Shahnameh And The Filmic Aspects Its
The focus of this article is in the area of poetry and film, dealing specifically with the visual potentials of a monumental Persian classic epic, that is, Firdowsi's Shahnameh. In this masterpiece, the visual world is formed out of images which could represent it in many different ways, at times extremely glorified at other times immensely emotional and psychological but always absolutely clear, perceivable and imaginatively lively. The main statement of this article is that Shahnameh is closer to cinema than any other art form, the two being of similar nature, allow you to plunge yourself in the deep and profound thoughts on cinematic imaginations. Due to these capabilities everything in Shahnameh turns into images and visuals. Like a cinematic shot, in it every single verse leads you to another verse, allowing you to navigate and meander among them to be eventually exalted by their cinematic imagery. The research approach adopted in this article includes those tragedies which encompass the best examples of the visionary scopes of the whole epic.Comparing the language of poetry with that of cinema, this article states that, although inherently different, these two languages come together and constantly make shifts between the words and their mental image in order to capture the spirit of literary compostions. In this regard, this article claims that while reading Shahnameh the reading or listening subject envisions living tableau and identifies with the situations. Regarding the narrative style, genre and aesthetics, this research delineates that Shahnameh embodies logic of sentiments, that is the internal language relies more and more on the visual and emotional logic than as it often the case, verbal and literal language. In regards to words as cinematic shots, this paper states that words works as visual tools and manifest a pattern which constanly evolves into images equal to the mental image of the perceived words. Above all, one of the main emphasis of the paper is the delineation of this point that the inherent language of Shahnameh is apt to performance and suitable to physical activity and accomplishment.Having said that, the basis of the language allows a presentation appropriate for spectatorship and a seemingly absent audience. Here, as if every scene performed fot an imaginary audience carefully observing the pro-cinematic events.And finally, as a result of the working functions of language and its subsidiary properties, every event ends up qualifying as performance and staged, as pro-filmic occurrences. The fidings of this research provide evidence that if cinema is considerd a visual medium, then Shahname's words are all visuals, skillfully created by Firdows to equal that. Although constituted only of words, Shahname's verses develop into cinematic imagination, and created amazing visuals which are loaded with details. Moreover, this research claims that ther lyrical description of scenes embodies those visual techniques called decoupage, montagn and mise-en-scene in cinema. In other words, here, words increase power of the visuals and as a result whatever is produced is brilliantly cinematic.
Honar-Ha-Ye-Ziba: Honar-Ha-Ye Mosighi Va Namayeshi, No. 40, 2010
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