Page 5 - (کیهان لندن - سال سى و سوم ـ شماره ۶ (دوره جديد

‫ﺻﻔﺤﻪ ‪5‬ـ ‪ Page 5‬ـ ﺷﻤﺎﺭﻩ ‪6‬‬
‫ﺟﻤﻌﻪ ‪ 1‬ﺗﺎ ﭘﻨﺠﺸﻨﺒﻪ ‪ 7‬ﻣﻰ ‪2015‬‬

‫ﺭﺍﺩﻳﻮ ﺍﻳﺮﺍﻥ ‪ 75‬ﺳﺎﻟﻪ ﺷﺪ‬ ‫ﺑﺎﺯ ﻫﻢ ﻧﻤﺎﻳﺶ »ﺧﺮ« ﺑﻌﺪ ﺍﺯ ‪ 450‬ﺳ ّﻦ ﻣﺎﻩ ﭼﻘﺪﺭ‬

‫ﻧﺨﺴﺘﻴﻦ ﺳﺎﺧﺘﻤﺎﻥ ﺭﺍﺩﻳﻮ ﺍﻳﺮﺍﻥ‬ ‫ﺍﺳﺖ؟‬ ‫ﺍﺟﺮﺍ ﺩﺭ ﻛﺸﻮﺭﻫﺎﻯ ﻣﺨﺘﻠﻒ‬
‫ﺩﺭ ﺟﺎﺩﻩ ﻗﺪﻳﻢ ﺷﻤﻴﺮﺍﻥ ﺩﺭ ﺍﻳﺴﺘﮕﺎﻩ‬
‫ﺳﺎﺧﺘﻤﺎﻥ ﻛﻼﻩ ﻓﺮﻧﮕﻰ‬ ‫ﺑﻰﺳﻴﻢ ﻗﺮﺍﺭ ﺩﺍﺷﺖ ﻭ ﺑﻪ ﺳﺎﺧﺘﻤﺎﻥ‬ ‫ﺑﻪ ﮔﻔﺘﻪ ﺩﺍﻧﺸﻤﻨﺪﺍﻥ‪ ،‬ﻣﺎﻩ ﺩﺭ ﺍﺛﺮ‬ ‫ﺍﺯ ﭼﻪ ﻣﺤﻠﻰ ﺗﺎﻣﻴﻦ ﻛﺮﺩﻳﺪ؟ ﺑﻼﻓﺎﺻﻠﻪ‬ ‫»ﺧﺮ« ﺍﻳﻦ ﺑﺎﺭ ﺑﺎ ﺷﺮﻛﺖ ﭘﺮﻭﻳﺰ ﺻﻴﺎﺩ‬
‫»ﻛﻼﻩ ﻓﺮﻧﮕﻰ« ﻣﻌﺮﻭﻑ ﺑﻮﺩ ﻛﻪ ‪9‬‬ ‫ﺑﺮﺧﻮﺭﺩ ﻳﻚ ﭘﻴﺶﺳﻴﺎﺭﻩ ﺑﺎ ﺯﻣﻴﻦ ﻧﻮﭘﺎ‪،‬‬ ‫ﮔﻔﺖ‪ :‬ﺟﻴﺐ! ﻭ ﭼﻮﻥ ﻣﺎ ﺳﺎﺯﻣﺎﻥ‬ ‫ﻭ ﻣﺮﻯ ﺁﭘﻴﻚ ﺑﻪ ﺻﻮﺭﺕ ﺟﺪﻳﺪ ﻳﺎ ﺑﻪ‬
‫ﺍﻳﺮﺍﻥ ﺑﺮﻧﺎﻣﻪ ﺍﺟﺮﺍ ﻛﺮﺩﻧﺪ ﺩﺭ ﻋﻜﺲ ﺯﻳﺮ‬ ‫ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪.‬‬ ‫ﻛﻴﻠﻮﻣﺘﺮ ﺑﺎ ﻣﺮﻛﺰ ﭘﺎﻳﺘﺨﺖ ﻓﺎﺻﻠﻪ‬ ‫ﺷﻜﻞ ﮔﺮﻓﺘﻪ‪ ،‬ﺍﻣﺎ ﺯﻣﺎﻥ ﻭﻗﻮﻉ ﺍﻳﻦ ﺭﻭﻳﺪﺍﺩ‬ ‫ﻏﻴﺮﺍﻧﺘﻔﺎﻋﻰ ﻫﺴﺘﻴﻢ ﻣﻰﺗﻮﺍﻧﻴﻢ ﺍﺯ‬ ‫ﮔﻔﺘﻪ ﭘﺮﻭﻳﺰ ﺻﻴﺎﺩ‪ ،‬ﺧﺮﺧﻮﺍﻧﻰ ﺑﻪ ﺭﻭﻯ‬
‫ﺩﺍﺷﺖ‪ .‬ﺍﻳﻦ ﺳﺎﺧﺘﻤﺎﻥ ﺍﻛﻨﻮﻥ ﺩﺭ‬ ‫ﺑﺮﺧﻰ ﻣﺰﺍﻳﺎﻯ ﺁﻥ ﺑﺮﺍﻯ ﺍﺟﺮﺍﻯ‬
‫ﻧﺨﺴﺘﻴﻦ ﻫﻨﺮﻣﻨﺪﺍﻧﻰ ﺭﺍ ﻛﻪ ﺩﺭ ﺭﺍﺩﻳﻮ ﻣﻰ ﺑﻴﻨﻴﺪ‪:‬‬ ‫ﻣﻮﺭﺩ ﺑﺤﺚ ﺍﺳﺖ‪ .‬ﺭﻣﺰﮔﺸﺎﻳﻰ ﺍﺯ ﺍﺳﺮﺍﺭ‬ ‫ﺻﺤﻨﻪ ﺭﻓﺖ‪.‬‬
‫ﺍﺧﺘﻴﺎﺭ ﻭﺯﺍﺭﺕ ﺍﺭﺗﺒﺎﻃﺎﺕ ﻗﺮﺍﺭ ﺩﺍﺭﺩ‪.‬‬ ‫ﺷﻜﻞﮔﻴﺮﻯ ﻣﺎﻩ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﻤﻮﻧﻪ‬ ‫ﺑﺮﻧﺎﻣﻪﻫﺎ ﺍﺳﺘﻔﺎﺩﻩ ﻛﻨﻴﻢ‪.‬‬ ‫ﺁﺛﺎﺭ ﺧﻮﺏ ﻫﻨﺮﻯ ﺭﺍ ﺩﺭ ﻣﻮﺳﻴﻘﻰ‬
‫‪ 20‬ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺗﺄﺳﻴﺲ‪ ،‬ﺭﺍﺩﻳﻮ ﺍﺯ‬ ‫ﺧﺎﻙ ﻭ ﺳﻨﮓﻫﺎﻳﻰ ﻛﻪ ﺩﺭ ﻣﺄﻣﻮﺭﻳﺖ‬ ‫ﻧﻤﺎﻳﺶ »ﺧﺮ« ﺍﻳﻦ ﺑﺎﺭ ﺩﺭ ﻭﺍﻗﻊ‬ ‫ﻳﺎ ﺗﺌﺎﺗﺮ ﻣﻰﺗﻮﺍﻥ ﺑﻪ ﺩﻓﻌﺎﺕ ﻭ ﺻﻮﺭ‬
‫ﺍﻳﻦ ﻣﺤﻞ ﺑﻪ ﻣﻴﺪﺍﻥ ﺍﺭگ ﻣﻨﺘﻘﻞ ﺷﺪ‪.‬‬ ‫ﺁﭘﻮﻟﻮ ﺑﻪ ﺯﻣﻴﻦ ﺁﻭﺭﺩﻩ ﺷﺪﻩﺍﻧﺪ ﺍﺩﺍﻣﻪ‬ ‫ﻣﺤﻜﻰ ﺑﻮﺩ ﻛﻪ ﻫﻢ ﺻﻴﺎﺩ ﻫﻢ ﻣﺮﻯ‬ ‫ﻣﺨﺘﻠﻒ ﺍﺟﺮﺍﻛﺮﺩ‪ .‬ﭘﺮﻭﻳﺰﺻﻴﺎﺩ ﻭ‬
