ساختار شكني در مفاهيم( تاريخ ،افسانه،مرگ،مكان)در فيلم " آتش سبز"ساخته‌ي محمدرضا اصلاني

Deconstructive approaches to the concepts ofhistory,legend ,death and place in the movie “Green Fire”by Mohammad Reza Aslani

اين مقاله با بررسي صورت بندي روايي فيلم آتش سبز كه با تكيه بر ساختار تو درتوي افسانه‌هاي ايراني و بر اساس شناختي عميق از هنر (نگارگري و خوش‌نويسي، معماري ...) و ادبيات ايران در چندين سطح به نقل تاريخ و فرهنگ كرمان و چهره هاي مهم آن سرزمين مي پردازد،به دنبال آن است كه در وراي روايات پيچيده فيلم معاني عميق و شگرف مستتر در بطن آن را دريابد. هدف فيلم بازنمايي دقيق و واقع‌نمايي تاريخي نيست از اين رو براي ارائه حكايات تاريخي از ظرف قصه بهره مي برد افسانه، اسطوره و تاريخ را در هم مي‌آميزد و با پرهيز از تكرار تصاوير و ساختار رايج، از حكايات تاريخي و افسانه‌ها شكل و ساختاري بديع به آن‌ها مي‌بخشد. نتيجه مهم اين بررسي آن است كه فيلم آتش سبز با بسياري از مفاهيم رايجي كه معمولاً در روايات تاريخي به‌كار مي‌رود برخوردي شالوده شكنانه دارد؛ مفاهيمي چون افسانه و اسطوره، تاريخ، زمان، مكان، شخصيت، مردن و زنده بودن. البته همگي اين برخوردها، تأويل‌ها و بازخواني‌ها در فرم و ساختار فيلم منجر به زباني نوين مي‌شود كه شكلي پيچيده به فيلم مي‌دهد ،پيچيدگي كه در عين حال ناشي از پيچيدگي فرم‌ها و اشكال در هنر ايراني و زبان و مفاهيم در شعر و ادبيات و مباني حكمي آن‌هاست.

The "Atashe Sabz "(green fire) movie by Mohamadreza Aslani narrates the history and culture of the Kerman city in different periods but for this purposes it uses the very complicated and strange form and structure which is based on the Iranian legends, fictions and miniatures, which in some cases are very complicated with different layers somehow similar to Hezaro yek Shab (One thousand and one night) stories :the old fictions that narrated by Shahrzad who wants to save herself from death by telling story and every story leads to new story before ending and this new one leads to another newer and these make Labyrinth –like form stories. Aslani tries to tell us his historical narrations through such structure, and with a visual form which inspired by Iranian traditional painting in color, form and composition, so give the legendary and mystic form to these historical narrations. However this special form of movie it is not similar to the common legendary type movies both in form and content. It is obvious that the film aim is not to represents the reality of history and the exact happenings in that specific period of times , but it wants or prefers to make the images and frames sequences and shots , dreamy and imaginative that all of them are based on the deep knowledge and recognition of Persian art, literature and aesthetics. So not only the film mix the history, mythology and story but also avoids current structure, form and images from the historical stories and adventures instead give them an unique and new form and structure . The deconstructive approach to the acceptable and current concepts which is very common in the historical narrations is the most important point of the film, the concepts such as: history, fiction, legend, mythology, time, place, character, death and life. This essay in different parts shows these deconstructive approaches first in the concept of place by concentrating on the fort as a center of film in the different historical events ,which most of them are tragic and at the same time as a dreamy place for the legends so gives the special character to the fort who is a witness beyond the time .second deconstructive approach is about the concept of history by interweaving the different historical events in each other and also with the fiction that cannot be recognized. This interweaving also occurs in the characters through the different periods of time, When we see the the specific characters in history, legend and present time . Therefore we face to these deconstructive approaches continuously in the whole movie about time, reality, truth, death and life…. Of course all of these approaches and reinterpretations leads to a very new language in film that shapes a complicated form of it .Meanwhile This complicacy is due to(come from) the complicacy of the form and structure of Iranian art and complicacy of language in Iranian literature ,and the philosophy behind them.