کارکردهای دراماتیک عمق میدان در سینمای ایران دهه80

Abstractsince the early days of cinema, depth of field has been used by film directors unconsciously. in 1940s, thisphenomenon transformed into a cinematic style. many great directors turned it into a dramatic vehicle andstarted to base their personal style according to depth of field’s characteristics. this phenomenon has hadmany uses in iranian cinema but very few studies can be found analyzing iranian film makers’ encounterwith it. these articles are usually affected by cultural studies and have the same approach to content andmeaning. this is the reason why we have few researches about visual aspects and cinematic structures ofthe movies of iranian cinema. this research is trying to investigate dramatic functions of depth of fieldthrough a descriptive-analytical approach. to achieve this, six iranian films from 2001 to 2011 have beenchosen as the statistical domain of the research: bright nights (farzad mo’tamen, 2001), i’m taraneh,fifteen years old (rasoul sadr ameli, 2002), gavkhooni (the river’s end) (afkhami, 2003), green fire(mohammad reza aslani, 2007), day and night (omid bonakdar & keyvan ali mohammadi, 2008) anda cube of sugar (reza mir karimi, 2011). different aspects of these films have been analyzed, so that thefilmmaker’s approach toward depth of field becomes clear. it has to be mentioned that these films have beenmade by different generations of iranian film makers. pre-revolutionary (aslani), the first generation ofrevolution (sadr ameli and afkhami), the second generation of revolution (mir karimi and mo’tamen) andthe new generation (tavakoli, bonakdar and ali mohammadi). also, these films have been well-receivedin internal and external festivals by film industry professional and critics. in the first part of this articlea short introduction of development process of depth of field usage has been given and an attempt hasbeen made to demonstrate the manner of usage of depth in cinematic image. then, different levels ofcinematic image will be introduced and the methods of using it will be analyzed. these levels consist of:background; mid-ground; foreground. to elaborate how iranian directors function in different levels ofcinematic image, some scenes of the chosen films will be analyzed. for example, some films put all levelsof image into dramatic usage and create a dialectical relation between layers. in contrast, some other filmsset distance between layers and each layer is occupied in ordering its own visual structure. in the next part,more original views on depth of field and those iranian directors who have succeed in enriching signifiedmeanings of their films by using depth of field, will be discussed. in the next section, thematic tendenciesand their picturing for enriching visual texture will be talked about. in the end of this study, a particularprocess will be investigated that will result in flat image. the aim of this research is to project iraniandirectors of 2000s’ encounter with depth of field to reveal development of visual illustration of iranian filmsin usage of different levels of image.