نوع مقاله : مقاله پژوهشی
نویسندگان
1 گروه مطالعات عالی هنر، دانشکده هنرهای تجسمی، دانشکدگان هنرهای زیبا، دانشگاه تهران، تهران، ایران
2 گروه مطالعات عالی هنر پردیس هنرهای زیبا دانشگاه تهران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
By studying the structure of the concept of Fancy in the movie "Big Fish", with the help of Gilbert Durand's point of view, it is possible levels than its appearance..In this film, Burton tries to show the entire narrative as a kind of movement. A movement from the initial not knowing of Edward Bloom's son, to his final knowing. From beginning of the narrative, the fictional system of the story's characters can be divided into two main subjects: Fancy and truth. In fact, the images of the film are rotating around these two axes. Here, two places, earthly and heavenly, can be seen. The earthly place refers to the city of Ashton and the heavenly place to the city of Specter. The earthly place is opposed to the heavenly place, and Edward tries to move and travel from the earth to the sky with the help of the element of Fancy.In the movie "Big Fish", Edvard Blum is hunting a huge animal that cannot be hunted by anyone and can only be hunted by a fisherman who himself is the catch. the fisherman baits himself, which is the same ring of marriage and connection with his wife in the Daily system, to turn into the mysterious and dramatic structures of the Night system (Night and Day system), which happens at the end of the film and fancy, that is, "Edward Bloom", with the event of death, transcends himself and turns into a "Big Fish" so that he may be caught by another fisherman.The present study deals with the representation and analysis of the fancy structures of the movie "Big Fish" directed by Tim Burton, using the opinions of Gilbert Durand. Someone who was able to provide a fancy reading of verbal and visual texts, using both Night and Day system. find repetitions and then specify their similarity implicitly.Therefore, the fundamental problem is what is the main function of fancy in the movie "Big Fish" and how can the artistic images of this movie be classified based on Gilbert Durand's ideas. Based on this, the aim of the present research is to identify the relationship between fancy (Edward Bloom) and truth (William Bloom) in the context of the events of the story using the two systems of Night and Day presented by Gilbert Durand.In the final part of the film and in the final moments of Edward's life and before his death, he asks his son: How am I going? (not how I will die). The current research focuses on the subject with a fundamental approach and with a descriptive-analytical method, and the data is also collected based on library and electronic study. The findings of this research acknowledge that by benefiting from Gilbert Durand's comments, we can see that the director's fanciful view is influenced to some extent by the structures of the Night and Day system of fancy. the capability of fancy is an interval between death and resurrection.
کلیدواژه‌ها [English]
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