تحليل ساختار روايت در نمايش دادگاه هاي كيفري در سينما؛ مطالعه تطبيقي سينماي ايران و هاليوود

Analysis of the structure of narrative in showing criminal courts in cinema; A Comparative Study of Iranian and Hollywood Cinema

ﻣﻮﺿﻮع ﺗﺤﻘﯿﻖ ﺣﺎﺿﺮ ﺑﺮرﺳﯽ ﺳﺎﺧﺘﺎر ﮐﻠﯽ رواﯾﺖ در ﻓﯿﻠﻢ ﻫﺎي دادﮔﺎﻫﯽ اﺳﺖ ﮐﻪ دادرﺳﯽ ﮐﯿﻔﺮي را در ﺧﻮد ﮔﻨﺠﺎﻧﺪهاﻧﺪ. روش ﺗﺤﻘﯿﻖ، ﺗﺤﻠﯿﻞ رواﯾﺖ در ﻓﯿﻠﻢﻫﺎي ﻓﻮق اﻟﺬﮐﺮ اﺳﺖ. ﺑﺪﯾﻦ ﻣﻨﻈﻮر از ﻧﻈﺮﯾﺎت ﺑﺎزﺗﺎب و ﺳﺎﺧﺘﺎرﮔﺮاﯾﯽ ﺑﻌﻨﻮان ﺑﻨﯿﺎنﻫﺎﯾﯽ اﺳﺘﻔﺎده ﺷﺪه اﺳﺖ ﮐﻪ ﻣﯽﺗﻮاﻧﻨﺪ ﻧﺤﻮه و ﻣﻌﻨﺎي ﭼﯿﻨﺶ رواﯾﺖ را ﺗﻮﺿﯿﺢ دﻫﺪ. ﻣﺪل اﺗﺨﺎذ ﺷﺪه ﺑﺮاي ﺗﺤﻠﯿﻞ ﺳﺎﺧﺘﺎري رواﯾﺖ، ﻣﺪل وﯾﮑﺘﻮر ﺗﺮﻧﺮ اﺳﺖ ﮐﻪ رواﯾﺖ را ﺑﻪ ﭼﻬﺎر ﻣﻘﻄﻊ ﻧﻘﺾ ﻗﺎﻋﺪه، ﺑﺤﺮان، ﭼﺎره اﻧﺪﯾﺸﯽ و ﺑﺎزادﻏﺎم )ﯾﺎ ﻧﺘﯿﺠﻪ ﭼﺎره اﻧﺪﯾﺸﯽ( ﺗﻘﺴﯿﻢ ﻣﯽﮐﻨﺪ. در ﺳﯿﻨﻤﺎي ﻫﺎﻟﯿﻮود ﺷﺶ ﻓﯿﻠﻢ و در ﺳﯿﻨﻤﺎي اﯾﺮان ﻧﯿﺰ ﺷﺶ ﻓﯿﻠﻢ ﺑﺎ اﯾﻦ ﻣﺪل ﺗﻄﺒﯿﻖ داده ﺷﺪهاﻧﺪ. ﻧﺘﺎﯾﺞ ﺗﺤﻘﯿﻖ ﺣﺎﮐﯽ از آﻧﺴﺖ ﮐﻪ ﺳﯿﻨﻤﺎي ﻫﺎﻟﯿﻮود ﺳﺎﺧﺘﺎر ﯾﮑﺪﺳﺘﯽ از رواﯾﺖﻫﺎي دادﮔﺎﻫﯽ اراﺋﻪ ﻣﯽدﻫﺪ ﮐﻪ ﻣﺒﺘﻨﯽ ﺑﺮ ﻗﺎﻧﻮنﻣﺤﻮري اﺳﺖ؛ ﺑﺪﯾﻦ ﻣﻌﻨﺎ ﮐﻪ اﯾﻦ رواﯾﺖﻫﺎ ﺑﺎ ﺗﺎﮐﯿﺪ ﺑﺮ ﻣﻘﻄﻊ ﭼﺎرهاﻧﺪﯾﺸﯽ، دادﮔﺎه را ﻧﻬﺎد ﺻﺎﻟﺢ ﺣﻞ ﺑﺤﺮان ﺑﻪ ﺗﺼﻮﯾﺮ ﮐﺸﯿﺪهاﻧﺪ. در ﻣﻘﺎﺑﻞ، ﺳﯿﻨﻤﺎي اﯾﺮان از اراﺋﻪ رواﯾﺖ دادﮔﺎﻫﯽ ﻣﻨﺴﺠﻢ و ﻗﺎﻧﻮن ﻣﺪار ﻧﺎﺗﻮان ﺑﻮده اﺳﺖ. ﺳﯿﻨﻤﺎي اﯾﺮان ﺑﺎ ﺗﮑﯿﻪ ﺑﺮ ﻗﺪرت ﻣﻘﻄﻊ ﺑﺤﺮان، ﯾﺎ ﻫﻤﭽﻮن ﺳﯿﻨﻤﺎي ﻗﺒﻞ اﻧﻘﻼب، ﺑﻪ دادﮔﺎه و ﻓﺮآﯾﻨﺪ دادرﺳﯽ ﮐﯿﻔﺮي ﻗﺪرﺗﯽ ﻧﺎﭼﯿﺰ داده اﺳﺖ و ﯾﺎ ﻫﻤﭽﻮن ﺳﯿﻨﻤﺎي ﺑﻌﺪ اﻧﻘﻼب، دادﮔﺎه را ﻧﻬﺎد ﻧﺎﺷﺎﯾﺴﺖ ﺗﺤﻘﻖ ﻋﺪاﻟﺖ ﺑﻪ ﺗﺼﻮﯾﺮ ﮐﺸﯿﺪه اﺳﺖ.

The subject of the present study is "Examining the General Structure of the Narrative in Court Films that Include Criminal Proceedings". The research method is narrative analysis in the above mentioned type of films. For this purpose, theories of reflection and structuralism have been used as foundations that can explain the manner and meaning of the narrative arrangement. The model adopted for structural analysis of narrative is Victor Turner's model, which divides narrative into four stages: rule breaking, crisis, solution-thinking, and reintegration (or the result of solution-thinking). Six films have been adapted to this model in Hollywood cinema and six films in Iranian cinema. Research shows that Hollywood cinema offers a uniform structure of court narratives based on the rule of law. In other words, these narratives, with their emphasis on the period of reflection, portray the court as a competent institution for resolving the crisis. In contrast, Iranian cinema has been unable to present a coherent and law-abiding court narrative. Relying on the power of the crisis period, Iranian cinema, either like the pre-revolutionary cinema, has given little power to the court and the criminal process, or like the post-revolutionary cinema, has portrayed the court as an inappropriate institution for justice.