Page 1 - (کیهان لندن - سال سى و دوم ـ شماره ۴۴ (دوره جديد

‫ﺑﻨﻴﺎﻧﮕﺬﺍﺭ‪:‬‬
‫ﺩﻛﺘﺮﻣﺼﻄﻔﻰ‬
‫ﻣﺼﺒﺎ ﺡ ﺯ ﺍ ﺩ ﻩ‬

‫)‪ 16‬ﺻﻔﺤﻪ(‬ ‫ﺳﺎﻝ ﺳﻰ ﻭ ﺩﻭﻡ ـ ﺷﻤﺎﺭﻩ ‪) 44‬ﺩﻭﺭﺓ ﺟﺪﻳﺪ(‬
‫‪Page 1‬‬ ‫ﺟﻤﻌﻪ ‪ 9‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 15‬ﺑﻬﻤﻦﻣﺎﻩ ‪1394‬ﺧﻮﺭﺷﻴﺪﻯ‬

‫ﺮ ﻘﺎ‬ ‫ﺩﻭﭘﻴﻨﮓ ﺍﺭﻭﭘﺎﻳﻰ ﺑﺮﺍﻯ ﺍﻗﺘﺼﺎﺩ ﺍﻳﺮﺍﻥ‬

‫ﻓﺮﻭﺯﺍﻥ‪ ،‬ﺳﺘﺎﺭﻩﻯ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ‬ ‫ﺟﺎﻧﻰ ﺗﺎﺯﻩ ﺍﻣﺎ ﻧﺎﭘﺎﻳﺪﺍﺭ‬

