بررسی امکان وقوع «رویداد حقیقت » در سینما در طریق تفکر هایدگر

Abstractin this essay, happening of truth, as one of the most influential concepts of heideggerian thought, and alsoits occurrence in the work of art especially film art, is meditated on and it is showed that how the conceptof strife between concealment and unconcealment in the work of art, or a strife between world and earth-asheidegger called it- in opposition to cartesian dichotomy between subject and object, removes the dominationof the audience over the film. because in this approach audience is nevermore the subject positioning thefilm as the object of its consciousness, rather in an encounter with film as a way of happening and alsovia interpretation of the film, the audience contributes in revealing of truth in the film. the dwelling of theaudience enables the poiesis and makes the “happening” a poetical experience. we followed heideggerianthought in considering “happening” in film in relation to the painting “a pair of shoes” by vincent vangogh, since the language of images in film, at first, refers to heidegger’s ideas in the »origin of the work ofart«. thus, film interpretation refers to the “worlding of the earth”. the audience carries this interpretationto the ontological level in some respects. first, audience is the one who not only watches the images of film,but also preserves the “happening of truth”. in other words, without the audience, the world does notunconceal itself, since there would not be anyone to interpret what audience sees. thus, it slowly retreatsfrom ontic investigation, since there is no reference point from which to categorize the conventions ofboth philosophy and art. put simply, the “happening” cannot point to any source of reference, neither caninterpretation. second, significance is attributed to the film itself since, like the temple revealing in the earthor ground, the world opened to audience interpretation dwells in the images of film, i.e., it is groundedin the film. the third way in which the audience brings interpretation to ontological level of analysis isthrough the audience. the audience is the preserver and witness to the unconcealment itself, thus takingpart in the unconcealment of truth. the experience leads the audience to its own ontological investigation ofunderstanding of the film, since every interpretation refers the audience back to an understanding of itself.this interpretation, constituted in the history of film theory, thus exceeds itself with the idea of interpretationin the heideggerian sense. this interpretation also indicates the possibility of “being-in-the-world”. it opensthe possibility itself since dasein refers to the possibility of existence. hermeneutic phenomenology, as ourmethodology, helps us to find out how film-viewing experience and encounter with it leads the audience to itsown ontological investigation of understanding of the film, since every interpretation refers the audience backto an understanding of itself as dasein-in-the-world, as an active engaged actor other than a mere observerinside the arena of cartesian idea of calculative thinking and detached from being-in-the-world.