جستجوی مقالات مرتبط با کلیدواژه "مکانمندی" در نشریات گروه "هنر و معماری"

The point of the research is to classify Heidegger's concepts in Being and Time about Spatiality and temporality and hence description of the salesman film with an emphasis on the characters according to this. Temporality and spatiality Emphasizing on existential space, affection of Dasein, self-relation, relationship with others, the ontological question of Dasein, are some of Heidegger's emphasized components that help explain the types of times and places and their states. two central concepts chosen are temporality and spatiality, which are determined by the type of beings and their existence. Dasein has three ex-istences, and based on the coordinate lines and expectations of Dasman, is thrown out without decision. Dasein deals with his ontological question in anxiety. The types of Temporality, spatiality are categorized and correlated with Dasein`s affection. Salesman by Asghar Farhadi's shows that the old salesman and abandoned house is the agent are the cause of uncertainty and disaster or the disintegration of the whole world In the salesman. It is Dasein's affection that makes distinguished kinds of relationships. In order to answer the ontological question, to who he is, Emad searches to find old salesman. In fact searching the saleman is along to the searching himself. Beacause Emad has lost the possible relations of the world in everyday life. I think the home has an important role in this film. the first and second home has stark impression on forming the Emad and even Raana`s onthological question . At the end of the film, the abandoned house becomes the scene of revenge and the death of the salesman. In the scene of the revenge, Emad shows us a new image but unfamiliar. he creates a distance-based spatiality at the same time based on denying Raana`s Plea. In addition to, he forms to the existential space. The space which is full of existential preoccupation, like confrontation the onthological question, indifference to the everyday`s possibilities. Temporality and spatiality relies on existential space. Dasein`s disposedness, auto-affection, the ontological question of Dasein are other effective quasi-causes. The results show the old salesman and the home are the causes of the disarticulation of the whole world of Emad and Raana. It is emad`s disposedness means anger or hate and the related actions mean “revenge” that determine the type of time and space. In order to answer to »who I am«, Emad starts to researche about the identity of the old salesman who takes on his role in the play. the abandoned house and the old salesman disrupts the present and place of things. it makes them transmitted to the past and position-space. at last, Rape makes enterance to the world of Emad and Rana, the problem of ground and earth, It creates a strife. In the strife the opponent raise each other into self-assertion of their natures. Capitalism, with the utmost planning to control spaces and dominate the existential space, with its products and mechanisms, disrupts the chain of different relations and makes the different affections or disposednesses, which according to this research lead to the formation of the existential space.

The cinematographic frame is a boundary which separates the image from the external world. From an ontological viewpoint which dates back to Greek philosophy, the boundary of a thing separates it from other things, thus leading to its ontological independence from other things. But, according to this point of view, the being of things as external objects is considered to be free from the impact of subjective interference and the experience of the viewer. This idea was radically changed with Kant’s Copernican revolution. By separating the Thing in Itself from the Phenomena, Kant, on the one hand, announced that the object of human cognition is only the Phenomena, and on the other hand, that they are knowable only to the extent that they are known under the a priori subjective factors, i.e. the forms of intuition and the categories of understanding. The first purpose of this paper is to show the limitations of the traditional concepts of the cinematographic frame according to the subjective perception of the viewer. The second objective is to ask how it is possible not to regard this perception as just a mental perception, but a corporeal one. Finally, the results of this investigation are considered in the analysis of the corporeal perception of the cinematographic frame.