عرض: 25 50 75 100 النتائج

نتائج البحث: 25 من أصل 36

توظيف الشكل الغرائبي في افلام الخيال العلمي

اسم المؤلف: عبد الناصر مصطفى ابراهيم
اسم المشرف: طه حسن الهاشمي
الموضوع العام: الفنون الجميلة
السنة: 2008
الموضوع الدقيق: الفنون السينمائية
اللغة: العربية
مكان الجامعة: بغداد

تناص الاساطير العراقية في الصياغة السينمائية للفيلم الروائي العالمي

اسم المؤلف: ماهر مجيد ابراهيم
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2001
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

التطابق الحركي والسكوني بين الشكل والمضمون : دراسة تحليلية في الدراما التلفزيونية

اسم المؤلف: سعد عبد الجبار ثامر
اسم المشرف: فاضل خليل رشيد
الموضوع العام: الفنون الجميلة
السنة: 1999
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

اشكالية الاداء التمثيلي في الدراما التلفزيونية العراقية : نماذج مختارة

اسم المؤلف: فاضل جتي القيسي
اسم المشرف: فاضل خليل رشيد
الموضوع العام: الفنون الجميلة
السنة: 2001
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

الوظيفة الجمالية والدرامية للايجاز في الفلم التلفزيوني

اسم المؤلف: نجم عبد جابر
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2001
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

المعالجات الفنية لمشاهد الاسترجاع والتداعي في الدراما التلفزيونية

اسم المؤلف: عبد الله محمد الشيخ
اسم المشرف: عبد الكريم السوداني
الموضوع العام: الفنون الجميلة
السنة: 1999
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

الموقف الفكري للبطل التراجيدي في الفلم الملحمي == The ideological stand of the tragedian hero in the legendary film

اسم المؤلف: اسيا جبار الربيعي
اسم المشرف: صباح الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2005
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

وظائف التكرار لتعميق المعنى في بنية السرد الفلمي

اسم المؤلف: دنيا عبد الحافظ احمد القباني
اسم المشرف: علي حسين صفوك الركابي
الموضوع العام: الفنون الجميلة
السنة: 2005
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

جماليات توظيف العدسات طويلة البعد البؤري في تصوير المناظر البعيدة == AESTHETICS OF FUNCTIONAL PLACEMENT OF LONG FOCAL DISTANCE LENSES FOR PHOTOGRAPHY OF REMOTE SCENERIES

اسم المؤلف: زياد طارق شاكر الدليمي
اسم المشرف: عبد الجليل ابراهيم ادهم
الموضوع العام: الفنون الجميلة
السنة: 2002
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

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
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

الانتقالات بين التنظيم السردي والاثراء الجمالي في الفيلم الروائي == The Transition Between The Narrative Organization And The Richness of Beauty In The Narrative Film

اسم المؤلف: خضير عبيس جياد القريشي
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: 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.

التدليل العلامي في افلام لارس فون تراير == Semiotic Semantics In Lars Von'S Movies

اسم المؤلف: حسن قاسم مطشر الساعدي
اسم المشرف: طه حسن عيسى الهاشمي
الموضوع العام: الفنون الجميلة
السنة: 2011
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
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

التجارب الاخراجية النسوية في السينما العربية == The Female Directional Experiments In The Arabic Cinema