‫ﭘﻴﺶ ﺍﺯ ﺍﻳﻨﻜﻪ ﺭﺍﺩﻳﻮ ﺑﻪ ﺧﺎﻧﻪﻫﺎ‬ ‫ﺩﺍﺭﺩ‪.‬ﺁﺧﺮﻳﻦ ﺗﺤﻘﻴﻘﺎﺕ ﻣﺘﺨﺼﺼﺎﻥ‬ ‫ﺁﭘﻴﻚ ﻣﻰﺧﻮﺍﺳﺘﻨﺪ ﺑﺪﺍﻧﻨﺪ ﺑﺎ ﻭﺟﻮﺩ‬ ‫ﻣﺮﻯ ﺁﭘﻴﻚ ﺯﻭﺝ ﻫﻨﺮﻣﻨﺪﻯ ﻛﻪ ﻫﺮ‬
‫ﺑﻴﺎﻳﺪ‪ ،‬ﻣﺮﺩﻡ ﻣﻮﺳﻴﻘﻰ ﺭﺍ ﺗﻨﻬﺎ ﺍﺯ‬ ‫ﻧﺎﺳﺎ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﺁﺭﻳﺰﻭﻧﺎ ﻭ ﻣﻮﺳﺴﻪ‬ ‫ﮔﺬﺷﺖ ﺩﻩ ﺳﺎﻝ ﻭ ﻋﺪﻡ ﻫﻤﻜﺎﺭﻯ‬ ‫ﺩﻭ ﻛﺎﺭﻧﺎﻣﻪﻫﺎﻯ ﺩﺭﺧﺸﺎﻧﻰ ﺩﺭ ﻛﺎﺭ‬
‫ﮔﺮﺍﻣﺎﻓﻮﻥﻫﺎﻯ ﺑﺮﻗﻰ ﻭ ﺻﻔﺤﻪﻫﺎﻯ‬ ‫ﺍﻫﺪﺍﻑ ﺍﻛﺘﺸﺎﻑ ﻋﻠﻤﻰ )‪ (INET‬ﺑﺎ‬ ‫ﻣﺸﺘﺮﻙ ﺁﻳﺎ ﻣﺮﺩﻡ ﻫﻢﭼﻨﺎﻥ ﻋﻼﻗﻤﻨﺪ‬ ‫ﺗﺌﺎﺗﺮ ﻭ ﺳﻴﻨﻤﺎ ﺩﺍﺭﻧﺪ ﭘﺲ ﺍﺯ ﺩﻩ ﺳﺎﻝ‬
‫ﻳﻚ ﺩﻭﺭ ﻭ ﺩﻭ ﺩﻭﺭ ﻭ ﺑﻌﺪﻫﺎ ‪33‬‬ ‫ﺗﺠﺰﻳﻪ ﻭ ﺗﺤﻠﻴﻞ ﺷﻬﺎﺏﺳﻨﮓﻫﺎﻳﻰ ﻛﻪ‬ ‫ﺑﻪ ﺗﻤﺎﺷﺎﻯ ﻛﺎﺭﻫﺎﻯ ﺗﺌﺎﺗﺮﻯ ﺧﻮﺏ‬ ‫ﺩﻭﺭﻯ ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﻣﺸﺘﺮﻙ ﻫﻨﺮﻯ‪،‬‬
‫ﺩﻭﺭ ﻣﻰﺷﻨﻴﺪﻧﺪ ﻭ ﻗﺼﻪﻫﺎ ﻓﻘﻂ ﺍﺯ‬ ‫ﭘﺲ ﺍﺯ ﺑﺮﺧﻮﺭﺩ ﻛﻴﻬﺎﻧﻰ ﻛﻪ ﺍﺣﺘﻤﺎﻻ‬ ‫ﻫﺴﺘﻨﺪ ﻳﺎ ﻧﻪ‪ .‬ﻛﻒ ﺯﺩﻥﻫﺎﻯ ﻣﻜﺮﺭ‬ ‫ﺩﻭﺑﺎﺭﻩ ﺑﺎ ﻫﻢ ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ ﺗﺌﺎﺗﺮ‬
‫ﺯﺑﺎﻥ ﭘﺪﺭﺑﺰﺭگﻫﺎ ﻭ ﻣﺎﺩﺭﺑﺰﺭگﻫﺎ ﻭ‬ ‫ﻣﻨﺠﺮ ﺑﻪ ﺷﻜﻞﮔﻴﺮﻯ ﻣﺎﻩ ﺷﺪﻩ‪ ،‬ﺑﻪ‬ ‫ﺗﻤﺎﺷﺎﮔﺮﺍﻧﻰ ﻛﻪ ﺳﺎﻟﻦ ﺭﺍ ﭘﺮ ﻛﺮﺩﻩ‬ ‫ﺑﺎﺯ ﮔﺸﺘﻨﺪ ﻭ ﻧﻤﺎﻳﺶ ﻣﻮﻓﻖ »ﺧﺮ«‬
‫ﺗﻤﺎﺷﺎﺧﺎﻧﻪﻫﺎﻯ ﻻﻟﻪﺯﺍﺭ ﻭ ﻧﻤﺎﻳﺶﻫﺎﻯ‬ ‫ﺯﻣﻴﻦ ﺭﺳﻴﺪﻩﺍﻧﺪ‪.‬ﺩﺭ ﭘﻰ ﺑﺮﺧﻮﺭﺩ‬ ‫ﺑﻮﺩﻧﺪ ﺩﺭ ﺍﻭﺍﺳﻂ ﻭ ﭘﺎﻳﺎﻥ ﻫﺮ ﻗﺴﻤﺖ‬ ‫ﻧﻮﺷﺘﻪ ﺻﻴﺎﺩ ﺭﺍ ﻛﻪ ﺑﻪ ﺷﺪﺕ ﺑﺎ ﺍﻗﺒﺎﻝ‬
‫ﺳﻨﺘﻰ ﺭﻭﺣﻮﺿﻰ ﮔﻔﺘﻪ ﻣﻰﺷﺪ‪ .‬ﺍﻣﺎ‬ ‫ﺑﻴﻦ ﻳﻚ ﭘﻴﺶﺳﻴﺎﺭﻩ ﺑﺎ ﺯﻣﻴﻦ ﻧﻮﭘﺎ‪،‬‬ ‫ﺍﻳﺮﺍﻧﻴﺎﻥ ﻣﻮﺍﺟﻪ ﺷﺪﻩ ﺍﺳﺖ ﺑﻪ ﺷﻴﻮﻩ‬
‫ﺭﺍﺩﻳﻮ ﻛﻪ ﺑﻴﺸﺘﺮ ﺗﻬﺮﺍﻧﻰﻫﺎ ﺑﻪ ﺁﻥ‬ ‫ﺷﻬﺎﺏﺳﻨﮓﻫﺎﻯ ﭼﻨﺪ ﻛﻴﻠﻮﻣﺘﺮﻯ ﺑﺎ‬ ‫ﭘﺎﺳﺦ ﺁﻧﻬﺎ ﺭﺍ ﺩﺍﺩ‪.‬‬ ‫ﻭ »ﻓﻮﺭﻣﺖ« ﺗﺎﺯﻩﺍﻯ ﺩﺭ ﻟﺲ ﺁﻧﺠﻠﺲ‬
‫ﺩﺳﺘﮕﺎﻩ »ﺣﺒﺲ ﺻﻮﺕ« ﻣﻰﮔﻔﺘﻨﺪ‪،‬‬ ‫ﺳﺮﻋﺘﻰ ﻏﻴﺮﻣﻌﻤﻮﻝ ﺑﺎ ﺳﻴﺎﺭﻙﻫﺎ ﺩﺭ‬ ‫ﻣﺮﻯ ﺁﭘﻴﻚ ﺩﺭ ﺯﻣﻴﻨﻪ ﺷﻴﻮﻩ ﺟﺪﻳﺪ‬
