دانشکده علوم اجتماعی دانشگاه تهران جامعه شناسی هنر و ادبیات 2538-5046 3 2 2012 02 20 A sociological analysis of death in the Iranian New Wave Cinema تحلیل جامعه‌شناختی مفهوم مرگ در موج نو سینمای ایران 125 142 24615 FA نادیا معقولی دانشجوی دکتری پژوهش هنر، دانشگاه تربیت مدرس، دانشکده هنر علی شیخ مهدی نویسنده مسئول، استادیار دانشگاه تربیت مدرس، دانشکده هنر حسینعلی قبادی دانشیار دانشگاه تربیت مدرس، دانشکده علوم انسانی Journal Article 1970 01 01 The Iranian new wave filmmakers pay attention and focus on the social changes in years before the Islamic Revolution in 1357 (1979).In these years due to the economical and social changes and the government’s attempt for modernizing the traditional social system and social uplifting has spread and this caused criticism by the Iranian new wave filmmaker of that era. Social approach and mobility was main theme in new wave cinema of Iran in the years before of revolution. Therfore In this article subject of heroes social mobility in four films which are: reza motori( by masoud kimiaia 1960) khoda hafez rafigh( by amir nadery 1971 )sobhe roze choharom (by kamran shirdel 1971 )have been selected for sociological studying and analysis. These four films (movies) are classified in critic social genre and their heroes belonged to social lower class Without a respectable job and made a living by robbery.Events of these films are about gaining substantial amount of money, by variant means. Heroes want to promote their social status by earning money, But social conflict and opposition of other persons cause the death of these heroes. This article focuses on sociological approach understanding special group of Iranian filmmaker who wander the clashes between traditional and modern cultur and gain impacton the social development which cause the death of heroes in these four movies (films).Hence this article has analyzed the approach of filmmaker in representation of death of heroes, particularly according to social mobility at large industrial cities as manifestation against the command of the government. Police as symbolic power for protecting society from the first situation that is arresting the outlaw heroes and eventually kills them in these four films. This means suppression of dominant classes is gradually transformed into sympathy and inattention and then, power of killing. For content analysis two modes of interior and exterior criticism has been used. With regards to interior criticism, signs signify a hero on his own and his unsuccessful life, beside heed lessons of so upper class society and according to exterior criticism in a closed society the lower classes couldn’t make any progressive action for a better living . Conclusion of this research proves the hopeless opinion of filmmakers about these four films and about life and society.There isn’t any expectancy to a worthy living by an individual at social level. Death of heroes to be caused by their unbalance life, their environment is full of pain, suffering, poverty, wandering and social pathogenesis.Heroes of these films try to steal enormous amount of money, but their efforts are futile and in vain. Action of heroes weren’t admitted and approved by norms and values of middle class society. Governmental obligatory of social progress and modernization didn’t comply with democracy and justice. Black atmosphere in these four films (movies) prepare rude behaviors and cruel persons or the result of any possibility for a positive ordinary life.In these four films, heroes being in the closed circle, lonely, illness and defeat deciding in the kinds of death they face at the end of the movie. In this period. Distribution of wealth was unjustified and caused to increase the gap between classes in modern society of Iran, and this, borders of cities lead to social protest. تحرک اجتماعی یکی از مضامین مورد توجه فیلم‌سازان موج نو سینمای ایران در سال‌های پیش از انقلاب بوده است. در این سال‌ها به دلیل تحولات اقتصادی و اجتماعی و تلاش دولت برای مدرنیزاسیونِ ساختار سنتی اجتماع، تحرک اجتماعی نوینی در جامعه رخ داده که در فیلم‌های فیلم‌سازان معترض آن دوره مورد انتقاد قرار می‌گیرد. در این مقاله سه فیلم، که با مرگ ضد قهرمان به پایان رسیده، از منظر تحرک اجتماعی بررسی می‌شوند. بنابراین زاویه دید کارگردان فیلم‌های مورد بررسی را در نمایش مرگ این قهرمانان و ارتباط مرگ این افراد با تحرک اجتماعی در جامعه ایرانی آن زمان مورد تحلیل قرار می‌دهیم. در تحلیل فیلم‌ها از نظریات گلدمن و دو شیوه نقد برون‌نگر و درون‌نگر استفاده شده است. https://jsal.ut.ac.ir/article_24615_29535b36a0b5efdfda42f7a60d5cf532.pdf