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توظيف جماليات عناصر التعبير الفلمي في افلام السايكودراما == Using aesthetics of the elements of film expression in the Psychodrama films

اسم المؤلف: علاء حسن خلف
اسم المشرف: رعد عبد الجبارالشاطي
الموضوع العام: الفنون الجميلة
السنة: 2020
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

التحولات الدلالية واعادة تشكيل المادة الفلمية الخام في الفلم الروائي == Sementical Changes and refouming the Film raw - material in the Narrative film

اسم المؤلف: عامر فتحي جميل الغرايبة
اسم المشرف: رعد عبد الجبار ثامر الشاطي
الموضوع العام: الفنون الجميلة
السنة: 2002
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

خطاب العنف والجريمة في السينما الامريكية دراسة في انتاج المعنى والانساق السمعبصرية == CRIME AND VIOLENCE DISCOURSE IN CINEMA : ASTUDY ON MEANING PRODUCTION AND AUDIO - VISUAL SYSTEM IN AMERICAN CINEMA

اسم المؤلف: طاهر عبد مسلم علوان
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2005
الموضوع الدقيق: الفنون السينمائية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

مهارة اداء الممثل الكوميدي في السينما المصرية == Performance Skill of Comedic Actor In Egyptian Cinema

اسم المؤلف: منهل جواد محمد حسين الهاشمي
اسم المشرف: عادل كريم سالم
الموضوع العام: الفنون الجميلة
السنة: 2009
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

الملامح الدرامية في البرامج التلفزيونية غير الدرامية

اسم المؤلف: منير طه سلمان
اسم المشرف: عبد الكريم حسين السوداني
الموضوع العام: الفنون الجميلة
السنة: 2005
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

السمات الاسلوبية لسينما المؤلف في اعمال محمد خان السينمائية == The Stylistic of Author Cinema in Mohammed Khan’s Films

اسم المؤلف: عكاشة محمد صالح
اسم المشرف: حمودي جاسم
الموضوع العام: الفنون الجميلة
السنة: 2004
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

التشكيل الدلالي للمعنى الايديولوجي في الدراما التلفزيونية العربية

اسم المؤلف: احمد عبد العال حسين
اسم المشرف: عبد الكريم حسين السوداني
الموضوع العام: الفنون الجميلة
السنة: 2006
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

توظيف المؤثرات الصورية في الدراما التلفزيونية == EMPLOYMENT OF THE VISUAL EFFECTS IN THE TELEVIUSAL DRAMA

اسم المؤلف: هاني عبد علي الركابي
اسم المشرف: علي حسين صفوك الركابي
الموضوع العام: الفنون الجميلة
السنة: 2002
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

الصياغة السينمائية للحكاية الشعبية الخرافية في الفيلم الروائي

اسم المؤلف: عدنان مزهر لفتة
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2004
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

السمات الفنية والتقنية والفكرية في الفلم الروائي الامريكي (1990 - 2000) == The Technical, Ideological and Artistic Aspects in the American Novelistic Films (1990 - 2000)

اسم المؤلف: ثائر علي جبر الله
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2005
الموضوع الدقيق: الفنون السينمائية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

تمثل القيم الاجتماعية في بناء شخصية المراة في الفلم الروائي العراقي

اسم المؤلف: ايمان حمادي عبد الامير محمد علي
اسم المشرف: رعد عبد الجبار ثامر الشاطي
الموضوع العام: الفنون الجميلة
السنة: 2005
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

توظيف الوعي الايروتيكي في بنية الفلم الروائي ودلالاته السينمائية

اسم المؤلف: فراس عبد الجليل الشاروط
اسم المشرف: طه حسن عيسى الهاشمي
الموضوع العام: الفنون الجميلة
السنة: 2002
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

التوظيف الجمالي لعناصر الشكل الفني في البرامج التلفزيونية

اسم المؤلف: شروق مالك حسن
اسم المشرف: عبد الكريم حسين السوداني
الموضوع العام: الفنون الجميلة
السنة: 2005
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

اشكالية الجميل في الاتجاهات السينمائية المعاصرة

اسم المؤلف: علاء الدين عبد المجيد جاسم
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2003
الموضوع الدقيق: الفنون السينمائية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

اليات البناء الحركي للمشاهد البوليسية وكيفيات توظيفها في الدراما التلفزيونية العراقية

اسم المؤلف: بهجت عبد الواحد عبد الله
اسم المشرف: حمودي جاسم
الموضوع العام: الفنون الجميلة
السنة: 2002
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

المعالجات الاخراجية للمتغير الاجتماعي في الدراما التلفزيونية العراقية ما بعد عام 2003 == Treatment Directorial of Social Variable In The Iraqi TV Drama After 2003

اسم المؤلف: رعد نعمة عزيز
اسم المشرف: متي عبو بولص
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: لقد استحوذت الدراما التلفزيونية على ذهن المتلقي بصورة كبيرة لما لها من تاثير على افراد المجتمع وكونها تمثل جزءا من واقع المجتمع وبالاخص الدراما التلفزيونية الاجتماعية التي تعرض بعض القضايا الاجتماعية والافكار والاتجاهات التي يتميز بها كل مجتمع.وهنا ي | We have acquired a TV drama on the mind of the receiver dramatically because of the impact of Li members of the community and because it is part of the reality of society and especially social TV drama that displays some of the social issues, ideas and trends that characterize each community. And here comes the role of the Iraqi television drama in the process of changing society through the values and the topics raised in this drama, and change here includes several aspects, it is not social change but a cultural change, intellectual, and economic and political. Que To The importance of the subject of the changing social TV drama Iraq after 2003 comes this research work scientific modest seeks researcher from which to processors directorial which is based upon the drama television through treatment literary text (scenario) and the development of solutions directorial the scenes video in order to configure a new reality. And has divided researcher of this research into four chapters have contained the first chapter methodological framework on the research problem formulated in the form of the question follows : What are the treatments directorial the variable social TV drama Iraq beyond 2003 and importance and goals aimed at detecting the changing social and make way in the style of put and processed Akharajia in Iraqi TV drama, and the limits of the search, which included the period of 2003 - 2012 to the Iraqi drama and determine the terms, and has the second chapter contains a theoretical framework and included three major Detectives are : 1 - notion of directorial processors.2 - social variables of the Iraqi society after 2003.3 - Iraqi TV drama after 2003.Researcher and I came out of the theoretical framework of indicators that have adopted it as a tool for the analysis of the sample, either studies Bah has not been mentioned three studies approached next to or part of our current and other aspects were divided.Chapter III research and action may be contained on the research methodology chosen researcher Qaida for suitability nature of the research is descriptive method, which involves the analysis, and ratified the tool.The fourth chapter analysis of selected samples - the results and the conclusions of the researcher to several findings and conclusions, including : 1 - was able to Iraqi TV drama after the social variable that reflect the new values (kidnapping, murder, bribery, corruption and displacement).2 - The TV drama after the variable Iraqi social addressed to recipients and calls in their orientation to be a carrier of the correct values, positive and aimed at education, education, cooperation and social solidarity.The conclusions1 - requires the drama director and writer extraordinary efforts in the selection of the changing social issues and his handling of the television drama through investigation and research, and examination of the topics covered in order to highlight the social variables.2 - Construction work requires the use of television drama moot all the elements and sound that make up the technical construction of the work of television drama.This chapter also included also recommendations, which deemed necessary by the researcher and researcher concluded the list of sources and references, and some supplements and 987, as well as abstract in English.

