نوع مقاله : مقاله پژوهشی
نویسندگان
1 گروه فلسفه هنر، دانشکده حقوق، الهیات و علوم سیاسی، واحد علوم و تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران.
2 گروه فلسفه، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه علامه طباطبایی، تهران، ایران.
3 گروه فلسفه، دانشکده ادبیات فارسی و زبان‌های خارجی، دانشگاه علامه طباطبایی، تهران، ایران
چکیده
کلیدواژه‌ها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Walter Benjamin, a German thinker from Frankfurt School, had a specific view on art. In "The work of art in the age of technical reproduction" he states that the work of art had a cult value in the past, however it has found new functions in modern era by emphasizing its exhibition value; cinema is a privileged instance. Movie can become a mass art comparing to any other art. Hence, the whole mass is promoted to the position of critic and interpreter. On the other hand, Abbas Kiarostami is an influential filmmaker who engages the spectators for his film's interpretation. This paper investigates the hermeneutics from the perspectives of Benjamin and Kiarostami separately. The objective of this study is to assess the possible similarities between them concerning hermeneutics. The study is conducted in a descriptive-analytical method using library resources. The results illustrate that according to Benjamin, "truth is the death of intention", so the author's intention is invalid and hermeneutics can reveal new truths. The same view can be generalized to artwork interpretation. Kiarostami insists on the hermeneutical nature of cinema and believes that the audience should give meaning to the film. He believes in an incomplete cinema that is completed by the viewer's creative imagination. Thus, after the end of the movie, we suddenly encounter many movies. The conclusion is that there are common aspects about hermeneutics between both views, but this would never mean that Kiarostami deliberately follows Benjamin's path.
کلیدواژه‌ها [English]
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