Page 11 - (کیهان لندن - سال سى و سوم ـ شماره ۲۵ (دوره جديد

P. 11

‫ﺻﻔﺤﻪ ‪ 11‬ـ ‪ Page 11‬ـ ﺷﻤﺎﺭﻩ ‪25‬‬
‫ﺟﻤﻌﻪ ‪ 11‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 17‬ﺳﭙﺘﺎﻣﺒﺮ ‪2015‬‬

‫ﺍﻣﺎ ﺍﻛﺮﺍﻥ ﺁﻧﻬﺎ ﺑﻪ ﺩﻟﻴﻞ ﺗﻘﺎﺭﻥ ﺑﺎ‬ ‫»ﺩﻳﺮﻳﻦ ﺩﻳﺮﻳ ِﻦ« ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ‬ ‫‪ 57‬ﺳﺎﻝ ﺍﺯ ﺯﻣﺎﻧﻰ ﻛﻪ »ﺍﺳﻔﻨﺪﻳﺎﺭ‬ ‫»ﺑﻪ ﺷﻤﺎ ﮔﻔﺘﻢ‪ ،‬ﺑﮕﺬﺍﺭﻳﺪ ﺩﺭ ﺍﻳﻦ‬
‫ﺭﻭﺯﻫﺎﻯ ﻋﻴﺪ ﻧﻮﺭﻭﺯ ‪ 93‬ﻭ ﭘﺨﺶ‬ ‫ﺍﺣﻤﺪﻳﻪ« ﻧﺨﺴﺘﻴﻦ ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻧﻰ‬ ‫ﻛﺸﺘﺰﺍﺭ ﮔﺮﻳﻪ ﻛﻨﻢ«‬
‫ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﻫﻢ‪ ،‬ﺣﺘﻰ ﺑﻪ ﻓﺮﻭﺵ‬ ‫ﺍﻧﻴﻤﻴﺸ ِﻦﺍﻳﺮﺍﻥﺭﺍﺍﻳﻨﺘﺮﻧﺖﺯﻧﺪﻩﻧﮕﻪﺩﺍﺷﺘﻪﺍﺳﺖ‬ ‫ﺭﺍ ﺑﺎ ﻋﻨﻮﺍﻥ »ﻣﻼﻧﺼﺮﺍﻟﺪﻳﻦ« ﺧﻠﻖ‬
‫ﻣﺠﻤﻮﻉ ﻳﻚ ﻣﻴﻠﻴﺎﺭﺩ ﺗﻮﻣﺎﻥ ﻫﻢ‬ ‫ﻛﺮﺩ‪ ،‬ﻣﻰﮔﺬﺭﺩ‪ .‬ﭘﺪﺭ ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ ﺑﻪ‬
‫ﺩﺳﺖ ﻧﻴﺎﻓﺖ ﻭ ﺳﺎﺯﻧﺪﮔﺎﻥﺷﺎﻥ ﺭﺍ‬ ‫ﺁﺯﺍﺩﻩ ﻛﺮﻳﻤﻰ‬ ‫ﺩﻧﻴﺎﻯ ﻭﺍﻗﻊﮔﺮﺍﻯ ﻧﻘﺎﺷﻰﻫﺎﻯ ﻣﻜﺘﺐ‬ ‫ﻛﺘﺎﻳﻮﻥ ﺣﻼﺟﺎﻥ‪ -‬ﺧﻮﺯﻩ ﺍﻭﺭﺗﮕﺎ‪،‬‬
‫ﺑﻪ ﺍﻋﺘﺮﺍﺽ ﻭﺍﺩﺍﺷﺖ‪ .‬ﻫﺮ ﭼﻨﺪ ﺍﻳﺠﺎﺩ‬ ‫»ﻛﻤﺎﻝ ﺍﻟﻤﻠﻚ«‪ ،‬ﻋﻨﺼﺮ ﺣﺮﻛﺖ ﺭﺍ‬ ‫ﻫﻨﺮﻣﻨﺪ‪ ،‬ﻧﻘﺎﺵ ﻭ ﻣﺒﺎﺭﺯ ﺳﻴﺎﺳﻰ ﺩﺭ ﺳﺎﻝ‬
‫ﺷﺮﺍﻳﻂ ﻣﻄﻠﻮﺏ ﺍﻛﺮﺍﻥ ﻫﻤﭽﻮﻥ‬ ‫ﺍﻧﻴﻤﺎﺗﻮﺭﻫﺎ ﺑﺪﻫﻜﺎﺭ ﺑﻮﺩ ﻭ ﻫﻨﻮﺯ ﻣﺸﺨﺺ‬ ‫ﻓﺎﻳﺪﻩ ﻫﺪﺭ ﻣﻰﺭﻭﺩ‪.‬‬ ‫ﺍﺿﺎﻓﻪ ﻛﺮﺩ ﻭ ﺑﺎ ﻛﺎﺩﺭ ‪ 16‬ﻣﻴﻠﻰﻣﺘﺮﻯ‬ ‫ﻫﻴﭻﮔﺎﻩ ﺍﺳﭙﺎﻧﻴﺎ ﺭﺍ ﻧﻤﻰﺑﻴﻨﺪ ﻭ ﺩﺭ ﺳﺎﻝ‬ ‫‪ 1921‬ﺩﺭ ﺷﻬﺮ ﻛﻮﭼﻚ ﺁﺭﻭﺑﺎ ﺩﺭ ﺍﺳﭙﺎﻧﻴﺎ‬
‫ﺷﺮﺍﻳﻄﻰ ﻛﻪ ﺑﺮﺍﻯ ﺍﻧﻴﻤﻴﺸﻦ »ﺗﻬﺮﺍﻥ‬ ‫ﻧﻴﺴﺖ ﺑﺎ ﺗﻐﻴﻴﺮ ﻣﺪﻳﺮﻳﺖ ﺻﺪﺍ ﻭ ﺳﻴﻤﺎ‬ ‫ﻣﺮﺍﺩﻯ ﺯﺍﺩﻩ ﺗﻨﻬﺎ ﻣﺰﻳﺖ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ‬ ‫‪1990‬ﭼﺸﻢ ﺍﺯ ﺟﻬﺎﻥ ﻓﺮﻭ ﻣﻰﺑﻨﺪﺩ‪.‬‬ ‫ﭼﺸﻢ ﺑﻪ ﺟﻬﺎﻥ ﮔﺸﻮﺩ‪ .‬ﺍﺯ ﻛﻮﺩﻛﻰ ﺑﺎ ﺭﻧﺞ‬
‫‪ «1500‬ﺳﺎﺧﺘﻪ ﺑﻬﺮﺍﻡ ﻋﻈﻴﻤﻰ ﺩﺭ‬ ‫ﺭﺍ ﺩﻳﺪﻩ ﺷﺪﻥ ﺑﺮﺧﻰ ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻯ‬ ‫ﻳﻚ ﺍﻧﻴﻤﻴﺸﻦ ﺻﺎﻣﺖ ﺳﺎﺧﺖ‪.‬‬ ‫ﻭ ﻓﻘﺮ ﻣﺮﺩﻡ ﺁﻧﺠﺎ ﺁﺷﻨﺎ ﺷﺪ‪ .‬ﻛﻮﺩﻛﺎﻥ‬
‫ﺳﺎﻝ ‪ 92‬ﻓﺮﺍﻫﻢ ﺷﺪ‪ ،‬ﺟﺎﻥ ﺗﺎﺯﻩﺍﻯ ﺑﻪ‬ ‫ﺍﻳﻦ ﻣﺒﻠﻎ ﭘﺮﺩﺍﺧﺖ ﺷﺪﻩ ﺑﺎﺷﺪ‪.‬‬ ‫ﻫﻨﺮﻯ ﺑﺎ ﻛﻴﻔﻴﺖ ﻣﻰﺩﺍﻧﺪ‪ :‬ﺗﻨﻬﺎ ﺟﺎﻯ‬ ‫ﺑﻌﺪﻫﺎ ﻧﺼﺮﺕ ﻛﺮﻳﻤﻰﻭ ﺟﻌﻔﺮ‬ ‫ﺍﻳﺘﺎﻟﻴﺎﻳﻰﻫﺎ ﺑﺮﺍﻯ ﺍﻳﻦ ﻧﻘﺎﺵ ﻭ ﻫﻨﺮﻣﻨﺪ‬ ‫ﻫﻢﺑﺎﺯﻯﺍﺵ ﻫﻤﻪ ﺍﺯ ﺧﺎﻧﻮﺍﺩﻩﻫﺎﻳﻰ ﻓﻘﻴﺮ‬
‫ﺍﻧﻴﻤﻴﺸﻦ ﺑﺨﺸﻴﺪ‪ .‬ﺍﻣﺎ ﺍﻳﻦ ﻓﻴﻠﻢ ﻧﻪ ﺑﻪ‬ ‫ﺣﺴﻴﻦ ﻣﺮﺍﺩﻯ ﺯﺍﺩﻩ ﺩﺭﺑﺎﺭﻩ ﺗﻐﻴﻴﺮ‬ ‫ﺩﻳﺪﻩ ﺷﺪﻥ ﺍﻧﻴﻤﻴﺸﻦ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﺳﺖ‬ ‫ﺗﺠﺎﺭﺗﭽﻰ ﺑﻪ ﻫﻤﺮﺍﻩ ﺍﺣﻤﺪﻳﻪ ﻧﺨﺴﺘﻴﻦ‬ ‫ﻣﺒﺎﺭﺯ ﺍﺣﺘﺮﺍﻡ ﻓﺮﺍﻭﺍﻧﻰ ﻗﺎﺋﻞ ﻫﺴﺘﻨﺪ‪.‬‬ ‫ﺑﻮﺩﻧﺪ ﻭ ﺍﻳﻦ ﻣﺴﺌﻠﻪ ﺑﻪ ﮔﻔﺘﻪ ﺧﻮﺩ ﺍﻭﺭﺗﮕﺎ‬
