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‫ﺟﻤﻌﻪ ‪ 18‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 24‬ﺳﭙﺘﺎﻣﺒﺮ ‪2015‬‬

‫ﻭﺿﻌﻴﺖ ﻭﺧﻴﻢ ﺳﻴﻨﻤﺎﻯ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﻭ‬ ‫ﻫﻨﺮ ﻭ ﻫﻨﺪﺳﻪ ﺩﺭ ﺁﻳﻨﻪﻫﺎﻯ ُﻣﻨﻴﺮ‬

‫ﺟﺸﻨﻮﺍﺭﻩ ﺑﻰﺭﻣﻖ‬ ‫ﺩﺭ ﻛﺎﺭﮔﺎﻩ‪...‬‬ ‫ﺭﻭﺯ ﺳﻪﺷﻨﺒﻪ ﻫﺸﺘﻢ ﺳﭙﺘﺎﻣﺒﺮ ﺳﺎﻟﻦ‬
‫ﺍﻧﺴﺘﻴﺘﻮﻯ ﻫﻨﺮﻫﺎﻯ ﻣﻌﺎﺻﺮ )‪ (ICA‬ﺩﺭ‬
‫ﺳﺎﻻﻧﻪ ﻳﻚ ﻳﺎ ﺩﻭ ﻓﻴﻠﻢ ﻛﻮﺩﻙ‬
‫ﻳﺎ ﻧﻮﺟﻮﺍﻥ ﺍﻛﺮﺍﻥ ﻣﻰﺷﻮﺩ؛ ﻭﺿﻌﻴﺖ‬ ‫ﻟﻨﺪﻥ ﺷﺎﻫﺪ ﻧﻤﺎﻳﺶ ﻣﺴﺘﻨﺪ »ﻣﻨﻴﺮ«‬
‫ﺳﻴﻨﻤﺎﻯ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﻭﺧﻴﻢ‬
‫ﺍﺳﺖ‪ ،‬ﻭﺿﻌﻴﺖ ﺍﻛﺮﺍﻥ ﻭ ﻓﺮﻭﺵ ﺍﻳﻦ‬ ‫ﺳﺎﺧﺘﻪ ﺑﻬﻤﻦ ﻛﻴﺎﺭﺳﺘﻤﻰ ﺑﻮﺩ‪ .‬ﭘﺲ‬
‫ﺁﺛﺎﺭ ﺩﺭ ﺍﻏﻠﺐ ﻣﻮﺍﺭﺩ ﻧﺎﻣﻮﻓﻖ‪ ،‬ﺍﻳﻦ ﺁﺛﺎﺭ‬
‫ﺩﺭ ﺍﺭﺗﺒﺎﻁ ﮔﻴﺮﻯ ﺑﺎ ﻣﺨﺎﻃﺐ ﺩﺭ ﺍﻏﻠﺐ‬ ‫ﺍﺯ ﻣﻘﺪﻣﺔ ﻛﻮﺗﺎﻩ ﻟﻴﻼ ﻓﺨﺮ‪ ،‬ﺗﻬﻴﻪﻛﻨﻨﺪﺓ‬
‫ﻣﻮﺍﺭﺩ ﻧﺎﻛﺎﻡ ﺍﺳﺖ ﻭ ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﺗﺎﺛﻴﺮ‬
‫ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻯ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﺭﻭﻯ‬ ‫ﻓﻴﻠﻢ‪ ،‬ﺍﻳﻦ ﻣﺴﺘﻨﺪ ‪ 54‬ﺩﻗﻴﻘﻪﺍﻯ ﺩﺭ‬
‫ﺍﻳﻦ ﻧﻮﻉ ﺳﻴﻨﻤﺎ ﺗﻘﺮﻳﺒﺎ ﻫﻴﭻ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺍﻳﻨﻬﺎ ﺍﻃﻼﻋﺎﺗﻰ ﻛﻠﻰ ﻫﺴﺘﻨﺪ ﺍﺯ‬ ‫ﺳﺎﻟﻦ ﻣﻤﻠﻮ ﺍﺯ ﺗﻤﺎﺷﺎﮔﺮ‪ ،‬ﻛﻪ ﺑﻴﺸﺘﺮﺷﺎﻥ‬
‫ﺳﻴﻨﻤﺎﻯ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﻛﻪ ﻋﻤﺮﺵ‬
‫ﺭﻭ ﺑﻪ ﭘﺎﻳﺎﻥ ﺍﺳﺖ‪.‬ﺑﻪ ﮔﻔﺘﻪ ﻋﻠﻴﺮﺿﺎ‬ ‫ﻫﻢ ﺍﻳﺮﺍﻧﻰ ﺑﻮﺩﻧﺪ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﺁﻣﺪ‪.‬‬
‫ﺧﻤﺴﻪ ﮔﻮﻳﺎ ﺩﻳﺮﺯﻣﺎﻧﻰﺳﺖ ﻛﻪ ﻣﻮﺿﻮﻉ‬
‫ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﺩﻏﺪﻏﻪﺍﻯ ﺑﺮﺍﻯ‬ ‫ﻧﻤﺎﻳﺶ ﻓﻴﻠﻢ »ﻣﻨﻴﺮ«ﺍﻳﻦ ﻣﺴﺘﻨﺪ ﺑﻪ‬
‫ﻣﺴﻮﻭﻻﻥ ﺳﻴﻨﻤﺎﻳﻰ ﻧﻴﺴﺖ ﻭ ﺑﻪ ﺣﺎﻝ‬
‫ﺧﻮﺩ ﺭﻫﺎ ﺷﺪﻩ‪ .‬ﺍﮔﺮ ﻫﻢ ﺣﺮﻛﺘﻰ ﺑﻮﺩﻩ‬ ‫ﺯﻧﺪﮔﻰ ﻭ ﺁﺛﺎﺭ ﻫﻨﺮﻣﻨﺪ ﺍﻳﺮﺍﻧﻰ‪ ،‬ﻣﻨﻴﺮ‬
‫ﺑﻪ ﻋﻼﻳﻖ ﺷﺨﺼﻰ ﺑﺮﺧﻰ ﻓﻴﻠﻢﺳﺎﺯﺍﻥ‬
‫ﺑﺮﻣﻰﮔﺮﺩﺩ ﻧﻪ ﭼﻴﺰﻯ ﺑﻴﺸﺘﺮ ﺍﺯ ﺁﻥ‪ .‬ﺍﮔﺮ‬ ‫ﺷﺎﻫﺮﻭﺩﻯ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ‪ ،‬ﻣﻰﭘﺮﺩﺍﺯﺩ‪.‬‬
‫ﻏﻴﺮ ﺍﺯ ﺍﻳﻦ ﺑﻮﺩ ﺍﻣﺮﻭﺯ ﺑﺮ ﻣﺰﺍﺭﺵ ﻓﺎﺗﺤﻪ‬
‫ﻣﻨﻴﺮ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ ﻫﻨﺮﻣﻨﺪﻯ ﺍﺳﺖ‬
‫ﻧﻤﻰﺧﻮﺍﻧﺪﻳﻢ‪.‬‬
‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺍﻳﻠﻨﺎ‪ ،‬ﺟﺸﻨﻮﺍﺭﻩ ﻛﻮﺩﻙ‬ ‫ﻛﻪ ﺑﺮﺍﻯ ﻧﺨﺴﺘﻴﻦ ﺑﺎﺭ ﺩﺭ ﺩﻫﺔ ‪ 70‬ﻣﻨﻴﺮ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ ﻭﻗﺘﻰ ﺩﺭ ﺩﻫﺔ ‪ 50‬ﻛﻪ ﺧﻴﻠﻰ ﺧﻮﺏ ﺍﺳﺖ ﺩﺭ ﺍﻳﻦ ﻣﻮﺭﺩ‬
