نوع مقاله : مقاله پژوهشی
نویسندگان
1 دکترای تخصصی، پژوهش هنر، دانشگاه تهران، تهران، ایران
2 استاد، گروه انسانشناسی، دانشکده علوم اجتماعی، دانشگاه تهران، تهران، ایران
3 استادیار، دانشکده هنرهای نمایشی و موسیقی، دانشکدگان هنرهای زیبای دانشگاه تهران. تهران، ایران
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
Filmmakers are generally able to employ different layers of their imagination, depending on their intellectual or practical independence or dependence on systems of power. Thus, imagination could appear at various levels. Pioneering imagination is one of the types. The probability of the occurrence of such “imagination” would be close to certain as it is based on scientific data and mastery in the philosophy of history. Peter Watkins is indeed the representative of this kind of imagination in cinema. His films not only predict the possible futures, but also try to prevent those catastrophic possibilities through breaking from the monoform. This qualitative research is a case study of the films that had been purposefully selected from Watkins works based on his filmmaking in monoform and post-monoform. To analyse the data, first, the elements of imagination in Watkins cinema were studied using Mills sociological imagination. Then, by using Watkins monoform theory, the function of this imagination -converting prediction (theory) into prevention (practice)- was studied. This study with a social and anthropological approach shows that Watkins, in addition to predicting possible futures, also takes steps to prevent impending catastrophes in an agreement ground with the audience. It can be said that this is achieved by crossing the sociological imagination through the elements of filmmaking (form, process, and ideology). Some key elements in the filmmaker's imagination are: Historical consciousness, offering media awareness to the audience, the importance of practical education, the dialect of feminine mentality and masculine brutality, the role of language and culture.
کلیدواژهها [English]
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