‫ﺩﻟﻴﻞ ﺍﻧﻴﻤﻴﺸﻦ ﺑﻮﺩﻥ ﺑﻠﻜﻪ ﺑﻪ ﺧﺎﻃﺮ‬ ‫ﺷﻐﻞ ﺗﻬﻴﻪﻛﻨﻨﺪﮔﺎﻥ ﺧﺼﻮﺻﻰ‬ ‫ﻭﻟﻰ ﻣﺘﺎﺳﻔﺎﻧﻪ ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻯ ﻣﻮﻓﻖ ﺩﺭ‬ ‫ﺍﺳﺘﻮﺩﻳﻮﻯ ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﻪ ﺭﺍﻩ‬ ‫ﻫﻨﺮﻣﻨﺪﻯ ﻛﻪ ﺑﻪ ﺁﻧﻬﺎ ﻋﺸﻖ ﻣﻰﻭﺭﺯﻳﺪ ﻭ‬ ‫ﺗﺎﺛﻴﺮ ﺯﻳﺎﺩﻯ ﺑﺮ ﺍﻭ ﮔﺬﺍﺷﺘﻪ ﻭ ﻫﻤﻴﻦ‬
‫ﻧﺎﻡ ﻛﺎﺭﮔﺮﺩﺍﻧﺶ ﻭ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﭘﺮﺗﺮﻩ‬ ‫ﻫﻤﻴﻦ ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﻫﻢ ﺩﻳﺪﻩ ﻧﻤﻰﺷﻮﻧﺪ‬ ‫ﺍﻧﺪﺍﺧﺘﻨﺪ ﻭ ﺗﻮﻟﻴﺪ ﺣﺮﻓﻪﺍﻯ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﻣﺸﺎﻫﺪﺍﺕ ﻛﻮﺩﻛﻰﺍﺵ ﺍﺯ ﺍﺳﭙﺎﻧﻴﺎ‪ ،‬ﺍﻭ ﺭﺍ‬
‫ﺳﻮﭘﺮﺍﺳﺘﺎﺭﻫﺎﻯ ﺳﻴﻨﻤﺎ ﺑﻪ ﻓﺮﻭﺵ‬ ‫ﺣﺴﻴﻦ ﻣﺮﺍﺩﻯ ﺯﺍﺩﻩ‬ ‫ﻭ ﺍﻳﻦ ﺑﺴﻴﺎﺭ ﻧﺎﺍﻣﻴﺪ ﻛﻨﻨﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺭﺍ ﺩﺭ ﺍﻳﺮﺍﻥ ﭘﺎﻳﻪﮔﺬﺍﺭﻯ ﻛﺮﺩﻧﺪ‪.‬‬ ‫ﺗﺎ ﻟﺤﻈﻪ ﻣﺮگ ﺩﺭ ﻛﻨﺎﺭ ﺁﻧﻬﺎ ﺯﻳﺴﺖ‪.‬‬ ‫ﺑﻌﺪﻫﺎ ﺑﻪ ﻳﻚ ﻣﺒﺎﺭﺯ ﺳﻴﺎﺳﻰ ﺗﺒﺪﻳﻞ ﻛﺮﺩ‪.‬‬
‫ﺍﻧﻴﻤﻴﺸﻦ ﻣﻰﮔﻮﻳﺪ‪ :‬ﺩﺭ ﺣﺎﻝ ﺣﺎﺿﺮ‬ ‫ﺟﺸﻨﻮﺍﺭﻩﻫﺎ ﻓﻘﻂ ﺑﺮﺍﻯ ﺗﻮﺟﻴﻪ ﻋﻤﻠﻜﺮﺩ‬ ‫ﻧﻮﺭﺍﻟﺪﻳﻦ ﺯﺭﻳﻦ ﻛﻠﻚ‪ ،‬ﻓﺮﺷﻴﺪ ﻣﺜﻘﺎﻟﻰ‪،‬‬ ‫ﺩﺭ ﺑُﺴﻜﻮ ﺩﻳﻮﺍﺭﻯ ﺭﺍ ﻣﻰﺑﻴﻨﻴﺪ ﻛﻪ ﺍﻭﺭﺗﮕﺎ‬ ‫ﺍﻭﺭﺗﮕﺎ ﻛﻪ ﺑﺮﺍﻯ ﻧﺠﺎﺕ ﻣﺮﺩﻡ ﺍﺯ‬
‫ﻣﻴﻠﻴﺎﺭﺩﻯ ﺩﺳﺖ ﭘﻴﺪﺍ ﻛﺮﺩ‪.‬‬ ‫ﺗﻬﻴﻪﻛﻨﻨﺪﻩ ﺧﺼﻮﺻﻰ ﺭﻏﺒﺘﻰ ﺑﻪ ﺗﻮﻟﻴﺪ‬ ‫ﻣﺪﻳﺮﺍﻥ ﻭ ﺧﻮﺩﺷﻴﺮﻳﻨﻰ ﺑﺮﺍﻯ ﻣﺪﻳﺮﺍﻥ‬ ‫ﺍﻛﺒﺮ ﺻﺎﺩﻗﻰ‪ ،‬ﻧﻔﻴﺴﻪ ﺭﻳﺎﺣﻰ‪ ،‬ﺁﺭﺍﭘﻴﻚ‬ ‫ﺻﺤﻨﻪﺍﻯ ﺍﺯ ﺟﻨﮓ ﻭ ﺣﻤﻠﻪ ﺑﻮﺭﺑﻮﻥﻫﺎ ﺑﻪ‬ ‫ﺩﻳﻜﺘﺎﺗﻮﺭﻯ ﻭ ﻓﺎﺷﻴﺴﻢ ﺣﺎﻛﻢ ﺑﺮ‬
‫ﻋﺪﻡ ﺑﺮﻧﺎﻣﻪﺭﻳﺰﻯ ﺻﺤﻴﺢ ﺍﻛﺮﺍﻥ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﻧﺪﺍﺭﺩ ﻭ ﺑﻴﺸﺘﺮ ﺑﻪ ﺭﺍﻩﻫﺎﻯ‬ ‫ﺑﺎﻻﺩﺳﺘﻰ ﺑﺮﮔﺰﺍﺭ ﻣﻰﺷﻮﻧﺪ‪ .‬ﻧﻴﺮﻭﻫﺎﻯ‬ ‫ﺑﺎﻏﺪﺍﺳﺎﺭﻳﺎﻥ ﻭ ﻣﺮﺗﻀﻰ ﻣﻤﻴﺰ ﺍﺯ ﺟﻤﻠﻪ‬ ‫ﺍﻳﺘﺎﻟﻴﺎ ﺩﺭ ﺳﺎﻝ ‪ 1828‬ﺭﺍ ﻧﻘﺎﺷﻰ ﻛﺮﺩﻩ‬ ‫ﺳﺮﺯﻣﻴﻦﺍﺵ ﺗﻼﺵ ﻣﻰﻛﺮﺩ ﻭ ﺁﺯﺍﺩﻯ‬
‫ﺑﺮﺍﻯ ﻓﻴﻠﻢﻫﺎﻯ ﺍﻧﻴﻤﻴﺸﻦ‪ ،‬ﺑﺎﻋﺚ‬ ‫ﺩﻭﺍﻡ ﻭ ﻣﺎﻧﺪﻥ ﺩﺭ ﺍﻳﻦ ﺭﺷﺘﻪ ﻓﻜﺮ‬ ‫ﺟﻮﺍﻥ ﺑﺎ ﭼﻨﻴﻦ ﻭﺿﻌﻴﺘﻰ ﭘﺲ ﺍﺯ ﭼﻨﺪ‬ ‫ﻃﺮﺍﺣﺎﻥ‪ ،‬ﺗﺼﻮﻳﺮﺳﺎﺯﺍﻥ‪ ،‬ﮔﺮﺍﻓﻴﺴﺖﻫﺎ‬ ‫ﺍﺳﺖ‪ .‬ﻭﻯ ﺩﺭ ﺗﻤﺎﻡ ﻃﻮﻝ ﺯﻧﺪﮔﻰﺍﺵ ﺑﻪ‬ ‫ﺗﻨﻬﺎ ﺷﻌﺎﺭ ﻭ ﺍﻧﮕﻴﺰﻩ ﺯﻳﺴﺖﺍﺵ ﺷﺪﻩ ﺑﻮﺩ‬
‫ﻭﺭﺷﻜﺴﺘﮕﻰ ﺗﻮﻟﻴﺪﻛﻨﻨﺪﻩ‪ ،‬ﺑﻰ ﻣﻴﻠﻰ‬ ‫ﻣﻰﻛﻨﺪ‪ .‬ﺑﺴﻴﺎﺭﻯ ﻧﻴﺰ ﺍﺯ ﺍﻳﻦ ﺭﺷﺘﻪ‬ ‫ﺳﺎﻝ ﺧﺴﺘﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﻣﻰﺭﻭﻧﺪ ﭘﻰ‬ ‫ﻭ ﻧﻘﺎﺷﺎﻧﻰ ﺑﻮﺩﻧﺪ ﻛﻪ ﺩﻭﺭﺍﻥ ﻃﻼﻳﻰ‬ ‫ﻃﻮﺭ ﺁﺷﻜﺎﺭ ﻋﻠﻴﻪ ﺩﻳﻜﺘﺎﺗﻮﺭﻯ ﻭ ﻓﺎﺷﻴﺴﻢ‬ ‫ﺩﺭ ﺳﻦ ‪ 15‬ﺳﺎﻟﮕﻰ ﺑﻪ ﻫﻨﺮ ﻋﻼﻗﻤﻨﺪ‬
‫ﺑﻴﺸﺘﺮ ﺳﻴﻨﻤﺎﺩﺍﺭﺍﻥ ﺑﻪ ﺍﻛﺮﺍﻥ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﻛﺎﺭ ﺩﻳﮕﺮﻯ ﻭ ﻋﺸﻖ ﻭ ﻋﻼﻗﻪ ﺧﻮﺩ ﺭﺍ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﺎ ﺧﻠﻖ ﺁﺛﺎﺭﻯ ﺑﻰ‬ ‫ﺑﻮﺩﻭ ﻫﻨﺮﺵ ﺭﺍ ﻧﻴﺰ ﺩﺭ ﺭﺍﻩ ﻣﺒﺎﺭﺯﻩ ﺑﻪ ﻛﺎﺭ‬ ‫ﺷﺪ‪ ،‬ﺗﻘﺮﻳﺒﺎ ﻫﻢﺯﻣﺎﻥ ﺑﺎ ﺟﻨﮓ ﺩﺍﺧﻠﻰ‬
