اسم المؤلف:
حسن قاسم مطشر الساعدي
اسم المشرف:
طه حسن عيسى الهاشمي
المستخلص:
ينطلق البحث في محاولة لتاشير اهتمام سيميائي بالتجارب السينمائية المتميزة في السينما العالمية عبر تاريخها الطويل، ابتداء من عفويتها التي سحرت المشاهدين بتصوير وصول القطار الى المحطة، وانتهاء بالدهشة البصرية من افلامها الحديثة التي غلبت عليها تقنيات الغرا | The research stems as an attempt to indicate the natural magic interest in distinct cinematic experiments in the world cinema through its long history, beginning from its spontaneity which fascinated the audiences by shooting the train arrival to the station, and ending with the visual surprise at its modern films dominated by the technical graphics, within two main axes : the trial to associate among those experiments which their indicative features and the indicative structure they represent on one hand, on the other hand observing the new experiment to find different formats of semiotic semantics in new, distinct and good works for analysis and theoretical framing processes which the researcher endeavors to apply them and the trial to find a real example for them through cinematic text which the researcher thinks it represents a suitable sample for search and operation. The movies had been classified on analogical bases (realistic and impressionist) which were two main attitudes within them the cinema began to develop until the structuralism and the sign science appearance at early 1970s. The natural magic borrowed from eloquences its search methods to reveal the semiotic and semantic structure owned by the cinematographic images; therefore, this study represents an attempt to read the semiotic semantics in intended film texts using the natural magic analogical effort. The study entitled (The Semiotic Semantics in Lars Von's Movies) included four chapters as the following : The first chapter (The Methodological Frame) addressed the research problem displaying the avoidance of many studies from studying the cinema unless through deliberative starting points, so they were implicative studies related to what said in the movie and not to how it was saying. Consequently, the way to that was knowing the structure of the semiotic semantics in the cinematic film in which it saw the modern criticism of the natural magic method with semiotic value that could be count. The research addressed the research significance and its analogical location among the natural magic studies in the field of cinema. The chapter contained the aims put by the researcher and the limitations within which the research worked. The second chapter (The Theoretical Frame) came including the rules previously established, which the overall operating on them would be the application of some of them, or with some changes besides preserving the general lines of the critical achievement. The search first would be through the first section (The Natural Magic of the Cinematic Image) on the signalization of the cinematic image which due to its iconism resembling the reality it depicted, referred to or symbolized, formed the secret of its excellence, after an inevitable analysis of the sign in general as being an icon, indicator or a symbol. After distinguishing the weak iconism resembled by the planning, and between the direct iconism and the metaphoric iconism established by the successive and compound images in shots, scenes and chapters inside the movie, through this resemblance embodied by the similarity between the cinematic image and the realistic subject it shot, we could read that image in natural magic. Then the research dealt with (The Indication of the Cinematic Sign) the title of the second section in the cinematic address which arranged its images as its language, the open and closed text, deliberative, perceptive, psychological, social and cultural contexts, and the codes through the association of the cinema functions with its meanings closely due to their being video signs, and the transformation of the perceptive example represented by the signs into an indicative example related to the cinema via its video and audio languages which distinguished it from the remaining arts. The research presented in the third section (The Semantic Elements in the Cinematic Film) the filmic narration, the filmic shape, the operating mechanisms of indications in the elements of the cinematic language through adopting (linguistic - cinematic) inducing techniques contribute in exploding the closed structures at the level of the shape, evacuating the filmic text from the dramatism at the narration level rich of playing with times and multiplicity of viewpoints, and using the repetition and overlapping which restore, paste the text segments with an internal and external vision hanging in time and place, and liberate it from mixing with other text. Then, the researcher discussed a group of previous studies covering the natural magic in the cinematic art and some of their sections mingled with the study sections, afterwards the researcher came out with six indicators, i.e. types of indications constituted from the theoretical frame, the researcher wanted to indicate through them what the research tried to confront by exposing them on a committee of experts and specialists who modified them in a way fitting the research. These indicators were summarized in six types of semiotic semantics : intensified and compound indication, transformed indication, additive indication, individualized indication and the accompanying indication, all of which were applied to the sample. The third chapter (The Research Procedures) consisted of two axes : First : the research method where it was relied on the descriptive analytical method, the analysis unit, elected filmic sample, the reasons behind selecting this sample in a way fitting the research nature, and the reasons laid by the researcher for defining the sample. Second : the sample discussion submitted to the analysis according to the indicators extracted from the theoretical frame. The selected filmic samples consisted of three movies for the Danish director (Lars Von Trier) : 1 - Antichrist movie. 2 - Dancer in the Dark movie. 3 - Dogville movie. These three movies were selected because they were distinguished works, since the second movie was awarded the golden palm prize in Cannes cinematic festival, while the movie song (everything I saw) performed by the movie heroine the singer (Burk) written by the director (Lars Von) was awarded the Oscar prize as a best song. The other two movies were praised among the cinematic and critical circles. For information, the director (Lars Von) gained prizes from Munich cinematic festival and won the golden palm prize twice. The fourth chapter came with the research results, the most important of which were that the image had a tremendous number of signs forming the analogy and contrast processes among them to produce the predominant meaning which the maker wanted to uncover. It was relied on the receiver's awareness in reading the coded structures inside the space of the shot or scene which altogether led to reveal the levels of the semiotic structures producing the meaning. Then, the research arrived at conclusions and suggestions. Finally, the researcher's recommendation came asserting the importance of the natural magic method in the cinematic criticism and the necessity to expand working with it within the department methods for the undergraduate and higher studies. Afterwards came a list of the research references, a group of appendices and an English abstract