اسم المؤلف: ايمان حمادي عبد الامير محمد علي
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: استعانت المراة منذ القدم بالعديد من الوسائل للتعبير عن نفسها. وقد تطورت هذه الوسائل بصورة تدريجية عبر مراحل التاريخ. فلم تجد منفذا يعبر عن ذاتها افضل من السينما، لتنقل عن طريقها الكثير من المعلومات والافكار والمضامين لكونها تمثل اشمل واعمق اداة فنية، وفك | Since ancient times women used many means to express themselves. These methods have evolved gradually through the stages of history. Did not find an outlet for expressing themselves better than the movies, meant to deliver a lot of information, ideas and content as they represent a broader and deeper technical tool, and intellectual able to express the problems of society revealed its specificity, thus contributing to the development and change. Since the beginnings of the establishment of cinema in the Arab world women were very enthusiastic to promote the cinema of the Arab and able to occupy the great work of art representative and prolific and productive, as well as fought battle of film directing, has emerged since then, the names of the output pioneers were able to defy the silence and isolation and Imahdn the way for other outputs and register the lead in directing fiction of Arab women and they (Aziza Amir, and joyful Hafez, Fatma Rushdi, Amina Muhammad), then followed by having so many names and from different Arab countries were able to prove their presence and play a full role in the process of intellectual development that fall within the the door of development and the impact that Iozvhn see them through the technical work of art to choose to and affected.Which managed to films made of them reverse the problems of society and from the problems of women through Enayathn content - references and intellectual as well as the technical aspects that go into the heart of the artwork.I found these concepts resonate through the contents of the present research came Title (women's directorial experiences in Arab Cinema), which can be summarize as follows : Find attended several of the chapters, the first chapter dealt with the problem of determining the research questions formulated in accordance with : Would the director was able to acquire speech reflects the aspirations of the film or only on the man? Is it the form of facts to the different perspective of women in community issues? Is there is privacy in dealing with these issues? The features of that discourse and modes of formation of a cinematic visions and the difficulties of entry in the realm of film directing.The objectives of the research are : 1. Disclosure on the topics addressed by the women (the director) in Arab cinema.2. Disclosure on the mechanisms of recruitment of directorial vision and their relationship to highlight the intellectual content.The second chapter covered a theoretical framework which consisted of several sections included : the first output from the experience of Women in Arab cinema extrapolation historically.The second included the topics addressed by the filmmaker.And take care of hiring the third directorial vision to highlight the intellectual content into the work of filmmaker and he went out the theoretical framework is a summary of indicators of substantive literature search.The third chapter action research has contained the research method chosen by the researcher in order to bring the nature of the research is descriptive method, which involves the analysis, then the research sample was chosen Qsidia, and search tool, and the unit of analysis, and certified tool.Chapter IV - where the results were focused on two parts : First - What is the subject of directing feminist attached (there are linking a clear and explicit issues faced by women and was bringing it through the intellectual content within the imaginary events).Second : The technical wizards for Women directorHence the conclusions may carry this chapter also the recommendations and proposals, as well as on the last page contains a list of sources, and then supplements and finally there is the abstract in English.

الوظيفة النفسية للتشكيل الدرامي للاضاءة في افلام الرعب

اسم المؤلف: بسام نوري محمد
اسم المشرف: عبد الجليل ابراهيم ادهم
الموضوع العام: الفنون الجميلة
السنة: 2009
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان جملة الرسم بالضوء هي افضل مايمكن وصفه عن طبيعة عمل الاضاءة في الفن السينمائي, اذا ما تجاوزنا عن قصد مسالة التعريض وكمية الاضاءة اللازمة لتحقيق التعريض، فالضوء هو عنصر نوعي يعمل على ايجاد مستويات تعبيرية مهمة داخل حدود اللقطة السينمائية، من خلال انتاج ا | The light working nature in movies art could be best define by painting with light if we intentionally skip exposure issue and light quantity we need to serve the purpose of exposure, light is crucial element in terms of identify new levels of expressionism that are important within the cinematic shot area., whether it’s dramatic or psychological because it is give the lighting body the ability to transport photographical particular information without need for dialogue or other direct narrative way’s. Light have the ability to produce imagist build with information contain also with obvious beauty, as we know filmic image is the unit in light structural building which serve the drama in film by light and color interest that appears in light layers which add value to their grown that are related to the complete dramatically work grown.What’ve been mentioned above , is what all cinema’s current work is about, specially those depends on light as important material in cinema expression like expressionism cinema and avant - garde cinema and others current which find in light there important missing way in transport information dramatically, psychological and by beauty and from all of these reference the researcher limit he’s object in ( psychological factor for lighting dramatic formation in horror movie ) he divided he’s study to four chapters : Chapter One : This chapter consider as the procedure form.This chapter addresses the research troubles and we can form this question as below : What is the means that can use lighting dramatic formation in horror movie to reach for psychological action?But the value of this chapter is about addressing in thorough the importantly of one of the important language elements in cinema, and that procedure and explore the work of the term (lighting) in horror movies form That kind of films depend on light job specially to view on psychological and dramatic level The aim of research is study lighting dramatically formation in horror movie and its border reach climax study horror movie produced after 2000 ac Chapter Two : This chapter considers as the theoretical form for research and it is subdivide into five subchapters : 1. horror movie2. lighting drama formation in horror movie 3. deals with dramatic and psychological impression for (light ,shadow , color ) 4. lighting drama formation 5. discuss the relation between lighting formation elements and cinema language Chapter Three : The third one study the research method particularly, scans its method and analyses it and also study search community and samples which its five movies First (shutter), second (Halloween), third (exorcism of emly rose), fourth (wrong turn), fifth (blade) The search tools depend on the theoretical frame in analyzing after its review on group of researchers to give there approval The fourth chapter deals with results and discussions, details of samples which are shown and analyzed and results are taken from this analysis but the general conclusion which is taken out for that, the researcher give us group of suggestion and advises as it comes in list of references of research, appendixes and abstract of research.

