كليدواژه :
شهرتهران , دهه ي 40 , جامعه شناسي سينما , نشانه شناسي
چكيده فارسي :
تئوري "بازتاب" در جامعه‌شناسي سينما به فيلم‌ها به مثابه سندهايي مي‌نگرد كه زندگي اجتماعي در آنها بازتاب پيدا مي‌كند و لذا با بررسي آنها مي‌توان به تحولات و گرايش‌هاي اجتماعي پي برد. در اين مقاله شهر تهران از منظر جامعه شناسي سينما در آثارسينماي دهه ي 40 (فيلم خشت و آينه ساخته ابراهيم گلستان) تحليل مي شود و دگرگوني هاي شهر و دگرديسي هاي رفتارها و هنجارهاي فرهنگي اجتماعي و شهري، چگونگي گذارانسان از سنت به مدرنيته ،به روش نشانه شناسي سوسو بازخواني و تحليل مي شود.با مفروض دانستن اينكه سينما به عنوان يكي از مهم‌ترين ابزارهاي جامعه شناختي مي‌تواند به ما در فهم مسائل اجتماعي شهر تهران ياري رساند.درنتيجه براي دست يابي و شناخت دقيق تر جامعه مخاطب معماري و شهر مي توان با استفاده دريچه فيلم و سينما كه در بازه زماني كوتاه گزارش مصوري را از شرايط اجتمايي انسانها و نحوه تعامل انها با فضا دست يافت.
چكيده لاتين :
The theory of "reflection" in the cinema sociology sees the film as documents that reflect the social life and therefore
by examining them, which in them, and by them, we can realize changes and social trends. In this article, Tehran city
is analyzed and readout from the perspective of cinema sociology in viewing experience and the emergence of the
40’s cinema, and changes in behavior and cultural norms and social and economic transformations and their impact on
behaviors and norms of the city by the method of semiotics.
Urban social life is cause and movies are effect. As a result, given the position of cinema sociology, we can realize
common urban issues and also reflection of the mentality in this particular his torical period, and we can find social
consciousness and a new morality that accompanied these relations and public reaction of citizens in the face of this city.
The at hand s tudy’s approach is Semiotics of Saussure, and the confrontation for finding the narrative s tructure and the
contras ts. Then, the social s tructure with its developments compared to discover the social meanings of images. Urban
social life is cause and movies are effect, and since based on Goldman's view, the original creator of the artwork, not the
author, but it is the social group which this worldview is formed in it; we had tried to bridge between provided images of
the city and The role of ideology and social classes and be clear that these pictures are the product of the view of which
groups and social classes to the community? Unlike specialis ts in film s tudies, sociologis ts work with large data and are
interes ted in the relationship between the community and films, which is why this is a microscopic s tudy of a large data.
Urban issues are more than not, usually subjects such as contras t of urban and rural, urban and rural contras ts characters,
Housing problem, the marginalized, the class s truggle in the big cities particularly with an emphasis on spatial inequalities
between neighborhoods, issues and events that are happening in the neighborhoods of the city. Then we checked out these
films and divided them based on the image of the city which the films were offered. Then we selected films of each class
which clearly had more features in the image in ques tion, as examples. We tried to review the changes of the city and
transformations of cultural, social and economic norms of behaviors and their impact on urban norms and behaviors. The
result was a film that was one of the mos t influential films of the '40s, Khesht-o-Ayineh (Created by Ebrahim Goles tan,
Year 1344 Solar Hijri calendar), and with analyzing and explaining these videos and extracting common features of
them through image semiotics and given the s tatus of knowledge for cinema, Common to urban issues in this particular
his torical period can be realized and also the part of the mind, the unconscious social and public reaction of citizens in
the face of the city can be realized.
