تحليل مناسبات نافرجام بِينافرهنگي در سه گانه روايي فيلم “ بليت ها” )اُلمي يكارستمي لوچ(

An Analysis of Unaccomplished Intercultural Relations in“Tickets’ Trilogy ” (Ulmi, Kiarostami, Loach)

چكيده اين مقاله قصد دارد تا با قرايت فرهنگي روابط ميان شخصيت هاي فيلم «بليت ها 2005( » ( به شناسايي محدوده هايي از نافرجامي در تحقّق تجربه اي بِينافرهنگي بپردازد. اين فيلم داراي ظرفيت هاي رسانه اي تام لبرانگيزي است كه مي تواند زمينه نظري لازم را براي طرح چالش هاي پيش روي توليدات بينافرهنگي مهيا كند. پژوهش حاضر با تعريف شاخص هاي تاز هاي براي پيمايش حدود صد قپذيري امر بينافرهنگي، ميك‌وشد تا به كمك نمونه شواهدي از حوادث و مناسبات انساني سه اپيزود فيلم «بليت ها »، طرحي از ناتما مبودگيِ پروژه هاي همجوشي ميان فرهنگ ها ارايه دهد. به اين معنا، تجربه بينافرهنگي نيازمند پديدار شدنِ هويتي ناپايدار در خلا ميان ترازهاي فرهنگي است. «هنجار هراسي « ،» تبار آميزيِ نافرجام »، ناسازه هايي از «سياست فرهنگي » و «حاشيه گرايي » مهم ترين مفاهيم در خور طرح براي اثبات مدعاي اين پژوهش به شمار مي روند. يافته هاي منتج از تحليل مناسبات طبقاتي شخصيت هاي فيلم، نشان مي دهند كه تجربه هاي بينافرهنگي عمدتاً موكول به تعويق و يا ناگزير از تعليق دلالت هاي فرهنگي خود هستند و بيش از آنكه نياز به تا ييد و تبعيت داشته باشند، محتاج مواجهه اي انتقادي و آسي بشناخت ياند.

Abstract This paper aims to identify the limits of approaching an intercultural experience through a critical reading of Tickets (2005) movie. The movie is an international collaboration by three globally acknowledged film-makers, Ermano Olmi (Italy), Abbass Kiarostami (Iran) and Ken Loach (UK). It has thoughtful media competence by which a theoretical perspective might be realized, necessary to discuss on major challenges facing many intercultural productions. The main problem of this research is whether it might be possible to find some reliable cinematic facts confirming that the Intercultural is an unfinished experience, or not. Interculturalism, from this point of view, is not merely some kind of exchanging, transacting or transporting and integrating into different cultural effects at the crossroad of historical and geographical borders; but, it is in fact a dynamic as well as highly creative action which resulted from the process of ignoring or “forgetting” the own cultural priorities and freely “adding” them to some fragmented parts of other cultures. The “Self” and the “Other” are no longer conceived as imposing agents of some distinct national identities, but the mediators of ever becoming inter-cultural. In this sense, the intercultural experience necessitates emerging of unsustainable identity left unknown in the empty spaces of socio-cultural levels. This research purposes to characterize different cultural features examining the limits of truth and the conditions of accomplishment within an intercultural experience. Analyzig some typical facts drawn from human relations and the major events of Ticket’s Trilogy, the paper displays how the concept of Interculturalism might have been considered as an unaccomplished project of cultural fusion. Each narrative episode of the movie has a distinct cinematic character which might be culturally read as a kind of deviating from usual expectations of the accomplished mission. Many cultural facts support the idea that the movie functions as a rupture in conventional observation of self and other integrities. The findings resulted from analyzing the social roles of film characters clarify that the Interculturality is an implication subject to ever delaying and inevitably suspending its own cultural significations, requires then to be critically faced with rather than be verified and followed by. “Abnormal phobia”, “Unfinished Hybridization”, “Militaristic Paradoxes” and “Marginalization” are amongst the main factors which the paper applies to reconsider the general conception of Interculturalism. They will be analyzed respectively in accordance with the selected scenes of the Tickets. The study first begins with a theoretical discussion on the roles of cultural “texts”, and then continues with a literature review of intercultural reading of dramatic arts. It should be mentioned that how intercultural studies of Cinema have been emerged through the 1980s. By interweaving some critical debates on Interculturalism from a variety of areas, a socio-political reading of the Tickets would be realized. As a cultural criticism of Tickets’ socio-political images, the paper invites readers to think about the limits of Intercultural studies of arts and its unexpected consequences. As an objective result, it will sum up the key factors which have affected on the idea in a provisional figure.