نوع مقاله : مقالۀ پژوهشی
نویسندگان
1 استادیار، گروه هنرهای نمایشی، دانشکدگان هنرهای زیبا، دانشگاه تهران، ایران.
2 دانشجوی کارشناسیارشد، گروه مطالعات هنر اسلامی، دانشکدۀ هنر، دانشگاه سوره، تهران، ایران.
3 استادیار گروه مطالعات هنر اسلامی، دانشکدۀ هنر، دانشگاه سوره، تهران، ایران.
کلیدواژهها
عنوان مقاله English
نویسندگان English
Problem statement: Nowadays, one of the most significant theoretical subcategories in art falls under the comparative study. This area of study delves into the similarities and differences across approaches, techniques, and artistic flows. From time to time, it has also generated original outcomes. This article employs the lens of André Bazin to reconcile the two different fields of arts, Iranian painting the essential components of cinema, by mixing two seemingly disparate cultural, geographical, historical, and even media-related approaches. This study focuses on frame and framing in visual arts and film. The authors of this study have attempted to scrutinize the framing employed in Kamaluddin Behzad’s writings and in cinema media to find the similarities and shared perspectives between the two.
Research objective: While readers may find the association between these two areas a little peculiar, thoughts of André Bazin, a movie theorist can shed light on understanding the concept and shared elements. The current study aims to support the assumption that some Iranian-Islamic artists have a modern, cinema-like worldview.
Research method: The present study which is a fundamental and qualitative research uses a conceptual model. In carrying out this study, the authors used the library method and comparative study.
Conclusion: The results of the study show that great similarities are shared between framing in cinema (from Bazin’s point of view) and many of Behzad’s works. Therefore, his paintings can be analyzed and evaluated with a completely cinematic approach. Simply put, Behzad had a kind of cinematic vision and taste.
کلیدواژهها English