‫ﻛﻤﺮﺑﻨﺪ ﺳﻴﺎﺭﻛﻰ ـ ﺑﻴﻦ ﻣﺪﺍﺭﻫﺎﻯ‬ ‫ﻧﻤﺎﻳﺶ »ﺧﺮ« ﺑﻪ ﻛﻴﻬﺎﻥ ﻟﻨﺪﻥ ﮔﻔﺖ‪:‬‬ ‫ﺍﺟﺮﺍ ﻛﺮﺩﻧﺪ‪.‬‬
‫ﻗﺼﻪ ﺑﺮﺍﻯ ﮔﻔﺘﻦ ﺯﻳﺎﺩ ﺩﺍﺷﺖ‪.‬‬ ‫ﻣﺮﻳﺦ ﻭ ﻣﺸﺘﺮﻯ ـ ﺑﺮﺧﻮﺭﺩ ﻛﺮﺩﻧﺪ ﻭ‬ ‫ﻧﻤﺎﻳﺶ »ﺧﺮ« ﻧﻮﺷﺘﻪ ﭘﺮﻭﻳﺰﺻﻴﺎﺩ‪ ،‬ﺩﺭ‬ ‫ﻧﻤﺎﻳﺶ »ﺧﺮ« ﻣﻰﺧﻮﺍﻫﺪ ﻧﺸﺎﻥ ﺩﻫﺪ‬
‫ﺑﻪ ﺩﻧﺒﺎﻝ ﺍﻳﻦ ﺑﺮﺧﻮﺭﺩ ﺑﻘﺎﻳﺎﻳﻰ ﺍﺯ ﺍﻳﻦ‬ ‫ﻭﺍﻗﻊ ﺍﻭﻟﻴﻦ ﻧﻤﺎﻳﺸﻨﺎﻣﻪﺍﻳﺴﺖ ﻛﻪ ﺩﺭ‬ ‫ﻛﻪ »ﻭﻳﺮ«ﮔﺮﻓﺘﮕﺎﻥ ﺳﺎﻝ ‪ 57‬ﭼﮕﻮﻧﻪ‬
‫ﻧﻴﻤﻪﻫﺎﻯ ﺳﺎﻝ ‪ 1303‬ﺑﻮﺩ ﻛﻪ ﺍﻭﻟﻴﻦ‬ ‫ﺷﻬﺎﺏﺳﻨﮓﻫﺎ ﺑﻪ ﺯﻣﻴﻦ ﺭﺳﻴﺪﻧﺪ ﻛﻪ‬ ‫ﺧﺮ ﺷﺪﻧﺪ ﻭ ﺍﻧﻘﻼﺑﻰ ﻭﻳﺮﺍﻧﮕﺮ ﺑﻪ ﺭﺍﻩ‬
‫ﺑﺎﺭ ﭘﺎﻯ ﺭﺍﺩﻳﻮ ﺑﻪ ﺍﻳﺮﺍﻥ ﺑﺎﺯ ﺷﺪ‪20 .‬‬ ‫ﻗﺪﻣﺖ ﺁﻧﻬﺎ ﺑﻪ ‪ ۴٫۴٧‬ﻣﻴﻠﻴﺎﺭﺩ ﺳﺎﻝ‬ ‫ﺧﺎﺭﺝ ﺍﺯ ﺍﻳﺮﺍﻥ ﻧﻮﺷﺘﻪ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺳﺎﻝ ﺑﻌﺪ ﺍﺯ ﺗﺎﺳﻴﺲ ﻭ ﺭﺍﻩﺍﻧﺪﺍﺯﻯ ﺭﺍﺩﻳﻮ‬ ‫ﻣﺮﻯ ﺁﭘﻴﻚ ﺍﺩﺍﻣﻪ ﻣﻰﺩﻫﺪ‪ :‬ﺧﺮ‬ ‫ﺍﻧﺪﺧﺘﻨﺪ‪.‬‬
‫ﺩﺭ ﻏﺮﺏ‪ .‬ﻗﺒﻞ ﺍﺯ ﺁﻥ ﺭﻭﺱﻫﺎ ﺗﺎﺳﻴﺴﺎﺕ‬ ‫ﻗﺒﻞ ﺑﺎﺯﻣﻰﮔﺮﺩﺩ‪.‬‬
‫ﻧﺸﺴﺘﻪ ﺍﺯ ﺭﺍﺳﺖ‪ :‬ﺍﺩﻳﺐ ﺧﻮﺍﻧﺴﺎﺭﻯ‪ ،‬ﺍﺑﻮﺍﻟﺤﺴﻦ ﺻﺒﺎ‪ ،‬ﻣﺮﺗﻀﻰ ﻣﺤﺠﻮﺑﻰ‪،‬‬ ‫ﺍﻭﻟﻴﻪﺍﻯ ﺭﺍ ﺑﺮﺍﻯ ﺭﺍﻩ ﺍﻧﺪﺍﺯﻯ ﺑﻰﺳﻴﻢ ﺑﻪ‬ ‫ﻧﺘﺎﻳﺞ ﺍﻳﻦ ﺗﺤﻘﻴﻖ ﺩﺭ ﻣﺠﻠﻪ‬
‫ﺍﺣﻤﺪ ﻋﺒﺎﺩﻯ ﺍﻳﺴﺘﺎﺩﻩ ﺍﺯ ﺭﺍﺳﺖ‪ :‬ﺣﺴﻦ ﻫﻤﺪﺍﻧﻴﺎﻥ‪ ،‬ﺣﺴﻦ ﻛﺴﺎﻳﻰ‪ ،‬ﻋﻠﻰ‬ ‫ﺗﻬﺮﺍﻥ ﺁﻭﺭﺩﻩ ﺑﻮﺩﻧﺪ ﺍﻣﺎ ﻛﺎﺭ ﻧﻴﻤﻪ ﺗﻤﺎﻡ‬
‫ﻣﺎﻧﺪﻩ ﺑﻮﺩ‪ .‬ﺑﺎ ﺭﻭﻯ ﻛﺎﺭ ﺁﻣﺪﻥ ﺭﺿﺎﺷﺎﻩ‬ ‫‪ Science‬ﻣﻨﺘﺸﺮ ﺷﺪﻩ ﺍﺳﺖ‪.‬‬
‫ﺗﺠﻮﻳﺪﻯ‪ ،‬ﺟﻬﺎﻧﮕﻴﺮ ﺷﻨﺠﺮﻓﻰ‪ ،‬ﺭﺿﺎ ﻭﺭﺯﻧﺪﻩ‬ ‫ﻭﺯﺍﺭﺕ ﺟﻨﮓ ﻋﻬﺪﻩﺩﺍﺭ ﺭﺍﻩﺍﻧﺪﺍﺯﻯ‬
‫ﺗﺎﺳﻴﺴﺎﺕ ﺑﻰﺳﻴﻢ ﺩﺭ ﺗﻬﺮﺍﻥ ﺷﺪ‪.‬‬
‫ﺳﺎﻝ ‪ 1303‬ﻛﺎﺭ ﺳﺎﺧﺘﻤﺎﻥ ﺑﻰﺳﻴﻢ‬
‫ﻗﺼﺮ ﻛﻪ ﺑﻪ ﺁﻥ ﻋﻤﺎﺭﺕ ﻛﻼﻩ ﻓﺮﻧﮕﻰ‬
‫ﻣﻰﮔﻔﺘﻨﺪ ﺑﻪ ﭘﺎﻳﺎﻥ ﺭﺳﻴﺪ‪ .‬ﺟﺎﻳﻰ ﻛﻪ‬
‫ﺁﻥ ﺯﻣﺎﻥ ﺧﺎﺭﺝ ﺍﺯ ﻣﺤﺪﻭﺩﻩ ﺗﻬﺮﺍﻥ‬
‫ﻗﺪﻳﻢ ﺑﻮﺩ ﻭ ﺍﻟﺒﺘﻪ ﺍﻣﺮﻭﺯ ﺩﺭ ﻣﺮﻛﺰ ﺷﻬﺮ‬

‫ﻳﻚﺭﻭﺍﻧﭙﺰﺷﻚﺧﻮﺍﺳﺘﺎﺭﻣﺤﺪﻭﺩﻳﺖ »ﺍﻭﺭﻳﺎﻧﺎ« ﻓﻴﻠﻤﻰ ﻧﻪ ﭼﻨﺪﺍﻥ ﻭﺍﻗﻌﻰ‬

‫ﺩﺭﺑﺎﺭﻩ ﺍﻭﺭﻳﺎﻧﺎ ﻓﺎﻻﭼﻰ‬ ‫ﺳﻨﻰ ﺑﺮﺍﻯ ﺗﻤﺎﺷﺎﻯ ﺳﺮﻳﺎﻝ ﻛﻼﻩ‬

‫ﻗﺮﻣﺰﻯ ﺷﺪ‬

‫ﺷﻴﺮﺍﺯﻯ ﺍﺳﺖ ﻭ ﺣﺮﻑﻫﺎﻳﺶ ﺗﺎ‬ ‫ﺩﻛﺘﺮ ﺣﺎﻣﺪ ﻣﺤﻤﺪﻯ ﻛﻨﮕﺮﺍﻧﻰ‬ ‫ﻣﺮﻯ ﺁﭘﻴﻚ ﻭ ﭘﺮﻭﻳﺰ ﺻﻴﺎﺩ‬
