واقعیت سینمایی و نسبت ایده و فرم زیباشناختی در اندیشه ژاک رانسیر نمونه مطالعاتی: باد ما را خواهد برد

مقالۀ حاضر بر آن است با تبیین نسبت ایده و فرم، به رابطۀ میان تصویر و واقعیت سینمایی بپردازد. در این مسیر با رجوع به آراء ژاک رانسیر و فیلم باد ما را خواهد برد ساختۀ عباس کیارستمی رویّه‌های زیباشناختی میان دو امر ناهمگون، یکی تصویر به مثابه قاب‌هایی نمادین و دیگری تصویر به مثابه ارگانیسمی زنده را مورد بررسی قرار می‌‌دهد. ژاک رانسیرتصویر سینمایی را چون یک نوشتار جمعی و مشترک در نظر می‌گیرد که تماشاگر سهمی در ساختن چیزی دارد که همزمان اشتراکی و انحصاری است. این تلاطم، بر اساس یک ایدۀ پیشینی و معین به رهاییِ نیروهایی می‌انجامد که در ساختنِ چیزهایی تازه به کار می‌روند. در نتیجه واقعیت سینمایی برسازندۀ نسبتی از ساختن و فروپاشی، میان ایده‌‌ای که فُرم فیلم بر آن بنا شده، و ادراکِات تماشاگر است. یافته‌ها در این مقاله نشان داد تصویر سینمایی به سببِ ماهیت خود، قادر است با خنثی نمودنِ قدرت ایده که خود را در پیوند نماها و تاثیراتِ معین فُرمیِ آشکار می‌کند، نظامی خاص را بنا کند که به امرِ زیباشناختی تعلق داشته، و تاثیراتی خاص و نامتعین را بر بستری مشترک متجلی می‌سازد. روش انجام پژوهش توصیفی – تحلیلی بوده و داده‌ها از منابعِ کتاب‌خانه‌ای گرد‌آوری و نمونه‌کاوی شده‌‌اند.

cinematic reality and the relationship between idea and aesthetic form in jacques rancière’s thoughtcase study: the wind will carry us

the mergence of new approaches to form and content in cinema has led to the creation of diverse and numerous genres and subgenres, which are derived from the combina-tion of primary genres and modes. additionally, the use of innovative techniques in various stages of film production has occasionally resulted in the formation of hybrid genres and modes, necessitating a deeper analysis and understand-ing of these cinematic developments. this research aims to examine and analyze such new approaches in cinema by studying and summarizing contemporary theories. there-fore, in order to analyze these methods and new genres, which also exhibit a significant abundance, there is a seri-ous need for more advanced analytical approaches. these approaches should be based on solid foundations, rooted in new theoretical frameworks, and capable of being utilized as a unified theory for film analysis, either in a specific case or in a broader context, to examine genres and subgenres in cinema. based on this premise, this article focuses on examining and analyzing new domains in contemporary cinema based on alain badiou's ontological thought, which is grounded in set theory in mathematics. in the first stage, an attempt is made to elucidate this ontological theory, to identify its formation grounds and its points of differen-tiation from major approaches in contemporary philosophy, and to open up avenues for developing a new approach to film analysis. next, the structural oppositions in badiou's theoretical concepts are extracted and classified in the ele-ments of form and content in mockumentary film, in order to observe their impact on the structure of such filmmaking. by examining the theoretical roots of badiou’s ideas among major contemporary philosophical theories, their origins and differentiations are explored, and a general framework of badiou’s philosophy. then, the fundamental concepts and oppositions in badiou’s theory are examined in the truthprocedure, and their potential for providing an analytical approach to mockumentary filmmaking is investigated. fi-nally, according to this pattern, four mockumentary films are categorized and analyzed using a descriptive-analytical ap-proach, providing an overall analysis of mockumentary cin-ema. the results demonstrate that the derived pattern from badiou’s theory can be effectively employed in the analy-sis of mockumentary cinema, describing and analyzing the functioning of structural elements in these films through the creation of oppositions and dualities. this approach can also contribute to a better understanding of documentary cinema by analyzing the relationships and oppositions between its elements and the elements of fiction film. furthermore, it is observed that the dualistic oppositions of reality/truth, art/non-art, and pure/impure in badiou’s ontological theory in art and cinema can be significant and decisive in the analy-sis of form and content in mockumentary filmmaking. the dualistic elements present in mockumentary films and the oppositions in these ontological concepts elucidate what is represented in documentary cinema. in conclusion, such an approach can be effective in understanding, describing, and analyzing mockumentary cinema as well as having an im-pact on documentary filmmaking.