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الانتقالات بين التنظيم السردي والاثراء الجمالي في الفيلم الروائي == The Transition Between The Narrative Organization And The Richness of Beauty In The Narrative Film
Author name:
خضير عبيس جياد القريشي
Supervisor name:
صباح مهدي الموسوي
General topic:
Fine Arts
Specific topic:
Audio and Visual Arts
Degree:
Master
University:
University of Baghdad - College Of Fine Arts - Department Of Audio And Visual Arts
Language:
Arabic
University location:
Baghdad
First pages:
18T1172 - p.pdf
Abstract:
ان قضية الانتقال على مستوى الخطاب الفيلمي, هي قضية الانتقال البصري اي تغير بؤرة التركيز في عملية تحول وانتقال من بؤرة سردية الى بؤرة فكرية وجعلها مركز الاهمية والانتقال. والكثير من التبعات التي تلزم ذلك المشهد الفيلمي, وتستدرجه تبعا لمتطلبات ذلك الخطاب وب | There is a clear coup at the Mongol, at the transition from the metaphysic to modernism and after appears the portraiting process that encode every dramatic ,literary, economical, scientific - scene in a film, with lots of effects that adheres to the scene and coincides the hierarchy of that speech ,and in the way that works with it by every means of communication, where cinematic portraition has delt with , the narrative transferring as a means of connectivity to the narration of films, whose importance comes from its being one of the cinematic language elements and the connection between the units and the narractive scenes in the film narration which has been formed with arts equation : formafive, dramatic, cinematic, in all reading necessaties for the show, mechanism and idea. The innovation of beauty is read with a new different equation, inferred from the story and the novel, cinema, theatre, dancing m curving, and this result can greatly affect the reader to understand the film scene, through the movement of its parts and turn down its outlook and inner side in the reading to reach the transactions or contradictions exists in the film, to be adjusted to accommodate the commencement and multi - reading For the show through informing and inferring for unfinished reading. So, the researcher decided to deal with (the transition between the narrative organization and the richness of beauty in the narrative film ) , as a field for his research. The researcher is composed of an abstract and for sections. The first section includes the framework that embodies the problem of the research and the need for it in this section specified the method in which movements applies the narrative organization and beauty richness in narrative film , and the way in which transitions are represented in extending the film tale which makes it start forward to research about the boundaries of meaning and significance in the narrative film , then the importance data as a means of connectivity in the film narration and how to activate it , so that the film tale would gain meaning or moving on the transition levels in the narrative film and connect the parts of the film tale. So the purpose of such researchers is to state the paradox in the term, perception and its definition to establish theoretical concepts, important for researcher and presenting these concepts on film vision and the partial applications coincide it in the cinematic work through the role that narrative transitions play in developing the film tale and giving the meaning that it aims. The boundaries of the research.The special boundaries were open since that the cinema is not an innovation that can be specified by a place in the world; but, innovation is sprung in every place in the world in the cinema production.So is the time boundaries the research is not limited to a period of time ; but exists on the film performance all over history ; and for the purpose of the research , the researcher specified the period of time since it came with specimens of films that worked the narrative transition in such a way that it could present her innovation role in connecting the parts of the film tale and in film specimens that belong to the modern narration , then specifying and defining the terms (transition , narrative organization ,and richness of beauty procedurally.. Section two : theoretical framework It includes three parts : Part one (narrative transitions in the expressing means one of art.) that deals with the transition process in the collective art from a locative art to subsequences of time, the researcher believes that transmission are limited of the portraits that contain more than one action allowing to move from one action to the other , and the researcher also deals with the transition in the narration of the novel since it is the nearest to the film art and the time separation that occurs in the narrative process of the novel , as it has transmission on the level of the time ,place ,and action and the reciprocal relationship between the novel and the film to make use of the novel technique in the narrative , and the novel to make use of cinematic techniques in the process of the production and the movement of the camera , and that was connected to the novel since there is a similarity between the novel and the film.They are under the same reading which is the narration with reservation to the specification of each expressing medium with what each own of the specifications of the other medium Part two : (Transition in the narrative film) It deals with the mechanism of transition and the process of its occurrence on the level of the film performance since it is complementary for the work of art, or describing it as a necessity of beauty on the collective and formative level of the narrative film and the transitions of the production in the technical side of the narrations works by the elements of the cinematic language which is considered as one of the transition means between the action and pushing the film tale forward. Through innovative effect that expresses it in an audio and video tape. Part Three : (richness of beauty in the narrative organization for transition) It is the innovative mechanism that accomplish the narrative structure process for the film tale through its similarity and difference in the arranging process for what is narrated in the film, performed or not. There are trails, inferred in the research, which the researcher used as a guide to analyse his specimens that has been submitted to some experts in the acoustics and vision department; which are : 1 - The narrative transition is represented for the necessity to change the career of the narration specimens in the novel film; so, it produced a kind of action Development and discovered new in formation.2 - The narration depended on the backlash or the professy action which leads to complete the tale in the expressing way which is clear for the receiver.3 - The function that transition performs is the series of transmissions between one section and another of the relations, represented among the things produced to make the tale be understood and of references and its contribution in transition between views in objective narration specimens to self and vice versa on developing the film action.Section three : performance setting. Three film specimens are analysed in this section. First : love in them of choleru. Second : The reader. Third : Babel.Research Performance it is the references of the theoretical framework which exports have agreed on with some modification for some references sadapting the research performances. Unity of analysis : The whole film scene. Section four : It contains the results, conclusions, recommendation and suggestions of the research.Some results of the research.1 - The narrative transition represented an important aspect in changing the direction of story narration , producing a picture between the objective and self narration in the novel film.2 - The transition established the connection of two or more stories to clarify the relationship among them, though they were uncongenial in the daily life and not apparently connected, but it is produced for ideal cases in most of its aspects and not available for the regular receiver.
