چکیده

رواﻳﺖِﺑﺮرﺳﻲ ﻫﺎی ﺳﻴﻨﻤﺎﻳﻲ از ﺗﺠﺮﺑه ﻣﺸﺘﺮک در ﺧﺼﻮص ﺟﻨﮓ ﻫﺸﺖ ﺳـﺎﻟﺔ ِ ﻫﺎی ﻧﺴﻠﻲاﻳﺮان، ﻣﻮﺿﻮع ﻣﻘﺎﻟﺔ ﺣﺎﺿﺮ اﺳﺖ .         در اﻳﻦ ﻣﻘﺎﻟﻪ ﺗﻼش ﺷﺪه ﺗﺎ ﺑﺎ اﺗﺨﺎذ روﻳﻜﺮدی ﺳﺎﺧﺘﺎرﮔﺮاﻳﺎﻧﻪ ﺑﺘﻮان ﺑﻪ ﺑﺮرﺳﻲ ﭼﮕﻮﻧﮕﻲ ﺑﺎزﻧﻤﺎﻳﻲ دوﮔﺎﻧﮕﻲ ﻫﺎی ﻣﺮﺑﻮط ﺑﻪ رواﺑـﻂ ﻧـﺴﻠﻲ)  اﻋـﻢ از :  رواﺑـﻂ درون  ﻧـﺴﻠﻲ و رواﺑﻂ ﺑﻴﻦ ﻧﺴﻠﻲ   (ﭘﺮداﺧﺖ ﻛﻪ در آﺛﺎر ﺳﻴﻨﻤﺎی ﺟﻨﮓ ﺣﺎﺗﻤﻲ   ﻛﻴـﺎ ﺑﺎزﻧﻤـﺎﻳﻲ ﺷـﺪه اﺳـﺖ از ﺟﻤﻠـﻪ : ﻋﻘﻴــﺪه ﮔﺮاﻳــﻲ/ﻋﻤــﻞ   ﮔﺮاﻳــﻲ، وﻇﻴﻔــﻪ ﻣﺤــﻮری/ﻧﺘﻴﺠــﻪ  ﻣﺤــﻮری، ﻋــﺸﻖ ﻣــﺪاری/ﻋﻘــﻞ  ﻣــﺪاری، درون  ﮔﺮاﻳﻲ/ﺑﺮون  ﮔﺮاﻳﻲ و ﮔﺬﺷﺘﻪ  ﮔﺮاﻳﻲ/آﻳﻨﺪه  ﮔﺮاﻳﻲ . ﻣﻨﻄﻖ ﭘﻲ  ﮔﺮﻓﺘﻪ ﺷﺪه است و ﺑﺮای ﺗﺤﻠﻴـﻞ ﺗﻘﺎﺑـﻞ ﻫـﺎی اﺳﺘﺨﺮاج ﺷﺪه، اﻟﮕﻮﻫﺎی ﻛﻨﺸﻲ ﭘﺎرﺳﻮﻧﺰ اﺳﺖ    از ﻣﻴـﺎن آﺛـﺎر ﺣـﺎﺗﻤﻲ  ﻛﻴـﺎ ﺑـﻪ ﺑﺮرﺳـﻲ ﭘـﻨﺞ اﺛـﺮ وی ﭘﺮداﺧﺘﻪ ﺷﺪ ﻛﻪ ﻫﻢ ﻣﺘﻌﻠﻖ به  ژاﻧﺮ ﺟﻨﮓ ﺑﻮده  اﻧﺪ و ﻫﻢ ﺑـﻪ ﻣﻮﺿـﻮع  « رواﺑـﻂ ﻧـﺴﻠﻲ ﭘﺮداﺧﺘـﻪ  اﻧـﺪ :  مهاجر(1368)  از کرخه تا راین  (1371) آژاﻧﺲ ﺷﻴﺸﻪ ای  ،   (1376)، موج مرده  (1378/79) و ﺑـﻪ نام  پدر( 1384 ) ﻣﺆﻟﻒ در ﺳﻴﺮ ﺑﺎزﻧﻤﺎﻳﻲ رواﺑﻂ ﻧﺴﻠﻲ، از ﻣﻬﺎﺟﺮ ﺗﺎ ﺑـﻪ ﻧـﺎم ﭘـﺪر، از ﺳـﻮﻳﺔ اﺑﺘـﺪاﻳﻲ ﺗﻘﺎﺑﻞ  ﻫﺎی ﻣﺬﻛﻮر ﺑﻪ ﺳﻮﻳﺔ   دوم ﻣﺎﻳﻞ ﺷﺪه اﺳﺖ .  اﻳﻦ اﻣﺮ ﻣﻲ  ﺗﻮاﻧﺪ ﺷﺎﻫﺪی ﺑﺮ ﺷـﻜﻞ ﮔﻴـﺮی ﺳـﺎﺣﺖ  ﺑﺎﺷﺪ ﻛﻪ ﭘﺲ از ﺟﻨﮓ ﺑﻪ ﺗـﺪرﻳﺞ اﻳﺠـﺎد ﺷـﺪ و ﻣﺆﻟـﻒ ﻧﻴـﺰ ﺗﺤـﺖ ﺗـﺄﺛﻴﺮ آن، در ّ اﺟﺘﻤﺎﻋﻲ ﻣﺴﺘﻘلی ﺧﻮاﻧﺶ ﻣﺮﺟﺢ ﺧﻮﻳﺶ ﺑﻪ ﺳﻮﻳﺔ دوم ﺗﻤﺎﻳﻞ ﻳﺎﻓﺘﻪ اﺳﺖ

کلیدواژه‌ها

عنوان مقاله [English]

Generational relations in Iran’s war cinema (with a focus on Hatamikia’s cinema)

چکیده [English]

This paper undertakes an examination of cinematic narratives of common generational experiences in regard to the 8-year war of Iran. Through a structuralist approach, this paper aims to analyze representations of dichotomies relating to generational relations (including inter- and intragenerational relations) in Hatamikia’s cinema: idealism/pragmatism, duty-boundness/outcome-boundness, love-focusedness/reasonfocusedness, introversion/extroversion, and preterism/futurism. The logic employed for analyzing the oppositions is that of Parson’s action models. Here five films of Hatamikia are looked at which are part of the war genre and also dwell on generational relations: Mohajer (1990), Az Karkheh ta Rhein (1993), Ajans-e Shishei (1997), Moj-e Mordeh (2001), Be Nam-e Pedar (2006). In the course of representing generational relations, from Mohajer to Be Nam-e Pedar, the director has gone from the first part of the abovementioned oppositions to the second part. This may point to the formation of an independent social sphere which has gradually been formed after the War, and influenced by which, the director has leaned toward the second part in his preferred reading.  

کلیدواژه‌ها [English]

  • narrative contrast
  • war
  • intergenerational relations
  • intragenerational relations
  • generational mentality
  • narrative structure