التمثلات الفلسفية للحداثة في خطاب السينماتوغراف == Representations Philosophy of Modernity In The Structure of Assets Cinematograph Speech

اسم المؤلف: ماجد عبود الربيعي
اسم المشرف: محمود اكباشي خلف الزبيدي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون السينمائية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: Form engaging in philosophical modernist structure speech Alcinmaturav phenomenon articulated it and the latest irregularities unprecedented make it produces or generates a logic of its own and in order to examine this Alachtgalat This study tagged ( representations of philosophical modernity in a speech Alcinmaturav ) which are arranged through the chapters four came first in which the title frame systematic and included a research problem and its importance and its goals and limits of the most prominent and the terms contained in its title as well as the paragraph previous studies. While the second quarter and marked the theoretical framework on four key sections as follows : First research \ entrance to process philosophy historically , functioning Alcinmatugrave.The second topic \ philosophical trends and strategy in assimilation.The third topic \ modernity ( the project and assimilation Alcinmatugrave.The fourth topic \ representations philosophy of modernity in the structure of assets Alcinmaturav speech.The researcher reviewed the first section of the panorama of historical experienced by the philosophy through the ages , pointing to the most prominent names of the task and milestones witnessed by philosophical thought , while touched second section of the most important trends philosophical shining four trends are ( pragmatism and existentialism and Marxism and idealism ) and noting some of the Achtgaladtha and Tmtheladtha Alcinmaturav in the structure of speech , and singled out the third section of the contest in the term and concept of modernity and its most prominent thinkers of the Enlightenment and in the film Achtgaladtha Alcinmatugrave money while the fourth section to the practical applications of philosophical representations of modernity in the structure of the elements of audio and visual components of speech Alcinmatugrave.Through review of the most prominent theoretical perspectives and institutions Alalstamologih constituents thought the philosophies of modernity researcher unearthed a number of indicators conclusion theory for the second semester and adopted as one of the research tools and a standard measure by the elected Qsidia research specimens.The third chapter , entitled action research has consisted of research methodology used and the research community , and specimens marked by models film following ( The Last Samurai , The Devil's Advocate , Mr. Nobody , Homes in that alley, an avatar ), which cited a researcher some justification for some reason selected , and also contained this chapter the search tool and the unit of analysis as well as samples paragraph film , which relied on what Achtgah researcher of the standard indicators of research theoretical framework after obtaining the approval of the Committee of Experts and Mahknyn it.The fourth and final chapter has been included on most final results derived from the analysis of the samples of the five film and that was the most prominent : 1 - The statements and perceptions problem of philosophical thought Batjahath four ( pragmatism , existentialism , Marxism , idealism ) and Tmtheladtha in the structure of speech Alcinmaturav remain in character and descriptive abstract , and remain within this space even linked to the content is appointed in life or art , and then reflected across assets or elements pampering filming to produce a concept or connotation.2 - show that modernity has Mthaana irregularities within the drift has specific knowledge of their requirements and the logical and technical reflected in the building and the Metn Gaii speech Alcinmaturav unconditionally college , but his being in positions Mtaana it ( footage , scenes , parts, chapters.... etc. ).3 - to remain philosophical representations that the receiver always seek effective and positive for the acquisition of meaning and understanding of the significance , and that the psychological needs of the recipients constantly intervene to read or identify those representations , and Lighting essence through the structure of the assets of the synthetic speech Alcinmaturav.It also included a chapter on conclusions Achtgaha researcher of search results and recommendations as it deems necessary , as well as suggestions for future studies of the suffix with the thrust of this study In conclusion cited researcher list of sources and scientific references adopted in consideration and some supplements and abstract in English.

الاشتغال الدلالي للتشفير في التعبير الفيلمي == Semantic Work For Coding In Film Expression

اسم المؤلف: سعد ناظم عيسى الزبيدي
اسم المشرف: رعد عبد الجبار ثامر الشاطي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: اخذت السينما تشق طريقها لتنحت لنفسها مكانا بارزا بين الفنون الاخرى. ليبدا هذا الطريق بدراسة السينما سيميائيا، وكانت اولى الخطوات في هذه الدراسة هي محاولة اثبات امتلاك السينما للغتها الخاصة، وذلك من خلال مقارنتها باللغة من حيث الوظيفة والوحدات والتنظي | Cinema started to make its own way to build special place among other kinds of art. The first steps on this study were a try to prove that the cinema has its own language; this was done by comparing it by the language from many angles, such as function, units, organizing and shape.Many results were appeared from this comparison; the most important one was the similarity between the film and the language in functionality. Also, the ability of implementing most of the linguistic aspects on cinema like coding, messaging, system, building, …, etc.As these aspects are common in all communication systems, any system has its own signs and symbolic meanings which are organized in the form of rules that permit to understand the messages built on similarity and difference relationships, which shows multiple kinds code.In addition to the codes in the film structure, as a part of semantic systems, depending on the aim of delivering messages with deep meanings, using all of its elements. For studying this process in details, and for analyzing the terms it contain, like sign, code, communication, meaning, culture, and for establishing scientific research basis, so this study represents an attempt to read the semantic work for codes which are included in the film texts. This study; named (Semantic work for code in film expression); contained four chapters as follow : Chapter One : Includes research problem which is represented by the study of the film code by explaining how they work, and explaining the role of the film expression elements in showing the film code. This chapter also contained the goals, the limits, the importance of this research and a definition for all of the used terms.Chapter Two : Theoretical frame and past studies, was divided into six parts, as follow : 1. Cima Part : Here we mentioned the Cima science and the founders of it, some important classifications for it and some important points for studying this science.2. Communication Part : The communication theory was discussed here (using Jackson diagram with the six levels), the importance of each level and some other important information about these levels.3. Codes Part : Explaining what is the code generally, then what is the cinematic code.4. Sign, Symbol and Code : The three aspects are discussed together as a one part and as different parts.5. Semantic Science Part : This science was discussed in details in this part.6. Film Expression Part : What is the film expression? How can we distinguish between the similar aspects in this field? The answers were mentioned here.Then, a quick show of the past studies was done.Chapter Three : Research procedure, includes the research process and the sample explaining. The samples were two films (Devil's Advocate, and Da Vinci Code).Chapter Four : This chapter contains the conclusions and the recommendations we get from this study, the most important one was the ability to form the complex indirect semantic for the cinematic code, by using the icon - pointer or the icon - symbol, as the iconize is a method (code) to recognize the direct and the indirect semantic, while pointer and symbol are tools to reach to the deep messages of the film. Last, the research contained suggestions and resources list and the English abstract.

الدراما التلفزيونية العراقية بعد 2003 (المضامين والمعالجات الفنية) == Iraqi Television Drama Post 2003 (The Implications And Artistic Treatments)

اسم المؤلف: رضوان مكي عبد الله
اسم المشرف: علي حسين صفوك الركابي
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: تشغل المضامين وطريقة عرضها وتجسيدها اي (معالجاتها الفنية) اهمية كبيرة في الدراما التلفزيونية، وتتازر تلك الاهمية مع اهمية التلفزيون بوصفه من اهم وسائل الاتصال الجماهيري، واكثرها انتشارا وتاثيرا، فالتغيرات الكبيرة التي شهدها العراق بعد عام 2003 ادت الى ايج | The intellectual and aesthetic implications and the way of exposing and embodying them occupy a great importance in TV drama. This importance goes side by side with the importance of television as being the most important, most spreading and most effective mass communication media for the great changes witnessed by Iraq post 2003 led to finding new ideas and goals non - existent in the Iraqi society culture. Those changes had their wide echo in the Iraqi TV drama produced post 2003. To know the implications distributed by the stage and how to treat them, this research came to take care of studying the Iraqi TV drama post 2003 - the implications and artistic treatments. The researcher divided the research into four chapters. The first chapter "The Methodological Frame" included the research problem which was formulated in the shape of the following question : what are the intellectual implications and how are they treated artistically in the Iraqi TV drama post 2003?, the research significance, aims which aim at identifying the intellectual implications and their artistic formulation in TV drama produced post 2003, research limitations and definition of terms. As to the second chapter, it contained the theoretical frame including three main titles : Section one : Iraqi TV drama - a Historical Prospect Section two : Implications in TV dramaSection Three : Artistic Treatments of intellectual implications The researcher got out with indications from the theoretical frame which would be relied on as an instrument to analyze the sample, while related to the previous studies, three studies were mentioned for their approximation to a side or a part of our current research. The third chapter "Research Procedures" contained the research method selected by the researcher for its suitability to the research nature, i.e., the descriptive method embracing the analysis, then the research sample which was selected purposively, research instrument, analysis unit and instrument validity. As to the fourth chapter "Results and Conclusions", the researcher arrived at several results and conclusions the most important of which were the following : 1 - The Iraqi TV drama produced post 2003 focused on showing many implications such as (rejecting the occupation, necessity of science and culture, rejecting war, freedom of expression, respect of law, security loose, administrative corruption, tolerance, affection, cooperation, aid, freedom, authentic customs, popular heritage, absence from homeland, importance of love and marriage and open criticism of the government). Whereas the conclusions were as the following : 1 - The artistic treatments included literary treatments (scenario) and directing (video) treatments, i.e., the artist's capability of transforming the abstract thoughts into concrete thoughts perceived by senses. This chapter also carried the recommendations and suggestions. Also, the last pages included a list of references, then came the appendices and finally the research English abstract.

