نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشگاه تهران مرکز، سوهانک
2 استادیار، گروه معماری، واحد قزوین، دانشگاه آزاد اسلامی، قزوین، ایران.
3 دانشگاه هنر،دانشکده سینما وتاتر
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Cinema is a medium that shows human life experience in concrete form. Every event in a film depends on the space, place and time of its occurrence. The conscious or unconscious architecture of the film is done by the filmmaker and emphasizes certain emotions through the architecture of images. The style of depth of field with cinematic capabilities such as open lens, perspective, image clarity, the use of ceiling decorations plays the ability to create a new perception of space in the history of cinema. This study has been carried out with the aim of investigating the modern perception of space from the perspective of phenomenology in the style of depth of field. The qualitative method, "descriptive-analytical-phenomenological", is used in this study, which it is not from the selection of interviews but from the moving images of Citizen Kane film from the perspective of phenomenology. The present study of film is a descriptive-visual-phenomenological of the experience of space. The depth of field style due to having cinematic potential has the ability to portray the close relationship of the actor with the space and the place where the action takes place. The depth of field style gives the viewer the right to choose to view the current events in space. Also, it concretely shows the character in relation to the space and stage decoration with its spatial integrity. In analysis of Citizen Kane film, the depth of field style is discussed with the dramatic meaning of physical and non-physical elements of space from the perspective of phenomenology. The film is analyzed based on the theories of Christian Norberg-Schulz and Juhani Pallasmaa about the existential space of cinema. In the Citizen Kane film, the main character loses his centrality and identity after leaving his childhood home. Home, especially childhood home, is considered as the center of human existence, and leaving it unintentionally makes the main character feel a sense of identity lessness and lack of dependence on other spaces. Zanador Palace has lost the ability to create a sense of place and being at home due to the inconsistency of human dimensions with the space and the failure to establish the dialectic between indoor and outdoor spaces through high-altitude windows. Home is the center of human existence and the type of communication and attachment to it guarantees other spatial attachments.
کلیدواژهها [English]
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