Abstract:
Problem statement: Recently, in contrast to the hegemony of optical-based approaches to
cinema, a new mainstream in film studies has emerged that its focus is on the capacities of
tactile perception in cinematic experiences. Based on haptic ideals, this approach is a kind
of tendency toward generating senses and evokes emotional responses. In opposition to the
dominant paradigms of film theories based on distance and perspective (optical visualization),
haptic visualization provides a theoretical context in which the dynamics of the experience of
watching a film could be analyzed. The main question of this study is how the haptic perception
is emerged in Persian-Islamic Arts and what are the effects of this emergence on the viewers’
perceptions? Here, it is presumed that the Persian-Islamic Arts, with the haptic features
embedded in, have the quality of presenting a different manner of seeing to their onlookers.
Research objective: Seemingly the paradigms of the haptic perception are inherent to the
Persian-Islamic Arts and this special feature can lead to new entries in cinematic expression
for Iranian film industry. The objective of this essay is to attain the methods in which the
haptic visualization is represented in Persian-Islamic Arts and to understand how it is
appeared in films created in this context.
Research method: The following essay is compiled by using library resources and tries
to define the notion of “haptic perception” by the aid of descriptive-analytical method.
Furthermore, the haptic capacities of Persian-Islamic Art are explored by evaluating the case
studies.
Conclusion: This study shows that according to the haptic visualization characteristics in
Persian-Islamic Art, the filmmakers have the opportunity to use it in order to elaborate their
narratives. Regarding this objective, The Green Fire (2008), directed by Mohamad Reza
Aslani, is analyzed as an Iranian film that has been successful in stimulating viewers’ haptic
perception by cinematic techniques.
Machine summary:
Original Research Article The Capacities of Haptic Perception in Persian-Islamic Art and its Function in Cinematic Expression The Case of “The Green Fire” Alireza Sayyad*1, Milad Sotoudeh2, Sajad Sotoudeh3 1.
Research objective: Seemingly the paradigms of the haptic perception are inherent to the Persian-Islamic Arts and this special feature can lead to new entries in cinematic expression for Iranian film industry.
The objective of this essay is to attain the methods in which the haptic visualization is represented in Persian-Islamic Arts and to understand how it is appeared in films created in this context.
The Scientific Journal of NAZAR research center (Nrc) for Art, Architecture & Urbanism {مراجعه شود به فایل جدول الحاقی} 19 Bagh-e Nazar, 17(88), 21-30 / Oct. 2020 (Paterson, 2007, 8-14).
Haptic capacities of Persian-Islamic art and recalling tactile contribution of the viewer During the nineteenth century, the theories of Islamic philosophers on embodied perception extensively affected Western philosophy.
In what follows, The Green Fire movie, holding the characteristics of Persian-Islamic art, is studied to evaluate how the haptic approach has been used in favor of cinematic expression.
Conclusion The presented study shows that the Persian-Islamic art holds some instinctive haptic features, and this would be a possibility for seeing in another way and perceiving differently.
Whereas the haptic visualization that brings about a distinct sort of seeing, is manifest in several aspects of the Persian-Islamic art, studying the works created in this context might lead to a new understanding of its capacities.