‫ﺣﺪﻭﺩﻯ ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ﻓﺮﻫﻨﮓ ﺷﻴﺮﺍﺯﻯ‬ ‫ﺭﻭﺍﻥﭘﺰﺷﻚ ﻭ ﻋﻀﻮ ﻛﻤﻴﺘﻪﻫﺎﻯ‬
‫ﺑﻼﻓﺎﺻﻠﻪ ﭘﺲ ﺍﺯ ﺍﻧﻘﻼﺏ ﺑﻪ ﺍﻳﺮﺍﻥ ﺳﻔﺮ‬ ‫ﺍﻭﺭﻳﺎﻧﺎ ﻓﺎﻻﭼﻰ ﻧﻮﻳﺴﻨﺪﻩ ﻭ ﺭﻭﺯﻧﺎﻣﻪ‬ ‫ﺑﺎ ﺍﻏﺮﺍﻕ ﺑﺴﻴﺎﺭ ﺯﻳﺎﺩ ﺑﺎ ﺍﻳﻦ ﺷﻌﺎﺭ ﺍﺳﺖ‬ ‫ﺭﻭﺍﻥﺩﺭﻣﺎﻧﻰ ﻭ ﺭﺳﺎﻧﻪﻫﺎﻯ ﺍﻧﺠﻤﻦ‬ ‫‪ 32‬ﺳﺎﻝ ﺍﺳﺖ ﺑﺎ ‪ 450‬ﺍﺟﺮﺍ ﺗﻮﺳﻂ‬ ‫ﭘﺮﻭﻳﺰ ﺻﻴﺎﺩ ﻧﻮﻳﺴﻨﺪﻩ‪ ،‬ﻛﺎﺭﮔﺮﺩﺍﻥ‬
‫ﻛﺮﺩ ﻭ ﺑﺮﺍﻯ ﻣﺼﺎﺣﺒﻪ ﺑﺎ ﺧﻤﻴﻨﻰ ﻣﺠﺒﻮﺭ‬ ‫ﻧﮕﺎﺭ ﺍﻳﺘﺎﻟﻴﺎﻳﻰ ﻣﺘﻮﻟﺪ ‪ 1929‬ﻳﻜﻰ ﺍﺯ‬ ‫ﻛﻪ ﻫﺮ ﺑﻼ ﻭ ﺑﺪﺑﺨﺘﻰ ﻛﻪ ﺳﺮﺗﺎﻥ‬ ‫ﺭﻭﺍﻥﭘﺰﺷﻜﺎﻥ ﺍﻳﺮﺍﻥ ﺩﺭ ﻳﺎﺩﺩﺍﺷﺘﻰ ﻛﻪ‬ ‫ﺁﻗﺎﻯ ﺻﻴﺎﺩ ﻭ ﻣﻦ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ‬ ‫ﻭ ﺑﺎﺯﻳﮕﺮ‪ ،‬ﺍﻳﻦ ﺑﺎﺭ‪ ،‬ﺧﺮ ﺭﺍ ﺑﻪ ﺻﻮﺭﺕ‬
‫ﺷﺪ ﺣﺠﺎﺏ ﺑﺮ ﺳﺮ ﻛﻨﺪ‪ .‬ﻓﺎﻻﭼﻰ ﺩﺭ‬ ‫ﻧﻮﻳﺴﻨﺪﮔﺎﻥ ﻭ ﺧﺒﺮﻧﮕﺎﺭﺍﻥ ﺟﻨﺠﺎﻟﻰ‬ ‫ﻣﻰﺁﻳﺪ ﺑﺎﻳﺪ ﺑﻪ ﺁﻥ ﺑﺨﻨﺪﻳﺪ‪ .‬ﻳﻌﻨﻰ‬ ‫ﺩﺭ ﻫﻔﺘﻪﻧﺎﻣﻪ»ﺯﻧﺪﮔﻰ ﻣﺜﺒﺖ« ﻣﻨﺘﺸﺮ‬ ‫ﺭﻭﻯ ﺻﺤﻨﻪ ﺑﺮﺩﻩ ﺷﺪﻩ ﻭ ﻫﻤﻪ ﺟﺎ ﺑﺎ‬ ‫ﺭﻭﺧﻮﺍﻧﻰ‪ ،‬ﻧﻤﺎﻳﺶ ﻭﻳﺪﻳﻮ ﻭ ﮔﻮﻳﻨﺪﻩ ﺑﻪ‬
‫ﺩﻭﺭﺍﻥ ﺧﻮﺩ ﺍﺯ ﻣﻌﺪﻭﺩ ﺯﻧﺎﻥ ﺷﻨﺎﺧﺘﻪ‬ ‫ﺟﻬﺎﻥ‪ ،‬ﺷﺨﺼﻴﺘﻰ ﺁﺯﺍﺩﻯ ﺧﻮﺍﻩ ﺑﻮﺩ‬ ‫ﺍﻧﮕﺎﺭ ﺧﻮﺍﺭﻯ ﻭ ﺯﻳﺮ ﺳﻠﻄﻪ ﺑﻮﺩﻥ ﺭﺍ‬ ‫ﻛﺮﺩﻩ ﺧﻮﺍﺳﺘﺎﺭ ﺍﻳﺠﺎﺩ ﻣﺤﺪﻭﺩﻳﺖ ﺳﻨﻰ‬ ‫ﺍﺳﺘﻘﺒﺎﻝ ﻓﺮﺍﻭﺍﻥ ﺍﻳﺮﺍﻧﻴﺎﻥ ﺭﻭﺑﺮﻭ ﺷﺪ‪.‬‬
‫ﺷﺪﻩ ﺩﺭ ﻋﺮﺻﻪ ﻣﻄﺒﻮﻋﺎﺕ ﻭ ﺭﻭﺯﻧﺎﻣﻪ‬ ‫ﻛﻪ ﺩﺭ ﺟﻨﮓ ﺟﻬﺎﻧﻰ ﺩﻭﻡ ﻭ ﺳﻠﻄﻪ‬ ‫ﻋﻤﻼ ﺑﻪ ﻳﻚ ﻣﻮﺿﻮﻉ ﺧﻨﺪﻩﺩﺍﺭ ﺗﺒﺪﻳﻞ‬ ‫ﺑﺮﺍﻯ ﺗﻤﺎﺷﺎﻯ ﺳﺮﻳﺎﻝ »ﻛﻼﻩ ﻗﺮﻣﺰﻯ«‬ ‫ﺧﺮ ﺣﺎﻭﻯ ﺣﻘﺎﻳﻖ ﺳﻴﺎﺳﻰ ﻭ ﺍﺟﺘﻤﺎﻋﻰ‬ ‫ﺭﻭﻯ ﺻﺤﻨﻪ ﺑﺮﺩ‪.‬‬
‫ﻓﺎﺷﻴﺴﻢ ﺑﺮ ﻛﺸﻮﺭﺵ ﻭ ﺍﺭﻭﭘﺎ ﺩﺭ ﺟﺒﻬﻪ‬ ‫ﺷﺪﻩ ﻭ ﺷﺨﺼﻴﺖﻫﺎﻯ ﺍﻳﻦ ﺑﺮﻧﺎﻣﻪ‬ ‫ﻣﺮﺑﻮﻁ ﺑﻪ ﺑﺤﺮﺍﻥ ﺳﺎﻝ ‪ 57‬ﺍﻳﺮﺍﻥ ﺍﺳﺖ‬ ‫ﭘﺮﻭﻳﺰ ﺻﻴﺎﺩ ﺩﺭﺑﺎﺭﻩ ﺣﻀﻮﺭ ﺍﻳﻦ ﺑﺎﺭ‬
‫ﻧﮕﺎﺭﻯ ﺑﻮﺩ‪.‬‬ ‫ﻣﻰﻛﻨﺪ‪.‬‬ ‫ﺗﻠﻮﻳﺰﻳﻮﻧﻰ ﺭﺍ ﺑﻰ ﺍﺩﺏ ﻭ ﺗﺮﺳﻨﺎﻙ‬ ‫ﻭ ﻧﺤﻮﻩ ﺍﺟﺮﺍﻯ ﺟﺪﻳﺪ ﺁﻥ ﺭﻭﺧﻮﺍﻧﻰ‬ ‫ﺧﺮ ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ‪ ،‬ﺩﺭ ﺑﺮﻭﺷﻮﺭﻯ‬