‫ﻭ ﻧﻮﺟﻮﺍﻥ ﺳﻰ ﻭ ﺳﻪ ﺳﺎﻝ ﻗﺒﻞ ﺩﺭ‬ ‫ﻣﻴﻼﺩﻯ ﺑﺎ ﺍﺑﺘﻜﺎ ِﺭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﺷﻜﺎﻝ ﺑﺮﺍﻯ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﺎﺯﮔﺸﺖ ﺳﺒﻚ ﻓﻴﻠﻤﻰ ﺩﺭﺳﺖ ﻛﻨﻢ ﻛﻪ ﺷﺨﺼﻴﺖ ﺍﻳﻦ‬
‫ﺳﺎﻝ ‪ 61‬ﻛﺎﺭﺵ ﺭﺍ ﺁﻏﺎﺯ ﻛﺮﺩ ﻭ ﺗﺎ ﺍﻣﺮﻭﺯ‬ ‫ﻣﺘﺸﻜﻞ ﺍﺯ ﺁﻳﻨﻪﻛﺎﺭﻯﻫﺎﻯ ﻫﻨﺪﺳﻰ ﻛﺎﺭ ﻫﻨﺮﻯﺍﺵ ﻛﻪ ﺭﻳﺸﻪ ﺩﺭ ﺳﻨﺖ ﺩﺍﺷﺖ ﺯﻥ ﻫﻨﺮﻣﻨﺪ ﺭﺍ ﻛﻪ ﺩﺭ ﺩﻭﺭﺍﻥ ﻣﺨﺘﻠﻒ‬
‫ﺑﻴﺴﺖ ﻭﻫﺸﺖ ﺩﻭﺭﻩ ﺧﻮﺩ ﺭﺍ ﺑﺮﮔﺰﺍﺭ‬ ‫ﺗﻮﺟﻪ ﺯﻳﺎﺩﻯ ﺭﺍ ﺟﻠﺐ ﻛﺮﺩ‪ .‬ﻓﻴﻠﻢ ﻧﺸﺎﻥ ﺩﺭ ﻛﺸﻮﺭ ﺑﺴﺘﺮﻣﻨﺎﺳﺐ ﻓﺮﻫﻨﮕﻰ ﺧﻮﺩ ﺭﺍ ﺯﻧﺪﮔﻰ ﺧﻮﺩ ﺍﺯ ﺯﻣﺎﻥ ﺑﭽﮕﻰ ﺗﺎ ﺍﻗﺎﻣﺖ‬
‫ﻛﺮﺩﻩ ﺍﻣﺎ ﻧﺘﻮﺍﻧﺴﺘﻪ ﺟﺮﻳﺎﻥ ﺳﺎﺯﻧﺪﻩﺍﻯ‬ ‫ﻣﻰﺩﻫﺪ ﻛﻪ ﻣﻨﻴﺮ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ ﺧﺎﻟﻖ ﭘﻴﺪﺍ ﻛﺮﺩ‪ .‬ﺍﻣﺎ ﺩﺭ ﺩﻫﻪ ‪ 70‬ﺍﻳﻦ ﺑﺴﺘﺮ ﻃﻮﻻﻧﻰﺍﺵ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻭ ﺯﻣﺎﻥ ﺣﺎﻝ‬
‫ﺍﻳﻦ ﺳﺎﻝﻫﺎ ﻣﺴﻴﺮﻯ ﺭﺍ ﻃﻰ ﻛﺮﺩﻩ ﻛﻪ‬ ‫ﻭ ﺑﻨﻴﺎﺩ ﻫﻢ ﺑﻪ ﺭﻭﺍﻝ ﻋﺎﺩﺕ ﺳﺎﻻﻧﻪ ﺑﻪ‬ ‫ﺑﺮﺍﻯ ﺳﻴﻨﻤﺎﻯ ﻛﻮﺩﻙ ﻭﻧﻮﺟﻮﺍﻥ ﺑﺎﺷﺪ‪.‬‬ ‫ﻳﻚ ﺯﺑﺎﻥ ﻫﻨﺮﻯ ﺍﺳﺖ ﻛﻪ ﺍﺯ ﺣﺮﻓﻪ ﻭ ﻓﺮﻫﻨﮕﻰ ﻭ ﻫﻨﺮﻯ ﺍﺯ ﺳﺒﻚ ﻛﺎﺭ ﻣﻨﻴﺮ ﺩﻭﺭ ﻛﻪ ﺩﺭ ﺍﻳﺮﺍﻥ ﻣﺸﻐﻮﻝ ﻛﺎﺭ ﺍﺳﺖ ﻭ ﺍﻳﻦ‬
‫ﺑﺪﻭﻥ ﺍﻏﻤﺎﺽ‪ ،‬ﺍﻣﺮﻭﺯ ﺩﻳﮕﺮ ﺳﻴﻨﻤﺎﻯ‬ ‫ﺻﺮﺍﻓ ِﺖ ﺣﻤﺎﻳﺖ ﺍﺯ ﻓﻴﻠﻢﺳﺎﺯﺍﻥ ﻣﻰﺍﻓﺘﺪ‬ ‫ﺑﻪ ﮔﻮﺍﻩ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﺩﺳﺖﺍﻧﺪﺭﻛﺎﺭﺍﻥ ﻭ‬ ‫ﻣﻌﻤﺎﺭﻯ ﺳﻨﺘ ِﻰ ﺍﻳﺮﺍﻥ ﻣﺎﻳﻪ ﻣﻰﮔﻴﺮﺩ‪ .‬ﺷﺪ‪ .‬ﺍﻟﺒﺘﻪ ﻫﺴﺘﻨﺪ ﻛﺴﺎﻧﻰ ﻛﻪ ﻛﻪ ﻣﻤﻜﻦ ﻫﻤﻪ ﭼﻴﺰﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺩﻳﺪﻩ ﻭ ﺗﺠﺮﺑﻪ‬
‫ﻣﺨﺼﻮﺹ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﻧﺪﺍﺭﻳﻢ ﻭ‬ ‫ﺗﺎ ﺑﺮﺍﻯ ﺟﺸﻨﻮﺍﺭﻩﺍﺵ ﺧﻮﺭﺍﻙ ﺗﻬﻴﻪ‬ ‫ﺳﺎﺯﻧﺪﮔﺎ ِﻥ ﻛﺎﺭﻫﺎﻯ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ‬ ‫ﺑﻪ ﻗﻮﻝ ﺳﻮﺭﻥ ﻣﻠﻴﻜﻴﺎﻥ ﻫﻨﺮﺷﻨﺎﺱ ﺍﺳﺖ ﺑﺎ ﺍﻳﻦ ﮔﺰﺍﺭﻩ ﻣﻮﺍﻓﻖ ﻧﺒﺎﺷﻨﺪ ﻭ ﺩﻫﺔ ﻛﺮﺩﻩ‪ ،‬ﺛﺒﺖ ﻛﻨﺪ ﻭ ﺩﻳﮕﺮﺍﻥ ﻫﻢ ﺑﺒﻴﻨﻨﺪ‬
‫ﺗﻚ ﻭﺗﻮﻙ ﻓﻴﻠﻢﻫﺎﻯ ﺳﺎﻻﻧﻪ ﻫﻢ ﺩﺭ‬ ‫ﻛﻨﻨﺪ‪ .‬ﻭ ﻧﺘﻴﺠﻪ‪ ،‬ﻓﻴﻠﻢﺳﺎﺯﻯﻫﺎ ﺯﻭﺩﭘﺰﻯ‬ ‫ﺍﻳﻦ ﺟﺸﻨﻮﺍﺭﻩ ﺗﺎﺛﻴﺮﻯ ﺑﺮ ﺍﺭﺗﻘﺎﻯ‬ ‫ﺷﻨﺎﺧﺘﻪ ﺷﺪﺓ ﺍﺭﻣﻨﻰ ﺍﻳﺮﺍﻧﻰﺗﺒﺎﺭ ‪ 70‬ﺭﺍ ﺩﺭ ﻫﻨﺮ ﻟﺰﻭﻣﺎً ﺩﻫﺔ ﺩﻭﺭﺷﺪﻥ ﺍﺯ ﻭ ﺍﻃﻼﻋﺎﺕﺷﺎﻥ ﺭﺍ ﺩﺭﺑﺎﺭﻩ ﻭﻯ ﻭ ﺳﺒﻚ‬
‫ﻣﻰﺷﻮﺩ‪ .‬ﻓﻴﻠﻢﻫﺎﻯ ﺑﻰﻛﻴﻔﻴﺘﻰ ﻛﻪ‬ ‫ﻛﻴﻔﻴﺖ ﺁﺛﺎﺭ ﻧﺪﺍﺷﺘﻪ ﻭ ﺩﺭ ﺍﻳﻦ ﺳﺎﻝﻫﺎ‬ ‫ﻓﺮﺍﻧﺴﻮﻯ ‪ ،‬ﻛﻪ ﺩﺭ ﻓﻴﻠﻢ ﺻﺤﺒﺖ ﻛﺮﺩﻩ ﺳﻨﺖ ﺩﺭ ﺍﻳﺮﺍﻥ ﻧﺪﺍﻧﻨﺪ‪.‬‬
‫ﺍﺭﺗﺒﺎﻁﮔﻴﺮﻯ ﺑﺎ ﻣﺨﺎﻃﺐ ﻧﺎﻛﺎﻡﺍﻧﺪ‪.‬‬ ‫ﺣﺘﻰ ﻓﺎﺭﺍﺑﻰ ﺟﺮﺍﺕ ﺍﻛﺮﺍﻥ ﺁﻧﻬﺎ ﺭﺍ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺑﺎ ‪ 10 -12‬ﺍﺛﺮ ﺩﺍﺧﻠﻰ ﻭ ‪ 10-12‬ﺍﺛﺮ‬ ‫ﻛﺎﺭﺵ ﺯﻳﺎﺩ ﻛﻨﻨﺪ‪ .‬ﻳﻌﻨﻰ ﻫﺪﻑ ﺍﻭﻝ ﻣﻦ‬ ‫ﺍﺳﺖ‪ ،‬ﻫﻨﺮ ﻣﺪﺭﻥ ﺍﻳﺮﺍﻧﻰ ﺩﺭ ﻋﻴﻦ ﻣﺪﺭﻥ‬
‫ﺍﻳﻠﻨﺎ ﻣﻰﻧﻮﻳﺴﺪ‪ ،‬ﺑﺮﻃﺮﻑ ﺷﺪﻥ ﺍﻳﻦ‬ ‫ﺍﻣﺴﺎﻝ ﻧﻴﺰ ﻏﻴﺮ ﺍﺯ ﺟﺎﺑﺠﺎﻳﻰ ﻣﺤﻞ‬ ‫ﺧﺎﺭﺟﻰ ﺑﺮ ﭘﺎ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺁﻥ ﻫﻢ ﺁﺛﺎﺭﻯ‬
