سینمای عثمان سمبن : یک دیدگاه ضد استعمار در فیلم ماندابی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
سینمای امروز جهان به دنبال مطالعه و تحلیل ساختار و محتوای سینما در دوران پیش از خود است. سینما در بسیاری از زمینه ها وام دار فیلم ها و فیلم سازانی است که در دوران سینمایی خود نسبت به سایرین متفاوت عمل کرده اند. ظهور فیلم سازانی که اغلب توانسته اند در بازنمایی فرهنگ و تاریخ اجتماعی این کشورها به خوبی عمل کنند. سینمای آفریقا در خلال دهه های 1960 و 1970 میلادی با دیدگاه های متفاوت ایدئولوژیک و جهان پسااستعمار، روبه رو شد که این دیدگاه ها در زمینه های مختلف ادبی و هنری وارد شدند. سینما نیز از تحولات فرهنگی و اجتماعی جدا نیست. کارگردان های آفریقایی مانند عثمان سمبن در طی آن سال ها از این ویژگی ها و تحولات در فیلم های خود بهره بردند. این مقاله به مقوله سینمای ضد استعمار عثمان سمبن در فیلم ماندابی می پردازد. عثمان سمبن در فیلم ماندابی ، با استفاده از زبان سینما در دو جنبه محتوایی و فرم، به تصویرسازی نگرش مورد مطالعه در این مقاله می پردازد که درنهایت ویژگی های فرهنگ ضد استعمار و پسااستعمار را با استفاده از ویژگی های سینمایی به مخاطب نشان می دهد.Ousmane Sembène’s Cinema: An Anti-colonial Perspective in the Film Mandabi
Contemporary world cinema seeks to study and analyze the structure and content of cinema from earlier periods. In many respects, cinema owes much to films and filmmakers who acted differently from their contemporaries. The emergence of filmmakers who have often succeeded in effectively representing the culture and social history of their countries is notable. African cinema during the 1960s and 1970s encountered diverse ideological perspectives and a postcolonial worldview, which influenced various literary and artistic fields. Cinema is also inextricably linked to cultural and social developments. African directors such as Ousmane Sembene benefited from these features and developments in their films during those years. Analyzing the structure of films in the African cinema can have cinematic results and achievements for the history after it. How to use cinematic features in a simple and fluent language for audiences who live in the height of simplicity and poverty can be one of the most important features of Sembene's cinema. He can easily connect with his audience and transfer the real atmosphere of his society to his films. The main aim of this study is to represent the features of form and content in relation to each other. The form of cinema can be influenced by both the filmmaker and the society in which the cinema is produced. Sembene is among those filmmakers who, even before entering cinema, understood the importance of form in other fields such as writing, and through this understanding, was able to depict the colonized society in which he lived. Library-based studies in various cinematic fields can highlight these significant achievements in the cinema of many countries. African cinema, which is still relatively unknown in Iran, has always been among the most important cinemas in the world. Understanding the cinematic and formal characteristics of other countries’ cinemas can provide filmmakers with a pathway into the world of filmmaking, allowing them to observe the rules and structures within their cinematic forms. Over the years, the African continent has produced notable films, which cannot be separated from the history of African cinema and the significant influence of its filmmakers. This article addresses the topic of Ousmane Sembene’s anti-colonial cinema in the film Mandabi . In Mandabi , Sembene employs the language of cinema in both content and form to depict the perspective examined in this study, ultimately presenting the features of anti-colonial and postcolonial culture to the audience through cinematic techniques.
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