانه ای، مفهوم "فاصله گذاری" تشریح گردیده است. از سینما به عنوان یک حوزه واسط جهت تبیین بهتر "فاصله گذاری" استفاده شده و محتوای سکانس های برخی آثار سینمایی تحلیل گردیده اند. از تطبیق آن با معماری، مصداق هایی در آثارمعماری نمایش داده شده است. پنج مفهومِ درون بودگی و بیرون بودگی، روایت اصلی و روایت فرعی، شیئیت و فضائیت، توازی روایت و زمان پریشی جمع بندی شده اند که می توانند به "فاصله گذاری" در معماری منتهی گردند. همچنین مشخص گردید که "فاصله گذاری" در معماری نیز موجودیت یافته و مخاطب معماری را به تفکر و خردورزی و اکتشاف در اثرمعماری دعوت می کند.Comparative Interpretation of the Distancing Effect Concept in the Works of Cinema and Architecture: Based on the Instances of Modern and Postmodern Architecture
Cinema has been constantly interacting with architecture since the early days of its formation. One of the fields of this interrelation is the exploration of concepts that exist in the theories of cinema and can betraced in the realm of architecture. The “distancing effect” concept, also known as estrangement oralienation effects, and V-effect (Verfremdungseffekt in German) which has influenced many theorists of cinema and filmmakers is one of them. This concept can be defined through an example. While watching a drama, individuals experience sensory and emotional tensions,identify themselves with the actors, and perceive everything as reality. However, this process is disturbed by the “distancing effect”. They become aware that they are watching a performance, and therefore they are separated from the belief that the events are real, viewing the work with a distant and analytical perspective, away from emotional conflicts. In this way, imaginations and illusions dissipate, and the audience remains fully alert with a seeking and active mind,ready to think. The “Distancing effect” has been developed in many art forms to break simple immersion and identification,provokig self-awareness, social awareness, and reflection. The focus of the present article is to explore “distancing effect” concept in architecture, with the aim of interpreting its manifestations in architectural works. The research method is qualitative, based on theoretical discussions in library resources, where “distancing effect” concept has been explained. Cinema has been employed as an intermediary domain for a better explanation of “distancing effect” approaches, allowing architectural instances be identifiedmore easily. The contents of sequences from selected cinematographic works have been analyzed. By adapting them to the world of architecture, examples of this concept have been illustrated in architectural works. In this article, five categories of insideness and outsideness, main narrative and sub-narrative, objectivity and spatiality, parallel narrative, and anachronism are summarized, which can lead to the “distancing effect” in both architecture and cinema. In conclusion, it became clear that the “distancing effect” concept is not solely dedicated to literature or dramatic arts, but it can also be revealed in the field of architecture. various works of cinema and architecture from a wide geographical range are presented as instances of the “distancing effect”. As demonstrated, different famous filmmakers such as Antonioni, Tarkovsky, Kiarostami, Wajda, Wenders, von Trier, Mankiewicz, Bertolucci, and others used the “distancing effect” in their works. Notebly, Brecht theorized his concept in the twentieth century, yet many of the buildings discussed in this research belong to an earlier historical period. This indicates that many architects have (un)consciously used this concept in their works as they want to invite individuals to think, explore, be active, interpret, and be aware of what they are observing. Ultimately, it can be articulated that the work of architecture plays a more significant role, it is not merely a space to provoke our sensations, but also a universe for deep contemplation and thought.
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