‫ﺿﻌﻒ ﺍﺭﺗﺒﺎﻁ ﺗﻨﮕﺎﺗﻨﮓ ﻭ ﺩﻭ ﺳﻮﻳﻪ‬ ‫ﺑﺮﮔﺰﺍﺭﻯ ﺟﺸﻨﻮﺍﺭﻩ ﻛﻪ ﻫﺮ ﺳﺎﻝ ﺑﺮ‬ ‫ﻛﻪ ﺗﻨﻬﺎ ﭼﻨﺪ ﻣﺎﻩ ﻣﺎﻧﺪﻩ ﺑﻪ ﺟﺸﻨﻮﺍﺭﻩ‪،‬‬ ‫ﺁﻥ ﺑﻮﺩ ﻛﻪ ﺍﻳﻦ ﺷﺨﺼﻴﺖ ﺩﺭ ﺗﺎﺭﻳﺦ‬ ‫ﺑﻮﺩﻥ ﭘﻴﻮﻧﺪ ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺭﻳﺸﻪﻫﺎﻯ ﺳﻨﺖ‬
‫ﻭﺯﺍﺭﺕ ﺁﻣﻮﺯﺵ ﻭ ﭘﺮﻭﺭﺵ ﻭ ﻭﺯﺍﺭﺕ‬ ‫ﺳﺮ ﺁﻥ ﺟﻨﺠﺎﻝ ﺍﺳﺖ‪ ،‬ﺑﺎ »ﺧﻼﻗﻴﺖ«‬ ‫ﺑﺎ ُﺩﻭﺭ ﺗﻨﺪ ﺳﺎﺧﺘﻪ ﻣﻰﺷﻮﻧﺪ‪ .‬ﮔﻮﻳﺎ ﻫﺮ‬
‫ﺍﺭﺷﺎﺩ ﺭﺍ ﻃﻠﺐ ﻣﻰﻛﻨﺪ‪ .‬ﺍﺭﺗﺒﺎﻃﻰ ﺑﺮﺩ‪-‬‬ ‫ﺟﺪﻳﺪﻯ ﻧﻴﺰ ﺭﻭﺑﺮﻭﻫﺴﺘﻴﻢ‪ .‬ﺗﻔﻜﻴﻚ‬ ‫ﺳﺎﻝ ﻳﻚ ﺩﻓﻌﻪ ﺻﺪﺍﻯ ﭘﺎﻯ ﺟﺸﻨﻮﺍﺭﻩ‬ ‫ﻫﻨﺮ ﺛﺒﺖ ﺑﺸﻮﺩ‪.‬‬ ‫ﺍﻳﺮﺍﻧﻰ ﺑﻪ ﺷﺪﺕ ﺣﻔﻆ ﻛﺮﺩﻩ‪ ،‬ﭼﻴﺰﻯ‬
‫ﺑﺮﺩ ﻛﻪ ﺩﻭ ﻃﺮﻑ ﺑﻪ ﺁﻥ ﻧﻴﺎﺯ ﺩﺍﺭﻧﺪ ﺍﻣﺎ‬ ‫ﺟﺸﻨﻮﺍﺭﻩ ﻛﻪ ﺩﺭ ﺗﺼﻤﻴﻤﻰ ﻧﺎﮔﻬﺎﻧﻰ‬ ‫ﻣﻰﺁﻳﺪ ﻭ ﻓﺎﺭﺍﺑﻰ ﺭﺍ ﻏﺎﻓﻠﮕﻴﺮ ﻣﻰﻛﻨﺪ‬
‫ﺑﻪ ﻧﻈﺮ ﻣﻰﺭﺳﺪ ﺳﻴﻨﻤﺎﻯ ﻛﻮﺩﻙ ﻭ‬ ‫ﻫﻤﻪ ﺭﺍ ﺷﻮﻛﻪ ﻛﺮﺩ‪ .‬ﺳﻴﻨﻤﺎﻯ ﻛﻮﺩﻙ‬ ‫ﻣﻰﺧﻮﺍﺳﺘﻢ ﺑﺎ ﺳﺎﺧﺘﻦ ﺍﻳﻦ ﻓﻴﻠﻢ‬ ‫ﻛﻪ ﺩﺭ ﺁﺛﺎﺭ ﻣﻨﻴﺮ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ ﺑﺴﻴﺎﺭ‬
‫ﻧﻮﺟﻮﺍﻥ ﻧﻴﺰ ﻣﺎﻧﻨﺪ ﻫﺮ ﻋﺮﺻﻪ ﺩﻳﮕﺮ ﺑﻪ‬ ‫ﺟﺪﺍ‪ ،‬ﺳﻴﻨﻤﺎﻯ ﻧﻮﺟﻮﺍﻥ ﺟﺪﺍ‪ .‬ﻧﻮﺟﻮﺍﻥ‬
‫ﻋﻮﺍﻣﻠﻰ ﺑﻴﺶ ﺍﺯ »ﺍﺭﺗﺒﺎﻁ ﺗﻨﮕﺎﺗﻨﮓ«‬ ‫ﺩﺭ ﻫﻤﺪﺍﻥ‪ ،‬ﻛﻮﺩﻙ ﺩﺭ ﺍﺻﻔﻬﺎﻥ‪ .‬ﺑﺎ ﺍﻳﻦ‬ ‫ﺩﺭﺑﺎﺭﺓ ﺍﻳﻦ ﺯﻥ ﻛﻪ ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ ﻧﻮﺩ‬ ‫ﺑﺮﺟﺴﺘﻪ ﺍﺳﺖ‪.‬‬
‫ﺩﻭ ﻭﺯﺍﺭﺗﺨﺎﻧﻪ ﻭ ﺩﺧﺎﻟﺖﻫﺎﻯ ﺩﻭﻟﺘﻰ‬ ‫ﺣﺴﺎﺏ ﺑﺎﻳﺪ ﻣﻨﺘﻈﺮ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢﻫﺎﻯ‬
‫ﺩﺍﺭﺩ‪ :‬ﺑﺨﺶ ﺧﺼﻮﺻﻰ ﻏﻴﺮﻭﺍﺑﺴﺘﻪ ﻭ‬ ‫ﺑﻴﺸﺘﺮﻯ ﺑﺎﺷﻴﻢ‪ .‬ﺍﻣﺎ ﭼﮕﻮﻧﻪ؟ ﺑﺎ ﭼﻪ‬ ‫ﻭ ﺳﻪ ﺳﺎﻝ ﺩﺍﺭﺩ ﻭ ﻫﻨﻮﺯ ﺑﺎ ﭘﺸﺘﻜﺎﺭ‬ ‫ﺳﺎﻝﻫﺎﻯ ﺭﺷﺪ ﻣﻨﻴﺮ ﺩﺭ ﺩﻫﺔ ‪ 40‬ﻭ‬
‫ﻣﺴﺘﻘﻞ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ﺩﺭ ﻛﻤﺎﻝ ﺍﻣﻨﻴﺖ ﻭ‬ ‫ﻛﻴﻔﻴﺘﻰ؟ ﺑﺎ ﻛﺪﺍﻡ ﺳﻴﺎﺳﺖﮔﺬﺍﺭﻯ؟‬
‫ﺍﻃﻤﻴﻨﺎﻥ ﺍﺯ ﺑﺎﺯﮔﺸﺖ ﺳﻮﺩ ﻭ ﺳﺮﻣﺎﻳﻪ‪،‬‬ ‫ﻛﺪﺍﻡ ﺑﻮﺩﺟﻪ؟ ﻛﺪﺍﻡ ﻣﺨﺎﻃﺐ؟ ﺑﺮﺍﻯ‬ ‫ﺯﻳﺎﺩ ﺑﻪ ﺁﻓﺮﻳﻨﺶ ﻫﻨﺮﻯ ﺧﻮﺩﺵ ﺍﺩﺍﻣﻪ‬ ‫‪ 50‬ﻣﻴﻼﺩﻯ ﺩﺭ ﻧﻴﻮﻳﻮﺭﻙ ﻭ ﺩﺭ ﺩﻳﺎﻟﻮ ِگ‬
‫ﺑﺎ ﺧﻼﻗﻴﺖ ﻭ ﺍﺑﺘﻜﺎﺭ ﻭ ﺳﺮﻣﺎﻳﻪﮔﺬﺍﺭﻯ‬ ‫ﻛﺪﺍﻡ ﻫﺪﻑ ﺑﺎﻳﺪ ﺗﻮﺟﻪ ﻭﻳﮋﻩ ﺑﻪ ﺳﻴﻨﻤﺎﻯ‬
‫ﺧﻮﺩ‪ ،‬ﺳﻴﻨﻤﺎﻯ ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﺭﺍ ﻧﻴﺰ‬ ‫ﻛﻮﺩﻙ ﻭ ﻧﻮﺟﻮﺍﻥ ﻭ ﺍﺭﺗﻘﺎﻯ ﺁﻥ ﺷﻮﺩ‪،‬‬ ‫ﻣﻰﺩﻫﺪ ﻧﺴﻞﻫﺎﻯ ﺁﻳﻨﺪﻩ ﺑﺪﺍﻧﻨﺪ ﻛﻪ‬ ‫ﻣﺴﺘﻤﺮ ﺑﺎ ﺑﺮﺧﻰ ﺍﺯ ﺗﺠﺮﺑﻪﮔﺮﺍﺗﺮﻳ ِﻦ‬
‫ﻣﺎﻧﻨﺪ ﺩﻳﮕﺮ ﺑﺨﺶﻫﺎﻯ ﺍﻗﺘﺼﺎﺩﻯ ﻧﺠﺎﺕ‬ ‫ﺍﻣﺎ ﺩﺭ ﻋﺎﻟﻢ ﻭﺍﻗﻌﻴﺖ‪ ،‬ﺍﻳﻦ ﺳﻴﻨﻤﺎ ﺩﺭ‬ ‫‪Eperimental‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﻗﺮﻥ ﺑﻴﺴﺘﻢ‬
‫ﻭﻯ ﻛﻴﺴﺖ ﻭ ﭼﻪ ﻛﺎﺭﻫﺎﻳﻰ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬
‫ﺩﻫﺪ ﻭ ﭘﻮﻳﺎ ﻛﻨﺪ‪.‬‬ ‫‪ ‬ﺍﻫﻤﻴﺖ ﻣﻨﻴﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻳﻚ‬ ‫ﮔﺬﺷﺖ‪ .‬ﻓﻴﻠﻢ ﺑﻬﻤﻦ ﻛﻴﺎﺭﺳﺘﻤﻰ‬