‫ﭼﻨﺪﻯ ﭘﻴﺶ ﻳﻜﻰ ﺍﺯ ﻫﻤﻜﺎﺭﺍﻥ ﻣﻄﺮﺡ ﻛﺮﺩ ﻛﻪ ﺳﺮﻣﻘﺎﻟﻪ ﺍﻟﺰﺍﻣﺎ ﻧﺒﺎﻳﺪ ﺩﺭﺑﺎﺭﻩ‬ ‫ﮔﺮﻭﻩ ﻓﻤﻦ ﺑﻪ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ‪ :‬ﻣﺎ ﺑﺎ ﻳﻚ ﻧﻔﺮ ﻛﻪ ﻃﻨﺎﺏ ﺩﺍﺭ ﺑﺮ ﮔﺮﺩﻥ‬
‫ﻣﺴﺎﻳﻞ ﺳﻴﺎﺳﻰ ﺑﺎﺷﺪ‪ .‬ﻭﻟﻰ ﻳﺎﻓﺘﻦ ﻣﻮﺿﻮﻋﻰ ﻛﻪ ﺳﻴﺎﺳﻰ ﻧﺒﺎﺷﺪ ﺩﺭ ﺷﺮﺍﻳﻂ‬ ‫ﺩﺍﺷﺖ ﺍﺯ ﺭﻭﺣﺎﻧﻰ ﺍﺳﺘﻘﺒﺎﻝ ﻛﺮﺩﻳﻢ ﺗﺎ ﺍﺣﺴﺎﺱ ﻏﺮﺑﺖ ﻧﻜﻨﺪ‬
‫ﻣﺎ ﺍﻳﺮﺍﻧﻰﻫﺎ ﺑﺴﻴﺎﺭ ﺩﺷﻮﺍﺭ ﻭ ﭼﻪ ﺑﺴﺎ ﻧﺎﻣﻤﻜﻦ ﺍﺳﺖ ﺍﺯ ﺟﻤﻠﻪ ﭘﺮﺩﺍﺧﺘﻦ ﺑﻪ ﻳﻚ‬
‫ﺳﺘﺎﺭﻩﻯ ﺳﻴﻨﻤﺎ ﻛﻪ ﺩﺭ ﺑﻴﺶ ﺍﺯ ﺳﻪ ﺩﻫﻪﻯ ﮔﺬﺷﺘﻪ ﻫﻴﭻ ﻓﻌﺎﻟﻴﺖ ﺳﻴﻨﻤﺎﻳﻰ ﻫﻢ‬ ‫‪©Reuters‬‬ ‫‪©Reuters‬‬ ‫‪©Reuters‬‬ ‫ﺳﺮﻭﻳﺲ ﺳﻴﺎﺳﻰ ﻛﻴﻬﺎﻥ‪:‬‬
‫‪©Reuters‬‬ ‫‪©Reuters‬‬
‫ﻧﺪﺍﺷﺘﻪ ﺍﺳﺖ! ﺣﺘﻰ ﻓﻌﺎﻟﻴﺖ ﻧﻜﺮﺩﻥ ﻫﻢ ﺩﺭ ﻣﻤﻠﻜﺖ ﻣﺎ ﻛﺎﺭﻯ ﺳﻴﺎﺳﻰ ﺍﺳﺖ!‬ ‫‪©Reuters‬‬ ‫ﺣﺴﻦ ﺭﻭﺣﺎﻧﻰ ﺍﻭﻟﻴﻦ ﺳﻔﺮ ﺍﺭﻭﭘﺎﻳﻰ‬
‫ﻓﺮﻭﺯﺍﻥ ﺑﺎ ﺑﺎﺯﻯ ﺩﺭ ﻛﻨﺎﺭ ﻫﻨﺮﭘﻴﺸﮕﺎﻧﻰ ﭼﻮﻥ ﻓﺮﺩﻳﻦ ﻭ ﻧﺎﺻﺮ ﻣﻠﻚﻣﻄﻴﻌﻰ ﻓﺼﻠﻰ‬ ‫‪©Reuters‬‬ ‫‪©Reuters‬‬ ‫ﺧﻮﺩ ﺭﺍ ﺑﺎ ﺳﻔﺮ ﺑﻪ ﺍﻳﺘﺎﻟﻴﺎ ﺁﻏﺎﺯ ﻛﺮﺩ‪.‬‬
‫ﺍﺯ ﺗﺎﺭﻳﺨﭽﻪﻯ ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺭﺍ ﺑﻪ ﻧﺎﻡ ﺧﻮﺩ ﻧﻮﺷﺖ‪ .‬ﻭﻯ ﺗﺎﺯﻩ ‪ 41‬ﺳﺎﻟﻪ ﺑﻮﺩ ﻛﻪ‬ ‫ﺍﻳﺘﺎﻟﻴﺎ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﻳﻨﻜﻪ ﺣﺘﻰ ﺩﺭ ﺩﻭﺭﺍﻥ‬
