واکاوی مفهوم زمان در سینمای ونگ کار-وای بر اساس آرای ژیل دلوز

فیلم های ونگ کار-وای در عین تفاوت های زیادی که با هم دارند، به همدیگر مرتبط و هویت یگانه ای را تشکیل می دهند. آن چه که این یگانگی را فراهم می سازد، چگونگی پرداختن کار-وای به مقولات حرکت و زمان است که در همه ی فیلم های او حضور پررنگی دارند. برای رسیدن به این هدف، فرضیه مقاله این است که سینمای او قابلیت بررسی بر اساس دسته بندی جامع ژیل دلوز از نشانه های سینمایی یعنی دو مقوله ی حرکت-تصویر و زمان-تصویر را دارد و این متن تمرکز خویش را بیشتر بر روی مقوله ی زمان-تصویر و مفهوم مرتبط با آن که دلوز کریستال-زمان می نامد، می گذارد. در این ارتباط مفاهیمی چون دوگانه ی زمان-تصویر و روش های خلق وضعیت های ناب بصری بررسی می شود. زمانی که دلوز با بیان مفهوم کریستال-زمان در نظر دارد نه زمان روان شناسانه منحصر به یک ذهنیت فردی و نه حتی زمان اومانیستی مربوط به نگرش اگزیستانسیالیستی، بلکه نوعی زمان هستی شناسانه مرتبط به مقوله ی برگسونی آن یعنی دیرند است. روش کلی این تحقیق به شیوه توصیفی می باشد و با بررسی کیفی و با استفاده از مورد پژوهی و با در نظر گرفتن چارچوب نظری تفکرات ژیل دلوز در مورد سینما و با استفاده از منابع کتابخانه ای و بررسی موردی فیلم ها، این آثار را مورد مطالعه قرار خواهد داد.

Study of concept of time in Wong kar-wai٬s cinema base on the Gilles Deleuze٬s theories

Wong KarWai is a filmmaker who has always been known for his unique visual style and his attention to fragmented narratives and nonlinear editing that has attracted film audiences and critics, and even the academic community. While critics have noted his style for using unusual camera angles, saturated colors, and nonlinear editing, what is apparent in most of his films is his obsession with time and memory themes. In addition, contemplation is a subject that can be described as a kind of melancholy, depression, or nostalgia that is not unrelated to the category of time. Henry Bergson and Gilles Deleuze have been thinkers who have always been concerned with time and memory. Although Bergson did not favor cinema, his concern for understanding how time was perceived led him to create concepts that were the basis of Deleuze’s work. Deleuze’s two key concepts in his theory were: movementimage and timeimage. We are led to distinguish between classical linear time and the concept of time in modern times. As stated above, the main purpose of this study is to provide a comprehensive study of the entire workbook of Wong KarWai in order to show how his films are interconnected and intertwined with the aforementioned concepts and also to show the many differences and unique identity of the works. In our view, what provides this unity is how KarWai deals with the issues of movement and time that are present in all of his films. In fact, we want to explore what technical, narrative, and timeconsuming features of filmmaking allow to integrate them all. To this end, our hypothesis is that his cinema is capable of being examined by Gilles Deleuze’s comprehensive categorization of cinematic cues, namely movementimage and timeimage. Deleuze’s theory seems to resonate at every level of Wong Karwai’s films: from the dual nature of representation to the understanding of time and memory. Although many haveMosayeb Sharafi**1, Ali Rouhani21 Graduate Master in Cinema, Faculty of Cinema and Theater, Tehran University of Art, Tehran, Iran.2Associate Professor, Faculty of Cinema and Theater, Tehran University of Art, Tehran, Iran.(Received 7 July 2020, Accepted 5 Mar 2021)referred to the DeleuzeKarWai relationship, no attempt has been made to systematically describe the relationship. Of course, we’re not just adding Deleuze categories to Wong KarWai’s films, but we want to use its classification of cinematic symbols and images to explore his cinema. Simultaneously, we focus more on the category of timeimage and the related concept of what Deleuze calls the crystaltime. In relation to timeimage duality, we examine ways of creating pure visual and acoustic states that, according to Deleuze, are the preliminary and primary features for the emergence of timepure images or time crystals. When Deleuze conveys the concept of the crystaltime, it is neither a psychological time unique to an individual mentality, nor even a humanistic time associated with existentialist attitudes, but rather a kind of ontological time related to Bergson’s category of duration. The general method of this research is descriptive and with some qualitative research using case studies and taking into consideration Gilles Deleuze’s theoretical framework of cinema thinking and using library resources and case studies of films and study the works. During the review we also use Henry Bergson’s theories related to the subject.