نگاه خیره مردانه در سینمای دهه نود ایران: مسئله ای اجتماعی (مقاله علمی وزارت علوم)
درجه علمی: نشریه علمی (وزارت علوم)
آرشیو
چکیده
واقعیت در سینمای ایران توسط مردان و برای مردان شکل می گیرد و در سینمای غالب، مردها همیشه به عنوان نگاه کننده و زن ها به عنوان ابژه نگاه تعریف می شوند. این امر در سینمای پیش از انقلاب ایران مشاهده می شده است. با وقوع انقلاب 1357، قوانین جدیدی تصویب شد که ظاهراً سعی داشت از نگاهی جلوگیری کند که در این قوانین «نگاه ابزاری» نامیده می شد. این موضوع در دهه اول پس از انقلاب موجب غیاب ساختاری زن شد؛ بااین وجود، با گذشت زمان، نگاه خیره مردانه مجدداً به سینمای ایران بازگشت. این مقاله در پی پاسخ به این پرسش است که نگاه خیره مردانه در سینمای دهه نود ایران چگونه صورت بندی شده است؛ بدین منظور نظریه لورا مالوی به عنوان چارچوب مفهومی برگزیده شده است و نگاه خیره در سه سطح درون روایتی، دوربین و تماشاگر مطالعه خواهد شد. حجم نمونه شامل 15 فیلم از سینمای ایران در این دوره است که به شیوه هدفمند انتخاب شده اند و روش تحلیل، نشانه شناسی جان فیسک است. نتایج نشان می دهد که زنان در سینمای دهه نود در انقیاد نگاه مردانه بازنمایی می شوند؛ در سطح درون روایتی نگاه حامیانه، نگاه مشتاقانه، نگاه قدرت محور، نگاه مستأصل، نگاه خودبرتربینانه، نگاه متعجب و در سطح دوربین و در سطح تماشاگر نگاه خنثی، نگاه خودبرتربینانه و نگاه ابزاری تشکیل دهنده این نگاه هستند. نگاه خیره مردانه، مسئله ای اجتماعی در سینمای دهه نود محسوب می شود.The Male Gaze in Iranian Cinema: A Social Problem
IntroductionThis study explored the concept of the male gaze within Iranian cinema. Historically, cinema in Iran, similar to many other regions, has been largely shaped by male perspectives, often depicting women as objects of male desire. The idea of the male gaze introduced by Laura Mulvey in her 1975 essay "Visual Pleasure and Narrative Cinema", serves as a foundational framework for this analysis. Mulvey argued that traditional cinema perpetuates patriarchal values by objectifying women and reinforcing male dominance. The 1979 Islamic Revolution brought significant cultural shifts and stricter regulations on media content, aiming at promoting modest representations of women. Despite these efforts, the male gaze continued to persist in Iranian cinema. This study investigated the prevalence and impact of the male gaze in Iranian films from the 1990s, focusing specifically on its manifestations in narrative structure, camera techniques, and audience perception. Materials & MethodsThis research employed a semiotic analysis to examine the presence and impact of the male gaze in Iranian cinema from 2010 to 2020. Being grounded in feminist film theory, particularly the works of Laura Mulvey and subsequent scholars, who had further developed her concept, this study adopted a comprehensive approach that combined narrative analysis, technical scrutiny, and audience perception studies to provide an in-depth overview of the male gaze in Iranian cinema. The study analyzed 15 films from this decade selected for their popularity and critical acclaim. These films were assessed across 3 dimensions: narrative structure, camera techniques, and audience perception. In the narrative analysis, various types of gazes—supportive, inquisitive, and dominant—were identified and examined for their influence on the portrayal of female characters. Camera techniques were scrutinized to determine whether the gaze was neutral, instrumental, or objectifying. This involved a thorough analysis of shot composition, camera angles, and movement to understand how the female body was framed and presented on screen. Audience perception was evaluated through a combination of viewer surveys and existing literature on audience reception, aiming to elucidate how viewers, both male and female, interpreted and responded to the representation of women in these films. Discussion of Results & ConclusionThe analysis revealed that, despite post-revolutionary regulatory efforts aimed at reducing the objectification of women, the male gaze remained a pervasive element in Iranian cinema. The study identified several recurring patterns in the portrayal of women, illustrating the persistence of traditional gender roles and patriarchal values. In terms of narrative structure, female characters were often depicted through supportive, inquisitive, or dominant gazes. The supportive gaze presented women as nurturing figures, who were secondary to male protagonists, while the inquisitive gaze framed them as mysterious objects to be deciphered by men. The dominant gaze reinforced male authority, portraying women as subjects to be controlled or conquered. Camera techniques further reinforced these narratives. Many films utilized angles that objectified women's bodies, often focusing on specific body parts rather than the whole figure, leading to the fragmentation and sexualization of the female form. Neutral gazes were rare and when they did occur, they did not challenge the prevailing patriarchal narrative; instead, they coexisted with more objectifying perspectives. Data from audience perception studies indicated that these portrayals were received with nuance. While some viewers, particularly women, critiqued the objectification and limited roles assigned to female characters, many male viewers accepted these representations as normative. This dichotomy in reception highlighted the profound influence of deeply entrenched cultural norms on both film production in Iran and audience interpretation. Additionally, the study underscored the emergence of Iranian female filmmakers during the 1990s, especially during Mohammad Khatami's presidency, who began to challenge prevailing patriarchal norms. These filmmakers often employed more neutral or subversive gazes, offering more complex and autonomous portrayals of female characters. However, their impacts were limited by the broader cultural and regulatory environment. In summary, the findings suggested that while the male gaze adhered to certain conventions, it also exhibited a degree of flexibility.This study highlighted the enduring authority of the male gaze in Iranian cinema despite substantial regulatory and ideological efforts to reshape media representation following the revolution. The continued prevalence of traditional gender roles and patriarchal values in the portrayal of women underscored the pervasive influence of cultural norms on Iranian cinema. While there has been some progress—particularly with the emergence of female filmmakers challenging these norms—the overall impact remains limited. This research emphasized the need for ongoing examination of gender dynamics in film and advocated for more inclusive and diverse representations of women in Iranian cinema. By elucidating the pervasive influence of the male gaze, this study contributed to the broader discourse on feminist film theory and the global implications of gendered media representation.
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