‫ﻫﻨﺮﻣﻨﺪ ﺑﺮﺍﻯ ﺷﻤﺎ ﭼﻴﺴﺖ؟‬ ‫ﻧﮕﺎﻫﻰ ﺻﻤﻴﻤﻰ ﻭ ﺍﺯ ﻧﺰﺩﻳﻚ ﺑﻪ ﺯﻧﺪﮔﻰ‬

‫‪-‬ﺩﺭ ﻣﻮﺭﺩ ﻣﻨﻴﺮ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻨﺮﻣﻨﺪ ﺩﻭ‬
‫ﻟﻴﻼ ﻓﺨﺮ ﺗﻬﻴﻪ ﻛﻨﻨﺪﻩ ﻓﻴﻠﻢ ﭼﻴﺰ ﺍﺻﻠﻰ ﻧﻈﺮ ﻣﺮﺍ ﺑﻪ ﺳﻮﻳﺶ ﺟﻠﺐ‬ ‫ﻭ ﻓﻌﺎﻟﻴﺖ ﻫﻨﺮﻯ ﻣﻨﻴﺮ ﺩﺍﺭﺩ‪ .‬ﺩﺭ ﺍﻳﻦ‬
‫ﻓﻴﻠﻢ ﻣﻰﺑﻴﻨﻴﻢ ﻛﻪ ﭼﮕﻮﻧﻪ ﺍﻳﻦ ﺯﻥ ﺑﻪ »ﻣﻨﻴﺮ« ﺩﺭ ﮔﻔﺘﮕﻮ ﺑﺎ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﻛﺮﺩ‪ .‬ﺍﻭﻝ ﺍﻳﻨﻜﻪ ﺍﮔﺮ ﺩﺭ ﺗﺎﺭﻳﺦ ﻫﻨﺮ ﻧﮕﺎﻩ‬
‫ﻳﻜﻰ ﺍﺯ ﻣﺒﺘﻜﺮﺗﺮﻳﻦ ﻭ ﺗﺎﺛﻴﺮﮔﺬﺍﺭﺗﺮﻳﻦ ﺩﺭ ﻓﻴﻠﻢ ﻧﻴﺰ ﻳﻚ ﻫﻨﺮﺷﻨﺎﺱ ﻛﻨﻴﺪ ﻗﺒﻞ ﺍﺯﻣﻨﻴﺮ ﻛﺴﻰ ﻧﺒﻮﺩ ﻛﻪ ﺍﺯ‬
‫ﻫﻨﺮﻣﻨﺪﺍ ِﻥ ﻓﻌﺎﻝ ﺩﺭ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ ﺗﺒﺪﻳﻞ ﺁﻣﺮﻳﻜﺎﻳﻰ ﻭ ﺍﺯ ﺁﺷﻨﺎﻳﺎﻥ ﻣﻨﻴﺮ ﻣﻰﮔﻮﻳﺪ ﺁﻳﻨﻪﻛﺎﺭﻯ ﺑﻌﻨﻮﺍﻥ ﺭﺳﺎﻧﻪ )ﻣﺪﻳﻮﻡ(‬
‫ﺷﺪ‪ .‬ﻓﻴﻠﻢ ﺩﺭ ﺑﺮﮔﻴﺮﻧﺪﻩ ﺻﺤﻨﻪﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﻬﺎﺟﺮﺕ ﺑﻌﺪ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻮﺩ ﻛﻪ ﺩﺭ ﻫﻨﺮﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﺪ‪ .‬ﺍﺯ ﺍﻳﻦ ﻧﻈﺮ ﻣﻨﻴﺮ‬
‫ﺍﺯ ﺷﻴﻮﺓ ﺳﺎﺧﺘﻦ ﻣﻮﺯﺍﺋﻴﻚ ﺁﻳﻨﻪﻫﺎ ﺍﻭ ﺑﺎ ﺍﻟﻬﺎﻡ ﻭ ﻣﺎﻳﻪ ﮔﺮﻓﺘﻦ ﺍﺯ ﺳﻨﺖ ﺍﻳﺮﺍﻧﻰ ﻧﺨﺴﺘﻴﻦ ﻫﻨﺮﻣﻨﺪﻯ ﺑﻮﺩ ﻛﻪ ﺁﻳﻨﻪﻛﺎﺭﻯ‬
‫ﺩﺭ ﻛﺎﺭﮔﺎﻩ ﻭﻯ ﻭ ﻣﺮﻭﺭ ﮔﺬﺷﺘﺔ ﻣﻨﻴﺮ ﺑﻪ ﺳﺒﻚ ﺑﺴﻴﺎﺭ ﻳﻜﺘﺎﻯ ﺧﻮﺩ ﺭﺳﻴﺪ‪ .‬ﺑﻪ ﺭﺍ‪ -‬ﻛﻪ ﻫﻨﺮﻯ ﺳﻨﺘﻰ ﺑﻮﺩ ﻭ ﺩﺭ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﺫﻫﻨﻴﺖ ﻣﻠﻤﻮﺱ ﺩﺭ ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﻯ ﻣﻌﺎﺻﺮ‬ ‫ﺑﻪ ﺩﻧﺒﺎﻝ ﺗﺤﻮﻻﺕ ﺳﻴﺎﺳﻰ ﺍﻳﺮﺍﻥ ﻭ ﻋﺒﺎﺭﺕ ﺩﻳﮕﺮ ﺩﺭ ﺩﻭﺭﻯ ﺟﻐﺮﺍﻓﻴﺎﻳﻰ ﺑﻮﺩ ﻣﺴﺎﺟﺪﻯ ﻣﺎﻧﻨﺪ ﺷﺎﻩﭼﺮﺍﻍ ﺷﻴﺮﺍﺯ ﻭ ﺩﺭ‬
‫ﻣﻬﺎﺟﺮﺕ ﺍﻭ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ ﻭ ﺳﭙﺲ ﻛﻪ ﻧﺰﺩﻳﻜﻰ ﺭﻭﺣﻰ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪ‪.‬‬
‫ﺣﺠﻠﻪﻫﺎﻯ ﺩﺭﮔﺬﺷﺘﮕﺎﻥ ﺟﻮﺍﻥ ﻓﻘﻂ‬
‫ﺗﺠﺪﻳﺪ ﺣﻴﺎﺕ ﻫﻨﺮﻯ ﺍﻭ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺲ ﺍﺯ ﺍﺗﻤﺎﻡ ﻣﻴﺰﮔﺮﺩ‪ ،‬ﻟﻴﻼ ﻓﺨﺮ ﺗﻬﻴﻪ ﺍﺳﺘﻔﺎﺩﻩ ﻣﻰﺷﺪ‪ -‬ﻭﺍﺭﺩ ﻓﻀﺎﻯ ﻫﻨﺮﻯ ﻭ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﺫﻫﻨﻴﺖ ﻣﻠﻤﻮﺱ ﺑﺎ ‪ 26‬ﺍﺛﺮ‬
‫ﺍﺯ ﺁﺛﺎﺭﻫﻨﺮﻣﻨﺪﺍﻥ ﺗﺎﺛﻴﺮﮔﺬﺍﺭ ﺟﻬﺎﻥ ﺩﺭ‬ ‫ﻣﺪﺭﻥ ﻛﺮﺩ ﻭ ﻳﻚ ﻣﻌﻨﻰ ﺩﻳﮕﺮﻯ ﺑﻪ ﺁﻥ‬