التوظيف الجمالي والدرامي للماكياج في افلام الرعب == Recruitment Aesthetic And Dramatic Makeup In Horror Movies

اسم المؤلف: اسيا علي محمود
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يحظى فن الماكياج بدراسات غنية في مجال الفنون المسرحية , كونه يشكل عنصرا مهما في تعبيرية البناء الشكلي الطبيعي لشخصية الممثل , وتطور هذا الفن اليوم بفضل التقنيات الحديثة التي اخذت طريقها الى السينما والتلفزيون , وبات يشكل ايضا احد العناصر المهمة في رسم | The art of make - up enjoys rich studies in the field of performing arts, being an important element in the expressionistic formal and natural building of the character actor. This art has evolved today, thanks to modern techniques, which took its way into film and television; in addition it became one of the important factors in shaping dramatic character and its expressive performance, whether in the reality or fiction movies, but especially in horror films, and film Fantasia. Hence, the art of make - up has emerged into horror movies, as well as its importance in the formation of the natural dimension of character where it became a narrative element that is closely related to the emotional and psychological dimension of characters. We should refer to the role of modern technologies and its addition to the industry of the art of make - up in terms of the accurate possibilities, and the ability to embodiment of (realistic and nonrealistic) of the characters in horror movies, eventually become the magnet of interest to the recipient incorporating all patterns filming characters and a variety of forms between personalities which are (familiar and unfamiliar). These patterns possess the ability of persuasion and have emotional and reactive presence within the receiver. On the basis of this perception, came this study to cover part of the large role played by the art of make - up in the design and construction of the dramatic character, especially in the (horror movies) in the light of which the researcher identified the title as : (Employment of aesthetic and dramatic makeup in horror movies), and the research included five chapters as follows : Chapter I (methodological framework), which included the following : 1. Research problem : which centered in the following question : How can makeup represent aesthetic and dramatic dimension to a character in the movie?2. Research objective : to identify aesthetic and dramatic employment of makeup in horror movies.3. Research Importance : the researcher finds that the art of make - up in the field of cinema did not take enough share of the study, particularly in the importance of its employment in the (horror movies); however theater studies have found addressing make - up, especially at the level of the plays exclusively.4. Research limits : Objective limits : study of (make - up in horror movies).Time boundaries : within the limits of horror movies produced (2007 - 2013).Place boundaries : (films that have been produced in American cinema) The chapter is finalized with identifying the most important terms.Chapter II, include (the theoretical framework and previous studies), the theoretical framework is comprised of 3 sections as follows : • The first section : a historical overview of the evolution of the art of make - up and its relationship to cinema.In this section, we studied the beginning of the evolution of the (make - up - mask) art and tracked down its development from the beginning of its inception in civilizations to being important element in drama and under the requirements of the drama its was taken as an essential element in the film, especially in the fantasia movies of which (thrillers, science fiction movies, and legendary film).• The second section : Aesthetic and dramatic dimensions of cinematic makeup.In this section we stressed the importance of the make - up and the level of its use in terms of natural dimension of the aesthetic and expressive sides, as well as the its aesthetic and drama importance in horror movies, both in the functioning of the colored pigments with a light element on the dramatic characters.• The third section : The role of make - up in drawing dramatic character in horror movies.In this section, we focused on the importance of the role of make - up and its impact in the creation of characters somewhat between the (realistic and unrealistic) characters, as well as the importance of employing the art of make - up tricks in its variant types ( normal , plastic , mechanical , and digital ) in the construction of the characters in horror movies.Previous studies : : No study on the research topic or problem or the importance of research in the field of the cinematic arts.The third Section included (research procedures) : Includes research methodology and the research communityThe researcher relied on the on the descriptive analytical method in the analysis of samples, based on the theoretical framework indicators as a tool for analysis, after being shown to a group of experts and arbitrators. Then a sample was selected deliberately for search due to reasons including : 1. Includes functions of make - up art on the level of building characters to respond to the requirements of the objectives of the research.2. They are movies that attracted a wide range of views by audience, because of its element of suspense and fear.The fourth section included an analysis of the three samples as follows : 1. The Underworld / Part 4. 20132. Resident Evil / part 3. 20073. Wolf man. 2010The fifth section included (the findings, conclusions, recommendations and proposals) : The main findings of the researcher after analyzing the sample are : 1. The techniques of the art of make - up in its varied types (natural, plastic, mechanical, digital) of the characters in horror movies were able to embody unfamiliar forms and far from reality. The main conclusions reached by the researcher : 1. The horror movies are based on the presence of abnormal characters, through transformation and change of their external appearance, because characters need in the in case of transition to (monsters, wolverines, zombies, vampires... etc.) to several techniques of make - up art that are merged with actor features to create creatures that far from reality.

التراكيب الدرامية والدلالية في البرامج التفاعلية التلفزيونية == The Dramatically And Semantically Structures In The Television Interactivity Programs

اسم المؤلف: عمار ابراهيم محمد الياسري
اسم المشرف: عبد القادر خلف الدليمي
الموضوع العام: الفنون الجميلة
السنة: 2011
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: مما لاشك فيه ان الانفتاح الفضائي الهائل للفن التلفزيوني على كل ارجاء المعمورة وبساعاته المستمرة بدون انقطاع دفع القائمين على هذه المحطات الى البحث عن اشكال سينماتوغرافية او تلفزيونية غير مالوفة تستطيع فرض ابهارها على المتلقي، وهي اشكال اصبحت في بعض الاحيا | There is no doubt that the great opening to the television art all over the world in his continuous hours without breaking pushes the workers in these channels to look for unfamiliar cinematographic figures. Some times, these figures became one of the new weapons of the informational war which drops all the government , but the people who calls about development ,they looked to revolt against what is spread and holy in the literary achievements and they declare in many occasions on the necessity to attract the audiences to the structure of the event These suggestions which mentioned early and more push many people in the channels and producers to look for new figures which can go side by side with the sounds that demanded by the necessity of changing and looking for new and unfamiliar figures, as a result of what was carried by the cinema from theories which made from the reality its subject , and what is presented by the game programs of nations which is shown by television in addition to the live shows of sport matches and political events help to appear an idea to the television programs producers sine the end of the seventieths in the previous century and this a real life of TV programs which started to make its place in the middle of the ninetieths in the same century then there was a widely opening to the internet through voting and participating to make the interactivity programs which opened to the audiences and declared their revolution in the holy text which is closed on the wrier himself , many of the academic studies in the college art and information when they deal with classifications or TV shapes and they don’t talk a bout the structure of these programs or their names or their classifications , and they don’t talk a bout what is the kind of drama ? Is it arastos dram ? or something else ? and it only do the division of TV shapes into TV drama and the different TV programs. Therefore it left the interactivity works of TV which started to take widely space in the structure of the daily show, From here the researcher in spires his problem which he put it under the following question : what are the dramatical and semantical in the interactivity of TV programs ? and the researcher put his research under the title , the dramatical and semantical structures in the televisional interactivity programs , the importance of the research is to focus on drawing the attention to the new subject which isn’t studied earlier and it became centre of academic and informational problem. The importance of research focus on finding out what are they ? and the classification of these televisional interactivity programs ? which work in it , the bounds of the research focus on the shown programs in 2011 year in the different international channels and it focus on intended samples which suit the requirements of the research. The theoretical frame included five inquiries ,the first inquiry called the televisional interactivity between the appearance and classification ,it deals with the first beginning of the appearance of the televisional interactivity through clarifying the figures to televisional programs of realty , the second inquiry called the appearance of televisional interactivity figure from among the cienamtographic , the researcher say in this inquiry that the televisional interactivity of realty is a result of all the theories of realty ,the third inquiry include the shape structure in interactivity programs, the researcher discussed in it the televisional interactivity shaps through its visual elements , the fourth inquiry called the dramaticl structures which work in the interactivity programs structures ,as mentioned earlier , the researcher clarifies the elements of the drdmdtical structures for televisinal programs of reality and in what is unique in the televisional interactivity programs of reality , in same characteristic figures which differ from other dramatical works , the fifth inquiry called the semantical structures in the interactivity programs. the third and fourth section included the analysis of the three sample which is the Saudi program, bet al attar , and the germane programs ,XY , and children's programs,Aesh safri , in the end section , there are the result , conclusion , recommendations , suggestions , and then re souses and appendix then the summary in the English language

البناء الاستعاري لعناصر التعبير في الصورة السينمائية : دراسة في افلام ستيفن سبيلبرغ == Construction Metaphor Elements of The Expression In The Photo Film (Study In Films Steven Spielberg)

