تحليل رواييِ فانتزي و ايديولوژي در فيلم سينمايي آقاي هالو

Narrative Analysis of Fantasy and Ideology in the Movie Aghaye- Halu

سوژه هاي انساني، فانتزي هايي را براي خود مي سازند تا موقعيت خيالي خود را در ساختار اجتماعي نشان دهند. اين فانتزي ها در روايت فيلم هاي سينمايي بازتوليد مي شوند. علاوه بر اين آپاراتوس سينما از طريق ايديولوژي مخاطب را به روايت فيلم مي‏دوزد. هدف مقاله‏ي حاضر آن است كه فانتزي و ايديولوژي موجود در روايت فيلم آقاي هالو را تفسير كند. بدين منظور چارچوب مفهومي اي ملهم از نظريه هاي «ژاك لكان» درباره فانتزي و «ارنست لاكلايو» «شنتال موفه» درباره ايديولوژي و چارچوب روشي متاثر از نظريه تحليل روايي «ديويد بوردول»، تحليل روايي ايديولوژي «مايك كورمك» و مفهوم نگاه خيره از «اسلاوي ژيژك» منظومه ي روشي اين مقاله را تشكيل مي دهند. يافته‏هاي مقاله نشان مي‌دهد سوژه‏ي فيلم، يعني شخصيت آقاي هالو، فانتزي‏اي را در مقابل ديگري بزرگ روستا برمي‏سازد كه اين فانتزي، نه داراييِ خود او بلكه فانتزيِ ديگري بزرگ روستا است كه در پايان منجر به بازگشت سوژه به روستا و پذيرش قوانين آن مي‏شود. ايديولوژي ضدشهرگراييِ فيلم كه مقاومتي در مقابل ايديولوژي شهرگرايي در دهه‏ي چهل ايران است، جايگاه ديگري بزرگ را در فيلم به جاي روستا براي سوژه اشغال مي كند و از اين طريق فانتزيِ سوژه كه در واقع يك فانتزيِ ايديولوژيك است، مخاطب را به روايت فيلم مي دوزد.

Subject, the ‘I’ who experiences and interacts with the world, constructs fantasies for him(her)self in order to show his(her) imaginary position in social structure. These fantasies have been reproduced in movies narration. Furthermore, cinema apparatus sutures audience by ideology within a movie narration. This article attempts to interprete fantasy and ideology in the narration of Aghaye- Halu. According to Lacan Fantasy is an answer that subject presents for him(her)self in the symbolic order. Subject is given a place in the intersubjective network of symbolic relations but he or she does not know why he is occupying this place. Therefore subject asks ‘Why am I what Iʹm supposed to be, why have I this mandate? Why am I [a teacher,a master, a king . . .]? Briefly: Why! am I what you [the big other] are saying that I am?’ the answer of these questions is a scenario in which subject follows his or her desire and object(a). But this fantasy decieves him(her) and the subject does not know his(her) deire belongs to big other actualy. Furthermore, according to Laclau and Mouffe the multitude of floating signifiers, of protoideological elements, is structured into a unified field through the intervention of a certain nodal point which quilts them, stops their sliding and fixes their meaning. State modernization is a nodal point in 1960s in Iran which quilted the urbanism ideology. In one hand, this article interprets this ideology in the movie Aghaye- Halu. On the other hand, this study was to address these questions about fantasy:Who is the subject? Who is the big other the subject confronted with in the movie narration? What desire does the subject have?What actions and events was the fantasy of the subject made of? Analysis of data was done within the framework of narrative analysis and it was founded on David Bordwell’s (1995) conception of narration; Mike Cormack’s (1992) narrative analysis of ideology; and Slavoj Zizek’s (2008) notion of ideological ‘gaze’. The qualitative analysis of the data reveales that there is a specific fantasy in the movie Aghaye- Halu that firs character makes for himself and the big other in the movie is village.The subject, that is the character of Halu, makes a fantasy in which he goes to a city in order to find a woman to marriage, but the big other wants him to get married to a girl whim is the mother’s preferance. In the end of narration not only does Halu lose city woman but also he comes back to his village.Therefor his fantasy is not his own but it belongs to the big other and the subject of movie has to accept the order of big other and dismiss from his ambition which is getting marry with city woman. The ideology of movies is a anti urbanism ideology.This ideology occupies the status of big other in the subject’s fantasy.It shows subject’s fantasy is a kind of ideological fantasy by which cinema apparatus sutures audience.