‫ﻣﻮﺯﻩ ﻫﻨﺮﻫﺎﻯ ﻣﻌﺎﺻﺮ ﺍﻓﺘﺘﺎﺡ ﺷﺪ‪.‬‬ ‫ﺩﺍﺩ‪ .‬ﺍﻭ ﺑﺎﻋﺚ ﺷﺪ ﻛﻪ ﺩﻧﻴﺎ ﻳﻚ ﺟﻮﺭ‬
‫ﺑﻪ ﮔﺰﺍﺭﺵ ﺍﻳﺴﻨﺎ‪ ،‬ﺩﺭ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ‬
‫ﺁﺛﺎﺭﻯ ﺍﺯ ﻭﺍﺳﻴﻠﻰ ﻛﺎﻧﺪﻳﻨﺴﻜﻰ‪،‬‬ ‫ﺩﻳﮕﺮ ﺑﻪ ﺍﻳﻦ ﻫﻨﺮ ﻭ ﺻﻨﻌﺖ ﺳﻨﺘﻰ ﻧﮕﺎﻩ‬
‫ﺟﻜﺴﻮﻥ ﭘﻮﻻﻙ‪ ،‬ﻭﻳﻠﻬﻢ ﺩﻛﻮﻧﻴﻨﮓ‪،‬‬
‫ﺭﺍﺑﺮﺕ ﻣﺎﺩﺭﻭﻝ‪ ،‬ﻣﺎﺭﻙ ﺭﻭﺗﻜﻮ‪ ،‬ﺁﺩﻭﻟﻒ‬ ‫ﻛﻨﺪ‪ .‬ﺩﻭﻡ ﺍﻳﻨﻜﻪ ﻣﻨﻴﺮ ﺑﻪ ﺭﺍﺳﺘﻰ ﻳﻜﻰ ﺍﺯ‬
‫ﮔﺎﺗﻠﻴﺐ‪ ،‬ﻓﺮﺍﻧﺰ ﻛﻼﻳﻦ‪ ،‬ﻣﺎﺭﻙ ﺗﻮﺑﻰ‪،‬‬
‫ﺁﻧﺘﻮﻧﻰ ﺗﺎﭘﻴﺲ‪ ،‬ﻣﻨﻮﭼﻬﺮ ﻳﻜﺘﺎﻳﻰ‪ ،‬ژﺍﻥ‬ ‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺯﻥ ﺑﺴﻴﺎﺭ ﻣﻬﻢ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ‬
‫ﻓﻮﺗﺮﻳﻪ‪ ،‬ﭘﻴﺮ ﺳﻮﻻژ‪ ،‬ﺁﻧﺘﻮﻧﻴﻮ ﺳﺎﺋﻮﺭﺍ‪،‬‬
‫ژﺍﻥ ﭘﻞ ﺭﻳﻮﭘﻞ‪ ،‬ﻭﻳﻠﻴﺎﻡ ﺗﺮﻥ ﺑﻮﻝ‪ ،‬ﻓﺮﻳﺘﺰ‬ ‫ﺍﺳﺖ‪ .‬ﺯﻧﻰ ‪ 93‬ﺳﺎﻟﻪ ﻛﻪ ﺑﻌﺪ ﺍﺯ ﺍﻳﻨﻜﻪ‬
‫ﻭﻳﻨﺘﺮ‪ ،‬ﻫﺎﻧﺲ ﻫﺎﺭﺗﻮﻧﮓ‪ ،‬ﻓﺮﺍﻧﻚ ﺍﺳﺘﻼ‪،‬‬
‫ﻣﻮﺭﻳﺲ ﻟﻮﻳﺲ‪ ،‬ﻫﻠﻦ ﻓﺮﺍﻧﻜﻦ ﺗﺎﻟﺮ‪،‬‬ ‫ﺍﻳﻦ ﻫﻤﻪ ﺗﻐﻴﻴﺮ ﻭ ﺗﺤﻮﻝ ﺩﺭ ﺯﻧﺪﮔﻰﺍﺵ‬
‫ﺳﻢ ﻓﺮﺍﻧﺴﻴﺲ‪ ،‬ﺟﺎﻥ ﻫﻮﻳﻠﻨﺪ ﻭ ﭘﻞ‬
‫ﺟﻨﻜﻴﻨﺰ ﻛﻪ ﺩﺭ ﭼﻬﺎﺭ ﺟﺮﻳﺎﻥ ﻫﻨﺮﻯ‬ ‫ﺭﻭﻯ ﺩﺍﺩﻩ ﻫﻨﻮﺯ ﻫﻢ ﺑﺎ ﭘﻮﻳﺎﻳﻰ ﺗﻤﺎﻡ ﻛﺎﺭ‬
‫ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺍﻧﺘﺰﺍﻋﻰ‪ ،‬ﺗﺎﺷﻴﺴﻢ‪،‬‬
‫ﺍﻧﺘﺰﺍﻉ ﭘﺴﺎﻧﻘﺎﺷﺎﻧﻪ ﻭ ﺍﻧﺘﺰﺍﻉ ﺗﻐﺰﻟﻰ ﻛﺎﺭ‬ ‫ﻭ ﺗﻼﺵ ﻣﻰﻛﻨﺪ ﻭ ﺩﺳﺖ ﺑﻪ ﺁﻓﺮﻳﻨﺶ‬
‫ﺷﺪﻩﺍﻧﺪ‪ ،‬ﺑﻪ ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻫﻨﺮﻯ ﻣﻰﺯﻧﺪ‪ .‬ﻭﺍﻗﻌﺎً ﻣﺎ ﺩﺭ ﺧﺎﻭﺭﻣﻴﺎﻧﻪ‬
‫ﺍﺣﺴﺎﻥ ﺁﻗﺎﻳﻰ‪ ،‬ﺩﺑﻴﺮ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ‬
‫ﻧﻴﺰ ﺑﺎ ﺍﺭﺍﺋﻪ ﺗﻮﺿﻴﺤﻰ ﺩﺭﺑﺎﺭﻩ ﭼﻬﺎﺭ‬ ‫ﭼﻨﻴﻦ ﺯﻥ ﻫﻨﺮﻣﻨﺪﻯ ﻧﺪﺍﺭﻳﻢ‪ .‬ﺍﻳﻦ ﺩﻭ‬
‫ﺟﺮﻳﺎﻥ ﻫﻨﺮﻯ ﺍﺭﺍﺋﻪ ﺷﺪﻩ ﺩﺭ ﺍﻳﻦ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ ﮔﻔﺖ‪ :‬ﻗﺒﻞ ﻭ ﺑﻌﺪ ﺍﺯ ﻣﺪﺭﻧﻴﺴﻢ‬ ‫ﺩﻟﻴﻞ ﻣﻬﻤﻰ ﺑﻮﺩ ﻛﻪ ﻣﻦ ﺩﺳﺖ ﺑﻪ ﺗﻬﻴﻪ‬
‫ﻳﻚ ﻧﻘﻄﻪ ﻋﻄﻔﻰ ﺩﺭ ﺩﻝ ﺗﺎﺭﻳﺦ ﻫﻨﺮ‬
‫ﻭﺟﻮﺩ ﺩﺍﺷﺖ ﻛﻪ ﺧﻮﺩ ﻣﺪﺭﻧﻴﺴﻢ ﻧﻴﺰ‬ ‫ﺍﻳﻦ ﻓﻴﻠﻢ ﺯﺩﻡ‪.‬‬
‫ﻗﺒﻞ ﻭ ﺑﻌﺪ ﺍﺯ ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺍﻧﺘﺰﺍﻋﻰ‬ ‫‪‬ﺩﺭ ﺍﻳﻦ ﻛﺎﺭ ﺷﺨﺼﻴﺖ ﺧﻮﺩ‬
‫ﺷﻤﺴﻰ ﺍﺯ ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﺗﺤﺼﻴﻞ ﺑﻪ‬ ‫ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺍﻧﺘﺰﺍﻋﻰ ﺑﺎﺯﻧﻤﺎﻳﻰ‬ ‫ﻳﻚ ﻧﻘﻄﻪ ﻋﻄﻒ ﺩﺍﺭﺩ‪ .‬ﺍﻧﺘﺰﺍﻋﻰ ﻛﻪ‬
‫ﺁﻣﺮﻳﻜﺎ ﻣﻰﺭﻭﺩ‪ .‬ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﻧﻤﺎﻳﺶ ﺁﺛﺎﺭ‬ ‫ﺍﺯ ﺑﻴﻦ ﻣﻰﺭﻭﺩ ﻭ ﺍﻧﺘﺰﺍﻉ ﺍﻫﻤﻴﺖ ﭘﻴﺪﺍ‬ ‫ﻣﺪﺭﻥ ﺍﺳﺖ ﻭ ﺭﻳﺸﻪ ﺩﺭ ﺗﺎﺭﻳﺦ ﺑﺸﺮ‬ ‫ﻣﻨﻴﺮ ﺭﻭ ﻣﻰﺁﻳﺪ‪ .‬ﻓﻴﻠﻤﻰﻛﻪ ﺗﻤﺎﺷﺎﮔﺮ‬