‫ﺍﺧﻴﺮﺍ ﺗﻠﻮﻳﺰﻳﻮﻥ ﺩﻭﻟﺘﻰ ﺍﻳﺘﺎﻟﻴﺎ ﻳﻚ‬ ‫ﺿﺪﻓﺎﺷﻴﺴﻢ ﻣﺒﺎﺭﺯﻩ ﻣﻰ ﻛﺮﺩ‪.‬‬ ‫ﺍﺳﺖ ﻛﻪ ﺟﺮﻳﺎﻥ ﺣﻮﺍﺩﺙ ﻭ ﺭﻭﻳﺪﺍﺩﻫﺎ‬ ‫ﭘﻴﺮﺍﻣﻮﻥ ﺁﻥ ﺗﻮﺿﻴﺢ ﺩﺍﺩﻩ ﺍﺳﺖ‪» :‬ﻣﺎﻩ‬
‫ﻓﻴﻠﻢ ﺩﻭ ﻗﺴﻤﺘﻰ ﺩﺭﺑﺎﺭﻩ ﺯﻧﺪﮔﻰ ﻭﻯ‬ ‫ﮔﻔﺘﮕﻮﻫﺎﻯ ﺳﻴﺎﺳﻰ ﻭﻯ ﻫﻤﻮﺍﺭﻩ ﺑﺎ‬ ‫ﺩﻳﺒﻰ ﺗﺮﺳﻨﺎﻙ ﺍﺳﺖ‬ ‫ﺧﻮﺍﻧﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﻫﻤﺮﺍﻩ ﺑﺎ ﺣﺴﺮﺕ ﻭ ﺁﻩ‪ ،‬ﺑﻴﻨﻨﺪﻩ ﺭﺍ ﺗﺤﺖ‬ ‫ﻣﻰ ‪ 1983‬ﻛﻪ »ﺧﺮ« ﺑﻪ ﺻﺤﻨﻪ ﺁﻣﺪ‬
‫ﭘﺨﺶ ﻛﺮﺩﻩ ﻛﻪ ﺍﺣﻤﺪ ﺭﺃﻓﺖ ﺩﺭﺑﺎﺭﻩ‬ ‫ﺳﺮ ﻭ ﺻﺪﺍ ﻫﻤﺮﺍﻩ ﺑﻮﺩ ﭼﺮﺍ ﻛﻪ ﺑﻰ ﭘﺮﺩﻩ‬ ‫ﺷﺨﺼﻴﺖ ﺩﻳﮕﺮ ﺍﻳﻦ ﻣﺠﻤﻮﻋﻪ ﺩﻳﺒﻰ‬ ‫ﺩﻛﺘﺮ ﻣﺤﻤﺪﻯ ﻛﻨﮕﺮﺍﻧﻰ ﺩﺭ ﺑﺨﺶ‬ ‫ﺗﻜﻠﻴﻒ ﺑﺴﻴﺎﺭﻯ ﺍﺯ ﻣﺎ ﺍﻳﺮﺍﻧﻴﺎﻥ ﺑﺎ ﻧﻈﺎﻡ‬
‫ﺍﺳﺖ ﻛﻪ ﺷﺨﺼﺎ ﺑﺎ ﺁﻥ ﻣﺸﻜﻞ ﺩﺍﺭﻡ‪.‬‬ ‫ﻫﺎﻳﻰ ﺍﺯ ﻳﺎﺩﺩﺍﺷﺖ ﺧﻮﺩ ﻧﻮﺷﺘﻪ ﺍﺳﺖ‪:‬‬ ‫ﺗﺎﺛﻴﺮ ﻗﺮﺍﺭ ﻣﻰﺩﻫﺪ‪.‬‬ ‫ﺟﺪﻳﺪ ﺭﻭﺷﻦ ﻧﺒﻮﺩ ﺩﺭ ﻧﺘﻴﺠﻪ‪ ،‬ﭘﺎﻳﺎﻥ‬
‫ﻭﻳﻜﺘﻮﺭﻳﺎ ﭘﻮﭼﻴﻨﻰ ﺩﺭ ﺻﺤﻨﻪ ﺍﻯ ﺍﺯ ﻓﻴﻠﻢ »ﺍﻭﺭﻳﺎﻧﺎ«‪ 1979 :‬ﺗﻬﺮﺍﻥ‬ ‫ﺍﻳﻨﻜﻪ ﻳﻚ ﺩﻳﻮ ﺷﺨﺼﻴﺘﻰ ﺍﺯ ﻳﻚ‬ ‫ﻣﺘﺎﺳﻔﺎﻧﻪ ﺷﺨﺼﻴﺖﻫﺎﻳﻰ ﻛﻪ ﺩﺭ‬ ‫ﺁﭘﻴﻚ ﺗﻮﺿﻴﺢ ﻣﻰﺩﻫﺪ‪ :‬ﺑﻪ ﺩﻟﻴﻞ‬ ‫ﻫﺮ ﺑﺎﺯﻯ ﻧﻤﻰﺩﺍﻧﺴﺘﻴﻢ ﺑﺎ ﭼﻪ ﻭﺍﻛﻨﺸﻰ‬
‫ﺑﺮﻧﺎﻣﻪ ﻛﻮﺩﻙ ﺷﻮﺩ‪ ،‬ﺑﺮﺍﻯ ﻣﻦ ﻛﻤﻰ‬ ‫ﺳﺎﻝﻫﺎﻯ ﺍﺧﻴﺮ ﺑﻪ ﺳﺮﻳﺎﻝ ﻛﻼﻩ ﻗﺮﻣﺰﻯ‬ ‫ﻣﺤﺘﻮﺍﻯ ﻣﺤﻜﻢ ﺁﻥ ﺩﺍﻧﺸﮕﺎﻩﻫﺎﻯ‬ ‫ﺭﻭﺑﺮﻭ ﺧﻮﺍﻫﻴﻢ ﺷﺪ‪ .‬ﻧﻤﺎﻳﺶ ﺩﺭ ﺣﺎﻟﻰ‬
‫ﻭ ﺻﺮﻳﺢ ﺑﺎ ﺳﻴﺎﺳﺘﻤﺪﺍﺭﺍﻥ ﺑﻪ ﺻﺤﺒﺖ ﺁﻥ ﮔﺰﺍﺭﺵ ﻣﻰ ﺩﻫﺪ‪ .‬ﺑﻪ ﮔﻔﺘﻪ ﻭﻯ ﺍﻳﻦ‬ ‫ﻋﺠﻴﺐ ﺍﺳﺖ ﭼﻮﻥ ﺩﻳﻮ ﭼﻴﺰﻯ ﺍﺳﺖ‬ ‫ﺍﺿﺎﻓﻪ ﺷﺪﻧﺪ ﻣﺜﻞ ﭘﺴﺮ ﻋﻤﻪ ﺯﺍ‪ ،‬ﺁﻗﻮﻯ‬ ‫ﻣﻌﺘﺒﺮﻯ ﻣﺜﻞ ﻳﻮ‪.‬ﺳﻰ‪.‬ﺍﻝ‪.‬ﺍﻯ‪-‬‬ ‫ﻛﻪ ﺩﻳﮕﺮ ﺑﺮﺍﻯ ﺑﺮﺧﻰ ﺗﺸﻔﻰ ﺧﺎﻃﺮ‬
‫ﻫﻤﺴﺎﺩﻩ‪ ،‬ﻓﺎﻣﻴﻞ ﺩﻭﺭ‪ ،‬ﺟﻴﮕﺮ ﻭ ﺩﻳﺒﻰ‬ ‫ﺍﺳﺘﻨﻔﻮﺭﺩ‪ -‬ﻳﻮﺳﻰ ﺩﻳﻮﻳﺲ ﻭﻫﻤﻴﻦ‬ ‫ﺑﻪ ﺣﺴﺎﺏ ﻣﻰﺁﻣﺪ ﺑﺮﺍﻯ ﺟﻤﻌﻰ‬
‫ﻣﻰ ﻧﺸﺴﺖ‪ .‬ﻭﻯ ﺑﺎ ﺷﺨﺼﻴﺖ ﻫﺎﻳﻰ ﻓﻴﻠﻢ ﺑﻪ ﻣﺮﻭﺭﻯ ﺳﻄﺤﻰ ﺩﺭ ﺯﻧﺪﮔﻰ‬ ‫ﻛﻪ ﺑﭽﻪﻫﺎ ﺍﺯ ﺁﻥ ﻣﻰﺗﺮﺳﻨﺪ‪.‬‬ ‫ﻭ ﺳﺎﻳﺮ ﺷﺨﺼﻴﺖﻫﺎ ﺩﺭ ﺭﺍﺳﺘﺎﻯ‬ ‫ﻃﻮﺭ ﻛﺸﻮﺭﻫﺎﻯ ﺍﺳﺘﺮﺍﻟﻴﺎ‪ ،‬ﻛﺎﻧﺎﺩﺍ ﻭ‬
