نوع مقاله : مقالۀ پژوهشی
نویسندگان
گروه پژوهش هنر، دانشکدۀ هنر، دانشگاه شاهد، تهران، ایران
کلیدواژهها
عنوان مقاله English
نویسندگان English
Problem statement: The Feminist movement in Iran has been reconstructed not only as an imported discourse but also as an entity influenced by the complications of the cultural ecosystem and femininity structures of contemporary society. In this regard, the art of photography, as a representational medium, has created a ground for expressing the lived experience of female artists. The present study has deeply analyzed the content and issues raised in feminist discourse, which were shaped under the influence of contemporary social conditions both in the territory of Iran and around the world, and have influenced the contemporary visual culture in Iran, relying on the analysis of the existing feminist photographic artworks.
Research objective: The research aims to identify the implications of feminist discourse appeared in contemporary works of feminist photography in Iran to further analyze the concepts behind it. The main question of the research here is: According to Gillian Rose’s discourse analysis method, what concepts are included in contemporary feminist photography in Iranian discourse?
Research method: This research study has adopted a qualitative approach based on the discourse analysis method. The social philosophy of Gillian Rose, containing a four-part analytical framework, including 1. production, 2. image itself, 3. circulation, and 4. audiencing, was used for the systematic analysis of the target works. To increase the accuracy of the discourse patterns, the ‘content frequency’ was applied as a scientific index. These percentages are not extracted as mere confirming statistical data; rather, they have been applied as a tool for measuring discourse level and explaining the weight of each concept in the semantic structure of the artworks to analyze the hierarchy established in representation.
Conclusion: The research findings show that contemporary photography in Iran has moved from mere depiction of the situation to a critical act and dynamic representations. The discourse dominance of “direct representation of femininity typecasts” (57%) indicates a transition from passive subjectivity to active confrontation with hegemonic structures. Moreover, ‘redefining the identity in the local context’ (28%) and ‘hidden resistances’ (18%) reveal complex layers of intervention that indicate the formation of a plural feminist identity that is aware of Iran’s socio-cultural demands. These results indicate that the art of photography in Iran has become a platform for the conscious reproduction of women’s rights and identity by connecting “form” and “social criticism”.
کلیدواژهها English
