وضعيت واقعيت در گذر از سينماي آنالوگ به ديجيتال

The Position of Reality in Transition from the Analog Movie to the Digital one

چكيده موضوع نسبت تصوير سينمايي و واقعيت همواره مورد توجه نظريه پردازان فيلم بوده، و از نحوه مواجهه با تكنولوژي سينما نشيت گرفته است. مناقشه اصلي نظريه پردازان واق عگرا و فر مگرا در دوران آنالوگ، بر سر پذيرفتن يا رد كردن نسبت سينما و واقعيت بوده است. ورود تكنولوژي ديجيتال به سينما بر اهميت اين امر افزود. در اين مقاله كوشش مي شود تا با استفاده از روش توصيفي تحليلي و چارچوب نظري شك لگرفته بر اساس مفهوم نشانه از ديدگاه پيرسي و پساساختارگرايي با تاكيد بر نظريات ژان بودريار، به ارزيابي وضعيت واقعيت در گذر از سينماي آنالوگ به ديجيتال پرداخته شود. نتيجه اين مقاله معلوم م يگرداند كه تكنولوژي سينما در دوران آنالوگ، نشانه هاي شمايلي نمايه اي توليد مي كرده است؛ اما در دوران ديجيتال، تكنولوژي تصويرسازي فوتورياليستي در مسير تشابه با صورت ظاهري واقعيت، بر آن چيره شده است. اين نوع سينما در وجه تصويرساز ياش نشانه اي شمايلي نمادين اما بي مرجع را جايگزين واقعيت م يگرداند. از سوي ديگر با استفاده از تكنولوژي تصويربرداري آسان ديجيتالي و همگاني سازي توليد و انتشار تصاوير و قابليت تكثير بي انتها در فضاهاي مجازي، دال هايي توليد مي شوند كه تنها به يكديگر ارجاع مي دهند.

Abstract From the beginning of cinema invention, the problem of relation between reality and the cinematic image has been very important for filmmakers as well as the scholars. Cinema’s dependence on technology, as one of its basic features, has led to the main causes of theoreticians, disagreement about films. With the arrival of digital technology in movie production and distribution, two basic issues became important; higher reproduction power of digital technology in comparison to analog one (while the copy images had the lower quality than the original ones), and creating realistic images by using this technology than analog images. These issues have been created a new challenge for representing the reality in cinema. So the question of this article is: What condition reality has found in transition from the analog cinema to the digital? The descriptive-analytical method is used for this article. The theoretical framework of this research is based on the concept of sign in C.S. Peirce’s viewpoint and Baudrillard’s post structuralism approach. Semiotic analysis of cinema technology can look for the type of signs and how they refer to reality, in the message of this media. The result of this study makes clear that the produced signs by the cinema, in analog era, due to a mechanical recording technology, are also depending physically to object and somewhat similar to it, and thus these are the indexical-iconic signs. The analog film technology has advanced so much that this similarity is obvious. But in digital filming, the factor which joins the images to their reference is the figures that set in binary based. And according to that symbolic aspect of sign saying that is based on contract, here, the image can be seen as symbolic-iconic sign. But in Baudrillard’s perspective, with the arrival of digital technology, gradually the relationship between cinematic image and real signified or reference is completely disconnected. Real reference is replaced by reality in the virtual world that is Called “hyper reality”. This type of reality has been used to make an illusionary reality and it has dominates, the images made by digital technology by the apparent similarity with reality. On the other hand, due to the ease of digital filming, and create the possibility of producing and publishing images, infinitely, in the virtual spaces, the signifiers that are produced, can only refer to one each other