‫ﺧﻨﺪﺍﻧﺪﻥ ﺑﺰﺭﮔﺴﺎﻻﻥ ﻫﺴﺘﻨﺪ ﻭ ﻧﻪ‬ ‫ﻣﺮﺍﻛﺰ ﻓﺮﻫﻨﮕﻰﺷﺎﻥ ﺍﺯ ﻣﺎ ﺩﻋﻮﺕ‬ ‫ﺍﻏﺮﺍﻕﺁﻣﻴﺰ ﻣﻰﻧﻤﻮﺩ‪.‬‬
‫ﻣﺎﻧﻨﺪ ﻣﺤﻤﺪﺭﺿﺎ ﺷﺎﻩ ﭘﻬﻠﻮﻯ‪ ،‬ﻳﺎﺳﺮ ﻓﺎﻻﭼﻰ ﻣﻰ ﭘﺮﺩﺍﺯﺩ ﻭ ﺩﺭ ﻣﻮﺍﺭﺩﻯ ﺍﺳﺎﺳﺎ‬ ‫ﺟﻴﮕﺮ ﭘﺮﺧﺎﺷﮕﺮ ﺍﺳﺖ‬
‫ﺟﻴﮕﺮ ﻳﻚ ﺷﺨﺼﻴﺖ ﺩﻭﺳﺖ‬ ‫ﻛﻮﺩﻛﺎﻥ‪.‬‬ ‫ﻛﺮﺩﻧﺪ ﺧﺮ ﺭﺍ ﺑﺮﺍﻳﺸﺎﻥ ﺍﺟﺮﺍ ﻛﻨﻴﻢ‪.‬‬ ‫ﺍﻣﺮﻭﺯ‪ ،‬ﺍﻟﺒﺘﻪ ﺑﺮﺧﻰ ﺑﻴﺶ ﺍﺯ ﺁﻥ‬
‫ﻋﺮﻓﺎﺕ‪ ،‬ﺫﻭﺍﻟﻔﻘﺎﺭ ﻋﻠﻰ ﺑﻮﺗﻮ‪ ،‬ﺍﻳﻨﺪﻳﺮﺍ ﻭﺍﻗﻌﻴﺖ ﻧﺪﺍﺭﺩ‪ .‬ﻧﻘﺶ ﺍﻭﺭﻳﺎﻧﺎ ﻓﺎﻻﭼﻰ ﺭﺍ‬ ‫ﺩﺍﺷﺘﻨﻰ ﻭ ﺑﺎﻣﺰﻩ ﺍﺳﺖ ﻛﻪ ﻋﻤﻼ‬ ‫ﺁﭘﻴﻚ ﺍﺿﺎﻓﻪ ﻛﺮﺩ‪ :‬ﺍﺳﺘﻘﺒﺎﻝ ﺍﺯ‬ ‫ﺁﺯﺭﺩﻩﺧﺎﻃﺮﻧﺪ ﻛﻪ ﺑﺎ ﻧﻤﺎﻳﺸﻰ ﺗﺴﻜﻴﻦ‬
‫ﭘﺮﺧﺎﺷﮕﺮﻯ ﺭﺍ ﺭﻭﺍﺝ ﻣﻰﺩﻫﺪ‪.‬ﺍﻳﻦ ﺭﺍ‬ ‫ﭘﺴﺮ ﻋﻤﻪ ﺯﺍ ﻛﺎﻣﻼ ﺑﻰ ﺍﺩﺏ ﺍﺳﺖ‬ ‫ﻧﻤﺎﻳﺸﻨﺎﻣﻪ ﻛﻪ ﺍﺯ ﻓﺎﺟﻌﻪ ﺳﺎﻝ ‪ 57‬ﺑﻪ‬ ‫ﻳﺎﺑﻨﺪ‪ .‬ﺍﻣﺎ ﺗﺮﺩﻳﺪ ﺩﺍﺭﻡ ﻛﻪ ﺩﻳﮕﺮ ﻛﺴﻰ‬
‫ﮔﺎﻧﺪﻯ‪ ،‬ﻗﺬﺍﻓﻰ‪ ،‬ﻛﻴﺴﻴﻨﺠﺮ ﻭ ﺧﻤﻴﻨﻰ ﺩﺭ ﺍﻳﻦ ﻓﻴﻠﻢ ﻫﻨﺮﭘﻴﺸﻪ ﻣﻄﺮﺡ ﺍﻳﺘﺎﻟﻴﺎ‪،‬‬ ‫ﺑﮕﻮﻳﻢ ﺗﻤﺎﻡ ﺷﺨﺼﻴﺖﻫﺎ ﺑﺎﻣﺰﻩ ﻫﺴﺘﻨﺪ‬ ‫ﭘﺴﺮ ﻋﻤﻪ ﺯﺍ ﻛﻪ ﻛﺎﻣﻼ ﻳﻚ ﺷﺨﺼﻴﺖ‬ ‫ﻭﻳﮋﻩ ﺧﺮﺷﺪﻥ ﻣﺴﺒﺒﺎﻥ ﻋﻘﻞﺑﺎﺧﺘﻪ‬
‫ﻭ ﻣﺎ ﻓﻘﻂ ﻣﻰﺧﻮﺍﻫﻴﻢ ﺗﺎﺛﻴﺮﺍﺕ ﺁﻧﻬﺎ ﺭﺍ‬ ‫ﻛﺎﻣﻼ ﺑﻰ ﺍﺩﺏ ﺍﺳﺖ ﻭ ﻛﺎﺭﻫﺎﻳﻰ‬ ‫ﺣﻜﺎﻳﺖ ﺩﺍﺭﺩ ﺩﺭ ﻫﻤﻪ ﺟﺎ ﺑﻰﻧﻬﺎﻳﺖ‬ ‫ﺁﻥ ﺭﺍ ﺍﻏﺮﺍﻕﺁﻣﻴﺰ ﺑﺒﻴﻨﺪ‪.‬‬
‫ﻣﺼﺎﺣﺒﻪ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬ﻓﺎﻻﭼﻰ ﺩﺭ ﺳﺎﻝ ﻭﻳﻜﺘﻮﺭﻳﺎ ﭘﻮﭼﻴﻨﻰ ﺑﺎﺯﻯ ﻛﺮﺩﻩ ﺍﺳﺖ‪.‬‬ ‫ﺭﻭﻯ ﺑﭽﻪﻫﺎ ﺑﺮﺭﺳﻰ ﻛﻨﻴﻢ ‪ .‬ﺷﺨﺼﻴﺖ‬ ‫ﻣﻰﻛﻨﺪ ﻛﻪ ﺑﺮﺍﻯ ﺑﭽﻪﻫﺎ ﺑﺪﺁﻣﻮﺯﻯ‬ ‫ﺑﻮﺩ‪ .‬ﺣﺘﻰ ﺟﻮﺍﻧﺎﻥ ‪ 20‬ﺳﺎﻟﻪﺍﻯ ﻛﻪ ﺍﺯ‬ ‫ﻧﻤﺎﻳﺸﻨﺎﻣﻪ ﺭﺍ ﻛﻪ ﺑﺮﺍﻯ ﻛﺎﺭ ﻣﺠﺪﺩ‪،‬‬
‫ﺟﻴﮕﺮ ﻋﻤﻼ ﺑﻪ ﺑﭽﻪﻫﺎ ﻣﻰﮔﻮﻳﺪ‬ ‫ﺩﺍﺭﺩ ﻭ ﻫﺮ ﭼﻘﺪﺭ ﻫﻢ ﺁﻗﺎﻯ ﻣﺠﺮﻯ‬ ‫ﺍﻳﺮﺍﻥ ﺑﺮﺍﻯ ﺩﻳﺪﻧﺶ ﺁﻣﺪﻧﺪ ﺑﺎ ﺣﺴﺮﺕ‬ ‫ﺑﺎﺯﺧﻮﺍﻧﻰ ﻛﺮﺩﻡ‪ ،‬ﺩﻳﺪﻡ ﻧﻪ ﭼﻴﺰﻯ‬
‫ﺗﺎ ﺯﻣﺎﻧﻰ ﻛﻪ ﺩﺍﺩ ﻧﺰﻧﻰ ﺣﺮﻓﺖ ﺭﺍ‬ ‫ﺑﮕﻮﻳﺪ ﻛﺎﺭﻫﺎﻯ ﺍﻭ ﺑﺪ ﺍﺳﺖ ﻓﺎﻳﺪﻩ ﻧﺪﺍﺭﺩ‬ ‫ﻣﻰﮔﻔﺘﻨﺪ ﺍﻯ ﻛﺎﺵ ﻣﻰﺷﺪ ﺁﻥ ﺭﺍ ﺩﺭ‬ ‫ﺑﺎﻳﺪ ﺑﻪ ﺁﻥ ﺍﻓﺰﻭﺩ ﻭ ﻧﻪ ﭼﻴﺰﻯ ﺍﺯ ﺁﻥ‬
