نوع مقاله : مقاله پژوهشی
نویسندگان
1 دانشجوی دکتری پژوهش هنر، گروه پژوهش هنر، واحد علوم تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران.
2 استادیار، گروه هنر، واحد علوم تحقیقات، دانشگاه آزاد اسلامی، تهران، ایران.
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
Methodology: This article employs a research methodology that involves the analysis of Morteza Momayez's works, specifically focusing on five posters from his cinematic portfolio. The selection of these posters was based on their relevance to the historical context of Iran, encompassing the periods preceding the Islamic Revolution, the imposed war between Iraq and Iran, and the post-war era. The research approach adopted is descriptive-analytical, utilizing library resources as the primary source of information. Furthermore, the study draws upon the conceptual framework of Gilles Deleuze, in collaboration with Guattari, particularly their molecular-molar theory. Within this theoretical framework, concepts such as the Rhizome, which symbolizes the interconnectedness of events, play a significant role. This research endeavors to explore and relate these concepts, including desire, Rhizome, deterritorialization, territorialization, molarity, and molecularity, to Morteza Momayez's movie posters. The selected movie posters for analysis include "The Mongols" (1973) by Parviz Kimiavi, "The Lodgers" (1987) by Dariush Mehrjui, "Mother" (1991) by Ali Hatami, "Oh Iran" (1990) by Nasser Taghvai, and "The Artist" (1993) by Mohsen Makhmalbaf.
Findings: From a molecular-molar perspective, Guattari's art serves as a reflection and mirror of society and the human psyche. Consequently, the interpretation of these posters necessitates an examination of the events that transpired during the specified years, spanning from the pre-Islamic Revolution era to the post-1978 revolution era of Iran's reconstruction. Morteza Momayez's movie poster works exhibit a deliberate deconstruction and departure from conventional design norms, which are evident in all five posters. In addition to capturing the essence of the films and their actors, Momayez paid meticulous attention to typography, size, and even adopted unconventional approaches to presenting the artists' names. Guattari's concept of "becoming," which elucidates collective transformation and dynamism, finds rich representation in Morteza Momayez's movie posters.
Conclusion: This article provides a comprehensive analysis of all five posters, considering the contextual events and Morteza Momayez's artistic perspective. The affinity between Guattari's molecular-molar theory and these posters was thoroughly explored and examined. Through the lens of Guattari and Gilles Deleuze's philosophical concepts, the authors sought to unravel additional layers of meaning embedded within these artworks, showcasing the creative prowess of Morteza Momayez. The analysis revealed that the movie poster for "The Mongols" (1973) exemplifies the concept of a "limbless body," while the poster for "The Lodgers" (1987) encompasses notions of "minority," "becoming," and "stratum." "Mother" (1991) portrays "territoriality" and a " limbless body" while "Oh Iran" (1990) exhibits the concept of "desire" and in "The Artist" (1993), several conceptual themes are discernible, including notions of "individuality," "abyss," and "tribal thought". Consequently, it is evident that Morteza Momayez's movie posters bear the molecular-molar roots of Pierre-Félix Guattari's theory.
کلیدواژه‌ها [English]
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