نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری فلسفه هنر، واحد تهران مرکزى، دانشگاه آزاد اسلامی، تهران، ایران.
2 استاد تمام گروه فلسفه، واحد تهران مرکزى، دانشگاه آزاد اسلامی، تهران، ایران.
3 استادیار گروه هنرهای نمایشی، واحد تهران مرکزى، دانشگاه آزاد اسلامی، تهران، ایران.
چکیده
عنوان مقاله [English]
نویسندگان [English]
A key concept in the thought of Jean-Paul Sartre, which explains how the self is experienced in relation to the Other, is the phenomenology of shame and the look in an encounter with the Other. This interdisciplinary study analyzes the characters of Emad, Rana, and the rapist in Asghar Farhadi's film, The Salesman, to investigate the concepts of shame and the look in Farhadi's cinema.
The main issue of the research is to show how these concepts, as two fundamental principles in Sartre's existentialist philosophy, are represented in these three characters, and how their encounters with the Other influence their individual identity. The purpose of this research is to describe how shame and the look are manifested in Farhadi's cinematic narrative by analyzing the encounters of the three main characters with each other and with society. In this article, in order to achieve this goal, a qualitative method is used to analyze the film's narrative content. The theoretical framework of the present research is based on Sartre's existentialist philosophy, especially the concepts of shame, the look, and the Other, which are explored in the intertwined interactions of the film's characters.
The findings of the research show that in The Salesman, shame and the look, as two intertwined themes, play a fundamental role in shaping the relationships between Emad and Rana, as well as in the presence of the rapist. Shame is manifested in Emad's character in an internal way and in his confrontation with his inner self, while the look of the Other, especially in his encounter with Rana, affects his psychological context as an external force. On the other hand, the rapist reaches an internal collapse due to the shame caused by his presence in front of the look of the Other. This complex interaction between shame and the look in the context of the film's story explains the challenges that the characters experience in confrontation with themselves and the Other.
The results of this research indicate that The Salesman, as an acclaimed work in contemporary Iranian cinema, has a remarkable capacity to embody existentialist concepts. Farhadi's narrative, with its in-depth representation of feelings stemming from the experience of shame and the look, has been able to reveal complex layers of human relationships. These results can help to better understand the intersection of philosophy and cinema and provide a basis for similar analyzes in other cinematic works.
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