‫ﻭ ﺑﻰ ﺍﻋﺘﺒﺎﺭ ﺷﺪﻥ ﺳﻴﻨﻤﺎﻯ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﮔﺮﻓﺖ‪.‬ﺩﺭ ﻫﺮ ﻧﻤﺎﻳﺸﮕﺎﻫﻰ ﻛﻪ ﺍﻭﺭﺗﮕﺎ ﺩﺭ‬ ‫ﺍﺳﭙﺎﻧﻴﺎ‪ .‬ﺍﻭ ﻛﻪ ﺧﻮﺩ ﺭﺍ ﺍﻧﺴﺎﻧﻰ ﻣﺘﻌﻬﺪ ﻭ‬
‫ﻧﺰﺩ ﻣﺨﺎﻃﺐ ﺷﺪﻩ ﺍﺳﺖ‪ .‬ﺑﺎ ﺗﻮﺟﻪ‬ ‫ﻓﺮﺍﻣﻮﺵ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺑﺪﻳﻞ ﭘﺪﻳﺪ ﺁﻭﺭﺩﻧﺪ‪.‬‬ ‫ﺷﻬﺮﻫﺎﻯ ﻣﺨﺘﻠﻒ ﺑﺮ ﭘﺎ ﻣﻰﻛﺮﺩ‪ ،‬ﻫﺮ ﺁﻧﭽﻪ‬ ‫ﻣﻌﺘﺮﺽ ﻣﻰﺩﺍﻧﺴﺖ ﺑﻪ ﺣﺰﺏ ﻛﻤﻮﻧﻴﺴﺖ‬
‫ﺑﻪ ﺍﻳﻨﻜﻪ ﺑﺎ ﻋﺪﻡ ﺑﺎﺯﮔﺸﺖ ﺳﺮﻣﺎﻳﻪ‬ ‫ﺍﺯ ﺳﻮﻯ ﺩﻳﮕﺮ‪ ،‬ﻣﺪﻳﺮﺍﻥ‪ ،‬ﺑﻮﺩﺟﻪﻫﺎﻯ‬ ‫ﺍﺯ ﺁﻥ ﺩﻭﺭﺍﻥ ﻃﻼﻳﻰ ﺗﺎ ﻛﻨﻮﻥ‬ ‫ﺗﺎﺑﻠﻮ ﺩﺭ ﺁﻧﻬﺎ ﺑﻪ ﻓﺮﻭﺵ ﻣﻰﺭﻓﺖ ﻣﺒﻠﻎﺍﺵ‬ ‫ﭘﻴﻮﺳﺖ ﻭ ﺩﺭ ﺳﺎﻝ‪ 1947‬ﺩﺳﺘﮕﻴﺮ ﻭ ﺑﻪ‬
‫ﻫﻢ ﺑﻮﺩﺟﻪ ﻛﻨﻮﻧﻰ ﺍﻳﻦ ﺁﺛﺎﺭ ﺑﻴﺶ ﺍﺯ‬ ‫ﺍﻧﺪﻙ ﺭﺍ ﺑﻪ ﺩﻻﻻﻥ ﻓﺮﻫﻨﮕﻰ ﻣﻰﺩﻫﻨﺪ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ ﻓﺮﺍﺯ ﻭ ﻓﺮﻭﺩﻫﺎﻯ‬ ‫ﺭﺍ ﻣﺴﺘﻘﻴﻢ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﺣﺰﺏ ﻛﻤﻮﻧﻴﺴﺖ‬ ‫ﺩﻩ ﺳﺎﻝ ﺯﻧﺪﺍﻥ ﻣﺤﻜﻮﻡ ﺷﺪ ﺍﻣﺎ ﺩﺭ ﺳﺎﻝ‬
‫ﭘﻴﺶ ﻛﺎﻫﺶ ﺧﻮﺍﻫﺪ ﻳﺎﻓﺖ‪ .‬ﭼﻨﺎﻧﭽﻪ‬ ‫ﺗﺎ ﺩﺭ ﭘﺮﻭژﻩﻫﺎﻯ ﻛﻮﭼﻚ ﻭ ﻧﺎﭼﻴﺰ‬ ‫ﺑﻰ ﺷﻤﺎﺭﻯ ﺍﺯ ﺳﺮﮔﺬﺭﺍﻧﺪﻩ ﻭ ﺍﺯ ﻳﻚ‬
‫ﺳﻴﺪ ﻣﺤﻤﺪ ﻣﻬﺪﻯ ﻃﺒﺎﻃﺒﺎﻳﻰﻧﮋﺍﺩ‬ ‫ﺗﻘﺴﻴﻢ ﻛﻨﻨﺪ‪ .‬ﺍﻳﻦ ﺷﻴﻮﻩ‪ ،‬ﻛﺎﺭﻧﺎﻣﻪ‬ ‫ﺍﺳﺘﻮﺩﻳﻮﻯ ﻛﻮﭼﻚ ﺳﻪ ﻧﻔﺮﻩ ﺑﻪ ﻧﻮﺷﺘﻪ‬ ‫ﺍﺳﭙﺎﻧﻴﺎ ﻗﺮﺍﺭ ﻣﻰﺩﺍﺩ‪.‬‬ ‫‪ 1952‬ﺗﺒﺮﺋﻪ ﺷﺪ‪.‬‬
‫ﻣﺪﻳﺮﻋﺎﻣﻞ ﻣﺮﻛﺰ ﮔﺴﺘﺮﺵ ﺳﻴﻨﻤﺎﻯ‬ ‫ﭘﺮﺑﺎﺭﻯ ﺑﻪ ﻟﺤﺎﻅ ﻛﻤﻰ ﺑﺮﺍﻯ ﺁﻧﻬﺎ‬ ‫ﻛﺘﺎﺏ »ﺟﺎﻣﻊ ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ« ﺑﻪ‬ ‫ﺩﺭ ﺳﺎﻝ ‪ 1990‬ﺍﻭﺭﺗﮕﺎ ﺑﺮﺍﻯ ﺩﺭﻣﺎﻥ‬
‫ﻣﺴﺘﻨﺪ ﻭ ﺗﺠﺮﺑﻰ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﺘﻮﻟﻰ‬ ‫ﻣﻰﺳﺎﺯﺩ ﻭﻟﻰ ﻣﻨﺠﺮ ﺑﻪ ﮔﺮﺩﺵ ﮔﺴﺘﺮﺩﻩ‬ ‫ﺑﻴﺶ ﺍﺯ ‪ 1800‬ﻓﻴﻠﻢﺳﺎﺯ ﻭ ﺍﻧﻴﻤﺎﺗﻮﺭ‬ ‫ﺳﺮﻃﺎﻥ ﺑﻪ ﭘﺎﺭﻳﺲ ﺭﻓﺖ‪ .‬ﺗﻨﻬﺎ ﭼﻨﺪ ﺭﻭﺯ‬ ‫ﭘﻬﻨﻪﻯ ﺯﻳﺘﻮﻥﺯﺍﺭ‬
‫ﺳﻴﻨﻤﺎﻯ ﺍﻧﻴﻤﻴﺸﻦ‪ ،‬ﺑﻮﺩﺟﻪ ﺍﺧﺘﺼﺎﺹ‬ ‫ﺑﻮﺩﺟﻪ ﺩﺭ ﺑﺪﻧﻪ ﻧﺤﻴﻒ ﺷﺮﻛﺖﻫﺎ ﻭ‬ ‫ﺭﺳﻴﺪﻩ ﺍﺳﺖ‪ .‬ﺍﻣﺎ ﺁﻳﺎ ﻛﻤﻴﺖ ﺑﻪ ﺩﺳﺖ‬ ‫ﭘﻴﺶ ﺍﺯ ﻣﺮگ ﺑﺎ ﺩﻭﺳﺘﺶ ﺩﻛﺘﺮ ﻧﻴﻜﻮﻻ‬
‫ﻳﺎﻓﺘﻪ ﺑﻪ ﺍﻳﻦ ﻣﺮﻛﺰ ﺭﺍ ﺑﺮﺍﻯ ﺗﻮﻟﻴﺪ‬ ‫ﺁﻣﺪﻩ‪ ،‬ﻛﻴﻔﻴﺖ ﺭﻭﺯﻫﺎﻯ ﮔﺬﺷﺘﻪ ﺭﺍ‬ ‫ﻛﻮﺑﻮﭼﻰ ﺗﻤﺎﺱ ﮔﺮﻓﺖ ﻭ ﺍﺯ ﺍﻭ ﺧﻮﺍﺳﺖ‬ ‫ﻫﻤﭽﻮﻥ ﺑﺎﺩﺯﻧﻰ‬
‫»ﺷﻌﺮ« ﻫﻢ ﺍﻧﺪﻙ ﻣﻰﺩﺍﻧﺪ‪ ،‬ﭼﻪ ﺭﺳﺪ‬ ‫»ﺩﻳﺮﻳﻦ ﺩﻳﺮﻳﻦ«‬ ‫ﺗﺎ ﺍﻭ ﺭﺍ ﺑﻪ ﺑُﺴﻜﻮ ﺑﺮﮔﺮﺩﺍﻧَﺪ ﻛﻪ ﺩﺭ ﺁﻧﺠﺎ‬
‫ﺩﺍﺭﺩ؟‬ ‫ﺑﺴﺘﻪ ﻣﻰﺷﻮﺩ ﻭ ﻣﻰﮔﺸﺎﻳﺪ‪.‬‬
‫ﺑﻪ ﺗﻮﻟﻴﺪ ﻓﻴﻠﻢ ﺍﻧﻴﻤﻴﺸﻦ!‬ ‫ﺧﺎﺭﺝ ﺷﺪﻩﺍﻧﺪ ﻭ ﻳﺎ ﻣﻬﺎﺟﺮﺕ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺍﻧﻴﻤﺎﺗﻮﺭﻫﺎ ﻧﻤﻰﺷﻮﺩ‪ ،‬ﭼﺮﺍ ﻛﻪ ﺑﻮﺩﺟﻪﻫﺎ‬ ‫ﺣﺴﻴﻦ ﻣﺮﺍﺩﻯﺯﺍﺩﻩ ﻓﻴﻠﻤﺴﺎﺯ ﻭ‬
‫ﻣﺮﺍﺩﻯ ﺯﺍﺩﻩ ﺩﺭ ﺍﺩﺍﻣﻪ ﮔﻔﺘﮕﻮ ﺑﺎ ﻛﻴﻬﺎﻥ‬ ‫ﺍﻭ ﻣﻰﺍﻓﺰﺍﻳﺪ‪ :‬ﻣﺎ ﺩﺭ ﺍﻧﻴﻤﻴﺸﻦ ﻫﻨﺮﻯ‬ ‫ﺗﻨﻬﺎ ﺩﺭ ﻣﺤﺪﻭﺩﻩ ﺍﻓﺮﺍﺩ ﻭ ﺷﺮﻛﺖﻫﺎﻯ‬ ‫ﺍﻧﻴﻤﺎﺗﻮﺭ ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﺑﻪ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ‬ ‫ﺑﺮ ﻓﺮﺍﺯ ﺯﻳﺘﻮﻥﺯﺍﺭ‬
