نوع مقاله : مقاله علمی- پژوهشی
نویسندگان
1 عضو هیئت علمی دانشکده چندرسانه ای، دانشگاه هنر اسلامی تبریز، ایران
2 دانشکده تولید: رادیو و تلویزیون، دانشگاه صدا و سیما، تهران، ایران.
چکیده
کلیدواژهها
موضوعات
عنوان مقاله [English]
نویسندگان [English]
This study offers a phenomenological investigation of the film Evil Does Not Exist (2023) by Ryusuke Hamaguchi. The main problem here is how ecological experience becomes possible through cinematic form. The key question is how Evil Does Not Exist, through its cinematic techniques, provides the audience with a sensory, embodied experience of nature, and how this experience leads to a more originary perception of ecological issues and the human-nature relation. The pivotal aim in this research is the development of a framework to understand the far-reaching sensory quality of Japanese eco-cinema. The study adopts a qualitative phenomenological approach; data are collected through bibliographic research and observation. The findings are then analyzed to answer the research question. The analysis focuses on a case study from Japanese cinema. The findings indicate that cinema creates an inter-intentional experience between the spectator and the film, and a visual-tactile bodily experience. By bracketing the habitual assumptions, including narrative,, interpretive, and ethical ones in the spectator, this cinema brings about a more originary experience of nature, leading to a rethinking of the relation between the human and the world. In response to the article’s central question, the concepts and filmic traditions of Japanese ecocinema may be articulated through cinematic epoché, the intertwining (chiasmic relation) of subject and object, intensified embodiment, multisensory perception, and a pre-reflective affective attunement from which ethical responsiveness emerges.
کلیدواژهها [English]
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