نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری علوم ارتباطات، دانشکده ی علوم ارتباطات، دانشگاه علامه طباطبایی، استان تهران
2 استادیار دانشکده ی علوم ارتباطات، دانشگاه علامه طباطبایی، استان تهران
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
Abstract
Most of Iranian comedy films, both before and after the revolution, can be categorized as romantic comedies.
These films show the romantic relationships between men and women as something funny and create the
Iranian romantic comedy genre. According genre theory, this study aims at understanding which values and
beliefs are reinforced by the interaction between heroes and heroines in this genre. To do so, 62 Iranian romantic
comedy films which had been screened at movie theaters in 1990 to 2011 got the structural analysis of the text.
The structuralist approach aims to distil genres down to a generic narrative and relationship structure, where
character types interact in structurally predictable ways. This approach is a combination of paradigmatic and
syntagmatic analyses. The paradigmatic analysis depends on Levi-Strauss’ binary oppositions and reveals
what the meaning is. According to Propp’s Morphology of the Folktale (1928), the syntagmatic analysis
deals with roles of characters and their functions and shows how the meaning is expressed in the text. The
syntagmatic and paradigmatic analyses of the Iranian romantic comedy films reveals that there are four basic
generic sequences in this genre: the ownership sequence, the redemption sequence, the permission sequence
and the rival sequence. The ownership sequence makes males and females into active subjects and passive
objects. The redemption sequence has two types: the coldhearted and the brokenhearted, and each one has
three versions: the redemption of the hero, the redemption of the heroine and the redemption of both the hero
and the heroine. Although these versions differ slightly, all of them serve to reinforce the gender role of the
defiant female. The permission sequence depicts a romantically involved hero and heroine who wants to
marry but an authority figure disapproves of their marriage. Adding an authority figure to the romantic story,
in fact, provides an opportunity for the hero to prove his perseverance. There are three versions of the rival
sequence: the wrong man, the wrong woman and women against women. The first two empower the hero
directly and the third one belittles women and actually empowers the hero again. While the narrative structure
of the 52 Iranian romantic comedies follows a similar pattern, this pattern changes in 10 unconventional
romantic comedies. By intentionally changing functions of four basic sequences, these films ignore the most
important condition of conventional romantic comedies. It means that they do not often have a happy ending
which depicts a wedding or a promise of a wedding. The narratives of 57 films also serve to reproduce the
existing social order between males and females and reinforce the gender role of the defiant female. There are
only five unconventional films (The Spouse, Sweet Passions, The White Sleep, Donya and The Poet of Waste)
which ultimately question or challenge dominant gender conventions. As a matter of fact, the Iranian romantic
comedy genre is a popular form of entertainment that naturalizes gender inequality.
کلیدواژه‌ها [English]
)