Document Type : Original Article
Authors
1
PhD student in cultural sociology, Department of Social Science, Faculty of literature and Humanities, University of Guilan, Rasht, Iran.
2
Assistant Professor, Department of Social Science, Faculty of literature and Humanities, University of Guilan, Rasht, Iran.
10.22034/scart.2026.142201.1610
Abstract
The subject of this article is the post-colonial reading of the movie "Walnut Tree" by Mohammad Hossein Mahdavian. The aim of this research is to determine how the "Kurd subject" represented and whether the hegemonic relationship of superior-subaltern rule over the presented representation or not? Due to the qualitative nature of the research, post-colonial studies are used not as a theoretical framework but for the theoretical interpretation of the film's narrative. The research method is deconstruction, which is based on the eight stages of David Boje's deconstruction. The result of the research indicates the existence of twelve double oppositions, which can be classified into the duality of "other-superior and the other-subaltern". Also, the voice of the protester, dimensions of the action based on hope and resistance of "Qadr and Maryam". The dominant plot of the film's narrative is as oppressed/as victims, which by turning into tragedy, hope and resistance, one can witness a different narrative of the film which can be transformed into tragedy, hope, and resistance, and a different narrative of the film can be witnessed. The other exception and aspect of the narrative is hope, life, and resistance, and by moving among the narrative lines of the film and reorganizing it, the hegemonic relationship of superior-subaltern represented through the synthetic concept of "Jina-Life" can be erased. In a way, if we renarate the film based on the deconstructive concept of "Jina-Life", the Kurd subject is represented as a symbol of resistance, hope and life.
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