نوع مقاله : مقاله پژوهشی
نویسندگان
دانشکده هنر و معماری، دانشگاه تربیت مدرس، استان تهران
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Abstract
The relationship between representation and reality has been the matter of concern to the philosophers
all the passage of time. In general, with the rise of metaphysical thought and Idea theory in Greece,
the absence of reality of the world in the human sight has been accepted; moreover, gradually Epistemology
got the priority to Ontology and so, representation was considered as a necessity to face the
reality. At the same time, the meaning of Art was also changed from the concept of Poesis, accompanied
with Aletheia to the concept of Mimesis and separation of Aletheia. In this article, the cinematic
representation, as an artistic media is studied from the perspectives of Ontology and Epistemology
on the one hand and in the face of two historical-intellectual paradigms on the other hand, including:
Presence or phenomenological knowledge, and metaphysical paradigms. As a matter of importance,
in this article, only that part of representation has been taken into consideration that is related to reality.
Theorizing about the cinematic representation is dependent to the ontological and epistemological
foundations. The cinema ontology is to answer this question: whether the cinematic representation is
related to the real world or is an independent world itself that is connected with the audience’s mind?
In the cinema epistemology, the amount of reality perception is the matter of consideration. The research
is based on the structuralistic methods, taking Heidegger’s theories. According to Heidegger,
in every historical period, there is a special appearance of “Being”. He believed in three major periods
in the thought history. The first: before the era of Socrates and Plato that “Being” was considered present
in the human world. The second: the traditional metaphysic, beginning with Plato and continuing
to medieval ages. The third: the modern metaphysic, beginning with Cartesian doubt and continuing
to Husserl. As a matter of notification, in this article, the second and third periods considered as the
metaphysical periods. The study shows that Cinema from the phenomenological approach and taking
the ontological status has got the enough potential to make the reality be perceived immediately by
the audience; whereas in the metaphysical approach, cinema keeps the representational and subjective
status.
کلیدواژهها [English]
)