‫ﺍﻧﻘﻼﺏ ﺷﺪ‪ .‬ﺑﺎﺯﻯ ﺍﻭ ﺩﺭ ﻓﻴﻠﻢ »ﺩﺍﻳﺮﻩ ﻣﻴﻨﺎ« ﻛﻪ ﻣﺘﻔﺎﻭﺕ ﺍﺯ »ﻓﻴﻠﻤﻔﺎﺭﺳﻰ«ﻫﺎﻯ ﻭﻯ‬ ‫ﺗﺤﺮﻳﻢ ﻳﻜﻰ ﺍﺯ ﻣﻬﻢﺗﺮﻳﻦ ﺷﺮﻳﻚﻫﺎﻯ‬
‫ﺑﻮﺩ ﻭ ﭼﻬﺎﺭ ﺳﺎﻝ ﭘﺲ ﺍﺯ ﺗﻮﻟﻴﺪ‪ ،‬ﺗﺎﺯﻩ ﻫﻤﺰﻣﺎﻥ ﺑﺎ ﺍﻧﻘﻼﺏ ﺩﺭ ﺳﺎﻝ ‪ 57‬ﺑﻪ ﻧﻤﺎﻳﺶ‬ ‫ﺗﺠﺎﺭﻯ ﺍﻳﺮﺍﻥ ﻣﺤﺴﻮﺏ ﻣﻰﺷﺪ ﺣﺎﻻ ﺩﺭ‬
‫ﺩﺭ ﺁﻣﺪ‪ ،‬ﺩﺭ ﺑﺮﺍﺑﺮ ﺑﻴﺸﺘﺮﻳﻦ ﻭ ﻣﻌﺮﻭﻑﺗﺮﻳﻦ ﻛﺎﺭﻫﺎﻯ ﺍﻭ ﻛﻪ ﻋﻤﺪﺗﺎ ﺩﺭ ﺩﻫﻪﻯ ﭼﻬﻞ‬ ‫ﺩﻭﺭﺍﻥ ﭘﺴﺎﺗﺤﺮﻳﻢ ﻧﻴﺰ ﺩﺭ ﭘﻰ ﺁﻥ ﺍﺳﺖ‬
‫ﻛﻪ ﻧﻘﺶ ﻣﻬﻢﺗﺮﻯ ﺍﻳﻔﺎ ﻛﻨﺪ‪ .‬ﻫﻴﺎﺕ‬
‫ﺧﻮﺭﺷﻴﺪﻯ ﺗﻬﻴﻪ ﺷﺪﻧﺪ‪ ،‬ﻧﻘﺸﻰ ﺑﻪ ﺣﺴﺎﺏ ﻧﻤﻰﺁﻳﺪ‪.‬‬ ‫ﺍﻗﺘﺼﺎﺩﻯ ﻫﻤﺮﺍﻩ ﺣﺴﻦ ﺭﻭﺣﺎﻧﻰ ﺷﺎﻣﻞ‬
‫ﻛﺴﻰ ﻓﺮﻭﺯﺍﻥ ﺭﺍ ﺑﻪ ﺧﺎﻃﺮ »ﺩﺍﻳﺮﻩ ﻣﻴﻨﺎ« ﻧﻤﻰﺷﻨﺎﺳﺪ‪ .‬ﺍﻭ ﻓﻴﻠﻢﻫﺎﻳﻰ ﻣﻬﻢﺗﺮ‬ ‫ﻭﺯﺭﺍ ﻭ ﺻﺎﺣﺒﺎﻥ ﺻﻨﺎﻳﻊ ﻭ ﺗﺠﺎﺭ ﺍﻳﺮﺍﻧﻰ ﻧﻴﺰ‬
‫ﺩﺍﺷﺖ ﻛﻪ ﺍﮔﺮﭼﻪ ﺍﺯ ﺳﻮﻯ ﻣﻨﺘﻘﺪﻯ ﭼﻮﻥ ﻫﻮﺷﻨﮓ ﻛﺎﻭﻭﺳﻰ ﺑﻪ »ﻓﻴﻠﻤﻔﺎﺭﺳﻰ«‬ ‫ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ﻛﻪ ﺍﻭ ﺍﺯ ﺳﻔﺮ ﺑﻪ ﺍﻳﺘﺎﻟﻴﺎ ﻭ‬
‫ﻣﻌﺮﻭﻑ ﺷﺪﻧﺪ ﺍﻣﺎ ﺑﻪ ﺳﺎﺩﻩﺗﺮﻳﻦ ﻭ ﻋﺎﻣﻴﺎﻧﻪﺗﺮﻳﻦ ﺷﻜﻞ‪ ،‬ﺗﻀﺎﺩﻫﺎﻯ ﺟﺎﻣﻌﻪﺍﻯ‬ ‫ﻓﺮﺍﻧﺴﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﭼﻪ ﺑﻮﺩﻩ ﺍﺳﺖ‪ :‬ﺗﺮﻣﻴﻢ‬
