بازتجسد «پرسه‌زن» شهر مدرن در پيكر تماشاگر فيلم

Reconfiguration of Flaneur of the Modern Metropolis in the Body of a Film Spectator

پرسه‌زني، نوعي گردش بي‌هدف در هزارتوي متروپوليس مدرن مي‌باشد، كه با گونه‌اي از ادراك در حال عدم‌تمركز توامان است. تماشاكردن و «جذب شدن» به جذابيت‌هاي بصري و فضايي شهر، محرك اصلي پرسه‌زن است؛ كسي كه در پي غوطه‌ور ساختن خود در حسانيت جمعي فضاهاي شهري مي‌باشد، در جستجوي آميختن و ذوب شدن با «توده جمعي» و سيلان آشوب‌هاي شهري. در روند مشاهده مناظر شهري، «پرسه‌زن» از تصاوير شهري مانند دوربين سينما فيلم مي‌گيرد و به مثابه يك تدوين گر به مونتاژ شات‌هاي گرفته شده مي‌پردازد. اين پژوهش كه از نوع نظري و با روش توصيفي- تحليلي صورت گرفته است، مي‌كوشد اين نكته را آشكار سازد كه با ظهور سينما، الگوي پرسه‌زن به مثابه تماشاگري سرگردان كه در ميان فضاهاي داخلي و خارجي شهر مدرن گذار مي‌كرد، در پيكر تماشاگر فيلم دگرباره حلول پيدا كرد و تماشاگر سينما را نيز مي‌توان يك «پرسه‌زن خيالي» در حال گذار در فضاها و زمان‌هاي فيلمي در نظر گرفت. با تغييرات شهرسازي معاصر، بستر پرسه‌زني نيز دگرگون گشته است و در شهرهاي ماشين‌محور معاصر، رانندگي با اتومبيل را مي‌توان به مثابه نوع نويني از پرسه‌زني در نظر گرفت. در «اتوپياي» ماشين، مناظر به گونه‌اي سكانسي ظاهر مي‌شوند و به تجربه‌اي سينماتيك از شهر شكل مي‌دهند.

Examining the relationship among cinema, architecture and city has become one of the substantial issues in modernity-based film theories in recent years. Debate about the reconfiguration of modern city’s landscapes in the nineteenth century and concentration on the concept of “flanerie” forms the main part of what David Bordwell calls the “modernity thesis”. Flanerie is an aimless excursion in a kind of distracted perception and absent-mindness through the labyrinths of modern metropolis. Strolling, watching and being absorbed into the visual and spatial attractions of metropolis, is the main motivation of a flaneur. Baudelaire introduced the flaneur as the modern worldʹs hero, someone who seeks to immerse himself in the collective sensuality of urban spaces, looking to be melted down in fluidity of urban chaos, in search for fusion with collective mass to become "one flesh with the crowd". Like Baudelaire, Walter Benjamin also considered the flaneur as the archetype of modern subject, who in an ecstatic state strolls through the urban spaces and his emphatic look to moving bodies and faces reach to a level in which he is transformed to a united body with the crowd. At the same time, he can be either self or the other. Pointing to intimate and interactive relationship between flanerie and the artistic imagination, Benjamin believed that due to the flaneurʹs creativity in dreaming, in front of his eye, the urban environment is converted to a surreal landscape. It might be stated that flaneur is projecting his imaginative inner world over the physical reality of the city and reciprocally by employing physical and psychical essence of the city forms to his own dream. Hence, for a flaneur, an intertwined relation emerges between the real and imaginary maps of the city, to the extent that he cannot distinguish between these two maps. During this dissolving process between the illusional and real maps of the city, the flaneur practically appears as a dreamer architect who reconstructs the architectural identity of the city by projecting his own inner emotional space into the physical territory of the urban landscape. Benjamin, who had acknowledged the cinematic qualities of modern city, also connects cinema and flanerie, and emphasizes that the act of flaneur is so much similar to the experiences of making and watching a film. In this way, the film spectator could be considered as an imaginary flaneur, walking through cinematic time and space. With the changes in the contemporary urban planning, the context of flanerie has also been transformed, and in contemporary automobile-based cities, car driving can be considered as a new version of flanerie. The viewpoint of the observer from the car and the perception of changing landscapes through the car window, have an undeniable similarity to watching a film, And by looking through the windshield, the city unfolds itself sequentially as a cinematic screen. The carʹs "autopia", provides an audiovisual space in which, the montage of the images as well as the sonic soundtrack are completely reminiscent of the space of the cinema.