‫ﻫﻨﺮﻣﻨﺪﺍﻥ ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺍﻧﺘﺰﺍﻋﻰ‪،‬‬ ‫ﻣﻰﻛﻨﺪ ﻭ ﺁﻧﭽﻪ ﻣﻬﻢ ﺗﻠﻘﻰ ﻣﻰﺷﻮﺩ‪،‬‬ ‫ﺩﺍﺭﺩ ﺍﺯ ﺍﺑﺘﺪﺍﻯ ﺳﺪﻩ ﺑﻴﺴﺘﻢ ﺷﺮﻭﻉ ﺷﺪ‪.‬‬
‫ﺍﻭ ﻫﻢ ﺁﺛﺎﺭﺵ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫ﺫﻫﻦ ﻫﻨﺮﻣﻨﺪ ﺍﺳﺖ‪ .‬ﻫﻨﺮﻣﻨﺪ ﻭﻗﺘﻰ ﻛﺎﺭ‬ ‫ﺑﻪ ﻃﻮﺭﻯ ﻛﻪ ﺩﻳﻮﺍﺭﻧﮕﺎﺭﻩﻫﺎﻯ ﻗﺪﻳﻤﻰ‬ ‫ﺭﺍ ﮔﺎﻩ ﺷﺎﺩ ﻣﻰﻛﻨﺪ ﻭ ﮔﺎﻩ ﻣﻤﻜﻦ‬
‫ﺍﺗﻔﺎﻗﺎ ﺧﻴﻠﻰ ﻫﻢ ﺟﻠﺐ ﺗﻮﺟﻪ ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺭﺍ ﺷﺮﻭﻉ ﻣﻰﻛﻨﺪ ﺍﺧﺘﻴﺎﺭ ﺍﺛﺮ ﺩﺭ ﺩﺳﺖ‬ ‫ﻧﻮﻋﻰ ﺍﻧﺘﺰﺍﻉ ﻫﺴﺘﻨﺪ‪ .‬ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ‬
‫ﻛﺎﺭﻫﺎﻳﺶ ﺧﺮﻳﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻫﻤﺎﻥ‬ ‫ﺍﻭ ﻧﻴﺴﺖ‪ ،‬ﺍﺧﺘﻴﺎﺭ ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﺩﺳﺖ ﺍﺛﺮ‬ ‫ﺍﻧﺘﺰﺍﻋﻰ ﺍﺯ ﭘﺎﻳﺘﺨﺖ ﻫﻨﺮ ﻛﻪ ﺗﺎ ﺁﻥ ﺯﻣﺎﻥ‬ ‫ﺍﺳﺖﺑﻪﮔﺮﻳﻪﺑﻴﻨﺪﺍﺯﺩ‪.‬ﻓﻜﺮﻣﻰﻛﻨﻴﺪ‬ ‫ﻣﻨﻴﺮ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ ﺷﺎﻫﺮﻭﺩﻯ ﺩﺭ ﮔﺎﻟﺮﻯ ﺧﻮﺩ‪ ،‬ﺗﻬﺮﺍﻥ ‪1975‬‬
‫ﺩﻭﺭﻩ ﻳﻜﺘﺎﻳﻰ ﺑﺎ ﺑﻌﻀﻰ ﺍﺯ ﻫﻨﺮﻣﻨﺪﺍﻥ‬ ‫ﺍﺳﺖ‪ .‬ﻧﻤﻰﺩﺍﻧﺪ ﭼﻪ ﻛﺎﺭ ﻣﻰﺧﻮﺍﻫﺪ ﺑﻜﻨﺪ‪.‬‬ ‫ﭘﺎﺭﻳﺲ ﺑﻮﺩ ﺑﻪ ﻧﻴﻮﻳﻮﺭﻙ ﻣﻨﺘﻘﻞ ﺷﺪ ﻛﻪ‬ ‫ﭼﻘﺪﺭ ﺑﻬﻤﻦ ﻛﻴﺎﺭﺳﺘﻤﻰ ﺩﺭ ﺁﺷﻜﺎﺭ‬
‫ﺍﻳﻦ ﺟﺮﻳﺎﻥ ﺩﻭﺳﺖ ﺑﻮﺩﻩ ﻭ ﺗﻨﻬﺎ ﻛﺴﻰ‬ ‫ﻛﺎﺭ ﺭﺍ ﺷﺮﻭﻉ ﻣﻰﻛﻨﺪ‪ ،‬ﺍﻣﺎ ﻧﻤﻰﺩﺍﻧﺪ ﻛﻰ‬ ‫ﺑﻌﺪ ﺍﺯ ﺁﻥ ﺟﺮﻳﺎﻥ ﻣﺘﻔﺎﻭﺗﻰ ﺩﺭ ﺗﺎﺭﻳﺦ‬ ‫ﺑﺎﺯﮔﺸﺖﺍﺵ ﺩﺭ ‪ 83‬ﺳﺎﻟﮕﻰ ﭘﺲ ﺍﺯ ﻛﻨﻨﺪﺓ ﻓﻴﻠﻢ »ﻣﻨﻴﺮ« ﺩﺭ ﮔﻔﺘﮕﻮﻳﻰ ﺑﻪ ﺷﺪﻥ ﺍﺑﻌﺎﺩ ﻣﺨﺘﻠﻒ ﺷﺨﺼﻴﺖ ﻣﻨﻴﺮ‬
‫ﺍﺳﺖ ﻛﻪ ﺩﺭ ﺍﻳﻦ ﺟﻨﺒﺶ ﻣﻰﮔﻨﺠﺪ‪.‬‬ ‫ﺗﻤﺎﻡ ﻣﻰﺷﻮﺩ‪ .‬ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ ﺗﺎﺷﻴﺴﻢ‬ ‫ﻫﻨﺮﺷﺮﻭﻉ ﺷﺪ‪ .‬ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ ﺟﺮﻳﺎﻥ‬ ‫ﻏﻴﺒﺖ ‪ 25‬ﺳﺎﻟﻪﺍﺵ ﺑﻪ ﺍﻳﺮﺍﻥ ﺍﺳﺖ‪ .‬ﭘﺮﺳﺶﻫﺎﻯ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﭘﺎﺳﺦ ﺩﺍﺩ‪ .‬ﻧﻘﺶ ﺩﺍﺷﺘﻪ ﺍﺳﺖ؟‬
‫ﺳﺒﻚ ﺍﻭ ﻫﻢ ﺑﻪ ﺗﺎﺷﻴﺴﻢ ﻭ ﻫﻢ ﺑﻪ‬ ‫ﻛﻪ ﺩﺭ ﺩﻫﻪ ‪ 40‬ﻣﻴﻼﺩﻯ ﺩﺭ ﺍﺭﻭﭘﺎ ﺷﻜﻞ‬ ‫ﻓﻴﻠﻢ ﻛﻴﺎﺭﺳﺘﻤﻰ ﺩﺭ ﺍﺭﺍﻳﺔ ﺯﻧﺪﮔﻰﻧﺎﻣﺔ ‪‬ﭼﻪ ﺍﻧﮕﻴﺰﻩﺍﻯ ﺑﺎﻋﺚ ﺷﺪ ﺑﻪ ‪-‬ﺑﻬﻤﻦ ﻛﻴﺎﺭﺳﺘﻤﻰ ﺑﻪ ﺭﺍﺳﺘﻰ ﻳﻚ‬
‫ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ ﺍﻧﺘﺰﺍﻋﻰ ﻛﺎﻣﻼ ﻧﺰﺩﻳﻚ‬ ‫ﮔﺮﻓﺖ ﻧﺴﺨﻪ ﺍﺭﻭﭘﺎﻳﻰ ﺍﻛﺴﭙﺮﺳﻴﻮﻧﻴﺴﻢ‬ ‫ﻏﺎﻟﺐ ﻓﻴﮕﻮﺭ ﻭ ﻣﻨﻈﺮﻩ ﺑﻮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﻣﺨﺘﺼﺮ ﻭ ﻣﻔﻴﺪ ﺍﻳﻦ ﻫﻨﺮﻣﻨﺪ ﺩﺭ ﺍﻭﺝ ﺳﺮﺍﻍ ﺳﺎﺧﺘﻦ ﻓﻴﻠﻢ ﻣﺴﺘﻨﺪ ﺩﺭﺑﺎﺭﻩ ﻓﻴﻠﻢﺳﺎﺯ ﻭ ﻫﻨﺮﻣﻨﺪ ﭘﺮﺗﺮﻩﺳﺎﺯ ﺍﺳﺖ‪.‬‬
