پديد آورندگان :
ستوده، سجاد دانشگاه تهران - دانشكده ي هنرهاي نمايشي - پرديس هنرهاي زيبا , ستوده، ميلاد دانشگاه تربيت مدرس، تهران - دانشكده ي هنر , الستي، احمد دانشگاه تهران - پرديس هنرهاي زيبا - گروه هنرهاي نمايشي , يوسفيان كناري، محمدجعفر دانشگاه تربيت مدرس، تهران - دانشكده ي هنر - گروه ادبيات نمايشي
كليدواژه :
حركت دوربين , سينماي ايران , دوربين پرسه زن , دوربين خودكار , ميزانسن
چكيده فارسي :
در پژوهش هاي مربوط به سينماي ايران زيبايي شناسي حركت دوربين همواره مورد بي توجهي واقع شده است. هدف اصلي اين پژوهش بررسي و تحليل زيبايي شناسي حركت دوربين در سينماي ايران است. دهه ي 80 به عنوان بازه ي زماني جامعه ي آماري انتخاب شده است تا به اين ترتيب جديدترين فيلم هاي سينماي ايران در آخرين دهه از تاريخ شمسي گزينش شود. از سوي ديگر، در اين دهه نسل هاي مختلف فيلم سازان با طيف هاي متنوع فكري موفق به ساخت آثار خود شده اند. از همين روي شش فيلم از آثار سينماي ايران در دهه ي 80 به عنوان جامعه ي آماري انتخاب شده است: سگ كشي (بهرام بيضايي، 1380)، شب هاي روشن (فرزاد موتمن، 1381)، گاو خوني (بهروز افخمي، 1382)، آتش سبز (محمدرضا اصلاني، 1386)، شبانه روز (اميد بنكدار و كيوان علي محمدي، 1387)، و درباره ي الي (اصغر فرهادي، 1387). در بخش اول چگونگي توسعه ي حركت دوربين در سال هاي ابتدايي تاريخ سينما واكاوي مي شود. سپس به دوربين هاي متحركي پرداخته خواهد شد كه ماهيتي معناساز دارند و در راستاي عميق تر نمودن ارزش هاي تصويري فيلم ها عمل مي كنند. در انتها آثاري مورد بررسي قرار خواهند گرفت، كه از حركت دوربين به عنوان امري بديع استفاده كرده و معيارهاي متداول و مرسوم را به چالش كشيده اند. اين پژوهش در تلاش است با محوريت قرار دادن دوربين و تاثيرگذاري آن در زيبايي شناسي تصوير به تحليلي علمي درباره ي چگونگي رويارويي فيلم سازان ايراني در دهه ي 80 با دوربين متحرك بپردازد.
چكيده لاتين :
At dawn of cinema, camera has been one of the most important devices for the directors. The device, with
its mechanical structure, would be able to record the moments of life on the raw film. The ability which
made the people amazed in the beginning. Across their notice to the nature of camera and deployment of
cinematic explanation, the directors found out that they could use camera as the device for better storytelling
and the more powerful narrative structure as well. This caused the more creative directors to think
of the movement of camera as a tool to record various pictures gradually. The directors found out that the
camera movement has a large capacity which had already been ignored. They found out that the narrative
and dramatic potentials could transfer a part of their existence to the addressee by means of moving abilities
of camera. Thereby, the directors’ attention focused on the phenomenon accumulatively, and various
approaches emerged to it. This became so important that some directors began to show their individual
genre by using the moving camera, and injected the phenomenon to the aesthetic structure of their movies
in order to fill them with artistic delicacy. Besides the facts mentioned, the thing that has always been
ignored in the researches of Iranian movies is the aesthetics of camera movements. Camera movement,
due to its frequency of application, has changed into a common process and most of the film-makers use
it with no regards for its expressive potentials. The main goal of this research is investigation and analysis
of camera movement aesthetics in Iranian cinema and it is tried to look at this topic from a scientific
point of view. Therefore, six movies which are produced from 2001 to 2011 are chosen as the statistical
domain: Killing Mad Dogs (Bahram Beizai, 2001); Bright Nights (Farzad Motamen, 2001); Gavkhooni
(The River’s End) (Behrooz Afkhami, 2003); Green Fire (Mohammad Reza Aslani, 2007); About Elly
(Asghar Farhadi, 2008); Day and Night (Omid Bonakdar & Keyvan Alimohammadi, 2008). In the first
section, development of camera movement in cinema history is investigated, so that it becomes clear when
directors starded to benefit from camera movement. Then, camera movement is referred to as a method
which its only application is to follow the actor and therefore it has changed into an automatic process.
In this research, some examples of this type of camera movement are cited. Then, a portable camera is
introduced as a machine which has a meaningful character and acts in order to increase the pictorial values
of the movie. In this section, characters of the expressive camera movement is investigated and its traces
in chosen movies are followed. Finally, we focused on those works which have used camera movement as
an innovating matter and have challenged the prevailing and common methods. This research, based on
camera and its impact on visual aesthetics, is trying to reach a scientific analysis of the methods Iranian
film-makers try to benefit from the portable camera.
