نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی کارشناسی ارشد سینما، گروه سینما، دانشکده سینماوتئاتر، دانشگاه هنر، تهران، ایران.
2 دانشگاه هنر
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Sigmund Freud’s paper “The Uncanny”, written in 1919, is a psychoanalytic study that explores the feelings humans experience when they encounter unfamiliar and frightening, or even eerie phenomena. Freud’s main argument ties these experiences to two sources: infantile complexes and primitive or superstitious beliefs. These phenomena, he interprets, operate through the dominance of the unconscious mind which influences physical and logical reality. The current study aims to identify some of these phenomena in the film “Tall Shadows of the Wind”, analyzing them through a psychoanalytic approach. This film, directed by Bahman Farmanara in 1979, is a faithful adaptation of the short story “The First Innocent” (1975) by Houshang Golshiri. It marks Farmanara’s second adaptation of Golshiri, following the 1974 film “Prince Ehtejab” by the same modern Iranian author. Both of these films are part of Iran’s New Wave cinema. This pioneering movement, spanning roughly from the early 1960s to the late 1970s, often features films characterized by formal modernist narratives and approaches. Therefore, They can be analyzed through psychoanalytic theories. s. In this film, three types of phenomena are depicted that, according to Freud’s paper, give rise to the uncanny. Freud describes these phenomena in situations such as: The Double, Animism, and The Haunted house. The film’s narrative is set in a village and carries an unrealistic theme. In this village, there’s a scarecrow that one of the main characters, Abdullah, decorates to resemble himself. He paints an eye on the scarecrow, gives it a moustache, and even places his own hat on its head. Through Abdullah’s actions, the scarecrow’s identity shifts, transforming into Abdullah’s double. For the villagers, it changes from an inanimate object into a living being. Meanwhile, in parallel, the village’s abandoned building —an ancient and historical Castle —appears repeatedly in various shots of the film. It seems that this castle, through its presence, represents a spatial manifestation of the concept of uncanny in the film. The current study through a descriptive analytical approach and using Freud’s paper, to conceptualize of the uncanny, along with the three previously mentioned situations, within the theoretical foundations of the research. It seeks to explain the origins and Components that influence this phenomenon. It then analyzes these three situations as manifestations of the concept of uncanny by focusing on their representation form in the film through a psychoanalytic framework. The director uses techniques such as nighttime cinematography, slow and mysterious camera movements, unexpected cuts, suspense, and other methods to convey the narrative theme of the film. These techniques are used in the cinematic representations of this concept. Therefore, by examining Freud’s paper and understanding the factors mentioned, it seems that one can conclude that traces of primitive beliefs and infantile complexes remain in the human unconscious, which Freud describes as a psychological reality. This psychological reality has the ability to manifest at any moment by exerting control over physical reality. Therefore, the unconscious mind, through its influence on human consciousness, believes in situations that may appear as feeling of the uncanny.
کلیدواژهها [English]
)