‫ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺷﺘﻨﺪ ﻛﻪ ﺍﺯ ﺟﻨﺒﺶ ﻣﺸﺮﻭﻃﻪ ﺑﻪ ﺍﻳﻦ ﺳﻮ ﺑﻪ ﺷﺪﺕ‬ ‫ﭼﻬﺮﻩﻯ ﺳﻴﺎﺳﻰ ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﻭ‬
‫ﺩﺭﮔﻴﺮ ﺟﻨﮓ ﺳﻨﺖ ﻭ ﻣﺪﺭﻧﻴﺘﻪ‪ ،‬ﻭ ﺗﻘﺎﺑﻞ ﻣﺬﻫﺐ ﻭ ﻋﺮﻑ ﺑﻮﺩ‪ .‬ﺍﺯ ﻫﻤﻴﻦ ﺭﻭ ﻧﻴﺰ‬
‫ﻣﻰﺗﻮﺍﻧﺴﺖ ﺑﺎ ﻋﺎﻡﺗﺮﻳﻦ ﻣﺨﺎﻃﺒﺎﻥ‪ ،‬ﺍﺯ ﻫﺮ ﺩﻭ ﻃﺮﻑ‪ ،‬ﺭﺍﺑﻄﻪ ﺑﺮﻗﺮﺍﺭ ﻛﻨﺪ ﺁﻥ ﻫﻢ‬ ‫ﺧﺮﻳﺪﻫﺎﻯ ﻣﻴﻠﻴﺎﺭﺩﻯ‪.‬‬
‫ﺩﺭ ﺣﺎﻟﻰ ﻛﻪ ﻣﻮﺳﻴﻘﻰ‪ ،‬ﺁﻭﺍﺯ‪ ،‬ﺭﻗﺺ‪ ،‬ﻋﺸﻖ‪ ،‬ﻭ ﻫﺮ ﺁﻥ ﭼﻴﺰﻯ ﻛﻪ ﺳﻨﺖ ﻭ ﻣﺬﻫﺐ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ ﺣﺴﻦ ﺭﻭﺣﺎﻧﻰ ﺍﺯ ﺳﻮﻯ‬
‫ﺧﻮﺍﺭ ﻭ ﻣﻤﻨﻮﻉﺍﺵ ﻣﻰﺩﺍﺷﺖ‪ ،‬ﺩﺭ ﻫﻨﺮ ﻫﻔﺘﻢ ﺟﻤﻊ ﺷﺪﻩ ﺑﻮﺩ‪ .‬ﺧﻮﺩ ﺳﻴﻨﻤﺎ ﺍﺻﻼ‬ ‫ﻣﻘﺎﻣﺎﺕ ﺑﻠﻨﺪﭘﺎﻳﻪ ﺍﻳﺘﺎﻟﻴﺎ ﺩﺭ ﺣﺎﻟﻰ‬
‫ﻧﻤﺎ ِﺩ ﺍﻳﻦ ﺗﻀﺎ ِﺩ ﻋﻤﻴﻖ ﻭ ﺗﺎﺭﻳﺨﻰ ﺑﻮﺩ ﭼﻪ ﺑﺮﺳﺪ ﺑﻪ ﺯﻧﻰ ﻛﻪ ﺑﻰﭘﺮﻭﺍ ﻭ ﺑﻰﺣﺠﺎﺏ‬ ‫ﺻﻮﺭﺕ ﮔﺮﻓﺖ ﻛﻪ ﺩﺭ ﺳﺎﻝ ‪1387‬‬
‫ﻣﺤﻤﻮﺩ ﺍﺣﻤﺪﻯ ﻧﮋﺍﺩ ﺩﺭ ﺣﺎﺷﻴﻪ‬
‫ﻣﻰﺧﻮﺍﻧﺪ ﻭ ﻣﻰﺭﻗﺼﻴﺪ ﻭ ﻋﺎﺷﻖ ﻣﻰﺷﺪ‪.‬‬ ‫ﺍﺟﻼﺱ ﺳﺎﻟﻴﺎﻧﻪ ﺟﻬﺎﻧﻰ ﺧﻮﺍﺭﺑﺎﺭ ﻭ‬
‫ﺳﺎﺯﻧﺪﮔﺎﻥ ﻭ ﺑﺎﺯﻳﮕﺮﺍﻥ »ﻓﻴﻠﻤﻔﺎﺭﺳﻰ«ﻫﺎ ﺍﺩﻋﺎﻯ »ﺭﻭﺷﻨﻔﻜﺮ« ﺑﻮﺩﻥ ﻧﺪﺍﺷﺘﻨﺪ‪ ،‬ﺑﺎ‬ ‫ﻛﺸﺎﻭﺭﺯﻯ ﺑﻪ ﺍﻳﺘﺎﻟﻴﺎ ﺳﻔﺮ ﻛﺮﺩﻩ ﺑﻮﺩ ﻭ‬