‫ﻟﻨﺪﻥ‪ ،‬ﺁﻳﻨﺪﻩ ﺍﻧﻴﻤﻴﺸﻦ ﺭﺍ ﻣﺒﻬﻢ ﻭ‬ ‫ﭘﻴﺸﺮﻓﺖﻫﺎﻯ ﺧﻮﺑﻰ ﺩﺍﺷﺘﻪﺍﻳﻢ ﺍﻣﺎ ﺩﺭ‬ ‫ﺗﻮﻟﻴﺪﻛﻨﻨﺪﻩ ﺍﻧﮕﺸﺖﺷﻤﺎﺭ ﮔﺮﺩﺵ‬ ‫ﻣﻰﮔﻮﻳﺪ‪ :‬ﭼﻨﺪ ﺳﺎﻟﻰ ﺍﺳﺖ ﻛﻪ ﺣﺎﻝ‬
‫ﻏﻴﺮﺷﻔﺎﻑ ﺗﺼﻮﻳﺮ ﻣﻰﻛﻨﺪ ﻭ ﻣﻰﮔﻮﻳﺪ‪:‬‬ ‫ﺻﻨﻌﺖ ﺍﻧﻴﻤﻴﺸﻦ ﺧﻴﺮ‪ .‬ﺩﺭ ﺻﻨﻌﺖ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ ﺧﻮﺏ ﻧﻴﺴﺖ ﻭ ﺑﺎ‬ ‫ﺁﺳﻤﺎﻧﻰ ﻓﺮﻭ ﺭﻳﺨﺘﻪ‪،‬‬
‫ﺩﻳﮕﺮ ﻛﺎﺭ ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻥ ﺍﺯ ﮔﻼﻳﻪ ﻭ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﻫﻨﻮﺯ ﺑﻪ ﭼﺮﺧﻪ ﺍﻗﺘﺼﺎﺩﻯ‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺩﻭﺭﺍﻥ ﻃﻼﻳﻰ ﺧﻮﺩ ﺍﻧﮕﺎﺭ ﻗﺮﻥﻫﺎ ﻓﺎﺻﻠﻪ‬
‫ﺷﻜﻮﻩ ﮔﺬﺷﺘﻪ ﺍﺳﺖ‪ .‬ﺍﻧﻴﻤﺎﺗﻮﺭﻫﺎ ﻧﺎﺍﻣﻴﺪ‬ ‫ﺩﺭﺳﺘﻰ ﺩﺳﺖ ﭘﻴﺪﺍ ﻧﻜﺮﺩﻩﺍﻳﻢ ﻭ‬ ‫ﺣﺴﻴﻦ ﻣﺮﺍﺩﻯ ﺯﺍﺩﻩ‪ ،‬ﺍﻧﻴﻤﺎﺗﻮﺭ »ﻛﻠﻴﻠﻪ‬ ‫ﮔﺮﻓﺘﻪ ﺍﺳﺖ‪ .‬ﺭﻭﺯﮔﺎﺭﻯ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﻭ ﺑﺎﺭﺍﻧﻰ ﺗﻴﺮﻩ‬
‫ﺷﺪﻩﺍﻧﺪ‪ ،‬ﻣﺎﻫﻰ ﻧﻴﺴﺖ ﻛﻪ ﺟﻮﺍﻥﻫﺎﻯ‬ ‫ﻧﻤﻰﺗﻮﺍﻥ ﮔﻔﺖ ﻛﻪ ﺩﺍﺭﺍﻯ ﺻﻨﻌﺖ‬ ‫ﻭ ﺩﻣﻨﻪ« ﺩﺭ ﺍﻳﻦ ﺑﺎﺭﻩ ﻣﻰﮔﻮﻳﺪ‪ :‬ﺍﺗﻜﺎ ﺑﻪ‬ ‫ﻛﻤﺘﺮﻯ ﺗﻮﻟﻴﺪ ﻣﻰﺷﺪ ﺍﻣﺎ ﺑﺎ ﻛﻴﻔﻴﺖ‬
‫ﺍﻳﻦ ﺭﺷﺘﻪ ﺳﺮﺍﻍ ﻛﺎﺭ ﺩﻳﮕﺮﻯ ﻧﺮﻭﻧﺪ‪.‬‬ ‫ﻣﻨﺎﺑﻊ ﻣﺎﻟﻰ ﺩﻭﻟﺘﻰ ﻭ ﻓﺴﺎﺩ ﻣﺎﻟﻰ ﺩﺭ ﺍﻳﻦ‬ ‫ﺑﺴﻴﺎﺭ ﺑﺎﻻ‪ ،‬ﻭﻟﻰ ﻳﻜﺒﺎﺭﻩ ﻛﻤﻴﺖ ﺁﻧﭽﻨﺎﻥ‬ ‫ﺍﺯ ﺳﺘﺎﺭﮔﺎﻥ ﺳﺮﺩ‪.‬‬
‫ﭘﻴﺶﻛﺴﻮﺗﺎﻥ ﺧﺎﻧﻪﻧﺸﻴﻦ ﺷﺪﻩﺍﻧﺪ ﻭ ﻳﺎ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﻫﺴﺘﻴﻢ‪.‬‬ ‫ﺯﻣﻴﻨﻪ ﺑﺎﻋﺚ ﺍﺳﺘﺜﻤﺎﺭ ﻋﻮﺍﻣﻞ ﺗﻮﻟﻴﺪ ﺷﺪﻩ‬ ‫ﺍﻭﻟﻮﻳﺖ ﭘﻴﺪﺍ ﻛﺮﺩ ﻛﻪ ﻛﺎﺭ ﺑﻪ ﺩﻻﻟﻰ ﻭ‬
‫ﺑﺮﺧﻼﻑ ﻣﻴﻞﺷﺎﻥ ﻣﻬﺎﺟﺮﺕ ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺯﺩ ﻭ ﺑﻨﺪ ﺭﺳﻴﺪ ﻭ ﻛﻴﻔﻴﺖ ﻓﺪﺍ ﺷﺪ‪ .‬ﺍﮔﺮ‬ ‫ﺑﺮ ﻟﺐ ﺭﻭﺩ‬
‫ﺍﻣﺎ ﺩﺭ ﺍﻳﻦ ﺑﻴﻦ ﺑﺮﺧﻰ ﺍﻧﻴﻤﺎﺗﻮﺭﻫﺎﻯ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﺧﻮﺑﻰ ﻫﻢ ﺍﻣﺮﻭﺯﻩ ﺳﺎﺧﺘﻪ‬
‫ﺟﻮﺍﻥ ﺩﺳﺖ ﺑﻪ ﺍﺑﺘﻜﺎﺭ ﺯﺩﻩ ﻭ ﺑﺎ ﺍﺗﺼﺎﻝ‬ ‫ﻣﻰﺷﻮﺩ‪ ،‬ﺑﻪ ﻫﻤﺖ ﺧﻼﻗﻴﺖ ﻭ ﺗﻮﺍﻥ‬ ‫ﺟﮕﻦ ﻭ ﺳﺎﻳﻪ ﺭﻭﺷﻦ ﻣﻰﻟﺮﺯﺩ‪.‬‬
‫ﺑﻪ ﺩﻧﻴﺎﻯ ﺻﻨﻌﺖ ﻭ ﺗﺒﻠﻴﻐﺎﺕ ﺑﻪ‬
‫ﺣﻴﺎﺕ ﻫﻨﺮﻯ ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﻨﺪ‪.‬‬ ‫ﻓﺮﺩﻯ ﺧﻮﺩ ﻫﻨﺮﻣﻨﺪ ﺍﺳﺖ‪.‬‬ ‫ﻫﻮﺍﻯ ﺗﻴﺮﻩ ﭼﻨﺒﺮﻩ ﻣﻰﺷﻮﺩ‪.‬‬
‫ﺍﻳﻦ ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻯ ﺳﺮﻳﺎﻟﻰ ﻳﺎ ﺩﺭ‬ ‫ﺍﻭ ﺑﺎ ﺍﺷﺎﺭﻩ ﺑﻪ ﺷﺮﺍﻳﻂ ﻛﻨﻮﻧﻰ ﺗﻮﻟﻴﺪ‬
‫ﺷﺒﻜﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﭘﺨﺶ ﻣﻰﺷﻮﺩ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﻣﻰﮔﻮﻳﺪ‪ :‬ﺍﻧﻴﻤﺎﺗﻮﺭﻫﺎ ﻭ‬ ‫ﺩﺭﺧﺘﺎﻥ ﺯﻳﺘﻮﻥ ﺍﺯ ﻓﺮﻳﺎﺩ‬
‫ﻭ ﻳﺎ ﺩﺭ ﻓﻀﺎﻯ ﻣﺠﺎﺯﻯ ﺍﻳﻨﺘﺮﻧﺖ ﻭ‬ ‫ﺷﺮﻛﺖﻫﺎﻯ ﺗﻮﻟﻴﺪﻛﻨﻨﺪﻩ ﻣﺜﻞ ﺟﺰﺍﻳﺮ‬
‫ﺍﻳﻨﺴﺘﺎﮔﺮﺍﻡ ﻧﺸﺮ ﻭ ﮔﺴﺘﺮﺵ ﻳﺎﻓﺘﻪ‬ ‫ﺩﻭﺭ ﺍﻓﺘﺎﺩﻩ ﺍﺯ ﻫﻢ ﻫﻨﻮﺯ ﺩﺭﮔﻴﺮ ﺁﺯﻣﻮﻥ‬ ‫ﺳﻨﮕﻴﻦ ﺍﺳﺖ‪،‬‬
