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الواقعية الايطالية الجديدة وانعكاساتها على السينما المصرية == The New Italic Realism And Its Reflections On The Egyptian Cinema

اسم المؤلف: محمد حسن عبد الامير محمد صالح
اسم المشرف: عبد الجليل ابراهيم ادهم
الموضوع العام: الفنون الجميلة
السنة: 2009
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
الجامعة: جامعة بغداد - كلية الفنون الجميلة - قسم الفنون السمعية والمرئية
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: لواقعية مدرسة من مدارس الادب والفن جاءت بعد الرومانسية في منتصف الخمسينيات من القرن التاسع عشر 0 وبتطور الفكر الفلسفي لهذه المدرسة في الفن برزت عدة مفاهيم للواقعية , وبتعدد الاساليب الواقعية في الفن السينمائي تنوعت الاتجاهات الواقعية , كالواقعية الملحمية | Realism is one of the art and literature schools, it came after romanticism in the middle of fiftieth of the nineteenth century. As the philosophical belief develops for this school in art many realistic concepts appeared. And the pluralism of the realistic styles in the cinematic art led to a vary in realism like epic, communal and romantic realism in addition to the new wave and realistic cinema in Briton. The last one appeared in Italy after the second world war, it was known as new italic realism, it has got new styles and here are some important styles belong to the new italic realism like : using the unprofessional actor, televising out of the studio and using the sneaking camera etc… The new italic styles spread quickly in the cinema in the most of the countries in the world. One of these countries is Egypt which has a very long history in the cinema. In the fiftieths of the last century, a generation of realism appeared in the Egyptian cinema like, Salah abo Safe.Tawfeek Salih, Yusif Shaheen, Henry Barakat and Kamal Al - Sheikh. In the eightieth and ninetieth of the last century, many young directors appeared and they went out of the traditions of the Egyptian cinema which is familiar, and they presented realistic topics. These topics were known by the critics as a new realism or new cinema, like : Mohammed Khan, Dawood Abd - ul Said, Shareef Arafa, Raafet Al - Mihi and Atif Al Taib. So, our study talks about the reflection of the new italic realism on the Egyptian cinema. The research has contained the following chapters : chapter one has contained the research problem which leads us to the following questions : what is the reflection of the new Italic realism on the production of the Egyptian cinematic films? Its importance is shown to the researchers and scholars like producers, scenario writers, critics in the cinematic art and those who are interested in the cinematic art. The goal of the research is to recognize the artistic style of the new realism in Egypt. The lines of the research are specified by the realistic novelistic Egyptian film from 1990 to 1999. Also, the first chapter contains terms specifying. While the second chapter contains the theoretical frame and section one contains realism, the concept, the beginning, the developing and realism in cinema with its varies. The second section contains the artistic styles of the new italic realism. The third section contains realism in Egyptian cinema. The third chapter contains research procedures. The researcher has specified the curriculum of the research depending on the analytic descriptive curriculum which suits the nature of the research and its aims, then the research tool that has been discovered as a sign from the theoretical frame and it has been presented and approved to a council of experts and specialists in the department of the audio and visual. And the fourth chapter contains analyzing three realistic Egyptian directors as a sample and they are : Dawood Abd - ul said and his movie the kit Kat, Shereef Arafa and his movie Irhab we Kebab and Atif Al taib and his movie Laila Sakhina.The fifth chapter contains the results like : 1 - The Director ( Dawood Abd - ul said)used The stylistic sings of the new Italic realism except using the unprofessional actor in his movie (Kit Kat). 2 - The Director (Atif Al - Tabe) used The stylistic sings of the new italic realism in his film (Layla Sakhina). And the conclusions are as the following : 1 - The realistic directors of the fiftieth generation have influenced by the new italic realism and some the eightieth generation has influenced the fiftieth generation and the others have influenced the pioneers of the italic realism. 2 - Most of the realistic directors who belong to the generation of the eightieth have worked director’s assistant with the generation of the fiftieth, this made them get experience Al so chapter five contains the suggestions, the advices , a list of the resources , appendixes and Abstract with the title

الرؤية الفنية في تجربة جعفر علي == The Artstic Insight In The Experiment of Jaafer Ali

