Women Representation in Three Iranian Films by "Bahram Beizai"
Women Representation in Three Iranian Films by "Bahram Beizai"
১৩ আগস্ট ২০২০ ৯:৪৪ পূর্বাহ্ণ
"Perhaps another Time", "Travelers" and "the Killing Dogs"
Woman: the contrast between tradition and modernity
This article pays to the narration analysis of three films of Bahram Beizai's cinematic works whose names are: Perhaps another Time, Travelers, and therefore the Killing Dogs, having been constructed between 66 to 79-time intervals. The principal aim of this text is answering to those questions: the primary thing is that: how has the lady been represented in cinematic works of Bahram Beizai who is one among the foremost noticeable man stage directors within the cinema of Iran which does his masculinity influence on his quite view towards women and their problems or not?
By reviewing the research literature, we come to the present conclusion that the majority of the activities within the area of Iran cinema is predicated on the axis of artistic and aesthetics look, or in other words, on the introspective criticism of cinema and therefore the especial activity within the field of cinema concerning the representation of girls and their problems within the works of a moviemaker man isn't seen. For this reason, the cinematic works of this prominent director were chosen and examined for this analysis.
In this article, the trouble has been made to research the place and therefore the picture of a lady in cinematic works of Bahram Banzai, one among the foremost noticeable man stage directors within the cinema of Iran. In another word, we are checking out this answer that how this director has represented women in his works and what features he has attributed to them?
Another aspect of this research that is extremely significant and maybe a replacement horizon within the activity concerning women in mass media is that the investigation of the role of a moviemaker and stage director's gender in representing women and their problems. That, to what extent does the gender of a movie maker (either a person or woman) influence on the type of the director 's view on women? is that the filmmaker and stage director men's view towards women and their problems different from those of women?
Some of the theorists believe that generally mass media, including cinema, represents women as to how or marginal existence in such a way that this representation hasn't need to do with the truth also because of the complexity of their life. Generally, in mass media, men are considered wise, powerful, efficient creatures, and therefore the source of power with high positions whereas women are considered emotional, dependent, weak, and passive.
According to Tuchman: "symbolically, the cinema has ignored women, drives them to the margin and by showing the bulk of men altogether kinds of cinematic programs, in fact, tells the society that ladies aren't such a lot important. Not only does the tv tell us that ladies aren't worth except at the status of a housekeeper and mother, but also, by depicting women as inefficient and humble individuals who are always at the service of men, symbolically despise and scorn them."(Based on the quote of Ven Zoen, 2001, page 16)
1-The representation: The meaning of representation in mass media in Richard Dyer includes: "The method of the development of mass media about individuals, places, things, cultural identities, and other abstract concepts. The manifestation of representations could also be in oral, written forms, or dynamic pictures."(Dyer, 1993, page 18)
"Therefore, the concept of representation during this research includes the tactic of the manifestation of a social reality which during this research women are considered social reality."(Sedighi Khooydaki, 1384,page12)
2-Gender: "Before the definition of the concept of gender, the meaning of the generic state should even be defined in order that the meaning of the word gender becomes more obvious. there's a meaningful difference between gender and the generic state whose origin should be searched in culture."
"Gender" refers to the biological differences between man and woman and generic state is that the personal, psychological features that the society determines it and is alongside being man or woman approximately called "femininity" and "masculinity".
Femininity may be a term for the outline of being a woman that's made up, paid to, and attributed to women in society. for instance, femininity is alongside such features as kindness, affection, sensitiveness, dependence, and roles like mother, wife, and nurse. But, masculinity is that the opposite of that and features like logic, wisdom and therefore the roles like manager, physician, lawyer and etc. are considered suitable for men.
Therefore, during this article, with the definition of those present concepts, we are checking out this matter that how women are manifested and portrayed within the works of this director and, one the opposite hand, what proportion the experiences, awareness, and characteristic features that ladies acquire within the society influence on the tactic of this representation. we'll investigate this case within the chapter which is said to the analysis of this stage director's films.
The experimental background:
The focus of the researches mainly done about cinema has been more on the investigation of technical, aesthetic, and optical aspects of films that have taken advantage of the tactic of the introspective criticism of the film. That is, they need to be paid to the investigation of the techniques of film making, phototaxis, sound, picture, and montage. the rationale is that in Iran the cinematic studies within the field of sociology have no place and film and cinema are treated more as an inventive, aesthetic phenomenon. during this field, after various researches, it had been specified that a search under the title of "The Representation Woman in Iran Cinema" has been rare and particularly a search having paid to the representation of women within the works of a person director has not been done. But, some researches are done about the sociology of Iran cinema. (Sedighi Khooydaki 1384)
The meaning of narration:
The psychological analysis of the film is that the newest branch of semiotics which having been appeared from inside the critical innovations which have presented a new definition of the idea of the film within the 1970's decades. Although it's created its special terms and research methods, openly its root is within the main movements of semiotics in our period. "The narrative analysis like all the researches of semiotics intends to get rid of the apparently natural and justified skin between the signifier and therefore the world of the story and divulges the deeper system of associations and cultural relations which are stated from among the narrative form. If the traditional elements of narrative structure (characters), sketching the plan and conspiracy, scenery, moving point, and timing are seen from behind the methodology of semiotics, they will be considered the systems of signs having been organized supported different signs. Each of the signs transfers totally especially messages associated with the planet of story in several ways."