نوع مقاله : مقاله پژوهشی

نویسندگان

• صفیه مرادخانی ¹
• محمد پیرداده بیرانوند ²

¹ استادیار زبان و ادبیات فارسی، دانشکدة زبان و ادبیات فارسی، دانشگاه لرستان

² دانشجوی زبان و ادبیات فارسی، دانشکدة زبان و ادبیات فارسی، دانشگاه لرستان.

چکیده

سینمای اقتباسی، روش مناسبی برای تبدیل آثار ادبی به آثار تصویری است. با این روش می‌توان حوزۀ شنیداری را با حوزه دیداری وصل و برد تأثیرگذاری اثر را افزون‌تر نمود. در جهان غرب از این روش برای انتقال فرهنگ خود به دیگر ملل بهرۀ فراوانی برده‌اند و می‌برند. در ایران نیز برخی از کارگردانان و فیلم‌نامه‌نویسان ایرانی از این روش بهره برده‌اند. خانم نرگس آبیار، یکی از موفق‌ترین کارگردان‌ها در گونۀ سینمای اقتباسی- حداقل در مرزهای ایران- است. او با تولید فیلم شیار ۱۴۳ از روی رمان «چشم سوم» و کتاب «اختر و روزهای تلواسه» توانست بستری را برای انتقال مظلومیت مادران مفقودین جنگ فراهم آورد. او با بهره بردن از شیوۀ اقتباس آزاد و ایجاد تغییراتی- همچون مکان، نام افراد، تعداد شخصیت‌های فیلم نسبت به کتاب، تغییر در برخی کنش‌های افراد فیلم نسبت به کتاب و ... - سعی در ایجاد رابطه‌ای عاشقانه- همچون یعقوب و یوسف- میان مادر و فرزندی را دارد که با جنگ، میان او و فرزند فاصله افتاده است و مانع وصل را رادیوی بر کمر مادر قرارداده؛ رادیویی که با باز شدن آن از کمر مادر، دیدار میسر می­گردد. در این مقاله ما برآنیم تا با بررسی تفاوت‌ها و تشابهات میان فیلم شیار ۱۴۳ و رمان چشم سوم و اختر و روزهای تلواسه نوع اقتباس اثر و میزان وفاداری فیلم نسبت به کتاب را بسنجیم. این مقاله به روش تحلیلی- توصیفی تدوین شده است.
 

کلیدواژه‌ها

• سینما و ادبیات دفاع مقدس
• رمان چشم سوم
• کتاب اختر و روزهای تلواسه
• فیلم شیار­۱۴۳

عنوان مقاله [English]

An Investigation of the Type of 'Track 143' Adaptation of The Books 'The Third Eye' and 'Akhtar and Agitation Days'

نویسندگان [English]

• Safiye Moradkhani ¹
• Mohammad Pirdadeh Biranvand ²

¹ Associate professor, department of Persian language and literature, Lorestan university

² M.A. student of Lorestan University

چکیده [English]

1. Introduction 
During The First World War, most of the poets and writers participated in the war fronts and wrote their poems, experiences, observations and stories in the forms of story, drama or memory. This issue established a new genre in the western literature called 'war literature' or 'resistance'. Often, these works are merely 'war literature' that focuses on the martial men's war  in war fields, destruction caued by war, as well as killing people in the front line and behind it.
 
2. Methodology
Regarding to the cinema adaptation of literary works, the following articles can be referred to: “The comparative analysis of five cinema adaptive films in Iran cinema with the stories text related to them” written by Siyavash Golshiri and Nafise Moradi.”  “One thousand and one night in literary recreation mirror”  written by Rohollah Rozbeh, and, “The role of the media in production of meaning: The comparative analysis of Dash Akel’s story and film” written by Zahra Hayati and Reihane Ghandi.  
 
3. Discussion
3.1. A Summary of The Third Eye Novel
This novel is, in fact, a story about thirteen teenage students residing in Bijar, who decided to go to the war frontline together. Despite their parents' dissatisfaction, they could finally get their permission. after having finished their educational course, they all departed to war. The first operation they took part in was Valfajr  Mogadamati. They arrived at the paved road between Fakke and Chazabe sooner than they had predicted. These students realized that the military operation was unveiled to the enemy because of the enemy’s trick. As a result of this, some of these students were lost, some became captive among this dispatched group. Only one injured person succeeded in coming back to the homeland. All of captives returned to Iran after passing seven years in prison. Also, after fifteen years, lost people’s corpses were brought to Iran. But, the main theme in the above mentioned novel is their families’ restless waiting.
 
3.2. A Summary of Akhtar and Agitation Days Story
This book consists of eleven stories, the last of which is Akhtar and agitation days. In fact, this story is a summary of The third eye. Here, the story writer has omitted the Bajarian’s days in captivity and considered Akhtar the same as the hero's mother in The third eye. In The third eye, Ja'far was Akhtar’s son, but he was replaced with Yousof  (Joseph) in this story.
3.3. Track 143 Film
Actually, this film is about Olfat and Younos (Joneh). Younos and his three friends went to war. Among these, Younos was lost, one of them was martyred, one person got captive, and only one man became injured and could come back. Throughout fifteen years, Younos’ destiny was unknown to Olfat. She was aware of Younos’ martyrdom after the returning of the captive man to home.
 
