نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشکده سینما و تئاتر، دانشگاه هنر، تهران، ایران
2 دانشیار گروه سینما، دانشکده سینما و تئاتر، دانشگاه هنر ایران، تهران، ایران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
In the context of the political and social transformations of the early years after the Islamic Revolution, a significant portion of cinematic productions focused on the struggles of revolutionary masses and the depiction of violence by the secret police of the Pahlavi regime. Some of these works lack structural coherence and aesthetic consistency, and due to the dominance of ideological concerns over artistic aspects, they are sometimes regarded as superficial. Consequently, they have often been overlooked in Iranian film studies. However, rereading these films can reveal their creative potential. This study, focusing on the representation of surveillance elements in the cinema of the first decade after the revolution, analyzes six key films of this period—Cry of the Mojahed (Faryad e Mojahed, 1979), From Shout to Assassination (Az Faryad ta Teror, 1980), The Executed (Edami, 1981), The Weak Point (Noqteh Za’f, 1983), Boycott (Baykot, 1985), and Firing Squad (Tirbaran, 1986). By reexamining these lesser-studied works, the research discusses their capacity to be interpreted through the lens of Panopticon surveillance as theorized by Michel Foucault. In Discipline and Punish: The Birth of the Prison, Foucault outlines the mechanisms of modern disciplinary power and, drawing on the Panopticon, introduces surveillance as a key element in maintaining order. The films under study depict and problematize surveillance from aesthetic, narrative, and psychological perspectives, within both urban settings and prison spaces. A major theme across these films is the omnipresent power of SAVAK and the pervasive surveillance atmosphere of pre-revolutionary society. In some works, this theme appears as fleeting references, while in others it constitutes a central structural element. Scene analyses reveal that elements such as the sound of a camera shutter, the alignment of cinematic and surveillance camera perspectives, individual files, photographic archives, and psychological mechanisms of observation play a pivotal role in representing the Panopticon atmosphere. In certain cases, these films, through visual techniques, blur the boundary between narrative and structural surveillance, employing the filmmaker’s camera itself as a surveillance technology. The findings indicate that these works, as examples of surveillance cinema, offer a creative representation of disciplinary mechanisms and the visual culture of surveillance.
کلیدواژهها [English]
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