‫ﻭ ﺑﻪ ﻋﻠﺖ ﻣﺤﺒﻮﺑﻴﺘﻰ ﻛﻪ ﺑﻪ ﺩﻟﻴﻞ‬ ‫ﻛﺎﺳﺖ‪ .‬ﺣﺮﻑ ﻫﻤﺎﻥ ﺍﺳﺖ ﻛﻪ ﻫﺴﺖ‪،‬‬
‫ﻧﻤﻰﻓﻬﻤﻨﺪ‪.‬‬ ‫ﻛﺎﺭﻫﺎﻯ ﺯﺷﺖﺍﺵ ﻭ ﻧﻮﻉ ﺣﺮﻑ ﺯﺩﻥ ﻭ‬ ‫ﺍﻳﺮﺍﻥ ﺍﺟﺮﺍ ﻛﺮﺩ‪.‬‬ ‫ﺑﺎﺯﻯ ﻫﻤﺎﻥ ﺑﻮﺩ ﻛﻪ ﺑﻮﺩ‪ .‬ﻭ ﺑﻪ ﻳﺎﺩ‬
‫ﺗﻤﺴﺨﺮ ﺩﻳﮕﺮﺍﻥ ﺩﺍﺭﺩ‪ ،‬ﺑﻪ ﺷﺪﺕ ﺭﻭﻯ‬ ‫ﺁﻭﺭﺩﻡ ﭼﮕﻮﻧﻪ ﺁﻥ ﺭﺍ ﺑﺎ ﻧﻴﺖ »ﻛﻤﺪﻯ«‬
‫ﭘﺴﺮﺧﺎﻟﻪ ﺁﻣﻮﺯﻧﺪﻩﺗﺮﻳﻦ ﺷﺨﺼﻴﺖ‬ ‫ﻣﺮﻯ ﺁﭘﻴﻚ ﻛﻪ ﺟﺎﻳﺰﻩ ﺑﻬﺘﺮﻳﻦ‬ ‫ﺁﻏﺎﺯ ﻛﺮﺩﻡ‪ ،‬ﺗﺮﺍژﺩﻯ ﺍﺯ ﺁﺏ ﺩﺭ ﺁﻣﺪ‪ .‬ﻭ‬
‫ﺑﭽﻪﻫﺎ ﺗﺎﺛﻴﺮ ﻣﻰﮔﺬﺍﺭﺩ‪.‬‬ ‫ﺑﺎﺯﻯ ﺑﻪ ﺧﺎﻃﺮ ﺍﻳﻔﺎﻯ ﻧﻘﺶ ﺩﺭ ﻧﻤﺎﻳﺶ‬
‫ﺍﻳﻦ ﺳﺮﻳﺎﻝ ﺍﺳﺖ‬ ‫»ﺑﻦ ﺑﺴﺖ« ﺩﺭ ﻓﺴﺘﻴﻮﺍﻝ ﺳﻴﻨﻤﺎﺋﻰ‬ ‫ﻫﻢﭼﻨﺎﻥ ﺗﺮﺍژﺩﻯ ﺑﺎﻗﻰ ﻣﺎﻧﺪ‪«.‬‬
‫ﺁﻣﻮﺯﻧﺪﻩﺗﺮﻳﻦ ﺷﺨﺼﻴﺖ ﺍﻳﻦ ﺳﺮﻳﺎﻝ‬ ‫ﻓﺎﻣﻴﻞ ﺩﻭﺭ ﺷﻮﺧﻰﻫﺎﻳﺶ ﺑﺮﺍﻯ‬ ‫ﺳﺎﻝ‪ 1997‬ﻣﺴﻜﻮ ﺭﺍ ﺩﺭﻳﺎﻓﺖ ﻛﺮﺩﻩ‬ ‫ﺻﻴﺎﺩ ﺩﺭ ﻣﻮﺭﺩ ﺑﺎﺯﻧﻤﺎﻳﺶ »ﺧﺮ«‬
‫ﭘﺴﺮﺧﺎﻟﻪ ﺍﺳﺖ ‪ .‬ﻧﻤﻮﻧﻪ ﺷﺨﺼﻰ ﺍﺳﺖ‬ ‫ﻭ ﻧﻤﺎﻳﺶ »ﻣﺎﺷﻴﻦﻧﻮﻳﺲ« ﻭ »ﺑﺒﺮ« ﺍﻭ‬ ‫ﺑﻪ ﺭﻭﻯ ﺻﺤﻨﻪ ﮔﻔﺖ‪ :‬ﺧﻮﺍﺳﺘﻴﻢ‬
‫ﻛﻪ ﺳﺮﺵ ﺑﻪ ﻛﺎﺭ ﺧﻮﺩﺵ ﺍﺳﺖ ﻭ ﺩﺭ‬ ‫ﺑﺰﺭﮔﺴﺎﻻﻥ ﻣﻨﺎﺳﺐ ﺍﺳﺖ‬ ‫ﺍﺯ ﻛﺎﺭﻫﺎﻯ ﺩﺭﺧﺸﺎﻥ ﺗﺌﺎﺗﺮﻯ ﻭﻯ ﺍﺳﺖ‬ ‫ﻋﻼﻗﻤﻨﺪﺍﻧﻰ ﺭﺍ ﻛﻪ ﺍﺯ ﻣﺎ ﺩﻭﺭﺍﻓﺘﺎﺩﻧﺪ ﺑﻪ‬
‫ﻛﻤﺎﻝ ﺁﺭﺍﻣﺶ ﺭﻓﺘﺎﺭ ﻣﺘﻴﻨﻰ ﺍﺯ ﺧﻮﺩ‬ ‫ﻓﺎﻣﻴﻞ ﺩﻭﺭ ﻫﻢ ﻳﻚ ﺷﺨﺼﻴﺖ ﻛﺎﻣﻼ‬ ‫ﻫﻢﭼﻨﻴﻦ ﮔﻔﺖ‪ :‬ﻣﻦ ﺑﺎﺯﻯ ﺩﺭ ﻧﻤﺎﻳﺶ‬
‫ﺑﺰﺭﮔﺴﺎﻝ ﺍﺳﺖ ﻭ ﺗﻤﺎﻡ ﺣﺮﻑﻫﺎ ﻭ‬ ‫ﺧﺮ ﺭﺍ ﺑﺰﺭگﺗﺮﻳﻦ ﻛﺎﺭ ﺗﺌﺎﺗﺮﻯ ﺧﻮﺩ‬ ‫ﺗﺌﺎﺗﺮ ﺑﺎﺯ ﮔﺮﺩﺍﻧﻴﻢ‪.‬‬
‫ﻧﺸﺎﻥ ﻣﻰﺩﻫﺪ ‪.‬‬ ‫ﺷﻮﺧﻰﻫﺎﻳﺶ ﺑﺮﺍﻯ ﺑﺰﺭﮔﺴﺎﻻﻥ ﻧﻮﺷﺘﻪ‬ ‫ﺳﺎﺯﻧﺪﻩ ﻧﻤﺎﻳﺶ »ﺳﻴﻨﻤﺎﺭﻛﺲ«‬
‫ﺍﻳﻦ ﺩﻛﺘﺮ ﺭﻭﺍﻥﭘﺰﺷﻚ ﻧﺘﻴﺠﻪ‬ ‫ﻣﻰﺩﺍﻧﻢ ‪.‬‬ ‫ﻫﻢﭼﻨﻴﻦ ﮔﻔﺖ‪ :‬ﺩﺭ ﺷﺮﺍﻳﻂ ﻛﻨﻮﻧﻰ‬
‫ﻣﻰﮔﻴﺮﺩ‪ :‬ﻛﻼﻩ ﻗﺮﻣﺰﻯ ﻭ ﭘﺴﺮ ﺧﺎﻟﻪ‬ ‫ﺷﺪﻩ ﺍﺳﺖ‪.‬‬ ‫ﺑﺮﺧﻰ ﺭﻭﺿﻪ ﺣﻀﺮﺕ ﺭﻗﻴﻪ ﻣﻰﺳﺎﺯﻧﺪ‪،‬‬
‫ﺩﺭ ﻭﺍﻗﻊ ﻳﻚ ﺑﺮﻧﺎﻣﻪ ﺟﺬﺍﺏ ﺍﺳﺖ ﻛﻪ‬ ‫ﺁﭘﻴﻚ ﺩﺭ ﭘﺎﺳﺦ ﺍﻳﻦ ﭘﺮﺳﺶ ﻛﻪ ﭼﺮﺍ‬ ‫ﻣﺎ ﻫﻢ ﺧﺮ ﺭﺍ ﺑﻪ ﺻﺤﻨﻪ ﻣﻰﺁﻭﺭﻳﻢ‪ .‬ﭼﻮﻥ‬
‫ﺑﻪ ﻧﻈﺮ ﻣﻦ ﺳﺎﻋﺖ ‪11‬ﺷﺐ ﺑﻪ ﺑﻌﺪ‬ ‫ﺁﻗﺎﻯ ﻫﻤﺴﺎﺩﻩ‪ ،‬ﺧﻮﺍﺭﻯ ﺭﺍ‬ ‫ﺩﻩ ﺳﺎﻝ ﻛﺎﺭ ﻣﺸﺘﺮﻙ ﺗﺌﺎﺗﺮ ﺭﺍ ﺑﺎ ﺍﻳﻦ‬ ‫ﺧﺮﻫﻢﭼﻨﺎﻥ ﻣﻄﺮﺡ ﺍﺳﺖ! ﺑﻌﻼﻭﻩ ﻣﺮﺩﻡ‬