‫ﻭ ﺧﻄﺎ ﻫﺴﺘﻨﺪ‪ ،‬ﺑﺮﺍﻯ ﻫﻤﻴﻦ ﻫﻢ ﻧﺎ ﻭ‬
‫ﺍﺳﺖ‪.‬‬ ‫ﻧﻔﺴﻰ ﺑﺮﺍﻯ ﺁﻧﻬﺎ ﺑﺎﻗﻰ ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻭ ﮔﻠﻪﻳﻰ ﺍﺯ‬
‫ﺍﻳﻦ ﺁﺛﺎﺭ ﺑﺎ ﺗﻜﻨﻴﻚﻫﺎﻯ ﺑﺴﻴﺎﺭ ﺳﺎﺩﻩ‬ ‫ﺍﻛﻨﻮﻥ ﺍﻧﻴﻤﻴﺸﻦ ﻛﻮﺗﺎﻩ ﻭ ﻫﻨﺮﻯ ﺑﻪ‬
‫ﻭ ﺍﺑﺘﺪﺍﻳﻰ ﻭ ﺑﺎ ﺯﺑﺎﻥ ﻋﺎﻣﻴﺎﻧﻪ ﻭ ﻃﻨﺰ‬ ‫ﺳﺨﺘﻰ ﺳﺎﺧﺘﻪ ﻣﻰﺷﻮﺩ ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ‬ ‫ﭘﺮﻧﺪﮔﺎﻥ ﺍﺳﻴﺮ‬
‫ﺳﺎﺧﺘﻪ ﻣﻰﺷﻮﻧﺪ ﻭﻟﻰ ﺁﻧﭽﻪ ﻣﺨﺎﻃﺐ‬ ‫ُﺩﻡ ِ ﺑﺴﻴﺎﺭ ﺑﻠﻨﺪﺷﺎﻥ ﺭﺍ‬
‫ﺭﺍ ﺑﻪ ﺁﻧﻬﺎ ﺟﻠﺐ ﻣﻰﻛﻨﺪ‪ ،‬ﻃﺮﺡ‬ ‫ﺗﻮﻟﻴﺪ ﺻﻨﻌﺘﻰ‪.‬‬ ‫ﺩﺭ ﻇﻠﻤﺎﺕ ﻣﻰﺟﻨﺒﺎﻧﻨﺪ‪.‬‬
‫ﻣﻀﺎﻣﻴﻦ ﺗﺎﺯﻩ ﻭ ﺑﻪﺭﻭﺯﻯ ﺍﺳﺖ ﻛﻪ ﺍﺯ‬ ‫ﺑﺎﺯﺍﺭ ﺍﻧﻴﻤﻴﺸﻦ ﺑﺎﻭﺟﻮﺩ ﺍﻓﺰﺍﻳﺶ‬ ‫ﺍﺯ ﺁﻥ ﭘﺲ ﺑﻪ ﺍﻳﺘﺎﻟﻴﺎ ﭘﻨﺎﻫﻨﺪﻩ ﻣﻰﺷﻮﺩ‬
‫ﺧﻂ ﻗﺮﻣﺰﻫﺎ ﻭ ﻣﻮﺿﻮﻋﺎﺕ ﻣﻤﻨﻮﻉ ﻋﺒﻮﺭ‬ ‫ﺷﺒﻜﻪﻫﺎﻯ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺧﺼﻮﺻﺎ‬
‫»ﺷﻜﺮﺳﺘﺎﻥ«‬ ‫ﺷﺒﻜﻪ ﻭﻳﮋﻩ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﺑﺎ ﻣﺸﻜﻞ ﻋﺪﻡ‬ ‫ﺩﻓﻦ ﺷﻮﺩ ﺯﻳﺮﺍ ﻧﻤﻰﺧﻮﺍﻫﺪ ﺩﺭ ﭘﺎﺭﻳﺲ‬ ‫ﻭ ﺁﻧﺠﺎ ﺭﺍ ﺑﺮﺍﻯ ﺯﻧﺪﮔﻰ ﻭ ﻓﻌﺎﻟﻴﺖﻫﺎﻯ‬
‫ﻣﻰﻛﻨﻨﺪ‪.‬‬ ‫ﺍﻗﺒﺎﻝ ﻣﺨﺎﻃﺐ ﺭﻭﺑﺮﻭﺳﺖ‪ .‬ﻣﺨﺎﻃﺐ‪،‬‬ ‫ﺑﻤﻴﺮﺩ‪ .‬ﺍﻣﺎ ﺑﻪ ﺩﻟﻴﻞ ﻭﺧﺎﻣﺖ ﺣﺎﻝﺍﺵ‬ ‫ﺳﻴﺎﺳﻰ ﻭ ﻫﻨﺮﻯﺍﺵ ﺍﻧﺘﺨﺎﺏ ﻣﻰﻛﻨﺪ‪.‬‬
‫ﺍﻳﻦ ﺍﻧﻴﻤﻴﺸﻦﻫﺎ ﮔﺎﻩ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﻓﻴﻠﻢﻫﺎﻯ ﺑﻠﻨﺪ ﺍﻧﻴﻤﻴﺸﻦ ﻫﻢ ﺑﻪ‬ ‫ﺍﺳﺖ‪ .‬ﻓﻴﻠﻢﺳﺎﺯﺍﻥ ﺑﺎ ﺑﻮﺩﺟﻪ ﺷﺨﺼﻰ ﻭ ﺑﺎ‬ ‫ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻯ ﺧﺎﺭﺟﻰ ﺭﺍ ﺑﻪ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﺳﻔﺮ ﻧﺎﻣﻤﻜﻦ ﺑﻮﺩ ﻭ ﺍﻭ ﺩﺭ ‪ 24‬ﺩﺳﺎﻣﺒﺮ‬ ‫ﺩﻫﻜﺪﻩﺍﻯ ﻛﻪ ﺩﺭ ﻧﻬﺎﻳﺖ ﺩﺭ ﺁﻥ ﺳﻜﻨﻰ‬
‫ﺗﺎﻛﻴﺪ ﺑﺮ ﻛﺎﻻ ﻳﺎ ﻣﻔﺎﻫﻴﻢ ﺗﺒﻠﻴﻐﻰ‪ ،‬ﺑﺎ‬ ‫ﻭﺍﺳﻄﻪ ﺗﻠﻘﻰ ﻣﺮﺩﻡ ﺍﺯ ﺍﻧﻴﻤﻴﺸﻦ ﺑﻪ‬ ‫ﺍﺯ ﺧﻮﺩ ﮔﺬﺷﺘﮕﻰ ﺗﺎ ﻛﻨﻮﻥ ﺑﻪ ﻛﺎﺭﺷﺎﻥ‬ ‫ﺩﺍﺧﻠﻰ ﺗﺮﺟﻴﺢ ﻣﻰﺩﻫﺪ ﭼﺮﺍ ﻛﻪ‬ ‫‪ 1990‬ﺩﺭ ﺳﻦ ‪ 69‬ﺳﺎﻟﮕﻰ ﺩﺭ ﭘﺎﺭﻳﺲ‬ ‫ﻣﻰﮔﺰﻳﻨﺪ‪ ،‬ﺩﻫﻜﺪﻩﺍﻯ ﺍﺳﺖ ﺑﻪ ﻧﺎﻡ ﺑُﺴﻜﻮ‬
‫ﺷﮕﺮﺩﻫﺎﻯ ﻫﻨﺮﻣﻨﺪﺍﻧﻪ‪ ،‬ﺩﺳﺖ ﺑﻪ ﺍﻧﺘﻘﺎﺩ‬ ‫ﻋﻨﻮﺍﻥ ﻫﻨﺮﻯ ﻣﺨﺘﺺ ﻛﻮﺩﻛﺎﻥ‪ ،‬ﺟﺎﻳﻰ‬ ‫ﺍﺩﺍﻣﻪ ﺩﺍﺩﻩﺍﻧﺪ ﻭ ﻫﻤﻴﺸﻪ ﻫﻢ ﺑﺎ ﺩﺭ ﺑﺴﺘﻪ‬ ‫ﺗﻮﻟﻴﺪﺍﺕ ﻛﻨﻮﻧﻰ ﺣﺘﻰ ﺩﺭ ﻣﻘﺎﻳﺴﻪ‬ ‫ﺩﺭﮔﺬﺷﺖ ﻭ ﺩﺭ ﮔﻮﺭﺳﺘﺎﻥ ﻣﻮﻧﺖ ﻣﺎﺭﺕ‬ ‫ﺩﺭ ﺟﻨﻮﺏ ﺍﻳﺘﺎﻟﻴﺎ‪ .‬ﺟﺎﻳﻰ ﻛﻪ ﻗﺮﻥﻫﺎ ﭘﻴﺶ‬
‫ﻭ ﺑﻴﺎﻥ ﻣﺸﻜﻼﺕ ﺟﺎﻣﻌﻪ ﻣﻰﺯﻧﻨﺪ ﻭ ﺑﺎ‬ ‫ﺩﺭ ﺍﻛﺮﺍﻥﻫﺎﻯ ﻋﻤﻮﻣﻰﺳﻴﻨﻤﺎﻫﺎ ﻧﺪﺍﺭﻧﺪ‪.‬‬ ‫ﻣﻮﺍﺟﻪ ﺷﺪﻩﺍﻧﺪ‪ .‬ﺩﺭ ﺑﺴﺘﻪ ﺳﺎﺯﻣﺎﻥﻫﺎﻯ‬ ‫ﺑﺎ ﻣﺤﺼﻮﻻﺕ ﻭﺍﺭﺩﺍﺗﻰ ﺩﻫﻪ ‪ 60‬ﻧﻴﺰ‬ ‫ﺯﻳﺮ ﭼﻜﻤﻪﻫﺎﻯ ﻣﻬﺎﺟﻤﺎﻥ ﺍﺳﭙﺎﻧﻴﺎﻳﻰ‪،‬‬
‫ﺍﺑﺰﺍﺭ ﻃﻨﺰ ﻣﺨﺎﻃﺐ ﺭﺍ ﺳﺮﮔﺮﻡ ﻛﺮﺩﻩ ﻭ‬ ‫ﺑﻪ ﻫﻤﻴﻦ ﺩﻟﻴﻞ ﺍﻳﻦ ﺁﺛﺎﺭ ﺩﺭ ﺳﻴﻨﻤﺎﻫﺎ‬ ‫ﺩﻭﻟﺘﻰ ﻛﻪ ﺍﺯ ﺍﻧﻴﻤﺎﺗﻮﺭﻫﺎ ﺳ ًﻮء ﺍﺳﺘﻔﺎﺩﻩ‬ ‫ﻧﺎﺯﻝ ﻭ ﺑﻰ ﻛﻴﻔﻴﺖ ﻫﺴﺘﻨﺪ‪ .‬ﺗﺎ ﺣﺪﻯ‬ ‫ﺑﻪ ﺧﺎﻙ ﺳﭙﺮﺩﻩ ﺷﺪ‪.‬‬ ‫ﻟﮕﺪﻣﺎﻝ ﺷﺪﻩ ﺑﻮﺩ ﻭ ﻣﺮﺩﻡ ﻭ ﺗﻤﺪﻥﺍﺵ‬
