بازنمایی کالایی‏‌شدن احساسات در روابط اجتماعی (مورد مطالعه: فیلم سینمایی آرایش غلیظ)

در دهه‏های اخیر، تغییرات اجتماعی و رشد بخش خدمات، فضایی ایجاد کرده که طی آن احساسات افراد در روابط اجتماعی به ابژه تبدیل شده است. این روند در حوزه جامعه‌شناسی احساسات، «کالایی‌شدن احساسات» نام دارد و هدف مقاله حاضر، تفسیر بازنمایی کالایی‌شدن احساسات در یک فیلم سینمایی است. برای رسیدن به هدف فوق، فیلم سینمایی آرایش غلیظ به شیوه «نمونه‌گیری هدفمند» برای مطالعه انتخاب شد. روش تحلیل این مقاله، تحلیل روایت و متعلق به پارادایم تفسیری است. نتایج نشان می‏دهد گفتمان فیلم آرایش غلیظ، اقتصاد مبتنی بر مشاغل خدماتی را بازنمایی می‌کند که طی آن از کنشگران انتظار می‏رود بر احساسات خود به‌مثابه سرمایه، حساب باز کنند و آنها را برای رسیدن به منافع مادی، وارد مبادلات و روابط اقتصادی کنند. این گفتمان، خط داستانی را به کار می‏گیرد تا نشان دهد شخصیت‏های فیلم که همگی در بخش خدمات مشغول به کار هستند، بر احساسات خود «کار احساسی» انجام می‏دهند تا آن احساسات را متناسب با سازوکار شغلی خود بروز دهند و به هدف خود برسند. دراین‌راستا، «قواعد احساسات» این مشاغل، به‌دلیل فردی‌شدن بیش‌ازاندازه جریان کار و نه به‌دلیل نهادمند و قاعده‌مندشدن رویه کار، فروش احساسات را از افراد طلب می‏کنند. این فروش، درواقع نوعی قمار بر سر احساسات است که در آن رسیدن به پول، نهایت کنشگری خواهد بود. ازمنظر گفتمان فیلم، شخصیت‏های فیلم در روند کالایی‌شدن احساسات، هیچ‌یک به هدف خود نمی‏رسند و همگی شکست می‏خورند.

Representation of Commodification of Emotions in Social Relationships (Research Case: The Movie Heavy Makeup)

IntroductionIn recent decades social changes and developments in service sector have created an environment in which human emotions are turned into objects. This is known, in the literature of the sociology of emotions, as commodification of emotions. In Iran and after the revolution, significant changes have taken place in the structure of the economy in the sense that the service sector has been expanding over the other two sections, namely, agriculture and industry. From 1997 to 2005, Iranian service sector has expanded 3.6 % on average. This trend slowed down a little bit in the early years of the 2000s but picked up its speed pretty soon. On average, between the years of 2012 and 2014, 48% of workers were in the service sector. In addition, demographic changes of the 1980s, value changes after the war in the 1990s, expansion of higher education in the 2000s, and economic crisis of nuclear sanctions in the 2010s have influenced job opportunities, income expectations, and job performance. We believe that a "hunger for making money" has intensified the process of commodification of emotions in social relationships. This phenomenon can be studied either via a positivistic approach, asking people's opinion about money and how important it is in their social life or via an interpretative approach, in which the study of popular culture's products, especially movies, can be an indicative of the above process. Therefore, the purpose of this article is to interpret representation of emotions commodification in social relationships, based on a movie named Heavy Makeup.Keywords: commodification of emotions, narrative analysis, heavy makeup, social relations Materials and MethodsIn order to interpret how emotions are commodified in social relations, the movie Hard Makeup is chosen using maximumdiscrepancy sampling method. In order to analyze the data, narrative analysis is used as a qualitative method belonging to the interpretive paradigm. Ontologically, narrative analysis is idealistic and epistemologically it is subjective. Moreover, it studies narrative genres and systematic narrating, and is a popular research method in cinema studies. In the present article, narrative analysis is applied at two levels of story and discourse to analyze the context of the movie. At the level of the story, representation of acts and personalities will be considered and at the level of discourse, the orientation of the movie towards these two levels will be explored.  Discussion of Results and ConclusionsThis article aimed at analyzing commodification of emotions in social relations using a movie as an example. In doing so, the theory of Arlie Hochschild, an American sociologist and feminist, in the area of sociology of emotions was utilized to see how this process takes place. The results show that the discourse of Heavy Makeup represents a servicebased economy in which actors are expected to rely on their emotions as a source of capital, utilizing it in economic transactions and social relationships in order to make profit. In other words, this discourse employs a storyline which shows all characters, who work in the service sector, perform "emotional labor" so they can bring their emotions in line with the requirements of their jobs and achieve their goals.  In this way, feeling rules of such jobs require that job holders sell their emotions, not because of institutionalized and regulatory nature of work procedures, but because of over individualization of work process. This selling is in fact a sort of gambling over emotions in which obtaining money is the ultimate purpose. From the view of the discourse of the movie, none of the characters eventually reach their goals in the commodification process and fail miserably.