القيم الاجتماعية في افلام محمد شكري جميل == Social Values In Mohammed Shukri Jameel Films

اسم المؤلف: علاء مكي عبد الهادي
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتناول البحث التعريف باهمية الفن بشكل عام والسينما بشكل خاص من خلال امتلاك خاصية التاثر والتاثير في المجتمعات الحديثة، واعطاء لمحة موجزة عن اهتمام اهل الحضارات الاولى في العالم في هذا الجانب لاسيما في العراق القديم وشرح العلاقة بين الفن والمجتمع التي تش

توظيف الدراما في الاعمال التعليمية التلفزيونية == Employing The Drama In Educational TV Works

اسم المؤلف: عدنان كاظم منسف علي
اسم المشرف: عصام عيسى علوان السامرائي
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: على مدى تاريخ الحياة الانسانية بقيت الحاجة ماسة للتطورات التقنية التي تزامن المسيرة التعليمية بمختلف تدرجاتها ومستوياتها بسبب العلاقة الجدلية التي ربطت ما بين التعليم كحاجة انسانية واجتماعية وما بين التطور التقني كوسيلة تساعد في تذليل الصعاب وتيسير استخدا | Over a range of human life history, the need remained urgent to technical developments that concur the educational course with its different gradations and levels due to the controversial relation associated between education as a human and social need and the technical development as a means helps in surmounting the difficulties and facilitating the use of cognition to serve and promote the society; therefore, this study tried to take the suitable ways to achieve the maximum possible advantage of education effectiveness through employing the available means to increase the productivity of education like using the drama and employing it within the educational TV works in order to help in adding a kind of suspense and excitement on those TV works and increasing their attraction in the target audience. Hence, the researcher divided his research entitled (Employing the Drama in Educational TV Works) into four chapters. The first chapter came under the title (The Methodological Frame) including the research problem summarized in the following question (What is the role of drama in the educational works and how is it employed in those works? And what are the artistic treatments of drama in the educational works?). The researcher referred to a group of aims he intended in his current research process which were as the following : 1 - Identifying the forms of employing the drama in educational TV works. 2 - Revealing the drama treatments in educational TV works. As to the research limitations, they are confined to the study of drama works of Iraqi, Arabic and international educational programs and movies for the period 2005 - 2010. The second chapter was entitled (The Theoretical Frame and Previous Studies) including three sections under the following titles : Sections one/ The Drama and Education Technology under the contemporary TechniquesSection two/ The Forms of Drama Employment in Educational TV Works Section thee/ Artistic Treatments of Drama in educational TV works This chapter also included a number of previous studies approximate this study. The researcher also got out with a number of indicators as a theoretical summary of what the theoretical frame revealed. The third chapter addressed the procedures done by the researcher consisting of the method used, research population, research sample and its selection justifications as well as the research instrument and the analysis unit besides the analysis of the selected TV samples (Prophets' stories - Dora - the Ice Age - Fridge - Tilley Tapez). The fourth chapter contained the final results, the most prominent of which were : 1 - It was shown that some educational TV works accept the work of drama in them and employing it within their internal structure with variant ratios according to the form of artistic treatment of drama elements and the nature of directing vision of the work maker. 2 - The dolls used in educational TV drama works had a great capability of explaining and conveying the scientific material to the target audience through the fantasy form of dolls presented through the reality of drama characters. 3 - The researcher observed the distinct employment of picture scientific imagination in cartoon films taken from realistic scientific facts within the structure of educational TV works executed by cartoon films with methods facilitated the process of addressing the scientific topic and embodying it in an artistic, interesting, exciting and attractive form to the receiver.4 - It was shown through the analysis that the TV works executed by the three dimensional (3D) technique were the most working and effective types as embodying the drama characters and places in a semi - realistic way. The research also arrived at a group of conclusions, recommendations and suggestions as well as a list of references and sources the researcher relied on in his research besides some appendices and the research English abstract.

