تحليل بازنمايي سكوت بر اساس كاركرد تنشي گفتمان در سينماي كيشلوفسكي

Semiotic Analysis of Silence in the Discourse of Kieślowskyan Cinema

سكوت عنصري است كه همانند ديگر مفاهيم و عناصر معناساز و دلالت‏مند با عنصر متضاد خود يعني صدا دريافت و فهم مي‌شود. مفهوم سـكوت درگفتمان فيلم همچون گفتمان ادبيات ممكن است به‌شكل عنصري غايب و در پس‏ زمينه‌ي متن قرار گيرد. سكوت توسط عناصر ساختاري و محتوايي و نشانه‌هاي متني مانند رابطه‌ي طيفي و هم‏ بسته در گفتمان فيلم تجلي مي‌يابد. با پاسخ به اين پرسش كه سكوت در سينما چگونه بازنمايي مي‌شود، مي‌توان به تعريفي نشانه‏–‏معناشناختي از مفهوم سكوت در گفتمان سينما دست يافت. اين مقاله بر آن است با بهره‏ گيري از رويكرد نشانه معناشناختي سينما، به بررسي بازنمايي سكوت بر اساس كاركرد تنشي گفتمان در فيلم سه رنگ: آبي، اثر كريشتف كيشلوفسكي بپردازد. در اين پژوهش با استفاده از روش  توصيفيتحليلي به اين پرسش اصلي پاسخ خواهيم داد كه چگونه مي‌توان با رويكردي گفتماني و از منظر نشانه معناشناسي، نظام سكوت را در گفتمانِ فيلم سه رنگ: آبي مورد خوانش قرار داد. و ديگر اين كه در اين فرايند معناكاوي چه عوامل و متغيرهايي را بايد در نظر داشت؟ به نظر مي‌رسد عناصر فرمي و محتوايي مانند رنگ، نور، حركت، تكرار، ريتم، گستره، صدا، فاصله گذاري، زمان، عواطف و ادراكات مي‌توانند بر اساس كاركرد تنشي بيانگر عنصر سكوت در گفتمان فيلم سه رنگ: آبي باشند. هدف از اين پژوهش تحليل و بررسي جايگاه سكوت از ديدگاه تنشي و كشف كاركرد معنايي آن در فيلم سه‏ رنگ: آبي است.

As the discourse of literature, the notion of silence in film’s discourse would be considered as an absent element in the background of the text. Silence appears either through structural and content elements or diverse textual signs like spectral and interdependent relationship such as less/more distance, saturated or pale light in foreground that make it definable and explainable. But the representation of silence in cinema is distinct from silence in writing or speech. Because of its abstraction and with response to this question that “How silence is represented in cinema’s discourse? “We are able to perceive a novel definition of silence in cinema in the framework of semiotic studies. Silence finds its signification through a sign or signs in a discursive context or chain in which they refer to it. Thus, silence like other elements or notions of signification with which it is in opposition such as sound, is perceived or explained either by an expression or other forms of expression which are in fact the expressive signifiers of silence. In other words, the presence of this expression or expressive signifier of silence in discursive context of film is necessary in order to demonstrate its trace. In the discourse of film, silence is created through action, rhythm, extensity, movement, repetition, the game of light penumbra, the absence of dialogue, time, spacing, perspective, and music. Therefore, silence has no longer the general sense of silence. In fact, silence can create a tensive space which results in creation of dynamic and fluid values in discursive regime. Tensive space is composed of intensive and extensive zones. Such process is realizable by the interdependence of these components. Intensive zone is the atmosphere of subject modalities whose orientation tends to the passions and internal world of actant while the extensive space concentrates on the external, quantitative and cognitive aspect. If the extent of tensive space is limited or reduced, we encounter with the extensive and concentrated situation, but in the case of unlimited and multiple extensive of tensive space, we are facing extensive circumstances. Among different approaches to the interpretation of silence, visual semiotics foundation which is the theoretical framework of this research can be considered as an efficient and suitable approach to study silence in the discourse of cinema. Adopting and profiting a descriptive and analytical research methodology, this research tries to respond to this question that “how can study the silence system of Kieślowskyan cinema in the framework of semiotics with application of discursive approach. Also another question which arises is that “what kind of factors or variables should be regarded in the process of silence signification. It seems that abovementioned structural and content elements crystalize the function of silence in the discursive system of Three Colors Trilogy: Blue as the corpus of this study based of tensive scheme of discourse in the framework of semiotics. In its turn, the goal of this research is the analysis and the investigation of silence place and its signification besides semiosis functions in Kieślowskyan cinema.