در این ارائه، سخنران گروهی از فیلمهایی را که پس از تظاهرات گسترد ه سال ۱۳۸۸ ساخته شدند، مورد بحث و بررسی قرار میدهد. این فیلمها از برخی قر اردادهای ژانر وحشت بهعنوان نقدی براندازانه بر فضای کلاستروفوبیک و ترسناک ج امعه ایران پس از سال ۱۳۸۸ استفاده میکنند. یکی از فیلمهای بسیار هنری ژانر وحشت که میتوان آن را سرآغاز جنبش فوق دانست، «ماهی و گربه» (۱۳۹۲) ساختهٔ شه رام مکری است. همچنین فیلم «دختری در شب تنها به خانه راه میرود» (۱۳۹۳) ساخت هٔ آنا لیلی امیرپور به عنوان نمونهٔ فراملی یا دیاسپوریک این جنبش بررسی میش ود. با بررسی دقیق ویژگیهای فرمی و روایی این فیلمها مشخص میشود که چرا آن ها را بخشی از یک جنبش جدید در نظر میگیریم. در این فیلمها درونمایههای مش ترکی وجود دارد که فضای تهدیدآمیز و ترسناک جامعه ایران پس از سال ۱۳۸۸ را تدا عی میکنند.
The event recording is now available:
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ttps://youtu.be/cjtVHshW4Hw
Presented in English with subtitles.
There is a notable shift in the films that are emerging from Iran today from the art-house films of the New Iranian Cinema that used to popu late and dominate international film festivals with directors such as Kiaro stami\, Makhmalbaf\, Panahi\, Rasoulof\, Bani-Etemad\, Ghobadi\, etc. Indee d\, it is in this band of new Iranian horror films where a visible shift ca n be detected between the New Iranian Cinema of the mid 1990s and 2000s\, w ith its unique style and recognizable conventions (i.e.\, the blurring of d ocumentary and narrative fiction\, the use of non-professional actors\, rur al landscapes\, etc.)\, and these emerging genre bending films. In this pre sentation\, I will delineate a group of films that emerged in the aftermath of the 2009 mass protests in Tehran that deploy certain conventions of the horror genre as a politically subversive critique of the claustrophobic\, terrifying\, and paranoiac atmosphere of post-2009 Iranian society\, by the orizing a new filmic movement that is structured around what I call\, The U ncanny between the Weird and the Eerie. For my analysis\, I rely on Mark Fi sher’s formulation of the two modes that he uncovers in certain instances o f music\, novels and films\, and that he characterizes as “The Weird and th e Eerie (Beyond the Unheimlich).” A theoretical correlation will be made be tween these two modes theorized by Fisher to their literary counterparts in Persian-Arabic literature called: ‘ajib wa gharib (‘Ajib\, meaning wondrou s\, marvellous or amazing\; and gharib\, meaning\, strange or weird).
One of the most artful horror films that can be said to have inaugurated t his genre bending film movement is Shahram Mokri’s Fish and Cat (2013)\, wi th Ana Lily Amirpour’s A Girl Walks Home Alone At Night (2014)\, as one of its transnational or diasporic examples. What distinguishes and characteriz es the films of this movement that I have dubbed das unheimliche or the unc anny between the weird and the eerie is their evocation of the fearful envi ronment of post-2009 Iran\, and a number of thematics that they commonly sh are. For example\, among the various components shared by this movement\, a re such motifs as political and ideological critique through the deployment of supernatural elements or occult phenomenon (devil/satan\, vampires\, ji nn\, Aal and zaar\, etc.). They also touch on such taboo subjects as (femal e and male) sexuality\, homosexuality and transsexuality in Iran. They are often pervaded by doubles or Doppelgängers\, dreamlike worlds\, nightmarish landscapes\, paranoid and menacing atmospheres\, surveillance\, invisible threatening forces\, and a sense of pervading fear and terror or impending doom. Finally\, through a close examination of some of the formal and narra tive feature of these films\, it will become clear as to why these films co nstitute a new movement\, since beyond embodying the uncanny between the we ird and the eerie (‘ajib wa gharib)\, they share a common set of motifs tha t evoke the menacing and terrifying atmosphere of post-2009 Iranian society .
Farshid Kazemi is a Postdoctoral Fellow at the Sch ool for the Contemporary Arts\, Simon Fraser University. His research inter ests combine an interdisciplinary and theoretical approach to Film and Medi a Studies/Film Theory\, Iranian Studies\, and Islamic and Middle Eastern St udies. He holds a Ph.D. in Islamic and Middle Eastern Studies from the Univ ersity of Edinburgh\, with a thesis on Iranian cinema and second wave psych oanalytic film theory titled: The Interpreter of Desires: Iranian Cinema an d Psychoanalysis. He has published several articles and book chapters on Ir anian cinema\, psychoanalytic film theory/feminist film theory in journals such as Camera Obscura. His book on the film A Girl Walks Home Alone At Nig ht will be published by Auteur/Columbia University Press in 2020.
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