نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشکده سینما و تئاتر، دانشگاه هنر تهران
2 دانشیار گروه سینما، دانشکده سینما و تئاتر، دانشگاه هنر ایران، تهران، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Laura Mulvey, a prominent film theorist, utilizes the myth of Pandora to theorize the aesthetic of female curiosity in cinema. She contrasts the female gaze with the male gaze, positioning it as an alternative that, unlike its male counterpart rooted in dominance and superficiality, possesses the depth to uncover hidden or repressed layers of meaning. The Crow (1977), directed by Bahram Beyzaie, stands as a pivotal example of pre-revolutionary Iranian cinema, placing a female protagonist at the center of the narrative as an active agent of the gaze and curiosity. The film’s storyline, driven by a young girl’s disappearance, unravels into a complex mystery that the female character seeks to uncover. While both male and female characters pursue the same mystery, their approaches are fundamentally different. The male character's curiosity is driven by a visual attraction that leads him into a superficial search. In contrast, Asiyeh, the female protagonist, is motivated by a traumatic confrontation with the city, which drives her gendered pursuit of the missing girl's fate. As the male character, Isalat, seeks to solve the mystery through visible clues, his journey is mediated by modern technologies, which, rather than bringing him closer to the truth, distance him from its essence. Asiyeh, on the other hand, navigates her investigation through emotional depth and sensitivity, focusing not just on seeing, but on interpreting and understanding. In this film, Asiyeh’s curiosity mirrors the transgressive curiosity of Pandora, whose gaze penetrates closed and forbidden spaces. Asiyeh’s journey is not about superficial exploration, but a deep search for truth hidden within silence and forgotten memories. Through her investigation of the city and the mysterious house, she gradually attains an intuitive understanding of the truth that extends beyond surface-level perceptions. The film contrasts the male gaze, which is preoccupied with visual affirmation, with the female gaze, which seeks to engage with deeper meanings and untold truths. Asiyeh’s journey culminates in the recognition of her own femininity, embodied in her pregnancy. This moment symbolizes the ultimate self-discovery, where her curiosity leads to a personal awakening. The discovery of her pregnancy reflects a confrontation with her own womanhood, akin to Pandora’s opening of the box. The climax of this realization is portrayed in a poignant scene in which Asiyeh comes face to face with her mother’s past, realizing that the mystery she has been unraveling is not just the story of another woman but her own inevitable destiny. By juxtaposing the male and female approaches to curiosity and discovery, The Crow (1977) challenges the typical male-dominated cinematic structure, presenting the female protagonist not as an object of the gaze, but as the subject of knowledge and agency. Through her engagement with the hidden layers of history, memory, and the body, Asiyeh mirrors the mythical Pandora, capable of extracting repressed truths from silence and obscurity. In doing so, the film not only presents a critique of patriarchal cinema but also explores the empowering potential of the female gaze as a tool for both personal and social revelation.
کلیدواژهها [English]
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