Associate Professor, Art University of Isfahan, Iran. , n.shayganfar@aui.ac.ir
Abstract: (171 Views)
Hamoon is the work of Iranian director, Dariush Mehrjui. He is one of the auteur artists in Iranian cinema and one of the faces of Iranian new wave of cinema. Mehrjui studied philosophy and was also interested in image. Hamoon, which is one of his notable works, can be considered from different aspects. This work is shown as a realistic film and in some surreal parts; It is the narration of the special thoughts of a couple who, despite their thoughtful and artistic ambitions, face a painful failure in the life plan due to the hardness and rigidity of the world in front of them. Hamoon gets involved in the world of technical development, and despite his belief, he becomes the advertiser machine of the world based on development or modernization. Even though Mahshid is attached to art and culture, she falls into the trap of the world of consumerism. In this work, we also see other characters such as psychologists, friends, colleagues, relatives and dependents of Hamoon and Mahshid, who are effective in transforming their dreams into what they did not like. This research tries to compare the two different life plans of Hamoon and Mahshid, to show how the thinker Hamoon and the artistic Mahshid fail and to explain how they fail despite the difference of two different horizons. Emphasizing on the two axes of syntagmatic and paradigmatic and the subject's subjugation and being caught in the dominant hegemony, this research tries to explain the reason for breaking two horizons, plans and intellectual and artistic methods in a society whose values are based on development, technique and consumption.
Keywords: Dariush Mehrjui, The Hamoon movie, semiology, syntagmatic axis, paradigmatic axis, subjection.
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