اسم المؤلف: حيدر صبري جعفر
اسم المشرف: رعد عبد الجبار ثامر الشاطي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتلخص البحث بكونه يتصدى لاحدى الاساليب البلاغية لكتابة الصورة السينمائية وهي الاستعارة التي يلجا اليها صانعو الافلام من اجل ايصال معان ودلالات قد تعجز الصورة المرئية التقليدية عن ايصالها , فاستخدامها يعمل على تصوير المعقول وجعله ماديا متجسدا, لتضع تصور | The metaphor is considered as one of direction means and treatments to which the film makers resort so as to convey meanings and indications that the real visual picture is unable to convey. So it depicted the sensible and made it embodied physical to lay an imagery and answers in renewable methods, thus it creates a new reality with more accuracy and adjustment via the cinematic picture due to what it owns of elasticity and great capacities on embodying the reality and the imagined together which make it of credibility and rhetoric in expression influencing the receiver. The metaphoric construction in the cinematic picture works at the formation between the visible expression elements that exist in this picture like the shape and the generated meaning. It is not possible to solve the intermingle of the metaphoric structure without addressing the vertical constructs and getting away from the linear or the horizontal reading, which means that metaphor relies basically on the intellectual construction and the aware imagery of the receiver to solve the reticulation of the metaphoric structure. The metaphoric structure refers to outside the limits of action or incidence itself, yet it has an intellectual dimension inside the pictorial frame that is a pillar for understanding the basic action. The metaphoric construction became a artistic need that works at more than one level inside the structure of the cinematic film, hence our study was within this axis under the title (The Metaphoric Construction ofthe Expression Elements in the Cinematic Picture). Thus, the study here is interested in addressing the metaphor and how it operates with the expression elements in a way that leads to enriching the optical and intellectual content in the scene structure and what the content of expressing intension achieves, expands and deepens the pictorial meaning and increases the receiver's attraction to interact with it. This is what the thesis contained through its chapters divided by the researcher into four chapters. The first chapter came as a methodological framework for the research comprising of the research problem and its necessity where the problem was defined by the following question : what are the ways according to which the metaphoric construction of the expression elements is made in the cinematic picture? Chapter two included the research theoretical framework and the most important previous studies which are connected with this research. This chapter included three sections, the first one was (The Concept of Metaphor) addressing the analysis of metaphor structure in language, its concept for the linguistic philosophers and modernist, its concept according to the modern theory in addition to the conceptual and cultural asymptotics and its concept in the cinema. The second section entitled (The Patterns of Cinematic Metaphor) was a definition of the metaphoric patterns which are shown in the cinematic picture. It was a must first to try to understand the properties and conception of the picture and its role in producing the meaning, also the context role in defining the meaning of metaphor and which the citations say that they attract the receivers' attention as a metaphor. In the third section entitled (The Operating Mechanisms of the metaphor in the System of Expression Elements), the researcher addressed the metaphor structure and its relation with the picture, thedirector and the receiver, the montage role, the phonetic structure and its different elements, the camera, the formation and the colors in constructing the metaphor in the cinematic picture. The research should extract indicators by which he is guided to analyze his samples, thus his indicators submitted to the evaluation of an elite of experts encompassed the analyses contained in the research. Some of the indicators were as the following : It was a must to be guided by the previous studies addressing the research topic, in that the researcher did not find academic studies join this research in address, but some limited uses of metaphor were found within their researches and the ones concerned our current research were discussed. As to chapter three, it was the chapter that contained the research procedures including the research method which was the descriptive method and the research sample.The fourth chapter included the extraction of the final result stemmed from the analysis which came to answer the aims posed by the researcher. The research concluded a group of conclusions deduced from the research results, this chapter also included some recommendations found necessary by the researcher as well as suggestions for next studies that are similar to some axes of this study which we could not answer and encompass them for future researches. The research also contained a list of references and sources on which the researcher relied.

المعالجات الاخراجية وانفتاح النص في الفيلم الملحمي

اسم المؤلف: حياة حيدر محمد علي
اسم المشرف: علي حسين صفوك الركابي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: تناولت الباحثة في هذا البحث(المعالجات الاخراجية وانفتاح النص في الفيلم الملحمي) في محاولة للتعرف على سبل وتنوع المعالجات الاخراجية السينمائية للفلم الملحمي عبر وسائل واساليب استعمال عناصر اللغة السينمائية استنادا الى رؤى وافكار المخرج السينمائي بما يحمله

حداثة الشكل الفلميى وانفتاح النص == Modernity Figure Film And Openness of The Text

اسم المؤلف: نور علي كريم
اسم المشرف: ماهر مجيد ابراهيم
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:

المعالجة الاخراجية للموضوعة التاريخية في الدراما التلفزيونية == Treatment of Directorial Placed In Historical TV Drama

اسم المؤلف: صادق كاظم عبد علي جابر المياحي
اسم المشرف: عصام عيسى علوان السامرائي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: اهتمت الدراما التلفزيونية بانتاج المسلسلات التليفزيونية التي تعالج الجوانب التاريخية، اذ تقدم للمشاهد احداث التاريخ في مسلسل درامي، بكل ما في العمل الدرامي من تشويق واثارة وحركة وحيوية، والعمل الدرامي التاريخي هو عمل فني يقدم قيمة فنية وقيمة انسانية تتجاو | Focused on the television drama produced dramas that deal with historical aspects, as it offers the viewer the events of history in a drama series, with all the drama of suspense and excitement, movement and vitality, and the drama historical is a work of art offers artistic value and the value of humanity beyond the specificity of time and place, as it kicks off director the stage of certain historical, have certain privacy in time and place through treatment directorial sight to humanitarian to address the rights for the time being, and that he wants from which to send a humanitarian message concerning the reality of modern man, and the care with drama historical being reflect the historic moment ago re - formulation of a new and according to the processors directorial based on the nature of this historic moment and transformations of social, political, cultural, economic, and historical works, ranging from the work of dealing with periods and historical events full of ancient history, while fighting others in the facts and events still resonate with us today, and the other dealing with biographies of a number of figures that have had an active role one way or another in guiding the march of history or converted in this way or the other in the dates of ancient and modern, and I found these concepts resonate through the contents of the current research came the title search (treatment directorial the placed historical TV drama ), the Department researcher Find the four seasons, were as follows : The first chapter (systematic framework) : It included research problem that has adopted the following question : What are the qualities that have been achieved processors purine placed in historical TV drama? On the importance of research and the need for him to have touched researcher imperatives and the need that led him to embrace the subject, and then select the aim of the research from the title and the problem, as follows : Detection modalities that have been achieved treatment purine placed in historical TV drama. And select Find a researcher limits the boundaries of the three, Chapter II (theoretical framework) : the oath researcher on the three sections, as follows : Section I : (historical drama film and television) and the researcher (film historical) and (historical drama television) and how taken film and television from the date on the subject of the two, as meet in this work of art with dramatic historical reality to produce artistic work, and the specificity of each type them in dealing with the history and the historic walk. The second topic : was (the structure of TV drama), and researcher in this section components of TV drama, especially the serial drama television and dramatic structure, which is part of the foundation to connect the components of the artwork through the interaction of all elements of drama with each other to create an integrated unit to draw the events inside the artwork, and its constituent elements, namely, (personal, and plot elements, language, conflict. The third topic : the theme of (purine processing elements Aalgh Moot placed in the historical drama Allgzioneh), in which they discussed the creative output for the recruitment of language elements sham in order to find treatments for historical placed. After that previous studies have been identified for the search, and upon completion of the theoretical framework, the researcher suggested a set of indicators adopted as tools for the analysis of the research sample after taking the opinion of a panel of experts and esteemed arbitrators. But in the third quarter (action research) : research methodology to ensure separation, the search tool, and the unit of analysis, sincerity tool, sample research, where the researcher identified the reasons for his choice of the sample. In the fourth chapter, which included analysis of the research sample, a television series (Roof of the World), directed by Syrian Necdet Ismail Anzor. After analyzing the research sample, the researcher found a set of (results), including : - Has been relying on the figures that are contemporary function listed events which are of unique specifications and dimensions, either historical figures came module sometimes unique and at other times has been confirmed in some of them on the psychological dimension. Based on the theoretical framework and the findings of the researcher, was developed conclusions, including : - Dealt with historical events and historical figures are genuine historical facts and maintain installed in the historical sources and not be manipulated and dispose of them in which makes the negative repercussions on the receiver, especially historical figures that carry positive features in the mind of the spectator. And finally been developing recommendations and proposals. Find and seal a list of sources, supplements and finally foreign - language summary.