3.4. Similarities between Film and Book
1- Some teenagers’ going to war is the story of the book and film.
2- In both cases, one person became injured and then was hospitalized in Mashhad Hospital.
3- The village inhabitants became informed of captives’ conditions through one of the captives. 
4- One of the young men was martyred.  
5- One of the villagers’ inhabitants went to the war zoon as the representative of the villagers. 
6- One villager that travelled to the war zoon in order to find the dispatched teenagers got disappointed.
7- In both the book and the film, the missing person’s mother did not know anything about his lost son.
8- The lost person’s mother became hopeful after a man’s calling, but she came to realize that there was no news about his lost son when visiting that man in his home.
9- The lost soldier's mother was suggested to visit a fortune-teller.
10- The density of Akhtar’s or Olfat’s lost sons became clear after fifteen years.
11- Akhtar or Olfat believed in the superstitions.
12- Akhtar or Olfat tied a radio to her waist to be aware of her lost son’s conditions.  
 
3.5. Differences between Film and Book
 
1- In The third eye Novel and Akhtar and agitation days Story, all people from Bijar that went to war, were students. But in the film, all people were working in the mine factory.
2- In the novel and book, the dispatched people came from Bijar in Kordestan. While the dispatched people in the film, were from villages of Kerman.
3- In The third eye Novel, the teenagers, at first, were fifteen people. Finally, thirteen people remained after two persons’ leaving. In Akhtar and agitation days, there were nine people. Seven people remained after two people left that place. And in Track 143 Film, four people went to war.
4- In the novel, the names of mother and her son were Akhtar and Ja’far Rezaee, whereas in the book, they were Akhtar and Yousof. Their names were Olfat and Younos Mirjalili in the film.
5- Younos gave her mother a radio in the film. While this was not the case in the mentioned books.
6- in The third eye, Akhtar had five children and also had a closer relationship with Ja’far in the novel. In Akhtar and agitation days, Akhtar had five children, too. But here, she had a closer relationship with Yousof. But, in the film, Olfat had two children, she had a close r relationship with her Younos. 
7- In the books, parents did not permit their children to go to war. In fact, the students got permissions based on Imam’s order telling that going to the war was a collective duty. While in the film, the teenagers attended the training course secretly.
8- In both books, Ja’far and Younos fell in love with the girl in their neighborhood, called Nahid. But in the film, Younos fell in love with his aunt’s daughter named Maryam.
9- Akhtar’s husband was alive and helped her in the books. But, Olfat's husband had died long before, in the film.
10- The Bijari teenagers received training in Yazd in books. While in the film, the teenagers' training was in Kermanshah.
11- In the books, the Bijari inhabitants gathered in a special place called Maghar (the site) and asking about their children’s conditions. But, in the film, while behind the carpet loom, Olfat got informed by TV about how the military operation was unveiled to the enemy.  
12- In the books, one of the parents of those from Bijar came to know about  Khalil Agha's son being hospitalized in Mashhad. Whereas, in the film, Olfat went to the mine to see Sayyed Ali where she was informed about Habib being found in a hospital in Mashhad.
13- Samad Agha, as a military man, went to the war zone to get some information about the lost people, in the books. But Sayyed Ali who was a miner, did it in the film.
14- In the books, Akhtar heard from Batoul that Iraq Radio announced the lost people’s names after each military operation. But, in the film, Olfat got aware of this by Sayyed Ali.
15- In the books, there was no news about the marriage of Ja’far and Yoosof's beloved. While, in the film, Olfat’s sister visited her and got permission from her to accept Maryam’s suitor's proposal.
16- In the books, Akhtar’s husband wanted her to give Kheirat (eleemosynary) to people. But, in the film, Nane Jan demanded this activity.
17- In the books, one of the neighbors told Akhtar a fortune-teller’s name. Then Akhtar visited him. However, in the film, Hossein Agha, working in telephone booth, gave Akhtar the name of a fortune-teller.
18- In the books, an unknown man telephoned Akhtar and told her about her son’s being in captivity. Akhtar found that the news was not true and this false news was done by Komalea and counter-revolutionary people. But in the film, a man called Younos Mirjalili’s mother instead of Yoonos Mirrahimi.
19- In the books, there was not any news regarding how the martyr’s corpse were found. While in the film, a soldier dreamed of the martyr telling him about his burying place.
20- In the books, the martyr’s mother tied a radio on her waist for a long time. Ultimately, she heard that her son’s corpse was found while she had the radio on her waist. But, in the film, Olfat heard that news when she was separating the radio of her waist. 
21- Mash Bagher told the news of the war ending to Akhtar in the books. However, Sayyed Ali announced this news to Olfat in the film.
3.6. Track 143 Film Addaptaion Type of The Third Eye and Akhtar and Agitation Days Books
 
The type of adaptation in the film was 'Free Adaptation', because the adventure site has been changed from Bijar into Kerman. In this film, the students were replaced by the mine workers. By reducing the characters, she created some new characters. The narration of the novel and book was omniscient and a flashback. The writer changed some names. Also, she deduced the characters into four. There were no parallel story in the film. The success of Track 143 Film was due to two reasons: First, the film tried to arouse the audiences' identification by its realism. Second, the director borrowings from the film The immigrant produced by Hatamikia.
 
4. Conclusion
Narges Abyar wrote Akhtar and agitation days Book and The third eye Novel. Later, she made Track 143 Film based on these books using 'free adaptation'. By some changes like omitting war scenes and the dispatched characters’ captivity period, the change of students into mine factory workers, the change of Bijar into Kerman, and especially highlighting the relationship of the mother and one of her special child, the film producer tried to showing a loving relationship between mother and a child. also, the radio was a barrier for mother and child’s meeting. When the radio was put aside, this mother reached her child. It is necessary to know that the film producer had no way to achieve her goal except by 'free adaptation.    

کلیدواژه‌ها [English]

• Adaptive Type
• Chashme Sevom Novel
• Akhtar Book
• and Rozhaye Telvase
• Shiyar 143