نوع مقاله : مقاله پژوهشی
نویسندگان
1 دکتری پژوهش هنر، گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران
2 دانشیار دانشگاه تهران، استان تهران، شهر تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
The eight-year war with Iraq has received much attention by cinema media activists, and they have depicted the themes of sacred defense in their works, both during the war and now after many years since that event, and it is attempted to represent and protect this epic of people. Some audiences imagine themselves as the main characters while watching the film. The audience gets immersed in the film and sometimes empathizes himself for the hero of the film and likes to build and advance the narrative of the film based on its own beliefs and desires. This viewer behavior between his real self and his favorite self, which is performed by the hero or the main character of the film, has created a special interactive relationship, and self-image. The current paper has been performed with the understanding of the importance and necessity of solving the scientific deficiency in this field, and with a practical purpose, it attempts to solve the scientific gap in this field. The researcher examines the situation and position of the audience in the filmic atmosphere of the sacred defense cinema. Thus, the main problem of the study is to analyze the function and role of the sacred cinema in creating an interactive relationship and replacing the audience's self-image with the other image and the main actors in the film space. The research method is qualitative based on the hermeneutic phenomenology method and based on collecting data from library sources, audio and video archives and unstructured interviews and purposeful sampling. The findings of the research show that the cinema of sacred defense has had various ups and downs due to economic, social conditions, extreme or negligent personal decisions of some managers, but because its subject is being inspired by the society and imagines a part of the national history of the people, his works have survived and have brought audiences of different age groups, even those who have not experienced the war. The result indicates that the audience's self-perception is affected by identification, empathy, self-reflection, identification, self-awareness, immersion, agency, and otherness, which has been performed by various expressive methods in the historical periods of Iran's sacred defense films.
کلیدواژهها [English]
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