‫ﺍﻳﻦ ﻫﻤﻪ ﺁﻧﭽﻪ ﺁﻧﻬﺎ ﺍﺯ ﺗﻀﺎﺩ ﻃﺒﻘﺎﺗﻰ ﻭ ﻓﺮﻫﻨﮕﻰ ﻋﻤﻼ ﻣﻮﺟﻮﺩ ﺩﺭ ﺟﺎﻣﻌﻪ‪ ،‬ﺑﺎ ﺭﻗﺺ ﻭ‬ ‫ﻫﻴﭻ ﻣﻘﺎﻡ ﺭﺳﻤﻰ ﺍﺯ ﺍﻭ ﺍﺳﺘﻘﺒﺎﻝ ﻧﻜﺮﺩ‬
‫ﺁﻭﺍﺯ ﻭ ﺩﻋﻮﺍﻫﺎﻯ ﻛﺎﻓﻪﺍﻯ ﻭ »ﻏﻴﺮﺕ ﻣﺮﺩﺍﻧﻪ« ﻭ »ﻭﺳﻮﺳﻪﻫﺎﻯ ﺯﻧﺎﻧﻪ« ﺑﻪ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﻭ ﭘﺎپ ﻧﻴﺰ ﺣﺎﺿﺮ ﺑﻪ ﺩﻳﺪﺍﺭ ﺑﺎ ﻭﻯ ﻧﺸﺪ‪.‬‬
‫ﻧﺸﺎﻥ ﻣﻰﺩﺍﺩﻧﺪ‪ ،‬ﺗﺼﻮﻳﺮﻯ ﻭﺍﻗﻌﻰ ﺑﻮﺩ‪ .‬ﺁﻧﻘﺪﺭ ﻭﺍﻗﻌﻰ ﻛﻪ ﺩﺭ ﺍﻧﻘﻼﺏ ‪ ،57‬ﺑﺨﺶ‬ ‫ﺳﻴﺪ ﻣﺤﻤﺪ ﺧﺎﺗﻤﻰ ﺍﻭﻟﻴﻦ ﺭﺋﻴﺲ‬
‫ﻣﻬﻤﻰ ﺍﺯ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ ﻫﻤﺎﻥ ﻓﻴﻠﻢﻫﺎ ﻛﻪ ﻏﻢ ﻭ ﺷﺎﺩﻯ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﺑﺎﺯﻳﮕﺮﺍﻥ »ﮔﻨﺞ‬ ‫ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ ﺍﻳﺮﺍﻥ ﺑﻮﺩ ﻛﻪ ﭘﺲ‬
‫ﻗﺎﺭﻭﻥ« ﻭ »ﺩﺍﻻﻫﻮ« ﻭ »ﺗﻨﮕﻪ ﺍژﺩﻫﺎ« ﻭ »ﺧﺎﻃﺮﺧﻮﺍﻩ« ﺑﺎﺯ ﻣﻰﻳﺎﻓﺘﻨﺪ‪ ،‬ﺁﻥ ﻧﻴﺮﻭﻳﻰ‬ ‫ﺍﺯ ﭘﻴﺮﻭﺯﻯ ﺍﻧﻘﻼﺏ ﺳﺎﻝ ‪ 57‬ﺑﺎ ﺳﻔﺮ ﺑﻪ‬
‫ﺭﺍ ﺗﺸﻜﻴﻞ ﺩﺍﺩﻧﺪ ﻛﻪ ﺭژﻳﻢ ﺍﺳﻼﻣﻰ ﺑﺮ ُﮔﺮﺩﻩ ﻭ ﺑﻪ ﭘﺸﺘﻮﺍﻧﻪ ﺁﻧﻬﺎ ﺗﻮﺍﻧﺴﺖ ﻫﻤﻪ ﺍﻳﻦ‬
‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﺭﺍ ﺧﺎﻧﻪﻧﺸﻴﻦ ﻛﻨﺪ‪ ،‬ﻓﻴﻠﻢﻫﺎﻳﺸﺎﻥ ﺭﺍ ﻣﻤﻨﻮﻉ ﻛﻨﺪ‪ ،‬ﻭ ﺍﺻﻼ ﻗﻠﻢ ﺑﻄﻼﻥ ﺑﺮ‬ ‫ﺍﻳﺘﺎﻟﻴﺎ ﭘﺎﻯ ﺑﻪ ﺍﺭﻭﭘﺎ ﮔﺬﺍﺷﺖ‪.‬‬

