نوع مقاله : مقاله پژوهشی
نویسندگان
1 استادیار دانشگاه تهران، دپارتمان هنرهای نمایشی و موسیقی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران.
2 دانشجوی کارشناسیارشد سینما، دانشگاه تهران، تهران، ایران.
چکیده
کلیدواژهها
عنوان مقاله [English]
نویسندگان [English]
Adaptation has always been one of the most significant driving forces in the history of cinema and accounts for a considerable portion of the works produced worldwide. The inherent commonalities between literature and cinema—particularly in terms of representation, narration, and the performative potential of literary works—have continuously inspired artists to create new works in another medium. The outcome of this process has been the formation of a vast domain of comparative studies and interdisciplinary research in adaptation. In Iranian cinema, however, examples of adaptation are relatively limited and tend to draw upon Western dramatic sources, while classical Persian literature has played a less prominent role. Attar’s The Conference of the Birds (Mantiq al-Tayr), with its allegorical narrative structure and archetypal spirituality, contains a strong capacity for performative and visual media, and has repeatedly inspired writers and filmmakers. Saeed Aqighi, through his free adaptation in the film Haft Pardeh (“Seven Veils”), employs the narrative framework and archetypal elements of Attar’s work and, by transforming its key events along with its dramatic and thematic components, creates an independent cinematic piece. According to Linda Hutcheon’s theory of adaptation, adaptation is the transposition of a work from one medium to another—conceived as an active and meaning-generating process that results from creative interpretation and the adapter’s subjectivity. This study, with an applied purpose, seeks to demonstrate the importance and necessity of attaining a deeper understanding of how meaning, form, and identity evolve when transferring a work from one medium to another, thereby offering insights beneficial to filmmakers and critics. Using a qualitative methodology with a comparative intermedial approach, it explores the points of convergence and divergence between the film Haft Pardeh and The Conference of the Birds. The research findings reveal the components of an intermedial interaction model in adaptation, the coherence of the film’s adaptation with the concept of “creative recreation,” structural transformations in the transition from literary to cinematic narrative, and the generalizability of the model to intermedial analyses of classical Persian works. The conclusion indicates that Haft Pardeh, through the use of parodic, imitative, and intermedial techniques, achieves a kind of loose adaptation that offers a creative interpretation of The Conference of The Birds, reimagining its mystical capacities into the language of contemporary social critique.
کلیدواژهها [English]
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