الاتجاهات الفنية في الدراما التلفزيونية == Artistic Trends In TV Drama

اسم المؤلف: علي زيد منهل
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2009
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان الرؤية الفنية التي يستند اليها مخرج العمل الفني خلال معالجته للنص الدرامي ووضع الحلول الاخراجية للمشاهد المرئية بغية تكوين واقع جديد مفترض. ومقدرة ذلك الواقع الفني الذهني المفترض والمجسد من قبل مخرج العمل الفني وبما يمتلكه من وسائل تقنية وفنية في توظيف | The artistic prospect upon which the director of artistic work bases his work through the treatment of dramatic text and putting direction solutions for the spectator in order to have a new virtual reality. The director of artistic work, with the technical and artistic means he employs in the dramatic elements, express artistic trends in TV drama and the mechanism of employment. These artistic trends reflect the development in the field of entering the analysis and construction of artistic works in a way that reflect reality with all the contradictions make the TV drama search for artistic procedures and attitudes to express that reality according to the idea, the objective and the method of carrying out that distinguished some from other in the mechanism of working of this or that procedure or attitude expressing the nature of artistic work and breaking the freeze and entering into imaginary and strange worlds that through them establish the ability and design which are formed according to the essence of the text and the manner by which the director of artistic work forms his work. According to the procedures that he finds suitable for posing the idea and criticizing the society and keeping pace with civilization development through the understanding and interpretation of TV artistic works which are based in their mechanism of putting forward on the suitable artistic trends. These trends are usually seen by the director of the artistic work as suitable for the nature of his theme and treating the dramatic components. Therefore, the study falls into many chapters that studied the artistic trends and the mechanism of involvement of the visual works as follows : The first chapter tackles the procedural framework of the study suchlike : The problem… which were formed in the following questions : What are the manners in which artistic trends are employed? What are the visual means and techniques that manifest the artistic trends in TV drama?The objectives of the study were as follows : 1. the manner in which artistic trends are employed in TV drama, and 2. The visual and technical means that manifest the trends in TV drama. The first chapter also tackles the importance of the study and the need for it, the limits represented in studying the dramatic trend in TV drama for the period 1998 - 2000. we have also determined in this the most important terms used in the dissertations (trends, drama, etc.)The second chapter : Included the theoretical framework and the pervious studies including the following inquiries : 1. The first inquiry includes the procedures and dramatic trends. It also includes the most important procedures and dramatic trends starting from the realistic trend and impressive trend. Within these two procedures lies most of the other subsidiary trends which effected the cinematic and TV drama alike. It includes the following trends {Neo - realism, Neo - wave, free - realism, social - realism, direct realism, poetic - realism, symbolic - realism, epical - realism, expressionism - surrealism, Dadaism and avant - garde} 2. the second inquiry : the image according to artistic procedures including {image in philosophy, the concept of artistic image, the senses of image, imaginary image, referential of artistic image, realistic image, impressionist image, symbolic image, expressionist image and surreal image}The inquiry also includes the understanding, analysis, and construction of artistic image and the mechanism of work according to the prospect of the artistic works’ director to manifest the artistic trend. 3. The third inquiry deals with the visual means according to the artistic procedure. This inquiry includes the style of artistic work’s directors in using the technical means through the direction prospect of this artistic work by employing the following {camera and lenses, décor, makeup, fashion, montage, lighting, setting, color, etc.} for the manifestation of artistic trends in TV drama. 4. The fourth inquiry dealt with the dramatic according to the artistic procedures. The inquiry included the employment of the dramatic elements according to the prospect of director. This includes drama and dramatic construction {plot, dramatic personae, language, idea, and image narration. At the end of the second chapter, the researcher tackled the pervious studies that are relevant to the theme of this thesis. There were two main studies that he found close in some chapters to the study herein : The M.A. thesis, 1988 {The Effect of Techniques and Visuals of Global Cinema on the Prospect of Iraqi Cinematic Directors} by Rasad Abdul Jabbar Thamir. The second thesis, 2003 {The Question of Aesthetic in the Trend of Modern Cinema} by Aladdin Abdul - Majeed Jassim. In the end of this chapter, the researcher comes up with the most important indicators that were driven form the theoretical framework making the analysis instruments of the research sample such as items of the questionnaire forms.The third chapter includes the procedures of the study : 1. The research procedures in which the researcher employed the descriptive approach. 2. The instrument of the study : the research employs the content of theoretical framework as theoretical framework after obtaining the approvals of the Board of Experts and Arbitrators on the indicators. 3. the unit of analysis, the researcher depended on the scene and snapshot as the main unit for analysis in his study of artistic work. 4. the sample for the study represented the series which were chosen as a nonrandom sample in compliance with the nature of the thesis. The series are : Bab - ul - Hara {Port of the Lane} - Part I Poetical - realism - series ‘Noor’Symbolic - realism - series ‘Carnival’ Epical - realism - series ‘Rome’ Impressionism - ‘Taken’ Expressionism - ‘Supernatural’ Surreal - ‘Sad Dream’5. The validity of the instrument : the esteemed experts showed a total agreement on the items in percentage (%97.28) The chapter also included analysis for the series that were chosen in as sample of the study. The fourth chapter included the The most important results : 1. the manner in which these visual elements were employed within the relations of adjoining , interrelation , adherence were in the outcome a final image that affirmed the nature of mental image which the director of work draw through the relation of these elements and images with each other justifying the state of employing the curricula and artistic trends, and expressing the dramatic events within the virtual reality of each artistic trend. 2. the director of artistic work produces artistic images that are compound and unrealistic, and cannot be similar to an image or compound in reality to give structure to the content of artistic work. For deepening the strangeness state and the innovation within the procedures and the artistic trend which he sees as appropriate for forming the visual image of the artistic work in TV drama.The most important conclusions are : 1. The impressive method is a living one and has the ability to activate the dramatic event through the self - view that the director produces, in addition to the employment of modern technology in convenience with the TV dramatic work. 2. It turns out that the Dadaism impressive trends have been confined to TV drama as a result of the unreasonable image composition and the hard symbols that cannot be analyzed. Therefore, we see the lack of tackling of these TV dramas. In addition, it included the conclusion that the researcher comes up with in the light of the outcomes. Then, the recommendations such as : Studying the branches of TV art as academic specialty {production, direction, montage, camera, scenario, the visual effects}.Finally, the suggestions that serve the course of scientific researches in the field. The fifth chapter includes the following : The references in Arabic and translatedThe references of films and TV series The references in English

دراسة في توظيف التقنيات الصوتية الرقمية في الدراما التلفزيونية == Deploying Digital Sound Techniques In Television Drama

اسم المؤلف: محمد ثائر عدنان ناجي البياتي
اسم المشرف: عصام عيسى علوان السامرائي
الموضوع العام: الفنون الجميلة
السنة: 2008
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: لقد تناول الباحث في هذا البحث (توظيف التقنيات الرقمية الصوتية في الدراما التلفزيونية) كيفيات توظيف التقنيات الصوتية الرقمية في الدراما التلفزيونية لتعزيز القيمة الدرامية للمجرى الصوتي بكل محتوياته بالعمل مع الصورة لدعم القيم الدرامية التي تنقلها الصورة من | This study is about the Deploying of Modernized Digital Techniques in the Line of Modern TV Production in Order To Increase & Support the Dramatic Parameters in TV Dramatic Searle’s & Series, Which Evolve the Components of the Sound Track (Dialog - Music - Sound Effects). This study consists of five chapters; the first chapter comprises the methodic frame, which handles the themes of the research like; how did the Digital Sound Techniques Employed in the Area of The Sound Track to Enhance the Dramatic Parameters of the Television Image? This chapter also comprises the Fallowing : - 1 - aims of the research, like getting acquainted with the Latest Digital Sound Techniques & the Deploying Methods for it deploying in modern TV Series’. 2 - Significance of the Research.3 - Research Boarders. 4 - Defining Terms. The second chapter tackled theoretical frame which includes Three topics : - 1 - Historical Introduction to the use of digital techniques in TV production. 2 - Deploying Digital techniques To Enhance the Sound Track.3 - The Dramatic Employing of Audio with Video in TV Drama. The 3rd chapter consists of the research procedures including the 1 - research course. 2 - Research s' sample. 3 - The analysis tool. 4 - The research sample included Three (3) TV Series, as follows : - a - Lost - 2003 - 2008. b - Battlestar Galictica - 2003 - 2008. c - Terminator : Sarah Connor Chronicles - 2008. 5 - The analysis tool Validity.6 - The analysis Unit. The 4TH chapter consists of the analysis of the samples using the analysis tool.The 5TH chapter consists of the : - 1 - Results. 2 - Conclusions. 3 - Recommendations.4 - Suggestions.5 - Resources, the appendixes and the abstract.

