Les relations homme/femme dans le cinéma iranien postrévolutionnaire, stratégies des réalisateurs, analyse sémiologique

Abstract : Using Anne-Marie Houdebine’s theory and methodology of semiology of indices, this work analyses the relationships between man and woman in the censured post-revolution Iranian cinema. The systemic analysis highlights the iconic, scenic, auditory and technical stratums within the movie scenes. It also shows explicit elements, which reveals the existence of a certain amount of repetitions on a formal scale in any analyzed film. We can see there is a formal grammar respected when it comes to the expression of man and woman relationships in Iranian cinema. Illusions of closeness, love declarations, sexual propositions, erotism, love and sexual relationships are suggested through various phrasal configurations of the indices, such as glances, abortive gestures, turn around scenes, images of the child, symbolic objects, outside and inside, car, courtyard, off screens, direct transitions and music. Iranian cinema chastely explores love, expressing its own Iranianity regarding relationships between man and woman, by constructing space in the way that traditional Iranian architecture does (external space for guests and internal for family and privacy), but also by using stylistic devices, as in classical Iranian poetry.
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Asal Bagheri Griffaton. Les relations homme/femme dans le cinéma iranien postrévolutionnaire, stratégies des réalisateurs, analyse sémiologique. Sociologie. Université René Descartes - Paris V, 2012. Français. ⟨NNT : 2012PA05H006⟩. ⟨tel-00747693⟩

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