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سیاست و بازنمایی* (بررسی نقش ایدئولوژیک دوربین عکاسی و عکس در دوره‌ی پهلوی) | ||
| نشریه هنرهای زیبا: هنرهای تجسمی | ||
| مقاله 8، دوره 20، شماره 3، آذر 1394، صفحه 79-92 اصل مقاله (5.99 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jfava.2015.56383 | ||
| نویسندگان | ||
| حسن زین‌الصالحین* 1؛ نعمت‌الله فاضلی2 | ||
| 1کارشناسی ارشد عکاسی، دانشکده هنرهای تجسمی، پردیس هنرهای زیبا، دانشگاه تهران، تهران، ایران. | ||
| 2استادیار پژوهشگاه علوم انسانی و مطالعات فرهنگی، تهران، ایران. | ||
| چکیده | ||
| تاریخ عکاسی ایران، تافتهای جدابافته از تاریخ این سرزمین نیست. توجه به زمینه‌ی سیاسی که نقش تعیین‌کننده‌ای در روند تاریخی ایران داشته و زمینه‌ی اجتماعی که معمولاٌ قطب مخالفی برای سیاست بوده است؛ می‌تواند منظر مناسبی را برای بازخوانی آن فراهم آورد. بنابراین، ضرورت پژوهشی انتقادی در بخشی از این تاریخ ایجاب میشود. برای این منظور، از دریچهی «گفتمان»، به تاریخ عکاسی ایران نگاه میشود. هدف از این پژوهش، تبارشناسی گفتمان عکاسی در دوره‌ی پهلوی و بررسی نقش «ایدئولوژیک» عکاسی در آن است. همچنین سعی میشود به بسترسازی این گفتمان برای روابط قدرت و به تبع آن سوژه و ابژهسازیها پرداخته شود. پرسش این است که چه گفتمانی و چگونه در دوره‌ی پهلوی صورت‌بندی شده است؟ و این گفتمان چه ارتباطی با قدرت دارد؟ چارچوب مفهومی و روش این تحقیق را اندیشههای میشل فوکو تشکیل میدهد. نگارندگان در روندی تاریخی، ثابت میکنند که گفتمانی «اجتماعی» با تحولات گوناگون ساختاری، آن هم بیشتر در حوزه‌ی «سیاست»، در این برهه از تاریخ عکاسی شکل‌گرفته و غالب آمده است. آن چه که مهم است، فرآیندی است که طی آن، سیاست عقلانیتر شده و پشت امر اجتماعی مینشیند تا هژمونیک شود. همچنین «هویت»، برساخته‌ی مهمی است که به آن پرداخته خواهد شد. | ||
| کلیدواژه‌ها | ||
| عکاسی؛ گفتمان؛ تبارشناسی؛ سیاست؛ قدرت؛ هویت | ||
| عنوان مقاله [English] | ||
| Politics and Representation* A Study on Ideological Role of Camera and Photograph in Pahlavi Era | ||
| نویسندگان [English] | ||
| Hassan Zeinolsalehin1؛ Nematolah Fazeli2 | ||
| 1M.A in Photography, School of Visual Arts, College of Fine Arts, University of Tehran, Tehran, Iran | ||
| 2Assistant Professor, Institute for Humanities and Cultural Studies (IHCS), Tehran, Iran. | ||
| چکیده [English] | ||
| The history of Iranian photography is not isolated from the other aspects of the history of this country. In spite of its noticeable importance of this history in understanding the developmental process and orientations of Iranian photography, it has been really neglected in the conducted studies, to date. Most of the existing documented studies include chronological historical records of the early decades and aesthetic-philosophical researches in the recent decades; and very few studies have dealt with the social and political history of photography in Iran. Moreover, it can be said that there are a few researches in the Iranian photography considering various aspects of its historical background with a clear conceptual framework and a recognized perspective. For sure considering the “politics” context that has had a determinative role in historic procedure of Iran and “social” context that has been an opposite polarity of politics can make appropriate view to read out this history; therefore, a qualitative and critical analysis study on part of history of Iranian photography, at probing the basic socio-political structures in a concrete documented -and not abstract- manner, is necessitated. For this goal, history of Iranian photography, in Pahlavi period, is seen from window of “discourse” and “discourse analysis”. Conceptual and methodological framework of this paper is based on “Michel Foucault`s” ideas. So the purpose of this article is “genealogy” of photographic discourse in Pahlavi era and also survey on “Ideological” role of photography in that period. It is also tries to proceed to plat of this discourse for “power relations”, “subjectification”, and “objectification” naturally. The main question is “What discourse and how is it formulated in this period? And also what is the relationship of this discourse and power”? Author in a historical process, from the Qajar to Pahlavi era, proves that “social discourse” With a variety of structural changes, which are more in the scope of “politics”, at this period of the history of Iranian photography, has been formed and dominated. This was because of a modern government with a modern political procedure that tried to implicitly obtain its follower`s approval. What is important in this procedure is the process during which the “politics” becomes more “rational” and “hegemonic” as sitting behind the social issues in that period. Photography was able to play ideological role in this process for political issues as representational media by the means of promotional, personal and personnel practices. Photography was also the best media to represent middle and burgess class which had formed in that period and had attracted special attention of the new government to itself. “Identity”, is an important construction that will be noted as well, the identity presented in the human face and facial expressions in "photographs"; and this is what making human the “subject” and “object” of the existing power relations in the fabric of society- the society in which social issues, besides its cultural, economic, and the other components have undergone specific rotations turning them from a particular simplicity into a certain level of complexity. | ||
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