صورت‌های افلاطونی و ارسطویی فلسفه فیلم

نویسندگان

1 دانشجوی دکتری پژوهش هنر، دانشکده هنر و معماری، دانشگاه تربیت مدرس

2 استادیار دانشکده هنر و معماری، دانشگاه تربیت مدرس

چکیده

شالوده‌های فلسفی‌ پایداری که افلاطون و ارسطو بنا کردند، علاوه بر دنیای فلسفه، در رویکردهای نظری به هنر نیز تأثیراتی بر جا گذاشت. این مقاله درصدد است این تأثیرات را در حوزه‌ی فلسفه‌ی فیلم بررسی کند و با تقسیم سینما به دو جزء تصویر و حرکت، و دنبال کردن این دو جزء در هنرهای یونان باستان و توجه به شکل‌گیری فلسفه‌ی هنر افلاطون و ارسطو در مواجهه با این هنرها، دیدگاه صاحب‌نظران معاصر، یعنی یان ژاروی و کریستین متز را در زمینه‌ی ارتباط اندیشه-های این دو فیلسوف بزرگ با فلسفه‌ی فیلم ارزیابی کرده تا به رهیافتی نو در نگرش به صورت‌های افلاطونی و ارسطویی فلسفه فیلم دست یابد. گذر از ساحت فلسفه با تأکید بر هستی‌شناسی و شناخت‌شناسی، به نظریه‌ی هنر و از آنجا به فلسفه-ی فیلم توسط روش توصیفی-تحلیلی امکان‌پذیر شده است. نتیجه این پژوهش روشن می‌سازد که صورت افلاطونی فلسفه‌ی فیلم، تنها با تأکید بر وجه تصویری، واقعیت شکل گرفته بر پرده‌ی سینما را وانموده‌ی واقعیت اصیل قلمداد می-کند و بر این اساس سینما یکی از نظام‌های وهم آفرین خواهد بود. اما صورت ارسطویی، با توجه بیشتر به وجه حرکتی و کنش دراماتیک سینمایی، امکان بازنمایی واقعیت اصیل را، به شرط تبعیت از قواعد ژانر، فراهم می‌داند.

کلیدواژه‌ها


عنوان مقاله [English]

The Platonic and Aristotelian Forms of Philosophy of Film

نویسندگان [English]

  • Mehdi Azhari Rad 1
  • Ali Sheikh Mehdi 2
  • Reza Afhami 2
1
2
چکیده [English]

Strong philosophical structures that Plato and Aristotle had established, in addition to being important in the history of philosophy, also left a great impact on the theoretical approaches to art. This article is going to follow the impact to field of philosophy of film. On this purpose, cinema is divided into two parts, image and motion, and features of these two parts have been surveyed in the arts of ancient Greek, and also have been noticed to the formation of philosophy of art of Plato and Aristotle in the relation to these arts. In this way the views of two contemporary scholars, Ian Jarvi and Christine Metz, that relation between the thought of these two great philosophers to the field of philosophy of film, evaluated to achieve the new approach from Platonic and Aristotelian form of philosophy of film. The question of present article is what is the relation between theories of Plato and Aristotle about realistic visual art and the drama of the narrative, and the philosophy of film? Question of the nature of the film is the most fundamental issue in philosophy of film that of course is divided into many questions that we noticed to the relation between film and the concept of reality. The descriptive-analytical method is used for this article. The theoretical framework of this research is based on the concept of "intentional arc" in Phenomenological approach, which says about connection between the subjective and objective. The result of this study makes clear that both Film theorist's view , Jarvi and Metz, is faced with the shortcomings, Including lack of attention to how formation the philosophy of art of Plato and Aristotle, and also because of incomplete interpretation the philosophy of Plato and Aristotle (they have not noticed to the horizons of two great philosophers). According to the result of this study, from the perspective of Platonic form of philosophy of film, the cinematic image is the simulacra of true reality which belongs to the world of imaginations, and because of cinema continuing realistic visual arts it cannot be a true copy of the original. But this philosophical attitude has not noticed of the motion component of cinema and therefore this attitude is incomplete. Indeed, for Plato, motion and situations created by it, will not create a new concept and cannot bring out images from the world of imagination. On the other hand Aristotelian form of philosophy of film, with an emphasis on dramatic action in film, has more attention to the motion component of cinema, and has not noticed about cinematic image. And it believes that the film through the adherence to the verisimilitude, in other words, follow the rules of the genre, can represent true reality. Of course this does not mean that the film in any way represent reality, but according to this attitude to the cinema, it is possible the representation of true reality in film.

کلیدواژه‌ها [English]

  • Aristotle
  • Image
  • motion
  • Philosophy of Film
  • Plato