Author name:
احمد جبار عبد الكاظم العبودي
Supervisor name:
طه حسن عيسى الهاشمي
Abstract:
ان الدرس السينمائي المعاصر، يؤكد على التماهي المطلق بين السينما كوسيط تعبيري قائم بذاته، والفنون الاخرى، كمنجزات جمالية سابقة عليه، يتعالق معها بنيويا ودلاليا، وكانت الرواية من اكثر الاجناس الادبية التي استلهم منها صناع الفيلم منذ بداياتهم الاولى، ل | The modern cinematic lesson emphasizes on the absolute identification between the cinema, as an expressionist intermediary stands for itself, and the other arts, as aesthetic achievement precede it, they both are linked syntactically and semantically. Novel is the most literary genres that inspire the film makers since their beginning because of Its relatedness to Cinema narration characteristic, the completion of the expressionist intermediary of Cinematograph, and involving of the sound that expands the aesthetic and narrative ranges of the film to the maximum in the ideological indication, enables the Cinema to arm with the modernist consciousness because it became close from the experiences of Art and literature ideologically, aesthetically, and stylistically. Cinema involved in the modern novel, which is considered as ideological and aesthetic revolution throughout the film adaptation that copes with the novel context modernism through its construction to the text of the modern film. The theorists and film art critics give a special importance to dialogue relationship that based on the Influence and effect between the novel discourse and film show despite the obvious distinction between their expressionist intermediaries. Because of the quotation processes and forms of correlation between these two arts through interchangeable transformations to the semantic and expressionist statements. The theorized visions are centered through observing aesthetic contiguities and paradoxes to the indication between them. One of them utilizes the oral language and its syntactic structure that contributes in deepening the meaning. While the other one appears through the audio - visual and editing structure that deals with time according to its own way. Despite the difference among the visions and the critical and artistic situation about how Cinema takes the benefit from the novel as a source of inspiration or quotation which is based on particular level of adaptation, as a structural and conscious semantic action. Most of the critics try to undermine this creative connection, said that Cinema is an independent Art contrives its own subjects without standing on literary structures that are already made. It is proved that the spectator accepts the shown ideological structures and interacts with them negatively or positively despite the scenario of the film is adapted from novel context as a semantic reference or an invention leads nowhere but to itself. The uniqueness of this research is to observe the structural and semantic variable between the modern novel through its complicated structures, represented in the paradoxes of narration, narrative prospective, multitude in the levels of focalization, the linguistic rhetoric utilized by poetic deviation, its narrative and semantic concentration, and the film show with its modern form, narration, and Cinema language. Consequently, getting involved into the modern novel context world and its transformations into a film show requires someone who is capable of decoding the secrets of them. In order to fulfill the aim of the research, the researcher divides the research into : Abstract (in English and Arabic) and four units. The first unit (Methodical Frame) contains (problem of the research - Importance of the research - the research limitation). The problem of the research appears as a question has been made, by the researcher, as (what is the range of the semantic and structural transformations of the modern novel in contemporary cinematic discourse?). The aim of the research is to detect the levels of the semantic and structural transformations, which appear in the structure of the modern novel genre, in the contemporary cinematic adaptations. Second unit, theoretical Frame, contains three chapters. First chapter is entitled (semantic and syntactic structure of the modern novel). The researcher investigates, through historical vision, the theory of modern consciousness manifestation of the global and Arabic novel for its conjugation to the realistic variables. The researcher explains how the modern novelist deals with the reality and investigates its deep content according to his personal philosophy and his aesthetic consciousness that comes from deconstructing the ideological structures to the reality and reforming it. He also investigates the characteristics of the modern novel as semantic structures through saturating the syntactic components of the modern novel context from the prospective of the narrator and his multiple visions, time, characterization till the place. The second chapter, entitled "Film Modernism", is dedicated to the prospective of modern consciousness in the contemporary cinematic discourse identifying all the literary and artistic discourses that take the way of modernism in order to express about what is prevailing. The researcher investigates the beginnings of the modern consciousness with contemporary cinematic directions (Formality and Realism) with its various styles in employing the cinematic expression means. While the other component and the most important, was an attempt to theorize the modernism of contemporary cinematic form that appears in time structure of its narration which is done by the semantic activation of Cinematic language. Then from all that, the researcher concludes a simple lesson which is that Form, Narration, and Cinema Language interlaced in a way that cannot be detached but for the purposes of study and analysis. The third chapter, entitled " Text Transformation : Modern Novel and Film Show", discusses the levels of film adaptations to the modern novel by using film examples that are well - known for its adroitness and creativity in adapting novel contexts which are unique for their semantic and structural aesthete. The researcher starts following the concept of the text, as a semantic structure that all critical visions vary to define its concept of text, from the contextual methods till the deconstruction strategy by Dryda (post - modernism) including all the aesthetic characteristics of the novel as a text and the film show as text also. The researcher concludes from the theoretical frame that the contemporary adaptations of modern novel, which are an action to transform the novelistic work into cinematic expressionist intermediary, depending on the strategy of quotations according to literal or free level that reflect the ranges of interlacement for the texts, or to combine both of genre in addition to the interpretative creativity of the therapist by using the cinematic expression language as a remarkable interpretative art. The researcher comes up with punch of stuff and adapts them as a tool to analyze his examples. The third unit is the place where all the elements of the research, Research Method, the research reunion, and the research model, are compiled. The fourth unit contains all the results that the researcher comes up with from his analysis to the models (French Lieutenant's woman) and (Hours) and the conclusions that the researcher comes up with from all the research in general. It contains suggestions and recommendations.