التوظيف المجازي للصوت في الدراما التلفزيونية

اسم المؤلف: احمد عبود العسال
اسم المشرف: عبد الباسط محمد علي
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يحتل الصوت في الاعمال الدرامية التلفزيونية، مساحة واسعة على مستوى التوظيف والتعبير، فالى الجانب الوظيفي لعناصر الصوت من حوار وموسيقى ومؤثرات وصمت في تشكيل ودعم البنية السردية للصورة في العمل الدرامي اصبح اليوم وفي ظل التطورات التقنية للصوت قيمة جمالية في

المعالجات الجمالية والفكرية لحكايات الف ليلة وليلة في الخطاب السمعي البصري العالمي == Aesthetical & Intellectual Treatment of One Thousand Night And Night (Arabian Nights) At The Global Audiovisual Discourse

اسم المؤلف: صالح علي الصحن
اسم المشرف: صباح مهدي الموسوي | متي عبو بولص
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: دكتوراه
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: اذا كان احد الاسباب التي دعت الى اختيار موضوع الف ليلة وليلة مادة بحث هو الاهمية الكبيرة التي لاقتها الليالي عند الغرب، فان تعدد اشكال الاهتمام والتناول هو الاكثر تحفيزا، والاشد فضولا، لمعرفة كيف ينظر الينا الاخر بخطاب سمعي بصري، وذلك ما اشارت اليه ا | One of the reasons to select one thousand night and night as a material , for its great importance in the west and variety kind , from attention and dealing with it that is most motivated The more curiosity, is how the other look to us. And that the reply of art, culture map and its races engaged several kinds and forms , from the ways of dealing , and difference of styles. that increase us proud as Arab and Orientals , the owner of one thousand night and night , that appear in aesthetical & intellectual aspect among international culture. ((This book needs it urgently, in international group of Art and as source of pleasure with out any end , and it is an international photo book. In spite of all nations told folk stories , but this magic book is enough for us )) and that the researcher had design research plan By chapters. Began in methodical frame , to expose research problem and its need for it and the importance of the research , and the aims of research and to limit the border of the event for rhetorical frame and previous studies the researcher divided in to three topics , first , one thousand night and night in Arabic tells , and that concentrated to discover description of old Arab narration and role of book , one thousand night and night in it period of rising the book and act of receiving from the others. And discovering the narration style in Arabic night and the composition of narrative structure and way of tale with frame , and diagnosis wonderful aspects in tales and multi - point of views. The second topic dealing with the size of interference it in international culture and that began with the first beginning for translation these nights and its development to pass to European arts in stage , music , constructed arts , cinema , and television , 1 - This lines were written by the writer HERMAN HIS , FAKHRI H. ALKASAB (( Famous people 's opinion the book of AL - LYALI which is well known public Folk journal , State house for Cultural Affairs , Baghdad 1989 ) page 150Also in the international poetry and international novel and story tat discovered by wide horizontal Where Arab nights emphasized on its art position in international culture generally. The third topic dealing with fields of cinema and television and level of adoption of one thousand night and night that complied with rule and requirements of optical language , after it limited forms of dealings and level of Treatment , and that represented by figure , tale frame , and wonderful description sex and oriental environment , and also searching to discover critical analysis reading , for a great numbers of films , and TV program produced on the international level while it take one thousand night and night as subject. The researcher discovered the clear differences in aesthetical & intellectual Treatment and the act of different faced by Arab nights , from clear difference in the way of adaptation near or far , In part with out intellectual and aesthetical attitude , for the producer and manufacturer of optic work. The researcher came out with sane important indications, such as multi forms of dealing and diversity of level of Treatment, and the role of act form with optical and audio element in aesthetical enrichment and these treatment include multi aims. And regard attempt of translation for content historic origin for Arab nights intersect with culture of the orient and the west in some times. and in Arab values. The third chapter depend up drawing procedures of the research and to limit methodology and its sample , and to identify its tool , depending upon unite of analysis represent in optical sceneThe research selected three analysis sample , the first is cinema film. Second TV services and third TV film with cinema spirit. Where there are rich material benefit the research to detect , analysis and arriving aims. The four chapter, the research came out with same results such as diversity of forms of dealing with one thousand night and night tale and that dealing carry different point of views , able to be erosion the speaking and figures and take it as an argument To put the orient in the lower stage and respond with civilized struggle matter Although , this dealing holding with oriental type of telling , and effected with it. After making technical high skills available in aesthetical Treatment according to point view of the west. The researcher , emphasized on some notes in result field is that Arab tales are rich heritage , enriched a lot of international works , diversely with its intellectual contents and its aesthetical Treatment , and with some diversity in opinion on intellectually and aesthetically. The research , recommended some suggestions to draw attention to one thousand night and night tale , and transfer the important events to audio - optic work , and never leave to erosion by others.