‫ﺑﻪ ﺍﻧﺪﺍﺯﻩ ﺑﻮﺩﺟﻪ ﺍﻭﻟﻴﻪ ﺗﻮﻟﻴﺪ ﺧﻮﺩ ﺭﺍ ﻫﻢ‬ ‫ﻛﺮﺩﻧﺪ ﺗﺎ ﻣﺤﺼﻮﻝ ﻫﻨﺮﻯ ﺁﻧﻬﺎ ﺭﺍ ﺑﻪ‬ ‫ﻛﻪ ﺑﺰﺭﮔﺴﺎﻻﻥ ﻛﺎﺭﺗﻮﻥﻫﺎﻯ ﺩﻭﺭﺍﻥ‬ ‫ﺍﻭ ﺑﻌﺪ ﺍﺯ ﻳﻚ ﻋﻤﺮ ﻣﺒﺎﺭﺯﻩ ﺳﻴﺎﺳﻰ‪،‬‬ ‫ﻧﻴﺰ ﺑﺎﺭﻫﺎ ﻧﺎﺑﻮﺩ ﺷﺪﻩ ﺑﻮﺩﻧﺪ‪ .‬ﺍﻳﺘﺎﻟﻴﺎ ﺍﻣﺎ ﺑﺎ‬
‫ﺑﻪ ﺧﻨﺪﻩ ﻣﻰﺍﻧﺪﺍﺯﺩ‪.‬‬ ‫ﺁﻣﺎﺭﻫﺎﻯ ﺩﻗﻴﻘﻪﺍﻯ ﺗﻮﻟﻴﺪﺍﺕﺷﺎﻥ ﺍﺿﺎﻓﻪ‬ ‫ﻛﻮﺩﻛﻰ ﺧﻮﺩ ﻣﺜﻞ ﮔﺎﻟﻴﻮﺭ‪ ،‬ﺑﺎﻣﺰﻯ‪،‬‬ ‫ﺩﺭ ﻭﺍﭘﺴﻴ ِﻦ ﺭﻭﺯﻫﺎﻯ ﺯﻧﺪﮔﻰﺍﺵ ﺑﻪ‬ ‫ﺭﻭﻯ ﺑﺎﺯ ﺩﺭﻫﺎﻳﺶ ﺭﺍ ﺑﻪ ﺭﻭﻯ ﻫﻨﺮﻣﻨﺪ‬
‫ﻣﺮﺍﺩﻯ ﺯﺍﺩﻩ ﺑﺎ ﺑﻴﺎﻥ ﺍﻳﻨﻜﻪ ﻓﻘﺪﺍﻥ‬ ‫ﻓﺮﻭﺵ ﻧﻤﻰﻛﻨﻨﺪ‪.‬‬ ‫ﻛﻨﻨﺪ ﻭ ﻋﻤﻠﻜﺮﺩ ﺿﻌﻴﻒ ﻭ ﺳﻴﺴﺘﻢ‬ ‫ﺭﺍﺑﻴﻦ ﻫﻮﻭﺩ ﻭ »ﻛﺎﺭ ﻭ ﺍﻧﺪﻳﺸﻪ« ﺭﺍ ﺩﺭ‬ ‫ﺩﻭﺳﺖﺍﺵ ﻧﻴﻜﻮﻻ ﻛﻮﺑﻮﭼﻰ ﻣﻰﮔﻮﻳﺪ‬
‫ﻓﻜﺮ ﻭ ﺍﻧﺪﻳﺸﻪ ﻣﻮﺟﺐ ﺳﻄﺤﻰ ﺷﺪﻥ‬ ‫ﺑﻪ ﻃﻮﺭ ﻣﺜﺎﻝ ﺳﺎﻝ ﮔﺬﺷﺘﻪ ﺩﺭ ﺷﺮﺍﻳﻂ‬ ‫ﻧﺒﻮﺩ ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻯ ﺧﻮﺏ ﻣﻰﺳﺘﺎﻳﻨﺪ‪.‬‬ ‫ﺁﺯﺍﺩﻯ ﻣﻄﻠﻖ ﻭﺟﻮﺩ ﻧﺪﺍﺭﺩ ﺯﻳﺮﺍ ﻣﺮﺩﻡ‬ ‫ﻣﻰﮔﺸﺎﻳﺪ ﻭ ﺍﻭ ﺭﺍ ﻣﻰﭘﺬﻳﺮﺩ‪.‬‬
‫ﺁﺛﺎﺭ ﺍﻧﻴﻤﻴﺸﻦ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﻰﺍﻓﺰﺍﻳﺪ‪:‬‬ ‫ﺍﺯ ﻫﻤﺎﻥ ﻭﻗﺘﻰ ﻛﻪ ﺑﺮﺍﻯ ﺧﺎﻟﻰ‬ ‫ﻫﻤﻴﺸﻪ ﻧﻴﺎﺯﻣﻨ ِﺪ ﻗﺪﺭﺕﺍﻧﺪ؛ ﺍﻣﺎ ﻫﻨﺮ ﺗﻨﻬﺎ‬ ‫ﺧﺎﻧﻪﺍﻯ ﻛﻮﭼﻚ ﺩﺭ ﺩﻝ ﺩﺭﺧﺘﺎﻥ‬
‫ﻫﻴﺠﺎﻥ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺗﻜﻨﻮﻟﻮژﻯﻫﺎﻯ‬ ‫»ﭼﻮﭘﺎﻥ«‬ ‫ﻧﺒﻮﺩﻥ ﭘﺨﺶ ﺗﻠﻮﻳﺰﻳﻮﻥ‪ ،‬ﺑﺎ ﺑﻮﺩﺟﻪﻫﺎﻯ‬ ‫ﺯﻳﺘﻮﻥ ﻭ ﻃﺒﻴﻌﺖ ﺑﻰﻧﻈﻴﺮ ﭼﻴﻠﻨﺘﻮ ﺍﻭ‬
‫ﺗﺎﺯﻩ‪ ،‬ﺁﻓ ِﺖ ﺩﺭ ﺣﺎﻝ ﮔﺬﺍﺭ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﺍﻧﺪﻙ ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻳﻰ ﺑﺎ ﻣﻮﺿﻮﻋﺎﺕ‬ ‫ﺭﺍﻩ ﻣﺒﺎﺭﺯﻩ ﺑﺎ ﻗﺪﺭﺕ ﺍﺳﺖ‪.‬‬ ‫ﺭﺍ ﻛﻪ ﺑﺎ ﻃﺒﻴﻌﺖ‪ ،‬ﺧﺎﻙ ﻭﮔﻴﺎﻩ ﭘﻴﻮﻧﺪﻯ‬
‫ﺍﺳﺖ‪ .‬ﺑﻪ ﻧﻈﺮﻡ ﻓﻴﻠﻢﺳﺎﺯﺍﻥ ﺑﺎﻳﺪ‬ ‫ﻛﻤﺒﻮﺩ ﺳﺎﻟﻦﻫﺎﻯ ﺳﻴﻨﻤﺎﻳﻰ ﻭ ﺑﻰ‬ ‫ﻧﺎﻗﺺ ﻋﺮﺿﻪ ﺍﺛﺮ ﻫﻨﺮﻯ ﺧﻮﺩ ﺭﺍ ﺗﻮﺟﻴﻪ‬ ‫ﻧﺦﻧﻤﺎ ﻭ ﺗﻜﺮﺍﺭﻯ ﻭ ﺑﺎ ﺑﺪﺗﺮﻳﻦ ﻛﻴﻔﻴﺖ‬ ‫ﻓﺮﻳﺎﺩ‬ ‫ﻋﻤﻴﻖ ﺩﺍﺷﺖ ﺑﻪ ﺍﺩﺍﻣﻪ ﺯﻧﺪﮔﻰ ﻭﺍ‬
‫ﻗﺪﺭﻯ ﺗﺎﻣﻞ ﻛﻨﻨﺪ‪ ،‬ﻛﺘﺎﺏ ﺑﺨﻮﺍﻧﻨﺪ ﻭ‬ ‫ﺭﻏﺒﺘﻰ ﺳﻴﻨﻤﺎﺩﺍﺭﺍﻥ ﺑﻪ ﺍﻛﺮﺍﻥ ﻓﻴﻠﻢﻫﺎﻯ‬ ‫ﻛﻨﻨﺪ‪.‬‬ ‫ﻭ ﻓﻴﻠﻢﻧﺎﻣﻪ ﺗﻮﻟﻴﺪ ﺷﺪ‪ ،‬ﻧﻪ ﺍﻧﻴﻤﺎﺗﻮﺭﻫﺎﻯ‬ ‫ﺩﺭ ﺑﺎﺩ‬ ‫ﻣﻰﺩﺍﺭﺩ‪ .‬ﺷﺮﻭﻉ ﺑﻪ ﻧﻘﺎﺷﻰ ﻣﻰﻛﻨﺪ‪،‬‬
‫ﺑﻴﺸﺘﺮ ﺑﻴﺎﻧﺪﻳﺸﻨﺪ ﻭ ﻳﺎﺩ ﺑﮕﻴﺮﻧﺪ ﺗﺎ ﺍﺯ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ‪» ،‬ﺟﻤﺸﻴﺪ ﻭ ﺧﻮﺭﺷﻴﺪ«‬ ‫ﺣﺮﻓﻪﺍﻯ ﺩﻳﮕﺮ ﺗﻤﺎﻳﻞ ﺩﺍﺭﻧﺪ‪ ،‬ﺍﺳﻢﺷﺎﻥ‬ ‫ﺻﺤﻨﻪﻫﺎﻳﻰ ﺍﺯ ﺟﻨﮓ ﻭ ﻓﻘﺮ ﻣﺮﺩﻡ‪ .‬ﺑﺎﺭﻫﺎ‬
‫ﺍﻳﻦ ﺭﺳﻮﺑﺎﺕ ﻓﻜﺮﻯ ﺩﺭ ﻛﺎﺭﻫﺎﻳﺸﺎﻥ‬ ‫)ﺑﻬﺮﻭﺯ ﻳﻐﻤﺎﻳﻴﺎﻥ( ﻭ »ﺭﺳﺘﻢ ﻭ ﺳﻬﺮﺍﺏ«‬ ‫ﺧﺮﺩﻩ ﺷﺮﻛﺖﻫﺎﻯ ﺧﺼﻮﺻﻰ ﻧﻴﺰ ﻛﻪ‬ ‫ﺭﺍ ﺧﺮﺝ ﺳﺎﺧﺘﻦ ﺍﻧﻴﻤﻴﺸﻦ ﺑﺮﺍﻯ‬ ‫ﺳﺎﻳﻪﻯ ﺳﺮﻭﻯ ﺑﻪ ﺟﺎﻯ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫ﭘﻨﻬﺎﻧﻰ ﺑﻪ ﺍﺳﭙﺎﻧﻴﺎ ﺳﻔﺮ ﻣﻰﻛﻨﺪ ﺑﻴﻦ‬
