نقش دکوپاژ در سوگیری و قضاوت اخلاقی مخاطب با مطالعۀ دو فیلم آژانس شیشه‌ای و جدایی نادر از سیمین

نوع مقاله : مقاله پژوهشی

نویسندگان

1 استادیار دانشکده سینما و تئاتر دانشگاه هنر

2 مربی گروه آموزشی سینما، دانشکده سینما تئاتر، دانشگاه هنر، تهران

3 کارشناس ارشد ادبیات نمایشی، دانشکده ی هنر، دانشگاه تربیت مدرس، تهران، ایران

10.30480/dam.2020.1186.1283

چکیده

دکوپاژ یکی از مهم‌ترین عناصری است که هر فیلم‌ساز برای کارگردانی فیلم خود در اختیار دارد. پژوهشگران سینمایی در اغلب موارد صرفاً از منظری تکنیکی به دکوپاژ نگریسته‌اند و همین نکته سبب شده تا ظرفیت‌های دکوپاژ در خلق معنا و جهت‌دهی به قضاوت اخلاقی مخاطب مورد غفلت واقع شود. هدف از نگارش این مقاله، پرداختن به همین جنبۀ مغفول‌مانده‌ از کارکردهای دکوپاژ است. این پژوهش تلاش دارد با رویکردی توصیفی‌ـ‌تحلیلی به بررسی چگونگی جهت‌دهی کارگردان به قضاوت اخلاقی مخاطب با استفاده از تمهید دکوپاژ بپردازد. در همین راستا دو فیلم آژانس شیشه‌ای (ابراهیم حاتمی‌کیا 1376) و جدایی نادر از سیمین (اصغر فرهادی 1389) برای مطالعۀ موردی این مقاله گزینش شده‌اند؛ آثارِ دو فیلم‌ساز صاحب‌نام ایرانی از دو نسل و دو دیدگاهِ متفاوت سینمایی. برای رسیدن به نتایجی دقیق‌، از هر فیلم یک سکانس کلیدی انتخاب شده و با تحلیل و بررسی این سکانس‌ها تلاش می‌شود نگرش دو فیلم‌ساز در بهره‌گیری از دکوپاژ به عنوان تمهیدی معنابخش و مؤثر در شکل‌دهی به «همدلی سینمایی» مخاطب مورد بررسی قرار گیرد. این مقاله آشکار می‌سازد که دکوپاژ چگونه در سوگیری -و یا عدم سوگیری- بیننده نسبت به شخصیت‌ها و نیز در قضاوت اخلاقی نهایی مخاطب دربارۀ رویدادهای فیلم تأثیرگذار است. بدین‌ترتیب این مقاله گامی است در امتداد پژوهش‌هایی که برای ایجاد ارتباط بینارشته‌ای میان حوزه‌های فلسفه، اخلاق و مطالعات سینمایی کوشیده‌اند.

کلیدواژه‌ها

عنوان مقاله [English]

The Role of Decoupage in Orientation and Moral Judgment of the Audience: Studying Two Iranian Movies, The Glass Agency and A Separation

نویسندگان [English]

  • Shahab Esfandiari 1
  • Sajad Sotoudeh 2
  • milad sotoudeh 3
1 Assistant Prof., Faculty of Cinema and Theater, University of Art, Tehran, Iran.
2 Instructor, Faculty of Cinema and Theater, University of Art, Tehran, Iran.
3 , M.A. in Dramatic Literature; Arts faculty; Tarbiat Modares University, Tehran, Iran.
چکیده [English]

Decoupage is one of the most important elements for making movies. Most of the time, cinematic researchers have looked to decoupage solely from a technical and aesthetic point of view. In many cases, this has led to neglecting the capacity of decoupage in creating meaning and directing the moral judgment of the audience. In many cinematic analyzes, decoupage is examined from a technical point of view, and cinematic researchers often focus on technical decoupage models. The traces of such an approach are obviously evident in the books written for filmmakers. In such books, they focus on introducing decoupage technique and its different patterns to the young directors. Despite the undeniable benefits of this approach to enrich the cinematic knowledge of filmmakers, it’s necessary to note that the importance of decoupage is not only limited to technical topics but also this concept contains other orientations in addition to technical notions. The impact of decoupage on the feelings and moral judgment of the audience is one of these neglected aspects which means that decoupage, as one of the most important tools available to the filmmaker would bring dramatic meanings to the audience and guide their direction and judgment in the process of film events.
The purpose of this article is to address the neglected aspects of decoupage functions. This research tries to give an accurate and detailed analysis to decoupage in two sequences of the “Glass Agency” (Ebrahim Hatamikia 1997) and “A Separation” (Asghar Farhadi, 2010), analyzes how to use the drama of these works from this cinematic arrangement and its moral consequences using the approach of Robert Sinnerbrink and the concept of "Cinempathy" (cinematic empathy) represented by him. Two movies are selected as the case study in this article, two important films which are made by two famous Iranian directors from different generations and ideologies. From each movie, just one key sequence is selected for analysis to reach more accurate and detailed results.
By analyzing these sequences it’s been tried to examine the attitudes of two filmmakers in using decoupage as a meaningful and effective way to shape the audience's “cinematic empathy”. In the first step, decoupages of the selected sequences in both movies are analyzed in detail. In this section, it’s been tried to analyze the decoupage characteristics of each film in the selected sequence by choosing a structural approach to reveal the effective features of each film in the field of decoupage. Then, the next stage attempts to examine the approach of the two filmmakers to the orientation and judgment of the audience through the decoupage they have done to reveal the ethical position of each filmmaker concerning the characters and current drama in each sequence. In this section, the decoupage of the selected scenes is analyzed based on Sinnerbrink’s votes to realize both directors’ views in guiding the feelings of the audience wholly.
This article shows that decoupage plays an important role in the audience's orientation (or not) regarding characters, and plays a crucial and undeniable role in the moral judgment of the audience about the movie events and dramatic characters. Hence, each filmmaker should notice the effects of decoupage on the moral judgment of the audience.

کلیدواژه‌ها [English]

  • Decoupage
  • Moral Judgment
  • Cinempathy
  • The Glass Agency
  • A Separation

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نامه هنرهای نمایشی و موسیقی
دوره 11، شماره 21
شهریور 1399
صفحه 47-65

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