‫ﺣﻀﻮﺭ ﻭ ﺯﻧﺪﮔﻰ ﺁﻧﻬﺎ ﺑﻜﺸﺪ‪.‬‬ ‫ﺗﻔﺴﻴﺮﺳﻴﺎﺳﻰﻫﻔﺘﻪﺭﺍﺩﺭﺻﻔﺤﺔ‪2‬ﺑﺨﻮﺍﻧﻴﺪ‬
‫ﻓﺮﻭﺯﺍﻥ ﺍﺯ ﺳﺎﻝ ‪ 42‬ﺗﺎ ‪ 56‬ﻳﻌﻨﻰ ﻓﻘﻂ ‪ 14‬ﺳﺎﻝ ﺩﺭ ﺳﻴﻨﻤﺎ ﺑﻮﺩ ﻭﻟﻰ ﻫﻤﻴﻦ ﺯﻣﺎﻥ‬
‫ﺍﻧﺪﻙ ﻛﺎﻓﻰ ﺑﻮﺩ ﺗﺎ ﺣﺘﻰ ﺩﺭ ﻧﺴﻞﻫﺎﻯ ﺑﻌﺪﻯ ﻧﻴﺰ ﺣﻀﻮﺭ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ ﻭ ﺑﻪ ﺯﻧﺪﮔﻰ‬ ‫ﺩﺭ ﺻﻔﺤﻪ‪16‬ﺟﻬﻨﻤﻰ‬ ‫ﺗﺴﻠﻴﺖ‬
‫ﺧﻮﺩ ﺍﺩﺍﻣﻪ ﺩﻫﺪ‪ .‬ﻛﺴﺎﻧﻰ ﻛﻪ ﺍﻭ ﻭ ﻓﻴﻠﻢﻫﺎﻳﺶ ﺭﺍ ﭼﻪ ﺑﺴﺎ »ﻣﺒﺘﺬﻝ« ﻣﻰﺧﻮﺍﻧﺪﻧﺪ‪،‬‬
‫ﺗﻀﺎﺩﻫﺎ ﻭ ﺍﺑﺘﺬﺍﻟﻰ ﺭﺍ ﻛﻪ ﺁﻥ ﻓﻴﻠﻢﻫﺎ ﻓﻘﻂ ﺁﻧﻬﺎ ﺭﺍ ﭼﻮﻥ ﺁﻳﻨﻪﺍﻯ ﺩﺭ ﺑﺮﺍﺑﺮ ﺗﻤﺎﺷﺎﮔﺮﺍﻥ‬ ‫ﻛﻪ ﻧﺒﺎﻳﺪ ﻓﺮﺍﻣﻮﺵ ﺷﻮﺩ‬ ‫ﺑﺰﺭگ ﺑﻮﺩ ﻭ ﺍﺯ ﺍﻫﺎﻟﻰ ﺍﻣﺮﻭﺯ ﻭ ﺑﺎ ﺗﻤﺎﻡ ﺍﻓﻖﻫﺎﻯ ﺑﺎﺯ ﻧﺴﺒﺖ ﺩﺍﺷﺖ ﻭ‬
‫ﺩﺳﺖﻫﺎﻳﺶ ﭼﻪ ﺧﻮﺏ ﺑﺎ ﺧﻮﺭﺷﻴﺪ ﺁﺷﻨﺎ ﺑﻮﺩ ﻭ ﭼﻪ ﺯﻻﻝ ﺁﻧﺮﺍ ﺑﺮ ﺻﻔﺤﻪ‬
‫ﻣﻰﮔﺮﻓﺖ ﻧﻤﻰﺩﻳﺪﻧﺪ‪.‬‬ ‫ﺁﺋﻴﻨﻪ ﺩﻝ ﻧﻘﺶ ﻣﻰﺍﻧﺪﺍﺧﺖ ﭼﻮﻧﺎﻧﻜﻪ ﻣﻲﺩﺍﻧﺴﺖ ﺧﻮﺭﺷﻴﺪ ﻛﻪ ﺑﺎﺷﻰ‬
‫ﺩﺭ ﻳﻚ ﭼﺮﺧﺶ ﺳﻴﺎﺳﻰ‪ -‬ﻋﻘﻴﺪﺗﻰ‪ ،‬ﺳﻴﻨﻤﺎﻯ ﺍﻳﺮﺍﻥ ﺑﺎ »ﻓﻴﻠﻤﺎﺳﻼﻣﻰ« ﺗﻮﺍﻧﺴﺖ‬ ‫ﻏﺮﻭﺏ ﭘﺎﻳﺎﻥ ﺭﺍﻩ ﻧﻴﺴﺖ ﻭ ﺑﺮﺍﻯ ﻣﺮﺩﻥ ﻭﻗﺘﻰ ﺑﺎﻗﻰ ﻧﻤﻰﻣﺎﻧﺪ ﺍ ّﻣﺎ ﺷﺎﻳﺪ‬
‫ﭼﺎﺩﺭ ﻭ ﻧﻤﺎﺯ ﻭ ﺍﺳﺘﺨﺎﺭﻩ ﻭ ﺩﻋﺎ ﻭ ﺁﺷﭙﺰﺧﺎﻧﻪ ﺭﺍ ﺟﺎﻳﮕﺰﻳﻦ ﺭﻗﺺ ﻭ ﺁﻭﺍﺯ ﻭ ﻛﺎﻓﻪ‬
‫ﻛﻨﺪ ﻭ ﻧﺪﺍﻧﺴﺖ ﻛﻪ ﺩﺭﺳﺖ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ »ﻓﻴﻠﻤﻔﺎﺭﺳﻰ« ﺗﻀﺎﺩﻫﺎ ﻭ ﺍﺑﺘﺬﺍﻝ ﭘﺲ‬ ‫ﻭﻗﺘﻰ ﺑﺎﻳﺪ ﭘﺮ ﻛﺸﻴﺪ ﻭ ﺍﻭ ﭘﺮ ﻛﺸﻴﺪ‪.‬‬
‫ﺍﺯ ﺍﻧﻘﻼﺏ ﺭﺍ ﺑﻪ ﻧﻤﺎﻳﺶ ﻣﻰﮔﺬﺍﺭﺩ‪ .‬ﺑﺎ ﺍﻳﻦ ﺗﻔﺎﻭﺕ ﻛﻪ ﺁﻥ »ﻓﻴﻠﻤﻔﺎﺭﺳﻰ«ﻫﺎ ﻭ ﺁﻥ‬
‫ﺑﺎﺯﻳﮕﺮﺍﻥ ﻫﻨﻮﺯ ﺩﺭ ﻣﻴﺎﻥ ﻋﻮﺍﻡ ﺧﺮﻳﺪﺍﺭ ﺩﺍﺭﻧﺪ ﻭ ﺍﻳﻨﺎﻥ ﺭﺍ ﺩﺭ ﺁﻳﻨﺪﻩ ﺟﺰ ﺩﺭ ﻣﻮﺯﻩﻫﺎﻯ‬ ‫ﺁﺭﻯ‪ ،‬ﻫﻨﺮﻣﻨﺪ ﮔﺮﺍﻧﻘﺪﺭ‬

