كليدواژه :
عكاسي ايران , عكاسي مستند , واقع گرايي ايد ه آليستي , واقع گرايي انتقاد ي , عكاسي د ر د وران پهلوي
چكيده فارسي :
رابطه تنگاتنگ عكاسي با واقعيت به عنوان واقع گراترين شكل بازنمايي، به آن قد رت اقناعي منحصربه فرد ي مي بخشد. همين امر باعث مي شود كه عكس به ابزاري بي رقيب د ر انتقال پيام هاي سياسي و ترويج باورهاي ايد ئولوژيك بد ل شود. هرچند از عكاسي مي توان د ر راستاي پيشبرد منافع طبقات حاكم بهره گرفت، عكاسي د ر د ست منتقد ان و مخالفان وضع موجود نيز مي تواند به ابزاري براي مبارزه سياسي بد ل شود. اين مقاله مي كوشد با تمركز بر گفتمان هاي سياسي پيش از انقلاب اسلامي، نشان د هد كه چگونه عكاسي مي تواند فراتر از فعاليتي هنري، به كنشي سياسي بد ل شود. يافته هاي پژوهش نشان مي د هد كه د و جريان واقع گرايي آرمان گرايانه و واقع گرايي انتقاد ي د ر عكاسي د ر اين د وران، د ر واقع انعكاسي از تقابل ميان د و گفتمان پهلويسم و جريان چپگرا د ر سال هاي منتهي به انقلاب بود ه است كه د ر آن هر جريان سياسي تلاش مي كرد از طريق عكس و عكاسي مشروعيت گفتماني خود را به اثبات برساند. د ر پژوهش حاضر از روش تحقيق توصيفي- تحليلي استفاد ه شد ه و از منابع كتابخانه اي و اسناد ي به منظور جمع آوري د اد ه ها بهره گرفته شد ه است. د ر اين تحقيق تلاش شد ه است با اشاره به گفتمان هاي سياسي رقيب د ر د وران پهلوي، بستري براي تبيين سير تحول معناي عكاسي و تحليل تصاوير عكاسي د ر ايران فراهم آيد.
چكيده لاتين :
The purpose of this study is to investigate the role and the
contribution of photography in socio-political events in the
decades leading up to the revolution of 1979. Photography
has always been used by political actors in their pursuit for
power since it is an ideal tool of mass communication. The
close relationship between photography and reality, gives
it a unique persuasive power as the most realistic form of
representation. This makes photograph an inimitable tool for
conveying political messages or promoting specific ideas in
the society. Although the programmed use of photography
can promote the ideology of the ruling party, the critics
and opponents of the status quo can also use it as a tool for
political resistance. In other words, the study attempts to
demonstrate how the political struggle for power resonated
in disputes about the changing meaning of photography in
Iran during the Pahlavi era. By focusing on pre-revolution
political discourses in Iran, the paper tries to indicate how
photography can become a political action beyond artistic
activity. The fall of the Qajar dynasty, as well as global
changes such as Marxist revolutions and anti-imperialist
movements in third-world nations, prepared the door for
new political discourses in Iran. Reza Shah's ascension to
power as the founder of the Pahlavi dynasty spurred the
emergence of political discourses, particularly Pahlavism.
Pahlavism was indeed a mixture of nationalism, archaism
blended with western-oriented policies. With the growing
demand for change, however, Iran's political scene was
split into two main rival groups: revolutionaries, mostly the
left-minded Marxist-inspired forces, and pro-Pahlavists,
also known as regime loyalists. Meanwhile, the rise of
the middle class, along with the need for a modern state to
deploy mass media for propaganda, thrust photography into
the spotlight. The social necessity of photography gradually
gave way to an expressive form of a representation. Thus,
the competing, rival political forces began to develop their
own version of photography in representing the social
realities. Trying to depict Iran as a progressive, modern
country, the Pahlavist agenda utilized photography to
promote western ideals as well as pre-Islamic icons. The
Pahlavist-inspired photography, which painted an idealized
Iran, portrayed Shah as a great leader and displayed growing
towns, modern-looking Iranians, with no trace of poverty or
inequality. The approach could be named as Idealist realism
represented by, photographs published in newspapers and
magazines, as well as the works by photographers such
as Bruno Barbey and Roloff Beny. On the other hand,
revolutionary groups, notably Marxist-inspired lefties, used
photography to illustrate social disparities and miseries
in order to both question the picture portrayed by the and
agitate the masses. The social documentary proved to be
the best method for them. I this regard, one could refer
to works by photographers such as Kaveh Golestan,
Hengameh Golestan and Nasrollah Kasraian. Parallel to the
political struggle for power, therefore, there was a struggle
over Iran’s image. The study uses the descriptive-analytic
method to build up a socio-political context in which the
concept of photography in Iran was changed
