21世纪伊朗喜剧电影中的离散想象
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摘要
本文考察伊朗电影中的喜剧类型片,探讨影响其发展成长的诸多因素,说明近年喜剧片的根源为何可以追溯至伊朗革命前的商业电影波斯语片以及伊朗传统喜剧模仿剧,特别关注这些喜剧片中的离散形象。在现代波斯文化中,大家常以讽刺幽默的方式想象、呈现伊朗离散,而伊朗喜剧片为想象、定义、批判、救赎伊朗离散者提供了一个崭新的空间。
This article examines the genre of comedy in Iranian cinema and explores the various influences on its development and growth. It demonstrates how the roots of recent comedies can be traced back to pre-Revolution commercial cinema(known as filmfarsi) as well as the traditional Iranian comic theatre of taqlid. In particular, it focuses on the depictions of the Iranian diaspora in these comedies. The Iranian diaspora has been imagined and represented frequently in modern Persian culture, often satirically and humorously. More recently, Iranian comedies have provided a new space to imagine, define, criticize and redeem the Iranian diaspora.
This article examines the genre of comedy in Iranian cinema and explores the various influences on its development and growth. It demonstrates how the roots of recent comedies can be traced back to pre-Revolution commercial cinema(known as filmfarsi) as well as the traditional Iranian comic theatre of taqlid. In particular, it focuses on the depictions of the Iranian diaspora in these comedies. The Iranian diaspora has been imagined and represented frequently in modern Persian culture, often satirically and humorously. More recently, Iranian comedies have provided a new space to imagine, define, criticize and redeem the Iranian diaspora.
引文
1 Farabi Cinema Foundation,26 Mordad 1389(17 August 2010),“Sinema Bayad be Fekr-e Tahkim-e Ravabet-e Khod ba Ejtema Bashad/Cinema Should Think of Strengthening its Relation with Society”,http://www.fcf.ir/pe/the-news/dailynotes/327-dailynote.pdf(accessed 18 February 2012).
2 Majid Mohammadi,Sinamay-e Emrooz-e Iran(Tehran,1380/2001),405.
3帕克-史拉兹讨论了《蜥蜴》等影片如何利用电影媒介批判性地介入伊朗某些最具争议的话题。Nacim Pak-Shiraz,Shi‘i Islam in Iranian Cinema:Religion and Spirituality in Film(London,2011),67?92.
4 Majid Mohammadi,Sinamay-e Emrooz-e Iran(Tehran,1380/2001),406-407.
5 Mohammad Abdi,“Montaqedan-e Dahe-haye Si va Chehel va Mobarezeh ba Padideh-ye Benam-e Filmfarsi”,in Filmfarsi Chist?,ed.Hosain Moezezinia(Tehran,1378/1999),171.
6 Hamid Naficy,A Social History of Iranian Cinema,vol.2:The Industrializing Years,1941-1978(Durham,NC and London,2011),172-173.
7 Fereydun Jeyrani,“Hoviyat-e Filmfarsi va Film-e Farsi”,in Filmfarsi Chist?,126.
8 Naficy,Social History,vol.2,156.
9 Daftar-e Motale‘at va Barnamehrizi-ye Farhangi,quoted in Naficy,Social History,vol.2,161.
10 Abdi,“Montaqedan”,174.
11 Naficy,Social History,vol.2,159.
12 Jamshid Arjomand,“Sinema Baray-e Ma Sakhteh Nashodast!”,in Filmfarsi Chist?,99.
13 Naficy,Social History,vol.2,150.
14 Rick Altman,“A Semantic/Syntactic Approach to Film Genre”,in Film Genre Reader II,36.
15 Hosain Moezezinia,“Filmfarsi Chist?,”in Filmfarsi Chist?,210.
16 Naficy,Social History,vol.2,282.
17 Homa Katouzian,Sadeq Hedayat:The Life and Legend of an Iranian Writer(London,2002),7.
18 Jalal Al-e Ahmad,Occidentosis:A Plague From the West,trans.R.Campbell and ed.Hamid Algar(Berkeley,CA,1984),14.
19 Alan Williams,“Is a Radical Genre Criticism Possible?”,Quarterly Review of Film Studies 9,no.2(1984):124.
20 David Robinson,“Comedy”,in The Oxford History of World Cinema,78.
21 Steve Neale,“Questions of Genre”,in Film Genre Reader II,ed.Barry Keith Grant(Austin,TX,1995),175.
22 Hamid Naficy,A Social History of Iranian Cinema,vol.1:The Artisanal Era,1897-1941(Durham,NC and London,2011),49.
23 Bahram Beyzaie,Namayesh dar Iran(Tehran,1380/2001),216.
24 Ibid.,159.
25 Ibid.,158-159.
26,27 Ibid.,160.