‫)ﺑﺮﺍﺩﺭﺍﻥ ﺩﺍﻟﻮﻧﺪ( ﺩﺭ ﮔﺮﻭﻩ ﺳﻴﻨﻤﺎﻳﻰ‬ ‫ﻫﺮ ﺍﺯ ﭼﻨﺪﻯ ﺳﻔﺎﺭﺵ ﻛﺎﺭ ﻣﻰﮔﻴﺮﻧﺪ‪،‬‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﻛﻨﻨﺪ ﻭ ﻧﻪ ﻣﺨﺎﻃﺐ ﻭﻗﺖ‬ ‫»ﺑﮕﺬﺍﺭﻳﺪﺩﺭﺍﻳﻦﻛﺸﺘﺰﺍﺭﮔﺮﻳﻪﻛﻨﻢ«‬ ‫ﺳﺎﻝﻫﺎﻯ ‪ 1954‬ﺗﺎ ‪ 1960٫‬ﺑﻌﺪ ﺍﺯ ﺁﻥ‬
‫ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻨﺪ‪.‬‬ ‫ﻫﻨﺮ ﻭ ﺗﺠﺮﺑﻪ‪ ،‬ﭘﺲ ﺍﺯ ‪ 10‬ﺳﺎﻝ ﺍﻧﺘﻈﺎﺭ‬ ‫ﺩﺭ ﻧﻬﺎﻳﺖ ﺳﺎﻝﻫﺎ ﺩﺳﺘﻤﺰﺩﻯ ﺩﺭﻳﺎﻓﺖ‬ ‫ﺧﻮﺩ ﺭﺍ ﺣﺮﺍﻡ ﺩﻳﺪﻥ ﺍﻧﻴﻤﻴﺸﻨﻰ‬ ‫ﺩﺭ ﺍﻳﻦ ﺟﻬﺎﻥ ﻫﻤﻪ ﭼﻴﺰﻯ ﺩﺭ ﻫﻢ‬ ‫ﺍﻣﺎ ﺳﻔﺮ ﻛﺮﺩ ِﻥ ﭘﻨﻬﺎﻧﻰ ﺑﺪﻭﻥ ﭘﺎﺳﭙﻮﺭﺕ ﻭ‬
‫ﺍﺯ ﺑﻴﻦ ﺍﻳﻦ ﺁﺛﺎﺭ ﻣﺠﻤﻮﻋﻪ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﻧﻤﻰﻛﻨﻨﺪ‪ .‬ﻛﻤﺎ ﺍﻳﻨﻜﻪ ﺳﺎﻝ ﮔﺬﺷﺘﻪ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺣﺮﻓﻰ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﻧﺪﺍﺭﺩ‪.‬‬ ‫ﺷﻜﺴﺘﻪ ﺑﻪ ﺟﺰ ﺧﺎﻣﻮﺷﻰ ﻫﻴﭻ ﺑﺎﻗﻰ‬
‫»ﺷﻜﺮﺳﺘﺎﻥ«‪» ،‬ﺍﻟﺒﺘﻪ ﻭﺍﺿﺢ ﻭ ﻣﺒﺮﻫﻦ‬ ‫ﺑﻪ ﺍﻛﺮﺍﻥ ﻋﻤﻮﻣﻰ ﺩﺭ ﺁﻣﺪﻧﺪ‪.‬‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻥ ﻣﺒﻠﻎ ‪ 10‬ﻣﻴﻠﻴﺎﺭﺩ ﺗﻮﻣﺎﻥ ﺑﻪ‬ ‫ﻣﺮﺍﺩﻯ ﺯﺍﺩﻩ ﺑﺎ ﺑﻴﺎﻥ ﺍﻳﻨﻜﻪ‬ ‫ﻣﺪﺍﺭﻙ ﻫﻮﻳﺖ ﻏﻴﺮ ﻣﻤﻜﻦ ﺑﻮﺩ‪.‬‬
‫ﺍﺳﺖ ﻛﻪ« ﻭ »ﺩﻳﺮﻳﻦ ﺩﻳﺮﻳﻦ« ﺑﺎ‬ ‫ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻯ ﺍﻣﺮﻭﺯﻯ ﺗﻜﺮﺍﺭ ﻭ‬ ‫ﻧﻤﺎﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺯﻳﺎﺩ ﺳﻔﺮ ﻣﻰﻛﻨﺪ‪ :‬ﭼﻴﻦ‪ ،‬ﭘﺎﺭﻳﺲ‪،‬‬
‫ﺍﺳﺘﻘﺒﺎﻝ ﺑﺴﻴﺎﺭﻯ ﺭﻭﺑﺮﻭ ﺷﺪﻩﺍﻧﺪ ﻭ ﺩﺭ‬ ‫ﺗﻘﻠﻴﺪﻯ ﺍﺯ ﺗﻮﻟﻴﺪﺍﺕ ﻣﻮﻓﻖ ﻫﺴﺘﻨﺪ‪،‬‬ ‫»ﺑﮕﺬﺍﺭﻳﺪﺩﺭﺍﻳﻦﻛﺸﺘﺰﺍﺭﮔﺮﻳﻪﻛﻨﻢ«‬ ‫ﺗﻮﺭﻧﺘﻮ‪ ،‬ﻓﻴﻼﺩﻟﻔﻴﺎ‪ ،‬ﺗﻮﺭﻳﻦ‪ ،‬ﺭﻡ‪ ،‬ﺯﻭﺭﻳﺦ‪،‬‬
‫ﻣﻰﮔﻮﻳﺪ‪ :‬ﻣﻬﻢﺗﺮﻳﻦ ﺍﺻﻞ ﺑﺮﺍﻯ ﻳﻚ‬ ‫ﺍﻓﻖ ﺑﻰﺭﻭﺷﻨﺎﻳﻰ ﺭﺍ ﺟﺮﻗﻪﻫﺎ ﺑﻪ‬
‫ﺍﻳﻨﺘﺮﻧﺖ ﺑﺎﺯﭘﺨﺶ ﻣﻰﺷﻮﻧﺪ‪.‬‬ ‫ﻓﻴﻠﻢﺳﺎﺯ ﺩﺍﺷﺘﻦ ﻫﻮﻳﺖ ﻭ ﺷﺎﺧﺼﻪ‬ ‫ﻟﻮﻛﺰﺍﻣﺒﻮﺭگ‪،‬ﺑﺮﻭﻛﺴﻞ‪.‬‬
‫ﻣﺠﻤﻮﻋﻪ »ﺷﻜﺮﺳﺘﺎﻥ« ﺩﺍﺳﺘﺎﻥﻫﺎﻯ‬ ‫ﻓﺮﺩﻯ ﺍﺳﺖ‪ .‬ﺍﻧﻴﻤﺎﺗﻮﺭﻫﺎﻯ ﺟﻮﺍﻥ‬ ‫ﺩﻧﺪﺍﻥ ﮔﺰﻳﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻧﻘﺎﺷﻰﻫﺎﻯ ﺍﻭ ﺑﻴﺸﺘﺮﺷﺎﻣﻞ ﺳﻮژﻩﻫﺎﻳﻰ‬
‫ﻛﻬﻦ ﻭ ﺣﻜﻴﻤﺎﻧﻪ ﺭﺍ ﺑﻪ ﺷﻜﻠﻰ‬ ‫ﺑﺎﻳﺪ ﺧﻮﺩﺷﺎﻥ ﺭﺍ ﺑﻴﺎﺑﻨﺪ ﻭ ﺍﺛﺮ ﻫﻨﺮﻯ‬ ‫»ﺑﻪ ﺷﻤﺎ ﮔﻔﺘﻢ‪ ،‬ﺑﮕﺬﺍﺭﻳﺪ ﺩﺭ ﺍﻳﻦ‬ ‫ﺍﺯ ﺟﻨﮓ ﻭ ﻛﺸﺘﺎﺭ‪ ،‬ﻣﺮﺩﻡ ﻋﺎﺩﻯ‪ ،‬ﻓﻘﺮ ﻭ‬
‫ﺟﺪﻳﺪ ﻭ ﭘﺮ ﻛﺸﺶ ﺭﻭﺍﻳﺖ ﻣﻰﻛﻨﺪ‬ ‫ﺍﺯ ﺩﺭﻭﻥ ﺧﻮﺩ ﺁﻧﻬﺎ ﺳﺮﭼﺸﻤﻪ ﺑﮕﻴﺮﺩ‪،‬‬
‫ﻭ ﭼﻨﺎﻥ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﻛﻪ‬ ‫ﻧﻪ ﺗﻘﻠﻴﺪ ﺍﺯ ﻓﻴﻠﻢﻫﺎﻯ ﺳﺎﺧﺘﻪ ﺷﺪﻩ ﻭ‬ ‫ﻛﺸﺘﺰﺍﺭ ﮔﺮﻳﻪ ﻛﻨﻢ«‬ ‫ﭼﻬﺮﻩﺩﻳﻜﺘﺎﺗﻮﺭﻫﺎﺳﺖ‪.‬‬
‫ﺷﺨﺼﻴﺖﻫﺎﻯ ﺁﻥ ﺑﻪ ﺻﻮﺭﺕ ﻋﺮﻭﺳﻚ‬ ‫ﺑﺎ ﺗﺸﻜﺮ ﺍﺯ ﺩﻭﺳﺖ ﻧﺰﺩﻳﻚ ﺍﻭﺭﺗﮕﺎ‪،‬‬ ‫ﺧﻮﺯﻩ ﺍﻭﺭﺗﮕﺎ ﺳﺎﻝﻫﺎ ﺩﺭ ﻛﺸﻮﺭﻫﺎﻯ‬
‫ﺑﺮﺍﻯ ﻓﺮﻭﺵ ﻭﺍﺭﺩ ﺑﺎﺯﺍﺭ ﻭﺳﺎﻳﻞ ﻛﻮﺩﻛﺎﻥ‬ ‫ﺟﺎﻳﺰﻩ ﮔﺮﻓﺘﻪ ﺩﻳﮕﺮ‪.‬‬ ‫ﻧﻴﻜﻮﻻ ﻛﻮﺑﻮﭼﻰ ﻛﻪ ﺑﺎ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﺑﻪ‬ ‫ﻣﺨﺘﻠﻒ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺑﺮﮔﺰﺍﺭ ﻛﺮﺩ ﻏﻴﺮ ﺍﺯ‬