اسم المؤلف: سلام يوسف دبي
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2009
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
الجامعة: جامعة بغداد - كلية الفنون الجميلة - قسم الفنون السمعية والمرئية
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان التصدي لتوثيق ودراسة حياة وتجربة مبدع ليس بالعملية اليسيرة مثلما يبدو وخاصة في بلد مثل العراق الذي شهد صراعا وحربا جعلت منه بلدا يكاد ان يفقد الذاكرة بنتيجة حالة اللااستقرار الذي جعل الكثير من المبدعين ان لا يجد ظرفا مناسبا لتوثيق حياته ومن المبدع | The Intercepting for The Documentation & study of the life & Experiment of a Creative Individual is not an Easy Process as it appears Especially in a country like Iraq that Witnessed war & Struggles that made him as a country that almost losses his Memory in Result of Non Stability Condition That Made A lot of Creative Individuals not Finding a Prorates Circumstances To Document Their Life's , & Those Creative Individuals who Documented to Their Artistic Biographies have been Vanished here & there or Have Terminated By The fires of Wars.So The researcher have Suffered Greatly In his Studying the Artist Jaafer Ali & to Get His Productive Achievements for this Variety artist in The Field of Movies , Radio , Television & Theater For The researcher had found that most of these information in the memory of those who lived with Jaafer Ali & those related to him , & The researcher had Acquired a Paper cuts or Notes Had been Writhen here & there or some articles or Artifacts have been Acquired & it been Convinced That is in Total Does not Form The True Image for Artist Jaafer Ali , & in the In lighting of What Was Available to the researcher From Resources This Research Has Been done about the Artistic Vision in the Experiment of Jaafer Ali Which Contained Three Chapters : - First chapter : - comprises the methodic frame, which handles the themes of the research like : - How Did Jaafer Ali Insights Reveled In his Creative achievements , & what is The Resources That Made him A Multiple Visionaries Individual?.As For The Aims of research : - 1 - The Documentation of An Iraqi Creative Individual In the Field of Culture & Arts.2 - Studying The Achievements of that Creative Individual In the Area of Theater , Movies & Television.3 - In lighting His Experiments In Movies Through His Feature & Documentary Films. The second chapter tackled theoretical frame & Previews Study's which includes Three topics : - 1st topic : - Grown up & Forming in the Effect of Cultural & Artistic Realty : - Which is A Phase Jaafer Ali Was Formed in The Shadow of Social & Cultural Realty That Was Various , & his Affection of With The Greatest Iraqi Culturists , & His Grew in Time Period that was Rich with mind liberty , So He Makes his way according To The Ambitions of sophisticated Individual That Claims the Pronouncing of His Visions , He Managed To Study English Literature In The Literatures College , Than He Headed To Study Cinema In the United States , After His Return He Started To Lecture In Fine Arts Institute & Fine Arts Academy in Deferent Cinematic Art Fields , & The Topic Also Included His Practical Life A Teacher , Musician , Interpreter , Cinematographer , Actor , Critic , & Writer In Addition To Some psychological Crisis That Happened To Him. 2nd topic : - It Includes Technical Expertise 7 Artistic Visions in The Field of Theater & Television , & The Interest That Jaafer Ali Was Reflected On The Composition Between Theory & Applying That Makes Him Capable of His Instruments & Implying it to Manifesting The Contents & Thoughts for the Scripts in Television & Theater , were Theater was The First Lunch in His Technical & Artistic Experiment Through What Been Achieved in Theatrical Plays Were Most Signified One Was Vetrock & Many Other Television Plays Like (Satra Vosan).3RD topic : - The Artistic Vision in His Cinema Experiment : - This Topic Includes A Briefed Historical Reading for The Facts of the Iraqi Movies Production Movement & the Economical & Political Circumstances , Its Divided To Three Periods ; - 1st - From The Year 1946 till the year 1959.2nd - From The Year 1959 till the year 1975.3rd - From The Year 1975till the year 2003. And Remembering some of Jaafer Ali Four Documentary Films Which are : - 1 - The Collector ( Al - Jabi).2 - The Turn ( Al - Munaataph).3 - Years of Life ( Sanwat Al Omer).4 - Narcissi The Bride of Kurdistan ( Narjes Arws Kurdstan).And Two Feature Films are : - 1 - Women & Work ( Al - Maraa Wal Ameel ).2 - Askerrian Shrimp ( Al Rawdaa Al - Askerrian ). This Topic Also Shows The Foundational Role of Jaafer Ali To Establish The Department of Cinema In The College of Fine Arts.The 4TH chapter consists of the research procedures including the Research s' sample that the Researcher analysis of the samples.And The Most Important Results That The Researcher Have Included : - 1 - In Spite of the Specialty of the Research s' sample By Its Narrative Construct & the Shortening of the Dramatic Act but was Able to show the daily life of the Iraqi people & its Suffering through a Bus Journey in The Film The Collector ( Al - Jabi) , & The Political & Social & Economic Reality For The Country & The Agony of The Iraqi Culturist In the Shadow of These Circumstances in the Film The Turn ( Al - Munaataph).2 - It Was Clearly Obvious the Effect of the Poverty & the Lack of Techniques that used in these Film Samples Which Reflected on the General Artistic Shape To The film , For This Lack Had Sustained The Camera Freedom In Movement & Taking More Expressional Angles , & This Lack Also Reflected In The Lightening Composing In A Amount of Scenes Especially The Night Vision Scenes For the Most Was Humble & Modest.