‫ﺍﺳﺖ‪ .‬ﻫﻨﺮﻣﻨﺪﺍﻥ ﺩﻳﮕﺮ ﺍﻳﺮﺍﻧﻰ ﺩﺭ ﺁﻥ‬ ‫ﺍﻭ ﺩﺭ ﺍﻳﻦ ﺯﻣﻴﻨﻪ ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ :‬ﺩﺭ ﺟﺮﻳﺎﻥ‬ ‫ﻓﻌﺎﻟﻴﺖ ﻫﻨﺮﻯﺍﺵ ﻣﻮﻓﻖ‪ ،‬ﺭﻭﺍﻥ ﻭ ﻣﻨﻴﺮﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥﺑﺮﻭﻳﺪ؟‬
‫ﺩﻭﺭﻩ ﺩﺭ ﻓﻀﺎﻯ ﻣﺘﻔﺎﻭﺗﻰ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺍﻧﺘﺰﺍﻋﻰ ﺑﻪ ﺷﻤﺎﺭ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﻳﻜﻰ ﺍﺯ ﺧﺼﻮﺻﻴﺎﺕ ﺑﺮﺟﺴﺘﺔ ﺑﻬﻤﻦ‬
‫ﻳﻜﺘﺎﻳﻰ ﺑﻴﻦﺍﻟﻤﻠﻠﻰﺗﺮﻳﻦ ﻫﻨﺮﻣﻨﺪ ﺍﻳﺮﺍﻥ‬ ‫ﺩﺑﻴﺮ ﻧﻤﺎﻳﺸﮕﺎﻩ »ﺫﻫﻨﻴﺖ ﻣﻠﻤﻮﺱ«‬ ‫ﺗﻤﺎﺷﺎﻳﻰ ﺍﺳﺖ ﺩﺭ ﻋﻴﻦ ﺁﻧﻜﻪ ﺍﻃﻼﻋﺎﺕ ‪-‬ﻣﻦ ﺧﻮﺩﻡ ﺑﺮﮔﺰﺍﺭ ﻛﻨﻨﺪﺓ ﺁﻥ ﺍﺳﺖ ﻛﻪ ﺁﻥ ﻗﺪﺭ ﺑﺎ ﺁﻥ ﺷﺨﺼﻴﺖ‬
‫ﺍﺳﺖ‪ .‬ﺩﺭ ﺳﺎﻳﺖﻫﺎﻯ »ﺁﺭﺕ ﻧﺖ« ﻭ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩ‪ :‬ﺁﺭﺷﻴﻮ ﺧﻮﺑﻰ ﺩﺭ ﺍﻳﻦ ﺳﺒﻚ‬ ‫ﻣﻔﻴﺪﻯ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺗﻤﺎﺷﺎﮔﺮ ﻣﻰﻧﻬﺪ‪ .‬ﻧﻤﺎﻳﺸﮕﺎﻩﻫﺎﻯ ﻫﻨﺮﻯ ﻫﺴﺘﻢ ﻳﻌﻨﻰ ﺩﺭ ﺭﺍﺣﺖ ﺭﻓﺘﺎﺭ ﻣﻰﻛﻨﺪ ﻭ ﺍﺟﺎﺯﻩ ﻣﻰﺩﻫﺪ‬
‫»ﺳﺎﺗﺒﻴﺰ« ﻛﺎﺭﻫﺎﻳﺶ ﺁﻧﻼﻳﻦ ﺑﻪ ﻓﺮﻭﺵ‬ ‫ﺩﺍﺭﻳﻢ‪ .‬ﻣﻬﻢ ﻫﻢﺳﻮﻳﻰ ﺍﻳﻦ ﭼﻬﺎﺭ ﺟﺮﻳﺎﻥ‬ ‫ﻳﻜﻰﺍﺯﺻﺤﻨﻪﻫﺎﻯﺑﺴﻴﺎﺭﺯﻳﺒﺎﻯﻓﻴﻠﻢ ﻭﺍﻗﻊ ﺩﺭ ﺍﺻﻞ ﻣﻦ ﺗﻬﻴﻪ ﻛﻨﻨﺪﺓ ﻓﻴﻠﻢ ﻛﻪ ﺧﻮﺩﺵ ﺑﺎﺷﺪ ﻛﻪ ﺗﻤﺎﻣﻰ ﺻﻔﺎﺕ‬
‫ﺑﻮﺩ‪ .‬ﺁﺛﺎﺭ ﻭﻳﻠﻴﺎﻡ ﺗﺮﻥﺑﻮﻝ‪ ،‬ﺁﻧﺘﻮﻧﻰ ﺗﺎﭘﻴﺲ‬ ‫ﺟﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﻣﻨﻴﺮ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ ﺑﻪ ﻧﻴﺴﺘﻢ‪.‬ﻗﺒ ًﻼﺩﺭﮔﺎﻟﺮﻯ»ﺗﻴﺖ«ﺩﺭﻗﺴﻤﺖ ﺁﻥ ﺷﺨﺼﻴﺖ ﻧﻤﺎﻳﺎﻥ ﻣﻰﺷﻮﺩ‪ .‬ﻣﻦ‬
‫ﻣﻰﺭﺳﺪ‪.‬‬ ‫ﻭ ﺟﺎﻥ ﻫﻮﻳﻠﻨﺪ ﺍﻭﻟﻴﻦ ﺑﺎﺭ ﺍﺳﺖ ﻛﻪ ﺑﻪ‬ ‫ﺍﺗﻔﺎﻕ ﺩﻭﺳﺘﻰ ﻭﺍﺭﺩ ﺣﻴﺎﻁ ﺑﺰﺭگ ﺧﺎﻧﺔ‬
‫ﻧﻤﺎﻳﺸﮕﺎﻩ »ﺫﻫﻨﻴﺖ ﻣﻠﻤﻮﺱ« ﺍﺯ‬
‫‪ 24‬ﺷﻬﺮﻳﻮﺭ ﺗﺎ ‪ 15‬ﺁﺑﺎﻥﻣﺎﻩ ﺩﺭ ﻣﻮﺯﻩ‬ ‫ﻧﻤﺎﻳﺶ ﮔﺬﺍﺷﺘﻪ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻣﺠﻠﻞ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ ﺩﺭ ﺷﻤﻴﺮﺍﻥ‬
‫ﻫﻨﺮﻫﺎﻯ ﻣﻌﺎﺻﺮ ﺗﻬﺮﺍﻥ ﻭﺍﻗﻊ ﺩﺭ ﺧﻴﺎﺑﺎﻥ‬ ‫ﺍﻭ ﺩﺭﺑﺎﺭﻩ ﺣﻀﻮﺭ ﺍﺛﺮﻯ ﺍﺯ ﻣﻨﻮﭼﻬﺮ‬
‫ﻛﺎﺭﮔﺮ ﺷﻤﺎﻟﻰ‪ ،‬ﺟﻨﺐ ﭘﺎﺭﻙ ﻻﻟﻪ‪،‬‬ ‫ﻳﻜﺘﺎﻳﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﺗﻨﻬﺎ ﻫﻨﺮﻣﻨﺪ ﺍﻳﺮﺍﻧﻰ‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﻣﺼﺎﺩﺭﻩ ﺷﺪﻩ‬
‫ﻣﻴﺰﺑﺎﻥ ﺩﻭﺳﺘﺪﺍﺭﺍﻥ ﻫﻨﺮ ﻧﻘﺎﺷﻰ ﺍﺳﺖ‪.‬‬ ‫ﺷﺮﻛﺖ ﻛﻨﻨﺪﻩ ﺩﺭ ﺍﻳﻦ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻧﻴﺰ‬
‫ﺍﻇﻬﺎﺭ ﺩﺍﺷﺖ‪ :‬ﺁﻗﺎﻯ ﻳﻜﺘﺎﻳﻰ ﺩﻫﻪ ‪40‬‬ ‫ﺩ ﻭ ﺩﻳﺮ ﺯﻣﺎﻧﻰ ﺍﺳﺖ ﻛﻪ ﺧﺎﻟﻰ ﺍﺯ‬

