فصلنامه مطالعات فرهنگی و ارتباطات

نویسندگان

1 هیت علمی جهاد دانشگاهی واحد تربیت معلم

2 گروه علوم اجتماعی، دانشکده ادبیات و علوم انسانی، دانشگاه گیلان، رشت، گیلان

چکیده

ﻣﻄﺎﻟﻌﺔ ﺳﻴﻨﻤﺎ ﺑﻪ ﻋﻨﻮان ﻳﻚ ﻋﻨﺼﺮ ﻓﺮﻫﻨﮕﻲ و اﺟﺘﻤﺎﻋﻲ، ﻣﻲ ﺗﻮاﻧﺪ ﻣﺎ را ﺑﻪ ﻋﻤﻖ ﻻﻳﻪ ﻫﺎی ﺣﻴﺎت اﺟﺘﻤﺎﻋﻲ ﻣﺎن ﺑﺮﺳﺎﻧﺪ .ﭼﻨﻴﻦ ﻫﺪﻓﻲ در ﻣﻄﺎﻟﻌﻪ اﻳﻦ ﻣﻘﺎﻟﻪ، از ﻃﺮﻳﻖ ﻛﺎوش وﺿﻌﻴﺖ ﺑﺎزﻧﻤﺎﻳﻲ ﻣﻨﺎﺳﺒﺎت ﺟﻨﺴﻴﺘﻲ در ﻓﻴﻠﻤﻬﺎی ﺳﻴﻨﻤﺎﻳﻲ ﭘﺲ از اﻧﻘﻼب اﺳﻼﻣﻲ دﻧﺒﺎل ﻣﻲ ﺷﻮد .ﭘﺮﺳﺶ آﻏﺎزﻳﻦ ﺗﺤﻘﻴﻖ اﻳﻦ اﺳﺖ ﻛﻪذ ﻧﺎﺑﺮاﺑﺮﻳﻬﺎی ﺟﻨﺴﻴﺘﻲ ﭼﮕﻮﻧﻪ در ﻓﻴﻠﻤﻬﺎی ﺳﻴﻨﻤﺎﻳﻲ ﭘﺲ از اﻧﻘﻼب ﺑﺎزﻧﻤﺎﻳﻲ و ﺑﺮﺳﺎﺧﺖ ﻣﻲ ﺷﻮﻧﺪ؟ آﻳﺎ ﺗﺼﻮﻳﺮ دو ﺟﻨﺲ در اﻳﻦ ﻓﻴﻠﻤﻬﺎ، در ﻣﻘﺎﻳﺴﻪ ﺑﺎ ﻳﻜﺪﻳﮕﺮ از ﺟﻬﺖ ﻣﻮاﺟﻬﻪ ﺑﺎ ﻣﻘﻮﻟﻪ ﻫﺎی اﺟﺘﻤﺎﻋﻲ ﻣﺨﺘﻠﻒ ﺗﻔﺎوت ﻣﻌﻨﺎداری دارد؟ ﭼﺎرﭼﻮب ﻧﻈﺮی در اﻳﻦ ﺗﺤﻘﻴﻖ، ﻧﻈﺮﻳﺔ ﻓﻤﻴﻨﻴﺴﺘﻲ اﺳﺖ ﻛﻪ ﺑﻪ ﻛﻤﻚ آن ﻣﻨﺎﺳﺒﺎت ﺟﻨﺴﻴﺘﻲ در ﺳﻴﻨﻤﺎی اﻳﺮان ﺑﺮرﺳﻲ ﻣﻲ ﮔﺮدد. ﺣﻠﻘﻪ ﻓﻴﻠﻢ از ﺳﻴﻨﻤﺎی ﭘﺲ از اﻧﻘﻼب ﺑﻪ روش ﺗﺤﻠﻴﻞ ﻣﺤﺘﻮا ﻣﻮرد 62در اﻳﻦ ﺗﺤﻘﻴﻖ، ﺗﻌﺪاد ﺑﺮرﺳﻲ ﻗﺮار ﮔﺮﻓﺘﻪ اﺳﺖ ﻛﻪ ﻧﺘﺎﻳﺞ آن ﺣﻜﺎﻳﺖ از ﺗﺄﻳﻴﺪ ﻫﻤﻪ ﻓﺮﺿﻴﺎت در ﻧﻈﺮ ﮔﺮﻓﺘﻪ ﺷﺪه در اﻳﻦ ﺗﺤﻘﻴﻖ دارد .ﻓﺮﺿﻴﺎﺗﻲ ﻛﻪ ﻣﺆﻳﺪ وﺟﻮد ﻧﺎﺑﺮاﺑﺮی ﺟﻨﺴﻴﺘﻲ در ﺳﻴﻨﻤﺎی اﻳﺮان ﺑﻪ ﺳﻮد ﻣﺮدان و ﺿﺮر زﻧﺎن ﻫﺴﺘﻨﺪ .ﺳﻴﻨﻤﺎی ﭘﺲ از اﻧﻘﻼب ﺑﻨﺎﺑﺮ روﻳﻜﺮد ﻧﻈﺮی ﻓﻤﻴﻨﻴﺴﺘﻲ، ﭘﺪرﺳﺎﻻری را در رواﺑﻂ دو ﺟﻨﺲﺑﺎزﻧﻤﺎﻳﻲ و ﺑﺮﺳﺎﺧﺖ ﻛﺮده اﺳﺖ. 

کلیدواژه‌ها

عنوان مقاله [English]

Gender Representation in Iranian cinema

نویسندگان [English]

  • Mehdi Soltani Gerdfaramarzi 1
  • Mohammad Mehdi Rahmati 2

1 Tabiat moaalem University

2 Social Science, Literature and Human Science, Guilan University, Rasht, Iran

چکیده [English]

Studying cinema as a social and cultural phenomenon can lead us to the under-lying layers of social life. This aim has been pursued in this study through analysis of representation of gender relationships in feature films made after the Islamic Revolution.  The opening question of this study is how gender inequality has been constructed in feature films after the Islamic Revolution. How does the way each genders confronts social issues differ meaningfully? The theoretical framework of this study was based on Feminist theory according to which gender relationships have been studied in Iranian cinema. In this study a total of 62 feature films have been analyzed using content analysis and the result proves all the hypotheses. These hypotheses confirm the existence of gender inequality in Iranian cinema in favor of men. Therefore, according to feminist theory, Iranian cinema can be considered patriarchal in regards to representation and construction of gender

کلیدواژه‌ها [English]

  • : gender
  • gender relationships
  • feminism
  • Patriarchy
  • Gender Inequality
  • cinema representation
  • masculine genre