نوع مقاله : مقاله پژوهشی
نویسندگان
1 گروه جامعه شناسی، دانشکده ادبیات و علوم انسانی دانشگاه اصفهان
2 عضو هیئت علمی گروه علوم اجتماعی دانشگاه اصفهان
3 عضو هیئت علمی دانشکده ادبیات و علوم انسانی دانشگاه هرمزگان، هرمزگان، ایران
چکیده
کلیدواژه‌ها
عنوان مقاله [English]
نویسندگان [English]
The present article tries to focus on the concept of the threshold body in the movie "Avaze Ghoo" from a discourse point of view by using the opinions of Michel Foucault and Giorgio Agamben and relying on John Fisk's semiotic method. In this film, which was produced in the late 70s, the body is used as a tool to create a work of art, a work that can be considered as a representation of the social conditions of its time. In order to portray the conflict between power and the subject around the concept of the threshold body, the film Avaze Ghoo creates scenes in which the two sides of a power relationship are constantly engaged in bargaining over the definition of the body. Disciplinary committee meeting, checkpoints and police social department are among the spaces that, from Foucault's point of view, evoke the constant and omnipresent presence of power, and the "body" is often the place of discursive conflict. The findings show that in this film, two levels of discourse conflict around the body are most evident: one, intra-discourse conflict (between reformist discourse and fundamentalist discourse) and second, inter-discourse conflict (between subject-centered discourse and fundamentalism discourse). At the level of conflict between discourses, the subject with his active activism tries to realize his subjectivity by resorting to his body against the discourse of fundamentalism, a struggle that ultimately ends with his death, but the open ending of the film sets the atmosphere in a way says that it implies the continuation of the subject-oriented discourse that the female character of the film represents.
کلیدواژه‌ها [English]
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