تحليل روايت برساخت بدن آستانه‌اي در سينماي معاصر ايران

The present research has tried to focus on the concept of threshold body in contemporary Iranian cinema an‎d from a critical point of view, relying on the opinions of Michel Foucault an‎d Giorgio Agamben. For this purpose, John Fiskʹs semiotic analysis method (social, technical an‎d ideological codes) has been used as a data analysis strategy. Twelve contemporary Iranian cinema films in which a threshold body is depicted were selec‎ted by separating four time periods an‎d using the sampling method of acute cases. According to the results of the research, in all the films, a kind of polyphony an‎d discursive conflict over giving meaning to the body has been depicted. Although in the analyzed films, there are various sub-discourses of love an‎d intellectualism, however, the discursive conflict between tradition an‎d modernity over the determination of discourse norms is more prominent, an‎d in this discursive conflict, the body becomes a battlefield of tradition an‎d modernity. The representation made in the cinematographic works of the last four periods shows that in the first Pahlavi period (1304-1320), the threshold body moved towards pure obedience to the discourse of modernity an‎d experienced a kind of physical transformation. This process continued in the second Pahlavi period (1320-1357), so that first the threshold body became a submissive body an‎d a castrated body for the benefit of modernity, but due to rebellion an‎d disobedience, it was removed an‎d eliminated. In the period known as the Reforms (1376-1384), we also witness bodies rebelling in favor of modernity. Finally, in the recent period, the period of global communications an‎d Iranʹs connection to the global order through cyberspace (1392-1400), the character tries to free himself from the grip of tradition an‎d establish his corporeality based on the discourse of the era of globalization. Therefore, the trajectory of the narrative of the threshold body in contemporary Iranian cinema indicates that the body established in the context of tradition, after being called by the modern discourse, suffered a kind of displacement from the discourse of tradition, entered threshold conditions an‎d entered the arena in a discourse struggle. Modernity has entered an‎d has finally found a desire towards the postmodern body with features of confusion an‎d dedication.

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