جماليات بنية الخطاب التلفزيوني الموجه للطفل == The Aesthetics of Constructing T.V Discourse For Child

اسم المؤلف: هناء خضر يوسف
اسم المشرف: متي عبو بولص
الموضوع العام: الفنون الجميلة
السنة: 2008
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يشكل الطفل بنية حيوية يصعب الكشف عن جانب من مكوناته الانسانية دون الرجوع الى البنية الكلية، انه شان الخطاب التلفزيوني، فهو يشكل بنية متكاملة يصعب النظر الى مكون من مكوناته في معزل عن تلك البنية العضوية التي تؤسس وحدته الكلية، وهناك عناصر لا يمكن تجاوزها ع | Child is considered as a vital construction which is difficult to discover any thing about his human components unless go back to his total construction. It is a concern of T.V discourse because it represents a total construction which is difficult to watch any component is aloted from the organism construction which establish his unity. In addition, there are other elements which can not be avoided when searching about the reasons of constructing any discourse especially T.V discourse for child. These elements fall among the audio visual construction and become very important in its communicative - technical role or in its aesthetic - expresional role to add more meaning and contribute to improve the aesthetic teste in child and develop his character.However , the following study is going to study this case and falls in five chapters. The first one is ascribed for the theoritical background, and the problem of the study which Represented by the following question : What are the characteristics of constructing T.V discourse for child, and how to employ the elements of audio - visual construction in this discourse to represent the aesthetic qualities which attract the child interest.The aims of the study concentrate on : - The automation of receiving in child. - The aesthetic - expresion employment of the audio - visual elements in T.V discourse for child.The limitation of the study is confined to T.V films for child within the age 9 - 12 year, regardless with a limited time because the study is studying the artistic aspect of all films away from the date.of its fits productiong or showing.Chapter two comprise the previons studies and the thearitical background, the researcher found two close studies for hers while the thearitical background includes these three sections : - - The psychological receiving in child in which, the researcher shed light on the concept of communication and its effects on the sensational and psychological perception in addition, she studied the age division of child and the factors which effected the efficiency in child. - The elements of discourse construction : This section studied the most important element. of montage and audio - visual. This is to now the impact of expressional and notional emplaymention on discourse for 9 - 12 year child to achieve the cognitive and aesthetic aim of discourse. - The aesthetics of discourse between testing and conception : This section includes the concept of aesthetic, conception and aesthetical testing in child, and how he feel in art. The researcher, then, draw up the theoretical background and the instrument of the study atter they were exposed to ajury of experts.Chapter three includes the procedures of the study which had been adopted by the researcher to analys the selective sanples of the study which were 1 - the film (Garfield) 2 - the film (Bridge to terabithia) 3 - The film (Edde’s cook) and the justification of selecting these samples in addition to the research instrument and the unit of analysis.Chapter four includes the analysis of selected samples and concluding the final results which where included in chapter five, then the results of the study.Which are as follow : - 1 The variaty of discourse ideas for child straint from his essencial needs and the system of educational , social and cognetive values.2 Using the simple plot in which a strugle between mind and intellegent will appear instade of body violent.3 Lighting had an effective role to attract the attention of child and delighted him.4 Concentrating on natural colures as an indication vitality and loving the life.5 Fashion had an effective role to discover the psychological aspect of the character.6 Simplicity were adopted in the language of discourse for child.7 Songs , effects and music play an important role for entertaining and amusing the child.8 Montage is depending on longitudinal style to sequencing the events and employing the process of clipping , cutting and mixing. Finally , the researche state the conclusion according to the results of study , and some necessary recommondation and suggestions for further study to cover all the gaps. this study because it needs a specific researcher. Then the researcher end the study by the lislt of references and appen dences and the abstract in English.

جماليات البناء الكنائي في الفلم الروائي == Aesthetic of Metonymy In The Feature Film Dessertation Submited

اسم المؤلف: اسيا جبار خلف
اسم المشرف: طه حسن عيسى الهاشمي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون السينمائية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان البحث الموسوم "جماليات البناء الكنائي في الفيلم الروائي" ويستهدف دراسة موقع الفلم الروائي من البلاغة بوصفه علما استقر في اللغة الطبيعية ووجدت له مقاربات في الفنون المجاورة، وكانت الكناية احد الاساليب البلاغية المتضمنة في علم البيان احد مباحث البلاغة | The research entitled "Aesthetics of metaphorical construction in Feature Film" aims to study the position of feature film in figurative language as a science settled in natural language that found approaches in neighboring arts, further, metaphor is one of the implemented methods in rhetoric as rhetorical device.Film, as craft language, obtains from metaphor as a main source to the film structure and its metaphoricals', and, if metaphor means, in language, the indication of a meaning by using a subsequent and synonym for it, intents to cover and shade therefor we switch from using the specific word that represent meaning to a synonym, so, meaning according to Jarjaani : speech system; while aesthetically it has a special regulation. For direct and repeated speech losses its aesthetically because of habit. Then meaning in metaphor doesn't use current meaning, instead it deals with "meaning of meaning". We can see linguists who attached symbol, indication, allusion and periphrasis to metaphor kinds. So texts are renewing with the renew of meanings. Metaphor refers to something by other that equals it in reality known to people but with new meanings, because if a meaning is settled and widespread would not catch attention or raise the aesthetic sense for it became so common, and this is what we see in film as it extrapolates the meaning through the realistic references, and the difference between standard and common film is that the first chases the invented meaning regarding arts aesthetics while common film is captive to current meanings that doesn't draw attention.This research consists of a summary and four chapter, the first includes methodological framework and the question of this research and the need to it. The question is formed as follows : "what is the aesthetic of metaphorical construction of feature film?".The need to such researches is to be at hand of researchers in Cinematic science to find out rhetorical prospects of cinema arts to be an aesthetic addition in film theorizing and application.While the importance of the research is due to be the first of its kind representing the metaphorical applications as they are the base of feature film leading film art to achieve a privilege in metaphor field in which cinema is operating in, on the grounds that the first task of the film is aesthetic of film image, and paying attention to the widening scopes that the metaphor repletes by neighboring reality in a creative way, not only a humble conveying that set and settled.The limits on this research are spatial limits are cinema worldwide anywhere can be found, temporal limits are (2001 - 2011), and finally mental limits are novelist metaphor.The second chapter includes three sections. The first concerning : metaphor from word eloquence to image space : in which the term (metaphor) is followed with Arab linguists depending on Arabic rhetoric as guide, so Simile purposes and eloquence will lead us to the question of this research, which leads to the necessity of studying semantics and metaphor as linguistic concept and rhetorical device the thing found with well - known Arabic heritage scientists : Al arabi, Al - jahihd, Al - mubred, Aba ubaida, Ibn almu'taz, Qudama Bin Ja'far, Abo Hilal Alaskari, Ibn Rasheeq Al qirawani,Ibn Sinan Al kafadgi , Al Jurjani and others.The chapter stopped at the concept of art image and film grand theories such as simulation, emotional and formalism theory.The scorned section concerns metaphor application in novelist film. Where image metaphor is treated which Derives its representation from photographical origin through the notion of : Arnhem, Andre Bazin, Eisenstein, Christian Metzm and others.The section concludes that what cinema has added to world understanding is the usage of reality in an eloquent way so the metaphorical construction take into account natural language eloquent while it draws its metaphor of cinema - tography through its special expressive medium.The third section entitled, the aesthetic employment of metaphorical construction in feature film, in which natural language doesn't present full metaphorical texts through its linguistic contexture, while film is a metaphorical contexture in each shoot and scenes.So, such kind of researches should comes out with the theoretical framework indicators, one of them is : 1 - The film aesthetic and metaphor happen through dialectic cinema narrative and the film form to build metaphor system through gathering partial metaphors.The research, as researches goes, contains conclusions such as : 1. The film aesthetic metaphor comes from the fact that the film art is an art on the term in which the film form differs from the exact picturing of reality.2. Also, the research comes to many derivations like : Metaphor in cinema is a basic and genuine element in film creativity which cinema is based on in its construction.

