نوع مقاله : مقاله پژوهشی
نویسندگان
1 کارشناسی ارشد سینما، گروه سینما، دانشکده سینماوتئاتر، دانشگاه هنر، تهران، ایران.
2 دانشیار گروه سینما، دانشکده سینماوتئاتر، دانشگاه هنر، تهران، ایران.
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, frightening, or even eerie phenomena. Freud’s main argument attributes these experiences to two primary sources: infantile complexes and primitive or superstitious beliefs. He interprets these phenomena as operating through the dominance of the unconscious mind, which can exert influence over both physical and logical reality. The current study aims to identify instances of these phenomena in the film Tall Shadows of the Wind (1979), analyzing them through a psychoanalytic approach. Directed by Bahman Farmanara, the film is a faithful adaptation of Houshang Golshiri’s short story The First Innocent (1970). It marks Farmanara’s second adaptation of Golshiri, following the 1974 film Prince Ehtejab by the same modern Iranian author. Both films are part of Iran’s New Wave cinema, a pioneering movement spanning roughly from the early 1960s to the late 1970s, often characterized by formal modernist narratives, experimental cinematic techniques, and innovative approaches to storytelling. Consequently, these films can be effectively analyzed through psychoanalytic theories, offering rich material for exploring the unconscious and its manifestations. In Tall Shadows of the Wind, three types of phenomena are depicted that, according to Freud, give rise to the uncanny: the double, animism, and the haunted house. The film’s narrative is set in a village and carries an unreal, surrealistic theme. Within this village, a scarecrow is decorated by one of the main characters, Abdullah, 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 presence, blurring the boundary between reality and imagination. In parallel, the village’s abandoned building—an ancient and historical castle—appears repeatedly throughout various shots of the film, functioning as a spatial manifestation of the uncanny and reinforcing the eerie atmosphere of the narrative.The current study employs a descriptive-analytical approach, drawing on Freud’s paper to conceptualize the uncanny and the three previously mentioned situations within the theoretical framework. It seeks to explain the origins and various components that contribute to this phenomenon. The study then analyzes these three situations as manifestations of the uncanny, focusing on their representation in the film through a psychoanalytic lens. Farmanara employs techniques such as nighttime cinematography, slow and mysterious camera movements, unexpected cuts, suspense, and other cinematic methods to convey the narrative theme. These techniques also enhance the depiction of the uncanny visually and narratively. By examining Freud’s framework and the factors discussed, it becomes evident that traces of primitive beliefs and infantile complexes persist in the human unconscious, which Freud describes as a psychological reality. This psychological reality can emerge at any moment, exerting influence over physical reality. Accordingly, the unconscious mind, through its continuous impact on human consciousness, can produce experiences that evoke the sensation of the uncanny, demonstrating its enduring presence and relevance in cinematic representation.
کلیدواژهها [English]
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