نوع مقاله : مقاله پژوهشی
نویسنده
استادیار ادبیات نمایشی، دانشکدة هنر، دانشگاه تربیت مدرس، استان تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسنده [English]
Abstract
This paper aims to identify the limits of approaching an intercultural experience through a critical
reading of Tickets (2005) movie. The movie is an international collaboration by three globally acknowledged
film-makers, Ermano Olmi (Italy), Abbass Kiarostami (Iran) and Ken Loach (UK). It
has thoughtful media competence by which a theoretical perspective might be realized, necessary to
discuss on major challenges facing many intercultural productions. The main problem of this research
is whether it might be possible to find some reliable cinematic facts confirming that the Intercultural is
an unfinished experience, or not. Interculturalism, from this point of view, is not merely some kind of
exchanging, transacting or transporting and integrating into different cultural effects at the crossroad
of historical and geographical borders; but, it is in fact a dynamic as well as highly creative action
which resulted from the process of ignoring or “forgetting” the own cultural priorities and freely
“adding” them to some fragmented parts of other cultures. The “Self” and the “Other” are no longer
conceived as imposing agents of some distinct national identities, but the mediators of ever becoming
inter-cultural. In this sense, the intercultural experience necessitates emerging of unsustainable
identity left unknown in the empty spaces of socio-cultural levels. This research purposes to characterize
different cultural features examining the limits of truth and the conditions of accomplishment
within an intercultural experience. Analyzig some typical facts drawn from human relations and the
major events of Ticket’s Trilogy, the paper displays how the concept of Interculturalism might have
been considered as an unaccomplished project of cultural fusion. Each narrative episode of the movie
has a distinct cinematic character which might be culturally read as a kind of deviating from usual
expectations of the accomplished mission. Many cultural facts support the idea that the movie functions
as a rupture in conventional observation of self and other integrities. The findings resulted from
analyzing the social roles of film characters clarify that the Interculturality is an implication subject to
ever delaying and inevitably suspending its own cultural significations, requires then to be critically
faced with rather than be verified and followed by. “Abnormal phobia”, “Unfinished Hybridization”,
“Militaristic Paradoxes” and “Marginalization” are amongst the main factors which the paper applies
to reconsider the general conception of Interculturalism. They will be analyzed respectively in
accordance with the selected scenes of the Tickets. The study first begins with a theoretical discussion
on the roles of cultural “texts”, and then continues with a literature review of intercultural reading of
dramatic arts. It should be mentioned that how intercultural studies of Cinema have been emerged
through the 1980s. By interweaving some critical debates on Interculturalism from a variety of areas,
a socio-political reading of the Tickets would be realized. As a cultural criticism of Tickets’ socio-political
images, the paper invites readers to think about the limits of Intercultural studies of arts and its
unexpected consequences. As an objective result, it will sum up the key factors which have affected
on the idea in a provisional figure.
کلیدواژهها [English]
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