نوع مقاله : مقاله پژوهشی
1 دانشجوی دکتری، گروه فلسفه هنر، دانشکده علوم انسانی، واحد شاهرود، دانشگاه آزاد اسلامی، شاهرود، ایران.
2 دکتری تخصصی، استادیار گروه هنر، دانشکده هنر، واحد فسا، دانشگاه آزاد اسلامی، فسا، ایران.
3 دکتری تخصصی، دانشیار در آموزش فلسفهی هنر، دپارتمان آموزش فلسفهی هنر، دانشگاه ماساچوست.ایالات متحده آمریکا.
عنوان مقاله [English]
Jean Baudrillard, a sociologist and postmodernist philosopher, presented theories regarding images. In all his social theories, his unending concern for the destruction of the existent and its replacement by the pretense is palpable. In the meantime, he considers art as a conspiracy and a means to realize pretense. Cinema, especially, as a simulating reference of reality, has been criticized by Baudrillard. One of the basic solutions to create a simulation from Baudrillard 's point of view is to use special computer effects. Therefore, on the one hand, Baudrillard's criticism of cinema and on the other hand, his interest and emphasis on its capabilities are evident; which itself causes ambivalence in Baudrillard's theories and confusion of his audience. This research is an attempt to resolve existing ambiguities and to distinguish the factual approach behind these seeming contradictions in the field of virtual reality and special effects in cinema. In this regard, in the present study, through library research, data analysis and scrutinizing Baudrillard's statements in a descriptive-analytical method, solutions to prevent the destruction and replacement of the "real thing" in cinema and to determine the relationship between cinema and its effects are sought. As a result, it can be seen that the rejection of special effects, according to Baudrillard, depends on the purpose of its use. In other words, the use of special effects is rejected in the direction of recreating reality and can be accepted in the track of imagination.
1. Examining Baudrillard's negative view of the destruction of reality by special effects.
2. Inspecting special effects in cinema according to Jean Baudrillard.
1. How can cinema, despite the increasing efficiency of special effects, and Baudrillard's negative view of the destruction of reality by special effects; continue its presence?
2. How can special cinematic effects distance themselves from Baudrillard's criticism?