Urban Scape
nazila rashidpour; Mohsen Habibi; Manouchehr tabibian
Abstract
the metropolis plays an important role in contemporary society. It features prominently in the public imagination as the very site of modernity and capitalist economy that has been encoded to convey the preferred meanings, Then the metropolis, can be understood as an amalgam of objects of cultural production. ...
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the metropolis plays an important role in contemporary society. It features prominently in the public imagination as the very site of modernity and capitalist economy that has been encoded to convey the preferred meanings, Then the metropolis, can be understood as an amalgam of objects of cultural production. To understand the metropolis is – to some extent – to understand our present age. The metropolis as a patchwork quilt of traces of human existence could not presents itself beyond the limitations of any strictly positivistic outlook and it needs semiological and phenomenological models like reading and experiencing. The metropolis, then, might be read as a text, its forms deciphered and its meanings understood.it means the metropolis itself does not exist, and can only be understood through its various manifestations. Mindscape and Spatial images as the result of a combination of different factors such as literature, art, media, myth, narrative, etc. plays an important role at experiencing and understanding the city. as German cultural theorist Siegfried Kracauer said Wherever the hieroglyphics of any spatial image are deciphered, there the basis of social reality presents itself. What we see on the surface, so any Marxist-inspired cultural theorist would argue, is the product of deeper underlying forces, and in order to understand these forces we need to interpret the surface level. The unconscious nature of surface-level expressions reveals the hidden logic behind these phenomena.In this research for explaining the hieroglyphs of the modern metropolis of Tehran in representing the mysterious language of the city, quantitative and qualitative content analysis method was used. According to findings, we can claim It was not possible to experience the metropolis of Tehran through movies. Films made in Tehran have not been successful in introducing the physical space of the city in the sense that Balzac and even Zola intended. Modernity has manifested itself in a negative sense and The city has become a haven for the darkest aspects of modernity. At last it is important to know that the city must be read by those who seek to create, shape, and transform it. Their reading of the city crucially conditions their writing of the city text, its buildings, its streets, its street furniture, etc.