‫ﻣﻰﺗﻮﺍﻧﺪ ﺑﺮﺍﻯ ﺑﺰﺭﮔﺴﺎﻻﻥ ﺍﺯ ﺗﻠﻮﻳﺰﻳﻮﻥ‬ ‫ﻫﻤﻪ ﺍﻳﺮﺍﻧﻴﺎﻥ ﻣﺸﺘﺎﻕ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ‬ ‫ﺗﻐﻴﻴﺮ ﻛﺮﺩﻩﺍﻧﺪ ﻭ ﺑﺎﻳﺪ ﺑﻪ ﺧﻮﺍﺳﺖ ﺁﻧﺎﻥ‬
‫ﺧﻨﺪﻩﺩﺍﺭ ﺟﻠﻮﻩ ﻣﻰﺩﻫﺪ‬ ‫ﺭﻫﺎ ﻛﺮﺩﻩ ﺍﺳﺖ‪ ،‬ﺑﻪ ﺳﺎﺩﮔﻰ ﮔﻔﺖ‪:‬‬
‫ﭘﺨﺶ ﺷﻮﺩ‪.‬‬ ‫ﺁﻗﺎﻯ ﻫﻤﺴﺎﺩﻩ ﻫﻢ ﻳﻚ ﺷﺨﺼﻴﺖ‬ ‫ﺑﭽﻪﺍﻡ ﺭﺍﺑﺰﺭگ ﻛﺮﺩﻡ ﻭ ﭘﺮﻭﻳﺰ ﻫﻢ‬ ‫ﻛﺎﺭ ﻛﺮﺩ‪.‬‬
‫ﺭﻭﻯ ﺻﻤﺪ ﻛﺎﺭ ﻛﺮﺩ ﻛﻪ ﺑﺴﻴﺎﺭ ﻣﻮﻓﻖ‬ ‫ﻭﻯ ﺍﻓﺰﻭﺩ‪ :‬ﺗﺌﺎﺗﺮ ﺣﺘﻰ ﺩﺭ ﻛﺸﻮﺭﻯ‬
‫‪ 2006‬ﺑﻪ ﺳﻦ ‪ 77‬ﺳﺎﻟﮕﻰ ﺑﺮ ﺍﺛﺮ‬ ‫ﺑﻮﺩ ﻭﻟﻰ ﺳﻌﻰ ﺧﻮﺍﻫﻴﻢ ﻛﺮﺩ ﺩﺭ ﺁﻳﻨﺪﻩ‬ ‫ﻣﺎﻧﻨﺪ ﺍﻧﮕﺴﺘﺎﻥ ﺍﺯ ﺳﻮﻯ ﺩﻭﻟﺖ ﺣﻤﺎﻳﺖ‬
‫ﻛﺎﺭﻫﺎﻯ ﻣﺸﺘﺮﻙ ﺗﺎﺯﻩﺍﻯ ﻋﺮﺿﻪ ﻛﻨﻴﻢ‪.‬‬ ‫ﻣﻰﺷﻮﺩ‪ .‬ﻣﺎ ﻛﻪ ﺣﺎﻣﻰ ﺩﻭﻟﺘﻰ ﻧﺪﺍﺭﻳﻢ‬
‫ﺑﻴﻤﺎﺭﻯ ﺳﺮﻃﺎﻥ ﺩﺭ ﺷﻬﺮ ﺯﺍﺩﮔﺎﻫﺶ‪،‬‬ ‫ﺩﺭ ﻧﻤﺎﻳﺶ ﺭﻭﺧﻮﺍﻧﻰ ﺧﺮ ﻛﻪ ﺩﺭ‬ ‫ﺑﺎﻳﺪ ﺑﺎ ﺣﺪﺍﻛﺜﺮ ﻇﺮﻓﻴﺖ ﻣﻄﺎﺑﻖ‬
‫ﺳﻪ ﭘﺮﺩﻩ ﺗﻨﻈﻴﻢ ﺷﺪﻩ ﺍﺳﺖ‪ ،‬ﻣﺮﻯ‬
‫ﻓﻠﻮﺭﺍﻧﺲ‪ ،‬ﺩﺭﮔﺬﺷﺖ‪.‬ﺩﻭ ﻛﺘﺎﺏ ﺍﻭ ﺑﻪ ﻧﺎﻡ‬ ‫ﺁﭘﻴﻚ ﺩﺭ ﻧﻘﺶ ﺯﻥ ﻭ ﭘﺮﻭﻳﺰ ﺻﻴﺎﺩ‬ ‫ﺧﻮﺍﺳﺖ ﻣﺮﺩﻡ ﻛﺎﺭ ﻛﻨﻴﻢ‪.‬‬
‫ﺩﺭ ﻧﻘﺶﻫﺎﻯ ﺷﻮﻫﺮ‪ ،‬ﺑﺮﺍﺩﺭ‪ ،‬ﻭﻛﻴﻞ‪،‬‬ ‫ﻧﻤﺎﻳﺶ »ﺧﺮ« ﻛﻪ ﺍﻳﻦ ﺑﺎﺭ ﺑﻪ ﻗﻮﻝ‬
‫ﻫﺎﻯ »ﺯﻧﺪﮔﻰ‪ ،‬ﺟﻨﮓ ﻭ ﺩﻳﮕﺮ ﻫﻴﭻ« ﻭ‬ ‫ﺻﻴﺎﺩ ﺧﺮﺧﻮﺍﻧﻰ ﺭﺍﻳﮕﺎﻥ ﺑﻮﺩ ﺩﺭ ﻣﺮﻛﺰ‬
‫ﭘﺰﺷﻚ ﻭ ﺧﺒﺮﻧﮕﺎﺭ ﺑﺎﺯﻯ ﻛﺮﺩﻩﺍﻧﺪ‪.‬‬ ‫ﺳﺎﻟﻤﻨﺪﺍﻥ ﻓﻠﻴﺸﺎ ﻣﺎﻫﻮﺩ ﺩﺭ ﺧﻴﺎﺑﺎﻥ‬
‫»ﻧﺎﻣﻪ ﺑﻪ ﻛﻮﺩﻛﻰ ﻛﻪ ﻫﺮﮔﺰ ﺯﺍﺩﻩ ﻧﺸﺪ«‬ ‫ﺳﺎﻧﺘﺎ ﻣﻮﻧﻴﻜﺎ ﻭ ﺑﻪ ﻃﻮﺭ ﺭﺍﻳﮕﺎﻥ ﺍﺟﺮﺍ‬
‫ﺳﻴﺎﻭﺵ ﺁﺫﺭﻯ‬
‫ﺷﻬﺮﺕ ﺟﻬﺎﻧﻰ ﻳﺎﻓﺘﻨﺪ‪ .‬ﺁﺧﺮﻳﻦ ﻛﺘﺎﺏ‬ ‫ﺷﺪ‪.‬‬
‫ﺍﺯ ﺻﻴﺎﺩ ﭘﺮﺳﻴﺪﻡ‪ :‬ﻫﺰﻳﻨﻪ ﻧﻤﺎﻳﺶ ﺭﺍ‬
‫ﺍﻭ ﺯﻳﺮ ﻋﻨﻮﺍﻥ »ﺧﺸﻢ ﻭ ﻏﺮﻭﺭ« ﻛﻪ ﺩﺭ‬

‫ﺳﺎﻝ ‪ 2001‬ﻣﻨﺘﺸﺮ ﺷﺪ‪ ،‬ﺑﺴﻴﺎﺭ ﺟﻨﺠﺎﻝ‬

‫ﺁﻓﺮﻳﺪ ﭼﺮﺍ ﻛﻪ ﺩﺭ ﺁﻥ ﺑﺎ ﺯﺑﺎﻧﻰ ﺻﺮﻳﺢ‬

‫ﻧﺴﺒﺖ ﺑﻪ ﮔﺴﺘﺮﺵ ﺍﺳﻼﻡ ﮔﺮﺍﻳﻰ ﺩﺭ‬

‫ﺍﺭﻭﭘﺎ ﻫﺸﺪﺍﺭ ﻣﻰ ﺩﻫﺪ‪.‬‬

‫ﻓﺎﻻﭼﻰ ﻳﻚ ﺑﺎﺭ ﭘﻴﺶ ﺍﺯ ﺍﻧﻘﻼﺏ‬

‫ﺍﺳﻼﻣﻰ ﺩﺭ ﺳﺎﻝ ‪ 1972‬ﺑﺮﺍﻯ ﻣﺼﺎﺣﺒﻪ‬

‫ﻓﻴﻠﻢ ﺗﻠﻮﻳﺰﻳﻮﻧﻰ »ﺍﻭﺭﻳﺎﻧﺎ«‬ ‫ﺑﺎ ﺷﺎﻩ ﻭ ﺑﺎﺭ ﺩﻳﮕﺮ ﺩﺭ ﺳﺎﻝ ‪1979‬‬