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الاشتغال الدلالي للتشفير في التعبير الفيلمي == Semantic Work For Coding In Film Expression
Author name:
سعد ناظم عيسى الزبيدي
Supervisor name:
رعد عبد الجبار ثامر الشاطي
General topic:
Fine Arts
Specific topic:
Cinematic Arts
Degree:
Master
University:
University of Baghdad
Language:
Arabic
University location:
Baghdad
First pages:
18T1218 - p.pdf
Abstract:
اخذت السينما تشق طريقها لتنحت لنفسها مكانا بارزا بين الفنون الاخرى. ليبدا هذا الطريق بدراسة السينما سيميائيا، وكانت اولى الخطوات في هذه الدراسة هي محاولة اثبات امتلاك السينما للغتها الخاصة، وذلك من خلال مقارنتها باللغة من حيث الوظيفة والوحدات والتنظي | Cinema started to make its own way to build special place among other kinds of art. The first steps on this study were a try to prove that the cinema has its own language; this was done by comparing it by the language from many angles, such as function, units, organizing and shape.Many results were appeared from this comparison; the most important one was the similarity between the film and the language in functionality. Also, the ability of implementing most of the linguistic aspects on cinema like coding, messaging, system, building, …, etc.As these aspects are common in all communication systems, any system has its own signs and symbolic meanings which are organized in the form of rules that permit to understand the messages built on similarity and difference relationships, which shows multiple kinds code.In addition to the codes in the film structure, as a part of semantic systems, depending on the aim of delivering messages with deep meanings, using all of its elements. For studying this process in details, and for analyzing the terms it contain, like sign, code, communication, meaning, culture, and for establishing scientific research basis, so this study represents an attempt to read the semantic work for codes which are included in the film texts. This study; named (Semantic work for code in film expression); contained four chapters as follow : Chapter One : Includes research problem which is represented by the study of the film code by explaining how they work, and explaining the role of the film expression elements in showing the film code. This chapter also contained the goals, the limits, the importance of this research and a definition for all of the used terms.Chapter Two : Theoretical frame and past studies, was divided into six parts, as follow : 1. Cima Part : Here we mentioned the Cima science and the founders of it, some important classifications for it and some important points for studying this science.2. Communication Part : The communication theory was discussed here (using Jackson diagram with the six levels), the importance of each level and some other important information about these levels.3. Codes Part : Explaining what is the code generally, then what is the cinematic code.4. Sign, Symbol and Code : The three aspects are discussed together as a one part and as different parts.5. Semantic Science Part : This science was discussed in details in this part.6. Film Expression Part : What is the film expression? How can we distinguish between the similar aspects in this field? The answers were mentioned here.Then, a quick show of the past studies was done.Chapter Three : Research procedure, includes the research process and the sample explaining. The samples were two films (Devil's Advocate, and Da Vinci Code).Chapter Four : This chapter contains the conclusions and the recommendations we get from this study, the most important one was the ability to form the complex indirect semantic for the cinematic code, by using the icon - pointer or the icon - symbol, as the iconize is a method (code) to recognize the direct and the indirect semantic, while pointer and symbol are tools to reach to the deep messages of the film. Last, the research contained suggestions and resources list and the English abstract.