‫ﺳﻜﻨﻪ ﺍﺳﺖ ﻭ ﮔﺮﺩ ﻭ ﻏﺒﺎﺭ ﻛﻬﻨﮕﻰ‬

‫ﻭ ﺑﺮگﻫﺎﻯ ﺭﻭﻯ ﺯﻣﻴﻦ ﺳﻴﻤﺎﻯ‬

‫ﺯﻳﺒﺎ ِﻯ ﮔﺬﺷﺘﺔ ﺁﻥ ﺭﺍ ﭘﻮﺷﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬

‫ﺍﻳﻦ ﻫﻤﺎﻥ ﺟﺎﻳﻰ ﺍﺳﺖ ﻛﻪ ﺭﻭﻯ ﻛﻒ‬

‫ﺍﺳﺘﺨﺮ ﺑﺰﺭگ ﻭﺳﻂ ﺣﻴﺎﺕ ﺗﺼﻮﻳﺮ‬

‫ﺩﻭ ﺯﻥ ﻣﺎﻳﻮ ﭘﻮﺷﻴﺪﻩ ﻧﻘﺶ ﺑﺴﺘﻪ‬

‫ﺑﻮﺩ‪ .‬ﻣﻨﻴﺮ ﺭﻭﻯ ﺳﻜﻮﻳﻰ ﻣﻰﻧﺸﻴﻨﺪ ﻭ‬
‫ﺑﺎ ﺳﻜﻮﺕ ﻧﺴﺒﺘﺎً ﻃﻮﻻﻧﻰ ﺑﻪ ﺍﻃﺮﺍﻑ‬

‫ﻣﻰﻧﮕﺮﺩ‪ .‬ﺩﺭ ﺗﺪﻭﻳﻦ‪ ،‬ﺗﺼﺎﻭﻳﺮ ﺭﻭﺯﻫﺎﻯ‬

‫ﮔﺬﺷﺘﻪ ﻭ ﻣﻬﻤﺎﻧﻰﻫﺎﻯ ﻣﺠﻠﻞ ﺑﺎ ﺣﻀﻮﺭ‬

‫ﺧﺎﺭﺟﻰﻫﺎ ﺩﺭ ﺟﺎﻯ ﺟﺎﻯ ﺍﻳﻦ ﺳﻜﻮﺕ‬

‫ﻣﻰﺁﻳﺪ‪ .‬ﺍﻣﺎ ﺣﺴﺮﺕ ﻭ ﺣﺮﻣﺎﻥ ﺩﺭ ﻧﮕﺎﻩ ﻭ‬

‫ﻳﻜﻰ ﺍﺯ ﺁﺛﺎﺭ ﻣﻨﻴﺮ ﺷﺎﻫﺮﻭﺩﻯ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ‬ ‫ﭼﻬﺮﺓ ﻣﻨﻴﺮ ﺩﻳﺪﻩ ﻧﻤﻰﺷﻮﺩ‪ .‬ﺍﻳﻨﺠﺎﺳﺖ‬

‫ﻛﻪ ﻗﻮﻯ ﺑﻮﺩﻥ ﺭﺍﺳﺘﻴﻦ ﺍﻳﻦ ﺑﺎﻧﻮﻯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺩﺍﺋﻤﻰ ﺁﻥ ﻛﺎﺭ ﻣﻰﻛﺮﺩﻡ ﻭ ﺁﻥ ﻓﻜﺮ ﻣﻰﻛﻨﻢ ﺍﻳﻦ ﻧﻜﺘﻪﺍﻯ ﻛﻪ ﺷﻤﺎ‬
‫ﻫﻨﺮﻣﻨﺪ ﺑﻴﺸﺘﺮ ﻧﻤﺎﻳﺎﻧﺪﻩ ﻣﻰﺷﻮﺩ‪ .‬ﺯﻣﺎﻥ ﺩﺭ ﻣﻮﺭﺩ ﻛﺎﺭ ﻭ ﺳﺒﻚ ﺁﻓﺮﻳﻨﺶ ﮔﻔﺘﻴﺪ ﺻﺪ ﺩﺭ ﺻﺪ ﺍﺯ ﻫﻨﺮ ﻓﻴﻠﻢﺳﺎﺯﻯ‬
‫ﺑﻪﺩﻧﺒﺎﻝﻧﻤﺎﻳﺶﺍﻳﻦﻓﻴﻠﻢ‪،‬ﻣﻴﺰﮔﺮﺩﻯ ﻫﻨﺮﻯ ﻣﻨﻴﺮ ﻓﺮﻣﺎﻧﻔﺮﻣﺎﻳﻴﺎﻥ ﺗﺤﻘﻴﻖ ﺑﻬﻤﻦ ﺑﻮﺩ‪.‬‬
‫ﺑﻪ ﮔﺮﺍﻧﻨﺪﮔﻰ ﻛﺎﺗﺮﻳﻦ ﺳﻨﻮﺕ‪ ،‬ﻣﺪﻳﺮ ﻛﺮﺩﻡ‪ .‬ﺁﻧﺠﺎ ﻣﺘﻮﺟﻪ ﺷﺪﻡ ﻛﻪ ﺩﺭﺑﺎﺭﻩ ‪ ‬ﺁﻳﺎ ﻗﺮﺍﺭ ﺍﺳﺖ ﺍﻳﻦ ﻓﻴﻠﻢ ﺩﺭ‬
‫ﺑﺮﻧﺎﻣﻪﻫﺎﻯ‪ ICA‬ﺑﺎﺷﺮﻛﺖﻣﺮﻳﻢﺁﻳﺴﻠﺮ ﻛﺎﺭ ﻣﺪﺭﻧﻴﺴﺖﻫﺎﻯ ﺍﻳﺮﺍﻧﻰ ﺩﺭ ﺗﺎﺭﻳﺦ ﺍﻳﺮﺍﻥ ﻫﻢ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﺁﻳﺪ؟‬
‫ﻛﻠﻜﺴﻴﻮﻧﺮ ﻭ ﺳﺮﺩﺑﻴﺮ ﻫﻨﺮﻯ‪ ،‬ﻣﺼﻄﻔﻰ ﻫﻨﺮ‪ ،‬ﭘﮋﻭﻫﺶ ﻭ ﻣﻄﺎﻟﻌﺎﺕ ﺯﻳﺎﺩﻯ ﺍﻧﺠﺎﻡ ‪-‬ﻫﻨﻮﺯ ﻧﻪ‪ ،‬ﻭﻟﻰ ﭘﺲ ﺍﺯ ﺗﻐﻴﻴﺮﺍﺗﻰ ﺩﺭ‬
‫ﻫﻴﻮﻟﻮﻯ ﺑﺮﮔﺰﺍﺭﻛﻨﻨﺪﺓ ﻧﻤﺎﻳﺸﮕﺎﻩ ﻭ ﻧﺸﺪﻩ ﺍﺳﺖ‪ .‬ﻣﻨﺎﺑﻊ ﺩﻗﻴﻘﻰ ﻫﻢ ﻧﻴﺎﻓﺘﻢ ﺯﻳﺮﻧﻮﻳﺲ ﻓﻴﻠﻢ ﻗﺮﺍﺭ ﺍﺳﺖ ﺁﻥ ﺭﺍ ﺩﺭ‬
‫ﺳﺎﺯﻧﺪﺓ ﻓﻴﻠﻢﻫﺎﻯ ﻣﺴﺘﻨﺪ ﻭ ﻟﻴﻼ ﻓﺨﺮ ﺩﺭ ﻣﻮﺭﺩ ﺍﻳﻨﻜﻪ ﻛﻰ ﻭ ﻛﺠﺎ ﻭ ﺑﺎ ﭼﻪ ﺁﺛﺎﺭﻯ ﺁﻧﺠﺎ ﻫﻢ ﺑﻪ ﻧﻤﺎﻳﺶ ﺩﺭ ﺑﻴﺎﻭﺭﻳﻢ‪.‬‬
‫ﺑﺮﮔﺰﺍﺭ ﺷﺪ‪ .‬ﻣﺮﻳﻢ ﺁﻳﺴﻠﺮ ﺩﺭ ﺟﺎﻳﻰ ﺍﺯ ﻧﻤﺎﻳﺸﮕﺎﻩﻫﺎﻯ ﺁﻧﻬﺎ ﺑﺮﮔﺰﺍﺭ ﺷﺪﻩ ﻛﻪ ﺑﺘﻮﺍﻧﺪ ‪ ‬ﺑﺴﻴﺎﺭ ﻣﻤﻨﻮﻥ ﺍﺯ ﻭﻗﺘﻰ ﻛﻪ ﺩﺭ‬
‫ﺻﺤﺒﺖﺍﺵ ﺑﻪ ﺍﻳﻦ ﻧﻜﺘﻪ ﺍﺷﺎﺭﻩ ﻛﺮﺩ ﻛﻪ ﺑﻪﻣﺎﺍﻃﻼﻋﺎﺗﻰﺑﺪﻫﺪ‪.‬ﺑﺎﺧﻮﺩﻡﻓﻜﺮﻛﺮﺩﻡ ﺍﺧﺘﻴﺎﺭﻛﻴﻬﺎﻥﻟﻨﺪﻥﮔﺬﺍﺷﺘﻴﺪ‪.‬‬

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