چکیده:
Gilles Deleuze, the notable post-modern philosopher, in his two-volume cinematic books Cinema 1: movement-image (1986) and Cinema 2: time-image (1989) recognizes two major periods in history of cinema (classic and modern) in terms of representing movement and time respectively. Referring to various films of modern cinema especially post-war European cinema like Italian neorealism, Cinema2 speaks about the possibility of direct presentation of time in cinematic works. Explaining Deleuze’s theories and his two formulations of direct presentation of time as ‘pure optical situations’ and ‘sheets of the past’, in this essay we try to give an analysis of the two most important films of Iranian history of cinema: Still Life (1974) and Prince Ehtejab (1974). Finally, we will conclude that these films are not mere representation of preexisting philosophical concepts, rather in contrast to linguistic thought, they provide some kind of visual and non-linguistic philosophical meditations of time, cinema of time.
خلاصه ماشینی:
in performing art, Ferrara University, Italy (corresponding author) Abstract Gilles Deleuze, the notable post-modern philosopher, in his two-volume cinematic books Cinema 1: movement-image (1986) and Cinema 2: time- image (1989) recognizes two major periods in history of cinema (classic and modern) in terms of representing movement and time respectively.
Explaining Deleuze’s theories and his two formulations of direct presentation of time as ‘pure optical situations’ and ‘sheets of the past’, in this essay we try to give an analysis of the two most important films of Iranian history of cinema: Still Life (1974) and Prince Ehtejab (1974).
Keywords: Gilles Deleuze, time-image, Still Life, sheets of the past, Prince Ehtejab Received date: 2017/06/07 Accepted date: 2017/12/04 ** E-mail: faezeh.
In other words, cinema for Deleuze, goes beyond representing stories and events and like philosophy is able to create new possibilities for thinking.
In modern cinema, however, and in pure optical and sound situations or dreams when sensory-motor links slacken, the virtual past is presented without any order or linkage and “our mental world is filled with images from various moments of our past, all coexisting in a single domain” (Bogue 2003, 116).
In this respect, in analyzing two Iranian films: Still life and Prince Ehtejab, we laid emphasis on their form and by using some concepts of cinema 2 we proved that in spite of their various structures, both films present time in its pure state, the direct image of time.