جغرافياي آميختگي كالبدهاي انساني مثله شده و فضاهاي قطعه قطعه در شهر سينماتيك

Intertwining Geography of Dismembered Bodies and Fragmented Spaces in cinematic City

در فرايند مونتاژ، دو قطعه فيلم در كنار كيديگر قرار مي‌گيرند و به گونه‌اي اجتناب‌ناپذير به يك ايده جديد شكل مي‌دهند. مونتاژ، مفاهيم سنتي رابطه بدن فضا را دگرگون كرد و به سينما اين توانايي را بخشيد كه فضا، زمان، و بدن انساني را قطعه‌ قطعه كند. كولشف يكي از نخستين سينماگراني بود كه با مونتاژ كردن اعضاي بدن‌ها، فضاها و لند‌اسكيپ‌هاي مختلف، و سپس شكل‌دهي به ساختاري دلخواه ميان آن‌ها، توهمي از پيوستگي را به وجود آورد و مبدع شكل‌گيري يك لنداسكيپ تصنعي و جغرافياي خلاقه سينمايي بود. اصطلاح جغرافياي خلاقه در بحث كولشف، دلالتي آشكار به رابطه ريشه‌دار تيوري فيلم با محيط فيزيكي، و همچنين در نظر گرفتن بدن به مثابه يك لنداسيكپ در تيوري مونتاژي دارد. مونتاژ، اين امكان را براي فيلمسازان فراهم كرد تا با قطعه‌قطعه كردن و مُثله‌كردن فضا، زمان، و بدن انساني و برقراري پيوندي نو ميان آن‌ها، شهر سينمايي دلخواه خود را شكل دهند و تماشاگر را به مثابه سوژه‌اي تن‌يافته در فضاي فيلم، به گام‌زدن در فضاهاي اين شهر سينمايي، دعوت نمايند.

Montage is a process through which modern artists were able to cut out pieces of the reality and to establish new links between them in order to reinvent the reality and to create new relationships, juxtapositions and meanings. The juxtaposition of two pieces which can not have any relation in terms of spatial and temporal dimensions gives the audience a shock and invites him to engage in the meaning-making process. For the prominent filmmaker of the Soviet Cinema, Sergei Eisenstein, montage had something far beyond its mere technical sense. Realizing the inherent affinity between montage and the spatial/temporal fragmentation and chaos of modern metropolis, he introduced montage as an efficient tool for capturing the experience of modernity. Montage transformed the traditional concepts of body/space relation, and gave cinema the ability to fragment space, time and human body to pieces. Lev Kuleshov was one of the first and most important directors who by dismembering the different parts of human bodies, spaces and landscapes, and then by combining and giving the arbitrary structure to them, created an illusion of continuity, and invented his own cinematic “artificial landscape” and “creative geography”. The term “creative geography”, has an obvious implication to rooted liaison between the film theory and the physical environment, and also considering the body as a landscape in montage theory. Montage has provided this opportunity for filmmakers to form their own cinematic city by dismembering and mutilating of space, time and the human body, and establishing a new link between them, and inviting the spectator to walk in spaces of this cinematic city. Directors utilized real locations for shaping their own filmic topography and encouraged the audience to imagine the geography of this reel city by inventing their own mental map. In cinematic city, however, because of fusing indoor and outdoor spaces, a kind of spatial fluidity emerges, and conventional sense of division between street / house, public / private is disappeared. In this eccentric city, the human body is converted to a kind of landscape, a strange territory. Referring to interaction between the audience’s body and the spaces of the cinematic city, Giuliana Bruno emphasizes that the boundaries of the body and city getting intermingled and flowing into each other. In this filmic scape, an intense desire will be emerged within the viewer because of his/her intertwining with these cinematic fragments. The audience’s body as an embodied subject in the film’s haptic space, constantly is exposed to mutilation and disintegration, because of momentary decomposition and explosion of filmic spaces and bodies. The spectator’s fragmented body blends with dismembered bodies and fragmented spaces of the film, and their combination brings forward a space that can be called the intertwining geography of dismembered bodies and fragmented spaces.