فصلنامه مطالعات فرهنگی و ارتباطات

چکیده

ﺗﻬﺮان ﺑﻪ ﻋﻨﻮان ﻧﻤﺎد ﻣﺪرﻧﻴﺘﻪ ﺷﻬﺮی در ﺑﺴﻴﺎری از ﻓﻴﻠﻤﻬﺎی ﺳـﻴﻨﻤﺎﻳﻲ ﻣـﻮرد ﺗﻮﺟﻪ ﻗﺮار ﮔﺮﻓﺘﻪ اﺳﺖ . ﺑﺎزﻧﻤﺎﻳﻲ ﺗﻬﺮان در ﻓﻴﻠﻤﻬﺎ درواﻗﻊ ﺗﺎرﻳﺦ ﺗﺤﻮﻻت ﻣﺪر ﻧﻴﺘﻪ اﻳﺮاﻧﻲ
ﻧﻴﺰ ﻫﺴﺖ .ازاﻳﻦ رو، اﻳﻦ اﻣﻜﺎن وﺟﻮد ﺧﻮاﻫﺪ داﺷﺖ ﻛﻪ ﺑﻪ ﻣﺪد ﺑﺎزﻧﻤـﺎﻳﻲ ﺷـﻬﺮ ﺗﻬـﺮان، ﺗﺄﻣﻠﻲ اﻧﺘﻘﺎدی از ﻣﺪرﻧﻴﺘﻪ اﻳﺮاﻧﻲ اراﺋﻪ دﻫﻴﻢ . در اﻳﻦ ﻣﻘﺎﻟﻪ، ﺳـﻴﻨﻤﺎی داﺳـﺘﺎﻧﻲ ﻗﺒـﻞ از اﻧﻘــﻼب اﺳــﻼﻣﻲ ﺑﺮرﺳــﻲ ﺷــﺪه اﺳــﺖ .ـﻪ ﻫــﺪف ﻧﻮﻳــﺴﻨﺪﮔﺎن اﻳــﻦ ﻣﻘﺎﻟــﻪ ﺑـ ﺗﺒﻌﻴــﺖ از ﻧﻈﺮﻳﻪ ﭘﺮدازاﻧﻲ ﭼﻮن زﻳﻤﻞ و ﺑﻬﺮه ﺟﺴﺘﻦ از روﻳﻜﺮد اﻧﺘﻘﺎدی واﻟﺘﺮ ﺑﻨﻴﺎﻣﻴﻦ آن اﺳﺖ ﻛﻪ ﺗﺨﻴﻞ و ﺑﻴﻨﺶ ﻏﺎﻟﺐ در ﻓﺮﻫﻨﮓ اﻳﺮاﻧﻲ را ﺑﻪ ﻣﺪد ﺑﺎزﻧﻤﺎﻳﻲ ﺷﻬﺮ در رﺳﺎﻧﻪ ﺳﻴﻨﻤﺎ ﻛﺸﻒ ﻛﻨﻨﺪ . ﺑﺮاﻧﮕﻴﺨﺘﻦ ﺗﻀﺎد روﺳﺘﺎ و ﺷﻬﺮ، اراﺋﻪ ﺗﺼﺎوﻳﺮی دوﮔﺎﻧـﻪ از اﻣـﺮ ﻣـﺪرن، ﺑﺎزﻧﻤـﺎﻳﻲ ﺳﻴﺎﺳﻲ ﺷﻬﺮ، ﺑﻪ ﻫﻢ رﻳﺨﺘﮕﻲ ﻧﻈﻢ ﻛﻴﻬﺎﻧﻲ ﺳﻨﺘﻲ در ﺷﻬﺮ ﻣﺪ رن، ﺷﻜﻞ ﮔﻴﺮی ﻋﻘﻼﻧﻴﺘﻲ ﻧﺎﻣﻨﺴﺠﻢ در زﻧﺪﮔﻲ روزﻣﺮه ﺷﻬﺮی و اﻧﻮاع ﮔﺴﺴﺘﻬﺎ و ﺷـﻜﺎﻓﻬﺎی اﺟﺘﻤـﺎﻋﻲ اﻗﺘـﺼﺎدی ﻣﻮﺟﻮد در زﻧﺪﮔﻲ از ﺟﻤﻠﻪ ﻣﺴﺎﺋﻠﻲ اﺳﺖ ﻛﻪ ﺳﻴﻨﻤﺎی ﭘﻴﺶ از اﻧﻘﻼب ﺑـﻪ ﺑﺎزﻧﻤـﺎﻳﻲ آن ﭘﺮداﺧﺘﻪ اﺳﺖ.

کلیدواژه‌ها

عنوان مقاله [English]

Modernity Problematic: Tehran in Pre-Revolution Cinem

چکیده [English]

Movies in Iran can be an appropriate mediates to understand urban modernity. In this paper, movies produced three decades before the Revolution (1979) are studied. Our inquiry reveals how these films represent problems stemmed from urban renovation and the process of modernity. Moreover, they had a critical perspective toward the renovation trend so that they challenged their leaders’ political claims and promises in the authoritarian society. Arousing contrast between city and village as well modern life’s paradoxes are part of existing social and economic gaps which cinema has highlighted. Besides, the films produced in the decade to 1979 predicted the possibility of the occurrence of a revolution. The present study suggests that these films frequently gave a kind of political representation of Iranian modernity. 

کلیدواژه‌ها [English]

  • Representation of Tehran
  • Cinema
  • everyday life
  • Modernity
  • Individuality