jalal nasiri hanis; nader shayganfar; ahmad alasti
Abstract
Metafilms are kind of films which their subject matters are the nature of cinema and film-making. Film-makers of this Sub-Genre have a critical view to the production of meaning and highlight the fictional and artificiality of the film. They confront the current illusion in the conventional and ...
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Metafilms are kind of films which their subject matters are the nature of cinema and film-making. Film-makers of this Sub-Genre have a critical view to the production of meaning and highlight the fictional and artificiality of the film. They confront the current illusion in the conventional and realistic films. Conflict between characters in cinematic works, as a principle, reflects the importance of study, regarding "self" and "the other" in these works. The relationship between "self" and "the other" has been characterized as the "subject" and the "object" in most part of the philosophy's history. In Sartre's viewpoint, human turns into an "object" in the "gaze" of "the other" and loses his freedom. Unlike him, Levinas thinks that assuming "the other" as an "object" is applying violence against "the other. By analyzing characters' relationship in Kiarostami's works, we can answer the question that how is the relationship between "self "and "the other" in his films and metafilms? In considering the films of “Where is the friend’s home”, “Taste of Cherry" and meta-films of "Close-up","The wind will carry us" and “Through the olive trees", descriptive-analytic with Critical discourse analysis of Fairclough were used. By doing so, we can represent structural differences of metafilms in “the other" reflectivity in the works of this director. The result of the study suggests that despite the same director, and the same social, political and cultural background of these works, due to the characteristics of self-reflectivity and self-criticism in kiarostami's metafilms, unlike his films, the relationship between "self" and "the other" is based on Levinas and the other-oriented. This is a sign of the reorganization of the discursive order of society in the relationship between "self" and the other.
