نوع مقاله : مقاله پژوهشی
نویسندگان
1 کارشناس ارشد سینما، دانشکدهی سینما و تئاتر، دانشگاه هنر ایران، تهران، ایران.
2 استاد تمام، دانشکدة سینما و تئاتر، دانشگاه هنر ایران، تهران، ایران.
چکیده
عنوان مقاله [English]
نویسندگان [English]
In recent decades, film and philosophy and their relationship have given rise to significant research in a field called ‘Film-Philosophy’. By studying the thought of Stanley Cavell, one of the Film-Philosophy’s founders, a breakthrough approach is proposed: film is an art form that, on the one hand, has the capacity to cinematically explore philosophical themes, and on the other hand, motivates philosophy to respond in its own unique way to the experience that film itself creates for the audience. This theoretical framework forms the basis of this article, which explores the cinema of the prominent French New Wave filmmaker Eric Rohmer, using A Tale of Winter (1992) as a case study, in confrontation with one of the most fundamental problems of modernist philosophy—skepticism. According to Cavell, cinema is the moving image of skepticism. Cavell pursues his discussion of depicting skepticism and overcoming that crisis through cinema by introducing two Hollywood subgenres—‘the comedy of remarriage’ and ‘the melodrama of the unknown woman’—in two film-philosophy books that bear these very titles. As qualitative research, this article attempts to show how Eric Rohmer responds to the problem of recognition of the other and skepticism in A Tale of Winter through representing the persona of Félicie; It employs a combined descriptive–analytical method and draws on Cavell’s two aforementioned works in cinematic philosophy. Through adopting a becoming equivalent to that of the female protagonists of the comedy of remarriage and melodrama of the unknown woman, and in virtue of self-reliance and acknowledge, Félicie becomes responsible for her own education and cultivation in a world that seems to be alone and the roots of other minds’ recognition and belief have been completely lost.
)