جدلية العلاقة بين الانتاج والتقنية الرقمية لتفعيل البعد الجمالي والدرامي للخطاب السينماتوغرافي == The Controversy of Relation Between Production & Digital Technology To Activate The Dramatic & Atheistic Dimension For The Cinematographic Letter

اسم المؤلف: براق انس المدرس
اسم المشرف: ماهر مجيد ابراهيم
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: من غير الممكن عد الفيلم السينمائي او المسلسل التلفزيوني الا بكونه انتاجا ينبثق الى الوجود بعد عدة عمليات انتاجية خلاقة تحققها مستويات ثلاثية متعالقة تاخذ على عتقها عمليات التخليق وعلى حد سواء المستوى الانتاجي : الذي يعتنى بالجوانب الادارية، والاقتصادية، وال | The Movie or TV dramatic series represents the print that dissolves to the level of production Operation, & here the Controversy of Relation has come true between what is on the screen & what is absent in building the pattern & type of image Construction with all its joints, saw you can't see a Film or TV series only as the production Cinematographic Letter, & what the searcher indicated of this interference between Image & of one Side & Production on the other side, which is the seclusion of Critical & Technical Studies that is Specialized in studying the Medium Elements Language.Although studying the meaning production digitally, that is the software of Computers & digital effects which is the pioneer of many specialized academic studies for this medium, & the Predicament is, there is no previous studies Specialized in the effect of Exchange of Production Science & Digital technical Evolution, & the methods of handling this progress by stepping ahead what was Familiar traditionally & that was the main booster to the searcher to select his research Subject in the following address (The Controversy of Relation between Production & Digital Technology to Activate the Dramatic & Atheistic Dimension For The Cinematographic Letter ). For that the searcher has divided his research into five Chapters, the 1ST one Came in the (Methodical Panel) which presents the research Predicament (What is the Basic Form Lines for the Controversy of Relation between Production & Digital Technology to Activate the Dramatic & Atheistic Dimension For The Cinematographic Letter?),than Mentioning the importance of research , Aims of research , its limits & finally the Terms Definition in the Research Title. 2ND Chapter (Theoretical Panel & Previous Studies) which the searcher divided it into 3 Sections : - 1ST Section : - Which Discuses the Production Philosophy & the nature of cinematographic Letter.2ND Section : - That Defines the Technical & Productive Variable in Image Construction. 3RD Section : - That studies the Action Dramazation & the Atheistic Signified of the Cinematographic Letter nature.To conclude these sections by emitting the indicators that was relied on by the searcher that was certified by a panel of experts & Judges, to end this panel with the Previous Studies. 3RD Chapter : - ( Research Procedures) which Contained Research Method, Research Instruments, Research Society, Analyses Units, Research Specimens, Instruments Authentication, Analysis Steps.4TH Chapter : - Which was the Analysis of Research Specimens as Follows : - 1 - Prometheus (Movie).2 - Man of steel (Movie).3 - Falling Skies (TV Serial). 5TH Chapter : - (Results & Conclusions) : - this research has come out with several results after Specimens Analysis, & as follows : - 1 - The digital techniques interfered with all the joins of cinematographic Medium which leads to use a precise Variability to have an Image to the technique that reacts with Production to revel the Atheistic Quarteria, also Dramatic Activation, as we previewed it in Research Specimens. 2 - The techniques have the ability to Create Space in High Precession & Less Expenses, for having an Image with clear Atheistic & Dramatic Clearance, as it in Research Specimens. Than The Searcher has Added Conclusions, Recommendations, Suggestions, Reference List, Appendix & Finally the English Language Abstract.

توظيف الملحمة في الدراما التلفزيونية == Employment In The Epic Television Drama

اسم المؤلف: حسن هادي زاير المحمداوي
اسم المشرف: ياسر عيسى حسن الياسري
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: بالرغم من تعدد وسائل التعبير للمنجز الفني الا ان لكل واحدة من هذه الوسائل نكهتها الخاصة التي يحاول من خلالها صانع العمل الوصول الى المتلقي. لكن يبقى الفن السينماتوغرافي الثمرة الناضجة والوسيلة الواعية للنتاج الانساني، اذ انه يشكل مجموعة من الخبرات والاف | Despite the multiplicity of means of expression of artistic accomplishment, but for each one of these means special flavor that which tries to work maker access to the recipient. But art remains Alcinmatugrave ripe fruit and conscious of the way the product of the human, as it constitutes a set of experiences and ideas humanity to get to a distinct form of art is an extension of the creative product of civilization. There is no doubt that art Alcinmatugrave tool and a means of intellectual working to transfer the beliefs and ideas of the people towards each other, an employee at the various kinds of topics, including tales of epic and mythical, historical and other. If you look at the old epics that have reached us, we find that it includes many anecdotal theme, and often we find that These themes independent of each other, in spite of its independence, but it where the unit subject is available, and this is what we find, for example, in the Epic of Gilgamesh or even in the epics of the ancient Greeks and ancient Romans, and this thing made filmmakers working on each of these themes separately in an attempt to find a technical ports to connect between them and to build up a convincing dramatic and leads to the ends of the aesthetic and creative. The cinema and for long periods they have monopolized the provision of those movies epic that dealt with the drama interesting carrying humanitarian meanings widely in form and content, but the television followed the example of cinema in the provision of those humanitarian epics on according to high - builders level and it was necessary to search in the recruitment of the epic and construction epic television series, Valmhamh of narrative story - based systems are listed in the delivery to the recipient of the expression of tournaments and events that mixes myth with reality. Those heroic stories we find is the champion matter given society defend them achieve their desires and is characterized by high strength and configuration of physical and psychological unique. The researcher divided the research on the four seasons, were as follows : The first chapter (methodological framework), which included the problem of research, summarized as follows by asking : How employs saga in TV drama? Then the importance of research and the need for him, as well as the objectives of the research and its borders.Chapter II, who came under the title (theoretical framework) was on the three sections, are as follows : First topic : the saga term and concept. Their definitions and their relationship to philosophy and what it is when Aristotle and comparing myth and at the end the researcher said a summary of the most important characteristic of the epic concentrated in eight points.The second topic : Building and construction dramatic epic elements : in this section were searched drama and dramatic elements of the general construction and construction epic researcher concluded at the end of his research also points to eight.The third topic : the employment of construction in the epic television series : in this section have been addressed to the foundations of the traditional dramatic structure and the president and his staff dealt with in the order as well as transition and connection between the viewer and the units of time in the series Almhumai.ol_khas Find researcher in the end to six points.In light of this, the researcher suggested a set of indicators that represent the theoretical framework summary. And seal Chapter previous studies.Chapter III (research procedures) to ensure the research methodology, and the research community and the research sample search tool and sincerity and integrity analysis steps and then the sample analysis tool that has been selected Qsidia analysis of a series Spartacus Part I : Then, the researcher analyzed the sample from the theoretical framework indicators after taking the opinion of the Committee of Experts and arbitrators.Chapter IV (findings and conclusions) : has included the results that came out of the researcher after the sample analysis, and the most important results : - 1. The construction in epic movies and serials that rely events Epic or epic mythical figures not only to seek clarity of interpretation but seeks to clarity of expression because the business epic intellectual progress summary of the beliefs and feelings of non - specific.2. Non - Molovih events and actions in Business epic coated myth make such acts implausible because it is located in the virtual worlds in a way just the viewer and lend the work a thing of beauty and surprise by tricks cinematic special effects, which was surrounded and carried out as in the sample series Spartacus.And he went after the researcher a number of conclusions and recommendations and proposals.Find and seal a list of sources and supplements and a summary in English.

تمثلات المتخيل في الخطاب السينماتوغرافي في طروحات ما بعد الحداثة == Imaginary Representations In Alcinmatugrave Speech In The Proposals of Postmodernism

