The Role of Photography in Urban Landscape, Presentation of Martyrs Images in the Urban Life

Document Type : Original Research Article

Authors

1 Nazar Research Center, Teharn, Iran.

2 Imam Khomeini International University, Qazvin, Iran.

3 College of Fine Art, University of Tehran, Iran.

Abstract

What is vital for the generation of the Sacred Defense, advocating Islamic values during Iran-Iraq war and also for the post-war and present generations, is to know the exact dimensions of the sacred defense and its values, as well as to continue and preserve the achievements and values that must be well explained and redefined. The present study examines the importance of using combatants’ photographs during and after the war in urban spaces, especially within the urban life of citizens, with an emphasis on intimate photographs of war and martyrs. For this purpose, the photographic murals installed in the “Shohada Neighborhood” in Aran and Bidgol at Kashan have chosen as a case study. In this study, a descriptive-analytical methodology has used with a survey approach. For data gathering, a structured interview used along with a review of library and online documentation. The results of the Research indicate that the residents have a specialized attachment to their neighborhood and, using photographs, are trying to create empathy and linkage of generations. The photographs in public spaces follow a more formal official narrative, with a mathematical look at the war. On the contrary, the public narrative of war is mostly in personal spaces, is not identical with the official narrative.

Keywords

Main Subjects


• Aminzadeh, B. & Yazdi, M. (2018). Evaluation of Urban Intervention in Imam Hussain Square (Tehran) with Emphasis on Urban Reminders. Hoviatshahr, 11 (4): 45-56.
• Janbozorgi, S. (2004). Photography in war. Tehran: Revayat-e Fath.
• Khonsari, Sh. (2006). The comparative history of photography in Iran and the world. Tehran: Nashr-e Elm.
• Moradi, M. (2009). Ta’asir-e jang-e tahmili bar ravand-e akkasi-ye mostanad-e Iran [The Impact of Imposed War on Irainian Documentary Photography]. Master Degree in Photography, University of Tehran, Faculty of Visual Arts.
• Musek, J. (1998). Political and religious adherence in relation to individual values. Studia Psychologica (Bratislava, Slovakia), 40 (1–2): 47-59.
• Odin, R. (1999). La Question de la’Amateur. Communications, 68: 47-89.
• Parvin, H. & Farnoush, F. (2016). Anonymous Martyrs' Monument; A Review on two approaches of landscape making in Iran and Iraq. Manzar Jouranal, 8 (34): 94-107.
• Perlmutter, D. (1999). Visions of War: Picturing Warfare from the Stone Age to the Cyberage. New York: St. Martin’s.
• Peters, J. D. (2001). Witnessing. Media, Culture & Society, 23(6): 707–723.
• Tausk, P. (2009). ‭Photography in the 20th century. Translated by: M. Sattari, Tehran: The organization for Researching and composing University textbooks in the humanities (SAMT), (Original work published 1980).‬‬
• Zeraqi, M. (2016). Barresi-ye naghsh-e sakhtar-e eghtesadi va farhangi-ye tabaghat-e ejtemae’ei dar ravand-e roshd va tose’e-ye akkasi-ye sade-ye 19 Iran [The study of the role of economic and cultural structure of social classes in the process of photography development in the 19th century in Iran]. Name-ye ensan shenasi, 13 (23): 130-159.