‫ﺗﺎﺭﻳﺦ ﻭ ﻳﺎ ﻛﺎﺭﻫﺎﻯ ﭘﮋﻭﻫﺸﻰ ﻛﺴﻰ ﺳﺮﺍﻍﺷﺎﻥ ﻧﺨﻮﺍﻫﺪ ﺭﻓﺖ‪.‬‬ ‫ﺍﺳﺘﺎﺩ ﻋﻠﻰ ﺍﺻﻐﺮ ﻣﻌﺼﻮﻣﻰ‬

‫ﺭﺩ ﺻﻼﺣﻴﺖ ﺣﺴﻦ ﺧﻤﻴﻨﻰ‬

‫ﻓﺎﺻﻠﻪﮔﺬﺍﺭﻯ ﺧﺎﻣﻨﻪﺍﻯ ﺑﺎ ﻣﻴﺮﺍﺙ ﺑﻨﻴﺎﻧﮕﺬﺍﺭ‬

‫ﺟﻤﻬﻮﺭﻯ ﺍﺳﻼﻣﻰ‬

‫ﻧﻮﻩ ‪ 43‬ﺳﺎﻟﻪ ﺁﻳﺖﺍﷲ ﺧﻤﻴﻨﻰ ﺭﻫﺒﺮ‬ ‫ﻫﻔﺘﻪﺍﻯ ﻛﻪ ﮔﺬﺷﺖ ﭘﺎﻳﺎﻧﻰ ﺑﻮﺩ ﺑﺮ‬ ‫ﭘﺪﺭ ﺩﻭﺳﺖ ﻧﺎﺯﻧﻴﻦ ﻭ ﺩﻳﺮﻳﻨﻪﻣﺎﻥ ﺑﺎﺑﻚ ﻣﻌﺼﻮﻣﻰ ﺯﻣﻴﻦ ﺭﺍ ﺗﺮﻙ‬
‫ﺍﻧﻘﻼﺏ ﺍﺳﻼﻣﻰ‪ ،‬ﻛﻪ ﺑﺮﺍﻯ ﻧﺎﻣﺰﺩﻯ‬ ‫ﮔﻤﺎﻧﻪﺯﻧﻰﻫﺎ ﻭ ﺍﻣﺎ ﻭ ﺍﮔﺮﻫﺎﻳﻰ ﻣﺒﻨﻰ ﺑﺮ‬ ‫ﻭ ﺑﻪ ﺁﺳﻤﺎﻥ ﻭ ﺑﻪ ﺳﻮﻯ ﺧﻮﺭﺷﻴﺪ ﭘﺮﻭﺍﺯ ﻛﺮﺩ ﻭ ﭼﻪ ﻏﻤﮕﻨﺎﻧﻪ ﻣﺎ ﺭﺍ‬
‫ﺍﻧﺘﺨﺎﺑﺎﺕ ﻣﺠﻠﺲ ﺧﺒﺮﮔﺎﻥ ﺭﻫﺒﺮﻯ ﭘﺎ‬ ‫ﺗﺎﺋﻴﺪ ﻳﺎ ﺭﺩ ﺻﻼﺣﻴﺖ ﺣﺴﻦ ﺧﻤﻴﻨﻰ‪.‬‬ ‫ﺑﺎ ﺩﻟﻰ ﺁﻛﻨﺪﻩ ﺍﺯ ﺩﺭﺩ ﻭ ﺍﻓﺴﻮﺱ ﺑﻪ ﺳﻮگ ﻧﺸﺎﻧﺪ‪ .‬ﻓﻘﺪﺍﻥ ﺁﻥ ﺍﺳﺘﺎﺩ‬
‫ﭘﻴﺶ ﮔﺬﺍﺷﺘﻪ ﺑﻮﺩ ﺩﺭ ﺁﺯﻣﻮﻥ ﺍﺟﺘﻬﺎﺩ‬ ‫ﺳﺮﺍﻧﺠﺎﻡ ﺷﻮﺭﺍﻯ ﻧﮕﻬﺒﺎﻥ ﺁﺏ ﭘﺎﻛﻰ ﺭﺍ‬ ‫ﺍﺭﺟﻤﻨﺪ ﻭ ﻋﺰﻳﺰ ﺩﻝ ﺭﺍ ﺑﻪ ﺧﺎﻧﻮﺍﺩﺓ ﻣﺤﺘﺮﻡ ﻭ ﺑﺰﺭﮔﻮﺍﺭﺵ ﺗﺴﻠﻴﺖ‬
‫ﺩﺍﻭﻃﻠﺒﺎﻥ ﺩﺭ ‪ 15‬ﺩﻯ ﻣﺎﻩ ﺷﺮﻛﺖ ﻧﻜﺮﺩ‬ ‫ﺭﻭﻯ ﺩﺳﺖ ﻧﻮﻩ ﺑﻨﻴﺎﻧﮕﺬﺍﺭ ﺟﻤﻬﻮﺭﻯ‬
