Translation of conceptual metaphor in the language of images in poetic cinema With a look at Charlie Kaufman's film synecdoche New York

Document Type : Research Paper

Authors

1 Professor, Department of Advanced Studies in Art, College of Fine Arts, University of Tehran, Tehran, Iran.

2 PhD Candidate in Art Research, Department of Advanced Studies in Art, Kish international Campus, University of Tehran, Tehran, Iran.

Abstract

Poetic cinema aims to present works that, while deeply connected to literature, transcend its traditional boundaries and heavy shadows. One of the most significant challenges for filmmakers in this genre is to find a delicate balance between literary language and visual language, striving to convey meaning primarily through images rather than words. This creative process has its roots in literature, where figures of speech—particularly metaphor—serve as fundamental elements of poetic expression and perception.
Charlie Kaufman, American writer and director with a literary background, has achieved remarkable success in creating meaning through imagery in several of his works, where he assumed the dual roles of author and director. Traditionally, metaphor was considered merely a literary figure of speech; however, contemporary studies by scholars such as George Lakoff, Mark Johnson, and philosophers like Paul Ricoeur have revealed that metaphor is far more than a verbal or literary ornament. It constitutes a complex cognitive network of meanings that shapes human understanding of the world. Therefore, metaphor today extends its influence beyond literature, permeating everyday life, human relationships, and our conceptual frameworks.
The film Synecdoche, New York exemplifies Kaufman’s exploration of poetic cinema and the use of metaphor. The film’s significance stems from its portrayal of an artist struggling to comprehend the meaning of his life through creative work. This film functions as an existential inquiry into life’s meaning, oscillating between present and future, reality and dream. Despite its initial commercial failure, Synecdoche, New York has come to be recognized as a landmark of poetic cinema and a profound metaphorical depiction of modern humanity.
One of the film’s most compelling aspects is its engagement with the question of how humans attempt to interpret their lives through metaphorical frameworks. The film further probes the philosophical dilemma of what happens when individuals themselves become metaphors. Kaufman’s narrative suggests that by extending the metaphorical perspective to encompass every facet of human existence, the boundary between the literal self and the metaphorical self dissolves, resulting in an overwhelming intertwining of identity with metaphorical constructs. This blurring of lines implies that individuals may become burdened, or even buried, under the weight of the metaphors that shape their realities.
This study begins by exploring the concept of poetic cinema through the theories of prominent filmmakers and theorists associated with the genre. Subsequently, it analyzes Kaufman’s cinematic approach and distinctive style before conducting a detailed examination of Synecdoche, New York. The analysis focuses on how Kaufman effectively reflects a metaphorical worldview and articulates the pervasive dominance of metaphor in human life, thus highlighting the film’s contribution to the discourse on poetic cinema and the philosophical implications of metaphorical meaning in contemporary art and existence.

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References

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Journal of Fine Arts: Performing Arts & Music
Volume 30, Issue 4
September 2025
Pages 7-20

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