28 William O.Beeman,Iranian Performance Traditions(Costa Mesa,CA,2011),179.
29 Beyzaie,Namayesh,170.
30 Thomas Schatz,“The Structural Influence:New Directions in Film Genre Study”,in Film Genre Reader II,96.
31译者注:穆斯林宗教权威的总称。
32 Beyzaie,Namayesh,161,179.
33 Geoff King,Film Comedy(London,2002),54.
34 Beeman,Iranian Performance,187.
35 Farrokh Gaffary,“Evolution of Rituals and Theater in Iran,”Iranian Studies 17,no.4(1984):372.
36 Beyzaie,Namayesh,190.
37 See Nacim Pak-Shiraz,“The Divine Word on the Screen:Religious Epics in Iranian Cinema”,in Approaches to the Qur’an in Contemporary Iran,ed.Alessandro Cancian(London,forthcoming).
2 Majid Mohammadi,Sinamay-e Emrooz-e Iran(Tehran,1380/2001),405.
3帕克-史拉兹讨论了《蜥蜴》等影片如何利用电影媒介批判性地介入伊朗某些最具争议的话题。Nacim Pak-Shiraz,Shi‘i Islam in Iranian Cinema:Religion and Spirituality in Film(London,2011),67?92.
4 Majid Mohammadi,Sinamay-e Emrooz-e Iran(Tehran,1380/2001),406-407.
5 Mohammad Abdi,“Montaqedan-e Dahe-haye Si va Chehel va Mobarezeh ba Padideh-ye Benam-e Filmfarsi”,in Filmfarsi Chist?,ed.Hosain Moezezinia(Tehran,1378/1999),171.
6 Hamid Naficy,A Social History of Iranian Cinema,vol.2:The Industrializing Years,1941-1978(Durham,NC and London,2011),172-173.
7 Fereydun Jeyrani,“Hoviyat-e Filmfarsi va Film-e Farsi”,in Filmfarsi Chist?,126.
8 Naficy,Social History,vol.2,156.
9 Daftar-e Motale‘at va Barnamehrizi-ye Farhangi,quoted in Naficy,Social History,vol.2,161.
10 Abdi,“Montaqedan”,174.
11 Naficy,Social History,vol.2,159.
12 Jamshid Arjomand,“Sinema Baray-e Ma Sakhteh Nashodast!”,in Filmfarsi Chist?,99.
13 Naficy,Social History,vol.2,150.
14 Rick Altman,“A Semantic/Syntactic Approach to Film Genre”,in Film Genre Reader II,36.
15 Hosain Moezezinia,“Filmfarsi Chist?,”in Filmfarsi Chist?,210.
16 Naficy,Social History,vol.2,282.
17 Homa Katouzian,Sadeq Hedayat:The Life and Legend of an Iranian Writer(London,2002),7.
18 Jalal Al-e Ahmad,Occidentosis:A Plague From the West,trans.R.Campbell and ed.Hamid Algar(Berkeley,CA,1984),14.
19 Alan Williams,“Is a Radical Genre Criticism Possible?”,Quarterly Review of Film Studies 9,no.2(1984):124.
20 David Robinson,“Comedy”,in The Oxford History of World Cinema,78.
21 Steve Neale,“Questions of Genre”,in Film Genre Reader II,ed.Barry Keith Grant(Austin,TX,1995),175.
22 Hamid Naficy,A Social History of Iranian Cinema,vol.1:The Artisanal Era,1897-1941(Durham,NC and London,2011),49.
23 Bahram Beyzaie,Namayesh dar Iran(Tehran,1380/2001),216.
24 Ibid.,159.
25 Ibid.,158-159.
26,27 Ibid.,160.
28 William O.Beeman,Iranian Performance Traditions(Costa Mesa,CA,2011),179.
29 Beyzaie,Namayesh,170.
30 Thomas Schatz,“The Structural Influence:New Directions in Film Genre Study”,in Film Genre Reader II,96.
31译者注:穆斯林宗教权威的总称。
32 Beyzaie,Namayesh,161,179.
33 Geoff King,Film Comedy(London,2002),54.
34 Beeman,Iranian Performance,187.
35 Farrokh Gaffary,“Evolution of Rituals and Theater in Iran,”Iranian Studies 17,no.4(1984):372.
36 Beyzaie,Namayesh,190.
37 See Nacim Pak-Shiraz,“The Divine Word on the Screen:Religious Epics in Iranian Cinema”,in Approaches to the Qur’an in Contemporary Iran,ed.Alessandro Cancian(London,forthcoming).