تحول بياني سينماي هايبريد و بازتوليد واقعيت 3مطالعه موردي: فيل مهاي كينگ كون گساخته شده در) 1933 ( و ) 2005 (

Expressive Evolution of Hybrid Cinema and Reproduction of Reality; Case Study: King Kong (1933) and (2005

چكيده در فرهنگ تصويري سينماي معاصر، هايبريد كردن واقعيت و خيال به دليل دسترسي انسان به فنون نوين ديجيتالي، از طريق شبيه سازي كاملاً امكان پذير شده است. بر اساس تحليل اقتصاد سياسي نشان هشناختي فردريك جيمسن، شيوه بياني نشانه هاي تصويري براي بازتوليد واقعيت در سينما در دوره هاي مختلف سرمايه داري با دگرگوني مفهوم واقعيت همراه بوده است، همچنين با توجه به اظهارات ژان بودريار، نشانه هاي حادواقعي هيچ ارجاعي به واقعيت عيني ندارند و صرفاً واقعيتي مجازي و برساخت هي رسانه ها هستندكه او از آن ها با عنوان وانموده ياد كرده است. چارچوب نظري اين مقاله بر مبناي تركيب نشان هشناسي و اقتصاد سياسي رشد و توسعه ي سرمايه داري براي تحليل جايگاه هايبريد در بازتوليد واقعيت در سينما است. مهم ترين هدف اين پژوهش، شناسايي انواع قابليت هاي تركيب فيلم زنده با فيلم متحرك سازي شده )انيميشن( درتاريخ سينماي هايبريد است. دو فيلم از داستان تخيلي كينگ كونگ ساخته شده در 1933 و 2005 ، دو مرحله سرمايه داري اوليه و متاخر با دو منطق فرهنگي واق عگرايي و پسامدرنيسم تحليل و بررسي شده است. نتيجه حاصل از اين پژوهش نشان مي دهد كه شيوه بياني سينماي امروز از طريق عملكرد سامانه هاي ديجيتالي توانسته است نظام چندپاره سينماي هايبريد را منسجم كند و از بيان سينمايي به شيوه ميزانسن براي استفاده از لايه پردازي هاي نامحدود رايانه اي بهره مند شود

Abstract Expressive evolution of hybrid cinema in reproduction of reality and cultural logic of capitalism is the aim of this article. Hybrid is a new method for production of laboratory and commercial goods, with modern composition and implication characteristics. It has been posed firstly, in animal and plant species biology and then extended to industry and culture. The cultural logic of late capitalism which is rooted in diversity seeking has promoted such an aesthetic. In contemporary cinema culture, hybridization of reality and imagination has been basically changed; because of access to the modern digital techniques through simulation, in which reality approach has been replaced by virtual strategy. According to political economy analysis of the Fredric Jameson’s typology the way of expressing imagery signs applied in reproducing the reality in cinema has been accompanied by the reality concept changes in various capitalism areas. Also, Jean Baudrillard believes that the hyper reality signs do not refer to any object and are just media-made virtuality which has been referred as simulacrum. The theoretical backgrounds of the present study were formed based on review of the key reasons for the reality success in cinema concerning style and technology, and with regard to various cultural logic eras, as well as capitalism development. The research theoretical framework is based on a combination of typology and political economy growth and capitalism development, aimed at analyzing the hybrid position in reality reproducing. Among the post-modern thinkers’ ideas, we have used those of Fredric Jameson and Jean Baudrillard; because of their critics on capitalism developments and the typology application in imagery media. Studying the pro and con ideas in this regard requires explaining that promotion of the visual images’ quality in digital cinema has removed the distance between reality and imagination. The main goal of this research is to recognize different capabilities of combining a live film and animation, in hybrid cinema history. It doubtlessly is beneficial for the Iranian cinema, theoretically and practically. The basic hypothesis of the research states that: in hybrid cinema, the reality reproduction both in live film and animation has been realized based on simulating the imitative signs in symbolic signs according to capitalism’s cultural logic. Therefore, imaginary signs don’t refer to any real object, but to the film world. Here, we are going to consider and analyze two films made based on the King Kong (1933 and 2005) in the early and late capitalism era, under the influence of realism and post- modernism cultural logic. The findings of the research show that the modern expression mode of the current cinema has consolidated the hybrid cinema’s multiple systems, through digital systems performance. It also uses miseenscen’s general expression, in order to apply the computerized unlimited layer age. The comparative analysis of the two era’s cinema reveals that applying live film in hybrid cinema has led to dominance of the hyper reality space; also it has entered the real personages into the virtual space.