بررسي امكان وقوع «رويداد حقيقت » در سينما در طريق تفكر هايدگر

The Possibility of “Happening of Truth” in Film Art in Heidegger’s Way of Thinking

چكيده در اين مقاله، يكي از مهم ترين مفاهيم انديشه ي هايدگري يعني «رويداد حقيقت 1» از منظر وقوع آن در كار هنري و بطور خاص هنر فيلم مورد تامل قرار مي گيرد و تلاش مي شود كه با طرح مفهوم پيكار ميان پوشيدگي 2 و ناپوشيدگي 3 در كار هنري، كه هايدگر آن را پيكار ميان زمين و جهان مي نامد، در تقابل با دوگانه ي دكارتي سوژه-ابژه، به سيطره ي تماشاگر در تفسير جهان فيلم پايان داده شود زيرا با اين رويكرد تماشاگر يا همان مخاطب كار هنري ديگر سوژه اي نيست كه بخواهد فيلم را به ابژه اي براي شناخت خويش بدل نمايد بلكه در رويارويي با جهانِ فيلم، به انكشاف حقيقت در ساحت فيلم ياري رسانده و از طريق تفسيري كه از فيلم ارايه مي دهد در تحقق رويداد حقيقت مشاركت مي نمايد. پديدارشناسي هرمنوتيك 4 به عنوان روش شناسي اين پژوهش به ما ياري مي رساند كه دريابيم چگونه تجربه ي تماشا و رويارويي با جهان فيلم، تماشاگر را به سوي پرسش هستي شناختي او از فهم فيلم رهنمون مي شود زيرا هر تفسيري تماشاگر را به فهم از هستيِ خودش، در مقام دازاين 5 در-جهان، ارجاع مي دهد؛ دازايني كه بازيگر است و درگير با جهان و نه مشاهده گري صرف در ساحت تفكر محاسبه گر دكارتي و به دور از تجربه ي در-جهان-بودن.

Abstract In this essay, happening of truth, as one of the most influential concepts of Heideggerian thought, and also its occurrence in the work of art especially film art, is meditated on and it is showed that how the concept of strife between concealment and unconcealment in the work of art, or a strife between world and earth-as Heidegger called it- in opposition to Cartesian dichotomy between subject and object, removes the domination of the audience over the film. Because in this approach audience is nevermore the subject positioning the film as the object of its consciousness, rather in an encounter with film as a way of happening and also via interpretation of the film, the audience contributes in revealing of truth in the film. The dwelling of the audience enables the POIESIS and makes the “happening” a poetical experience. We followed Heideggerian thought in considering “happening” in film in relation to the painting “A Pair of Shoes” by Vincent Van Gogh, since the language of images in film, at first, refers to Heidegger’s ideas in the »Origin of the Work of Art«. Thus, film interpretation refers to the “worlding of the earth”. The audience carries this interpretation to the ontological level in some respects. First, audience is the one who not only watches the images of film, but also preserves the “happening of truth”. In other words, without the audience, the WORLD does not unconceal itself, since there would not be anyone to interpret what audience sees. Thus, it slowly retreats from ontic investigation, since there is no reference point from which to categorize the conventions of both philosophy and art. Put simply, the “happening” cannot point to any source of reference, neither can interpretation. Second, significance is attributed to the film itself since, like the temple revealing in the earth or ground, the WORLD opened to audience interpretation dwells in the images of film, i.e., it is grounded in the film. The third way in which the audience brings interpretation to ontological level of analysis is through the audience. The audience is the preserver and witness to the unconcealment itself, thus taking part in the unconcealment of truth. The experience leads the audience to its own ontological investigation of understanding of the film, since every interpretation refers the audience back to an understanding of itself. This interpretation, constituted in the history of film theory, thus exceeds itself with the idea of interpretation in the Heideggerian sense. This interpretation also indicates the possibility of “being-in-the-world”. It opens the possibility itself since DASEIN refers to the possibility of existence. Hermeneutic Phenomenology, as our methodology, helps us to find out how film-viewing experience and encounter with it leads the audience to its own ontological investigation of understanding of the film, since every interpretation refers the audience back to an understanding of itself as Dasein-in-the-world, as an active engaged actor other than a mere observer inside the arena of Cartesian idea of calculative thinking and detached from being-in-the-world.