‫ﺳﺎﺯﻧﺪﻩ ﺍﻧﻴﻤﻴﺸﻦ »ﺗﻨﻬﺎﻳﻰ ﻳﻚ‬ ‫ﮔﻔﺘﮕﻮ ﻧﺸﺴﺖ ﻭ ﺍﻃﻼﻋﺎﺗﻰ ﺍﺯ ﺯﻧﺪﮔﻰ‬ ‫ﺍﺳﭙﺎﻧﻴﺎ ﻛﻪ ﺁﺛﺎﺭﺵ ﺩﺭ ﺁﻧﺠﺎ ﻣﻤﻨﻮﻉ ﺑﻮﺩ‪.‬‬
‫ﺷﺪﻩﺍﻧﺪ‪.‬‬ ‫ﺩﺭﺧﺖ« ﻣﻌﺘﻘﺪ ﺍﺳﺖ‪ :‬ﻣﺮﺩﻡ ﺍﻳﺮﺍﻥ‬ ‫ﺍﻭﺭﺗﮕﺎ ﻭ ﺣﺘﻰ ﻋﻜﺲﻫﺎﻳﻰ ﺍﺯ ﺁﻟﺒﻮﻡ‬ ‫ﺳﺮﺍﻧﺠﺎﻡ ﺩﺭ ﻓﻮﺭﻳﻪ ﺳﺎﻝ ‪ 1976‬ﺑﻪ ﺍﻭ‬
‫ﻣﺠﻤﻮﻋﻪ »ﺩﻳﺮﻳﻦ ﺩﻳﺮﻳﻦ« ﻫﻢ ﺍﮔﺮ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ﺍﻳﺮﺍﻧﻰ ﺗﻤﺎﺷﺎ ﻧﻤﻰﻛﻨﻨﺪ‬ ‫ﺧﺼﻮﺻﻰﺍﺵ ﺩﺭ ﺍﺧﺘﻴﺎﺭ ﻣﺎ ﮔﺬﺍﺷﺖ ﻭ‬ ‫ﻣﺠﻮﺯ ﺑﺮﮔﺰﺍﺭﻯ ﻧﻤﺎﻳﺸﮕﺎﻩ ﺩﺭ ﺍﺳﭙﺎﻧﻴﺎ‬
‫ﭼﻪ ﺑﺮ ﺑﺴﺘﺮ ﻋﻬﺪ ﻛﻬﻦ ﻣﻰﮔﺬﺭﺩ‪ ،‬ﻭﻟﻰ‬ ‫ﻭ ﺣﺘﻰ ﺍﺯ ﺗﻮﻟﻴﺪ ﺍﻧﻴﻤﻴﺸﻦ ﺩﺭ ﺍﻳﺮﺍﻥ‬ ‫ﺩ ِﺭ ﻣﻮﺯﻩ ﻛﻮﭼﻚ ﺍﻭﺭﺗﮕﺎ ﺭﺍ ﺩﺭ ﺑُﺴﻜﻮ ﺑﺮﺍﻯ‬ ‫ﺩﺍﺩﻩ ﻣﻰﺷﻮﺩ‪ .‬ﻧﻤﺎﻳﺸﮕﺎﻫﻰ ﺑﺎ ﻋﻨﻮﺍﻥ‬
‫ﺩﺍﺭﺍﻯ ﺑﺪﻳﻞﻫﺎﻯ ﻛﻨﻮﻧﻰ ﻭ ﺍﻣﺮﻭﺯﻯ‬ ‫ﺑﻰ ﺍﻃﻼﻉ ﻫﺴﺘﻨﺪ‪ .‬ﻫﻤﻴﻦ ﺑﻰ ﺍﻃﻼﻋﻰ‬ ‫ﺗﻬﻴﻪ ﺍﻳﻦ ﮔﺰﺍﺭﺵ ﺑﻪ ﺭﻭﻯ ﻣﺎ ﮔﺸﻮﺩ‪ ،‬ﻭ‬
‫ﺩﺭ ﺟﺎﻣﻌﻪ ﺍﺳﺖ ﻭ ﺑﺎ ﺳﺮﻋﺖ ﺑﺎ ﻭﻗﺎﻳﻊ‬ ‫ﺑﺎﻋﺚ ﺗﻮﻟﻴﺪ ﺍﻧﺒﻮﻩ ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻯ ﺑﻰ‬ ‫ﻫﻢﭼﻨﻴﻦ ﺳﭙﺎﺱ ﻓﺮﻭﺍﻥ ﺍﺯ ﻣﺎﺭﻳﻴﻼ ﻧﻮ ُﻭﻟِﺘﺎ‬ ‫ﻣﺮگ ﻭ ﺗﻮﻟﺪ ﺑﻰﮔﻨﺎﻫﺎﻥ‪.‬‬
‫ﺭﻭﺯ ﺟﺎﻣﻌﻪ ﺣﺮﻛﺖ ﻣﻰﻛﻨﺪ‪ .‬ﺑﻪ ﻃﻮﺭ‬ ‫ﺑﺮﺍﻯ ﻫﻤﺎﻫﻨﮕﻰ ﻭ ﻫﻤﺮﺍﻫﻰﺍﺵ ﺩﺭ ﺗﻬﻴﻪ‬ ‫ﺍﻭﺭﺗﮕﺎ ﭘﺲ ﺍﺯ ‪ 16‬ﺳﺎﻝ ﺗﺒﻌﻴﺪ ﺑﻪ‬
‫ﻣﺜﺎﻝ ﺩﺭ ﻳﻚ ﻗﺴﻤﺖ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ‬ ‫ﻛﻴﻔﻴﺖ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺍﺳﭙﺎﻧﻴﺎ ﺑﺮﻣﻰﮔﺮﺩﺩ‪ ،‬ﺍﻣﺎ ﺗﻨﻬﺎ ﭘﺲ ﺍﺯ‬
‫ﺑﻪ ﻣﺬﺍﻛﺮﺍﺕ ﻫﺴﺘﻪﺍﻯ ﻭ ﺣﻀﻮﺭ ﻣﻜﺮﺭ‬ ‫ﺍﻧﻴﻤﻴﺸﻦ ‪ 57‬ﺳﺎﻟﻪ ﺍﻳﺮﺍﻥ ﺩﺭ ﺣﺎﻟﻰ‬ ‫ﺍﻳﻦ ﮔﺰﺍﺭﺵ‪.‬‬ ‫ﭼﻨﺪ ﺭﻭﺯ ﻧﻤﺎﻳﺸﮕﺎﻩﺍﺵ ﺑﺴﺘﻪ ﻭ ﻣﺠﻮﺯ‬
‫ﻣﺬﺍﻛﺮﻩ ﻛﻨﻨﺪﮔﺎﻥ ﺑﺮ ﺑﺎﻟﻜﻦ ﻫﺘﻞ ﺍﺷﺎﺭﻩ‬ ‫ﻛﻪ ﺑﺎ ﻛﻴﻔﻴﺖ ﻧﺎﻣﻄﻠﻮﺏ ﻭ ﻛﻤﺒﻮﺩ‬ ‫ﺁﻥ ﻟﻐﻮ ﻣﻰﺷﻮﺩ‪ .‬ﭘﺲ ﺍﺯ ﺁﻥ ﺍﻭﺭﺗﮕﺎ‬
‫ﻣﺨﺎﻃﺐ ﺩﺳﺖ ﻭ ﭘﻨﺠﻪ ﻧﺮﻡ ﻣﻰﻛﻨﺪ‪،‬‬ ‫ﺍﻳﺘﺎﻟﻴﺎ‪ ،‬ﺍﻭﺕ ‪2015‬‬
‫ﺷﺪ‪.‬‬ ‫ﺍﺯ ﺿﻌﻒ ﻣﺪﻳﺮﻳﺖ ﻧﻬﺎﺩﻫﺎﻯ ﻣﺘﻮﻟﻰ ﻫﻢ‬
‫ﺍﻣﺎ ﻧﻜﺘﻪ ﺩﺍﺭﺍﻯ ﺍﻫﻤﻴﺖ ﺍﻳﻦ ﺍﺳﺖ‬ ‫ﺭﻧﺞ ﻣﻰﺑﺮﺩ‪ .‬ﺑﻮﺩﺟﻪ ﺍﻧﺪﻙ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫*ﺷﻌﺮﻫﺎﻯ ﻣﺘﻦ ﺍﺯ ﻓﺪﺭﻳﻜﻮ ﮔﺎﺭﺳﻴﺎ‬
‫ﻛﻪ ﺩﺭ ﺍﻧﺒﻮﻩ ﺍﻧﻴﻤﻴﺸﻦﻫﺎﻯ ﺍﻳﻨﺘﺮﻧﺘﻰ‪،‬‬ ‫ﻛﺸﻮﺭ ﻛﻪ ﺗﻮﺳﻂ ﻣﻮﺳﺴﻪ ﺻﺒﺎ‪ ،‬ﻣﺮﻛﺰ‬
‫ﺁﻧﭽﻪ ﺑﻴﺸﺘﺮ ﻣﻮﺭﺩ ﺗﻮﺟﻪ ﻗﺮﺍﺭ ﻣﻰﮔﻴﺮﺩ‬ ‫ﮔﺴﺘﺮﺵ ﺳﻴﻨﻤﺎﻯ ﻣﺴﺘﻨﺪ ﻭ ﺗﺠﺮﺑﻰ‪،‬‬ ‫ﻟﻮﺭﻛﺎ‪ ،‬ﺗﺮﺟﻤﻪ ﺍﺣﻤﺪ ﺷﺎﻣﻠﻮ‬
‫ﻣﻀﻤﻮﻥ ﺍﺳﺖ ﻭ ﻧﻪ ﺧﻮﺩ ﺍﻧﻴﻤﻴﺸﻦ‬ ‫ﺣﻮﺯﻩ ﻫﻨﺮﻯ ﻭ ﻛﺎﻧﻮﻥ ﭘﺮﻭﺭﺵ ﻓﻜﺮﻯ‬
‫ﭼﺮﺍ ﻛﻪ ﺍﻏﻠﺐ ﺍﻳﻦ ﺁﺛﺎﺭ ﺑﺎ ﺗﻜﻨﻴﻚ‬ ‫ﻛﻮﺩﻛﺎﻥ ﻭ ﻧﻮﺟﻮﺍﻧﺎﻥ ﺗﺎﻣﻴﻦ ﻣﻰﺷﻮﺩ‪ ،‬ﺑﺎ‬
‫ﺑﺴﻴﺎﺭ ﻧﺎﺯﻝ ﺍﺭﺍﺋﻪ ﻣﻰﺷﻮﻧﺪ ﻭ ﮔﺎﻩ ﺩﺭ‬ ‫ﺑﺮﮔﺰﺍﺭﻯ ﻫﻤﺎﻳﺶ ﻭ ﺟﺸﻨﻮﺍﺭﻩﻫﺎﻯ ﺑﻰ‬
‫ﺑﻴﺎﻥ ﻣﻀﺎﻣﻴﻦ ﻣﻤﻨﻮﻋﻪ ﺑﻪ ﻫﺠﻮ ﻭ ﻫﺰﻝ‬

‫ﻧﻴﺰ ﺑﺪﻝ ﻣﻰﺷﻮﻧﺪ‪.‬‬

6 7 8 9 10 11 12 13 14 15 16