‫ﻭ ﻳﺎ ﺑﻪ ﺭﻭﺍﻳﺖ ﺑﺮﺍﺩﺭﺵ ﻋﻠﻰ ﺍﺯ ﺍﻭ ﺩﻋﻮﺕ‬ ‫ﺍﺳﻼﻣﻰ ﺭﻳﺨﺖ ﻭ ﺑﺎ ﻋﺪﻡ ﺍﺣﺮﺍﺯ‬ ‫ﮔﻔﺘﻪ ﻭ ﺷﻜﻴﺒﺎﺋﻰ ﻭ ﺁﺭﺍﻣﺶ ﺭﺍ ﺑﺮﺍﻳﺸﺎﻥ ﺧﻮﺍﺳﺘﺎﺭﻳﻢ‪.‬‬
‫ﺻﻼﺣﻴﺖ‪ ،‬ﺍﻭ ﺍﺯ ﮔﻮﺩ ﺭﻗﺎﺑﺖ ﺍﻧﺘﺨﺎﺑﺎﺕ‬
‫ﻧﺸﺪ‪.‬‬ ‫ﺯﻧﺪﮔﻰ ﺻﺤﻨﺔ ﻳﻜﺘﺎﻯ ﻫﻨﺮﻣﻨﺪﻯ ﻣﺎﺳﺖ‬
‫ﺧﺒﺮﮔﺎﻥ ﺭﻫﺒﺮﻯ ﺩﻭﺭ ﻣﺎﻧﺪ‪.‬‬ ‫ﻫﺮ ﻛﺴﻰ ﻧﻐﻤﺔ ﺧﻮﺩ ﺧﻮﺍﻧﺪ ﻭ ﺍﺯ ﺻﺤﻨﻪ ﺭﻭﺩ‬
‫ﺩﺭ ﺻﻔﺤﻪ ‪2‬‬
‫ﺻﺤﻨﻪ ﭘﻴﻮﺳﺘﻪ ﺑﺠﺎﺳﺖ‬
‫ﺧﺮﻡ ﺁﻥ ﻧﻐﻤﻪ ﻛﻪ ﻣﺮﺩﻡ ﺑﺴﭙﺎﺭﻧﺪ ﺑﻪ ﻳﺎﺩ‬

‫ﺳﻴﻤﻴﻦ ﺭﺣﻴﻤﻰ‪ ،‬ﺁﻻﻟﻪ ﺁﺯﺍﺩ‪ ،‬ﻧﻴﻮﺷﺎ ﻧﻮﺷﻰ ﻭ ﻣﺤﻤﻮﺩ ﻧﻮﺷﻰ‬

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‫ﻓﻘﻂ ﺍﻃﻼﻉﺭﺳﺎﻧﻰ ﻭ ﻛﺴﺐ ﻭ ﻛﺎﺭ ﺧﻮﺩ ﺭﺍ ﻣﻌﺮﻓﻰ ﻧﻤﻰﻛﻨﻴﺪ ﺑﻠﻜﻪ ﻳﻚ ﻛﺎﺭ ﻓﺮﻫﻨﮕﻰ ﻧﻴﺰ ﺍﻧﺠﺎﻡ ﻣﻰﺩﻫﻴﺪ‪:‬‬

‫ﻛﻴﻬﺎﻥ ‪ ،‬ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ‪ ،‬ﻛﻴﻬﺎﻥ ﺧﻮﺩﺗﺎﻥ ﺭﺍ ﺯﻧﺪﻩ ﻧﮕﺎﻩ ﻣﻰﺩﺍﺭﻳﺪ‬

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