چکیده:
تئوری "بازتاب" در جامعه‌شناسی سینما به فیلم‌ها به مثابه سندهایی می‌نگرد که زندگی اجتماعی در آنها بازتاب پیدا می‌کند و لذا با بررسی آنها می‌توان به تحولات و گرایش‌های اجتماعی پی برد. در این مقاله شهر تهران از منظر جامعه شناسی سینما در آثارسینمای دهه ی 40 (فیلم خشت و آینه ساخته ابراهیم گلستان) تحلیل می شود و دگرگونی های شهر و دگردیسی های رفتارها و هنجارهای فرهنگی اجتماعی و شهری، چگونگی گذارانسان از سنت به مدرنیته ،به روش نشانه شناسی سوسو بازخوانی و تحلیل می شود.با مفروض دانستن اینکه سینما به عنوان یکی از مهم‌ترین ابزارهای جامعه شناختی می‌تواند به ما در فهم مسائل اجتماعی شهر تهران یاری رساند.درنتیجه برای دست یابی و شناخت دقیق تر جامعه مخاطب معماری و شهر می توان با استفاده دریچه فیلم و سینما که در بازه زمانی کوتاه گزارش مصوری را از شرایط اجتمایی انسانها و نحوه تعامل انها با فضا دست یافت.
چکیده انگلیسی:
The theory of "reflection" in the cinema sociology sees the film as documents that reflect the social life and therefore by examining them, which in them, and by them, we can realize changes and social trends. In this article, Tehran city is analyzed and readout from the perspective of cinema sociology in viewing experience and the emergence of the 40’s cinema, and changes in behavior and cultural norms and social and economic transformations and their impact on behaviors and norms of the city by the method of semiotics. Urban social life is cause and movies are effect. As a result, given the position of cinema sociology, we can realize common urban issues and also reflection of the mentality in this particular historical period, and we can find social consciousness and a new morality that accompanied these relations and public reaction of citizens in the face of this city. The at hand study’s approach is Semiotics of Saussure, and the confrontation for finding the narrative structure and the contrasts. Then, the social structure with its developments compared to discover the social meanings of images. Urban social life is cause and movies are effect, and since based on Goldman's view, the original creator of the artwork, not the author, but it is the social group which this worldview is formed in it; we had tried to bridge between provided images of the city and The role of ideology and social classes and be clear that these pictures are the product of the view of which groups and social classes to the community? Unlike specialists in film studies, sociologists work with large data and are interested in the relationship between the community and films, which is why this is a microscopic study of a large data. Urban issues are more than not, usually subjects such as contrast of urban and rural, urban and rural contrasts characters, Housing problem, the marginalized, the class struggle in the big cities particularly with an emphasis on spatial inequalities between neighborhoods, issues and events that are happening in the neighborhoods of the city. Then we checked out these films and divided them based on the image of the city which the films were offered. Then we selected films of each class which clearly had more features in the image in question, as examples. We tried to review the changes of the city and transformations of cultural, social and economic norms of behaviors and their impact on urban norms and behaviors. The result was a film that was one of the most influential films of the '40s, Khesht-o-Ayineh (Created by Ebrahim Golestan, Year 1344 Solar Hijri calendar), and with analyzing and explaining these videos and extracting common features of them through image semiotics and given the status of knowledge for cinema, Common to urban issues in this particular historical period can be realized and also the part of the mind, the unconscious social and public reaction of citizens in the face of the city can be realized.
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