اسم المؤلف: لؤي عبد علي مهدي الشكرجي
اسم المشرف: علي حسين صفوك الركابي
الموضوع العام: الفنون الجميلة
السنة: 2015
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: Is a discourse Alcinmatugrave today a humanitarian imperative task of art and the phenomenon of communities with different cultures, languages, customs and traditions, because it is a form of sophistication and Highness and the development of civilization in the field of art, which is today civilized societies feature in the current era, which can promise the age of technology, techniques and science and electronics.Although the art and art productions in all its forms and formats, not distance away from this technical development taking place at the level of machinery, tools, machinery, equipment and techniques that dominated the human production of all types and forms, but the expression, style and form prescribed by the human, and the topics identified by the artist , raw material and technical Ntegath, is to be the core of art and the artistic process feature.The overall innovations of postmodernism ((postmodern in the field of photography and visual display since the beginning of the nineteenth century and Trafaqa with the overall discoveries of the twentieth century scientific and intellectual until now, the changing obtuse movement that turned the evaluation and judgment and consider the concepts to the concept and the importance of image, and to productions imagination which is new unparalleled, has accompanied the post - modern evolution of digital technology techniques and computer media, media, communication and the arts all, and has become the visual image accordingly semiotic mark attest to the developments and reinventions postmodernism, and it is no longer the language is the sole regulator of human life, of peoples and communities of different cultures and Muruthatha and features, but the picture is becoming the base engine for the collection of knowledge, and the effectiveness of human recognize the truth through all those discoveries subsequent to the photographic image and then converts it quickly to the moving image (cinema) and then the TV down to the Internet revolution that made the universe (a small screen in the palm of Rights), which have the capacity and the ability to breach the stringent actually effects and the dominance of mental discourse affected by the facts and the facts, and became symbols of these discoveries and productions continue influential with human imaginary process more than they may engage in dialogue or Taatlaqah with his mind, which adopts the reasoning of the basis for the projections that reality.Was launched with all these developments embodiment and achieve and activate the imagination and imagination on the level of artistic productions Alcinmatugraveh operations, so imagined that evoked to him the contents and details of the image in the speech Alcinmatugrave, and moved in different forms and expressions and fields, confusion and doubt anddarkness and shadow on the sidelines of understanding of the area, to the explanation and interpretation of the understanding of the area through the perception and the sense, and it has become visible material received by sight at all times and everywhere roam the human eye, and became the reality of man and his environment Urban modern source does not dry and inexhaustible of symbols and connotations that occupies the image position and the extraordinary significance, that this image that surround humans wherever found, and Baattabarھa result inevitable of productions imagination and creative sense, has become an effective tool of communication and interaction tools, whether this adopted a communication on the mind or the other queens that Ihozھa rights, and has become the imaginary symbols accordingly, a source of Alotsalaty on the cultural, social and humanitarian level exchanges, especially in the era of postmodernism, where the big coup at the level of concepts and propositions of intellectual and philosophical discourse of the buildings on the level of language, image and other means of expression. Most notably in the field of speech Alcinmatugrave, as Acefhma Regis Dupre in his life image and her death by saying : that television and cinema in the era of postmodernism Assanotai of the imaginary 1.From here the researcher in determining the problem with this research, and sought an effort to learn about the philosophy and the limits of the imaginary and its implications in the speech Alcinmatugrave, according to each of those visions and propositions, perceptions and ideas provided by the movement postmodernism, after its hegemony and control of the reality of thought and art since the seventies of the last century until our time, especially in the field of speech Suri.The speech ((Alcinmatugrave)) of the most important means of the display of the form and meaning of any dramatic work of art visible, and that leaning upon the viewer conscious who can we consider : actor moving the most dangerous and the most important in the tri - creative process ((Author director - speech Suri - receiver)) in the process taste sensory and aesthetic Mknunadtha and their implications and their symbols, where the picture becomes a speech visible and read visual multiple meanings, embodied them as the field free to the process of monetary controversy effective between the receiver and visual text the picture, which is in front of him, especially since more Mafi images controversy and signed and attractive and aesthetic, in the recipient, those that contrary to the familiar object impact of perception where, above and beyond in their implications and their meanings rolling all the arguments, and different in nature from the mainstream and repeated in its forms and manifestations, and away in their meanings for movable and of refined and reproduced in Qualbh classic permanent, characterized in iconsand images innovation and diversity and innovation, and be in the subjects rolling The curious and innovative,This Mayaml to achieve and embodied in the imagined speech Alcinmatugrave, Valmtejel in his being is to re - create a new innovation within the visions and ideas commensurate with the spirit of the age and time, according to the philosophies and spiritual narratives imposed by this age are required by the technical Actual makers.And it has launched a researcher in determining the external lines of the search parameters and boundaries.. The researcher felt his research included five chapters are : _The first chapter.. / methodological framework for research and includes a research problem, namely the reasons that sparked the attention of the researcher and invited him to his choice placed his research, and after that Atharahtmamh included imagined and achieved in all artistic productions trendy Alcinmatugraveh modern, according to the visions and ideas put forward by postmodernism, especially since the process of understanding and grasp the modalities for achieving this process in movies and dramas Bank, impose study and research, has coined the researcher problem according to his research and the question as follows : What imaginary philosophy, and what modes in which they are employed and imagined eating in the speech Alcinmatugrave proposals in postmodernism..And also the importance of research : Which guarantees the importance of fighting the researcher and his study of the placed.. Find added knowledge and scientific and cultural benefit, as they are not positioned to go into such a search previously, has not been addressed in this privacy and detail than before, and this is what is important in the research and study.(1) See : Regis Dupre, life and death picture, see : Fred bubblegum, Africa, the Middle House versions, Casablanca - Beirut 0.2002, p. 247Find and goals : Identified by the researcher as follows : in the detection modes in which they are representing the imagined and achieved in the speech Alcinmatugrave within the proposals of postmodernism.Search limits : Where the researcher identified in the study of the concept of imaginary Vslvia, and a figurehead as well as study the proposals of postmodernism and its impact on art, especially in the speech Alcinmatugrave The goal of the research sample the first footage of US (harmful MALEFICENT), in production (in 2014), and the second sample American series (marginal FRINGE) production year (2013 2014), followed by geographic extent where I am is the point of producing a sample of the United States of America.As well as identify the most important terms in the title of the paper : Where the researcher determine the most important terms in the title of the paper, namely : (imaginary, Sinmatograve, postmodernism).Chapter II / theoretical framework and previous studies..And in which the researcher deliberately go into three sections check the theoretical framework of the research, which resulted in the collection of theoretical indicators adopted by a researcher at the research samples analysis, these detectives are : First.. The first topic : a (philosophy and the limits of the imagined), which looks at the Maheat imagined intellectually and philosophically in literature, art, definitions, understandable and Tmthelath and levels of the language, literature and the arts general level.Second.. The second topic : .. (Figure, image and narrative in the proposals of postmodernism) and who is running in concept form in the concept of the image within the proposals of postmodernism.Third.. The third topic : (recruit imaginary discourse in Alcinmatugrave).. which will address the modalities in which they are imagined and employment outcomes achieved in dramatic Alcinmatugraveh.Delve into research theory and study in those three detectives from the set of indicators adopted by the researcher tool for the analysis of a specimen sample.. after the viewing on a group of experts process has resulted in, and seal the second quarter review of some previous studies that approached from a distance or close with placed Find Anfa.Chapter III / research procedures..This chapter included a series the procedures followed by the researcher during delve into chapters and sections Search, and these actions are : a review of the research methodology, and the research community and the research sample, and search tool, and the sincerity of the tool, and the unit of analysis, and analysis steps.Chapter IV / analysis of samples..In this chapter the American sample footage analysis : (harmful MALEFICENT), as well as the second sample American series (marginal FRINGE), and so on according to the analysis tool (indicators) and then discussed and draw the final results contained in Chapter V.Chapter V / which includes the findings, conclusions and proposals, recommendations and appendices, images and research summary in English..This chapter contains, the findings of the researcher on as set of objectives, as this chapter shall also ensure that the conclusions that emerged from the results, as well as some suggestions for further studies verify the enrichment and diversification of information in the jurisdiction, and the recommendations by the researcher believes it is necessary and important.Has been attached to the message list of sources and messages hired by the researcher, as well as a set of appendices included.. (model) experts form ((indicators)) contents Search form model.. and the list of movie scenes and a group photo on indicators.. as well as abstract in English.

اشكالية اشتغال مضمرات الصورة في بناء سردية اللغة السينمائية == Problematic of Processing of Hidden Picture In Narrative Cinema Language

اسم المؤلف: حيدر فيصل كريم
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: انبثقت موضوعة البحث انطلاقا من الهم العلمي الذي كان يعتري مخيلة الباحث لفهم المعاني والمعلومات المضمرة في الخطاب السينمائي، التي تمتلك حضورها الفاعل داخل فضاء الصورة الفلمية بكونها بنية لامرئية ترتبط بقصدية صانع العمل، يتطلب تحديدها فهم العلاقات التداولي | My thesis subject Emerged from the Scientific concerns over pragmatic Cinema, which was overcome the researcher's imagination how to understand the meanings and the information implicit in the Film Festival principles, which has acting presence, starting from the basis of the relationship between the recipient and language film, and this prompted the researcher to engage in the field which almost difficult even at the level of studies literary For that , it demands us to look of methodology to determine the standards by which to unveil implicit in the narrative cinema, for reaching such a study we have to sat categories based on scientific, which we can through it characterize photographical Cinema and identified by Laws , because it sat the method in determining the implicit, Which that requires sitting a development of a comprehensive study to determine the pragmatic cinema, and then determine work according to the implicit key concepts identified by the researchers or students, on cinema application. For the purpose of adopting approach to means of methodological Cinema in study the relationship between actors and narrative image to build a narrative language film,Especially with the concept of pragmatic cinema immerse from the relationship between actors the recipient as well as language of the film (the perspective of a film), The researcher divided it into four chapters, as the following : Chapter I (methodological framework) has included the research problem, which adopted the following question : Who did it operate in the narrative language of cinema? On the importance of the research and the need for it , then we has touched the necessities and the need for that adopt this subject, and then select the objective of this research from the title and the problem, as the following : detection operation implicit in the narrative elements of film language. Selecting a researcher of the three borders, and seal Chapter status determine the terms contained in the Title, as well as the message board. In the second quarter (theoretical framework), the researcher divided into three themes, and as follows : First research has dealt with (implicit... the term and concept) which were studied implied by searching in the laws of the deliberative, which requires study traffic concepts of semiotics of the following : (installation, significance and interpretation) to access the propositions, deliberative, and then discussed the laws of the deliberative - on - scope language. The second topic was the (implicit in the narrative film), and the researcher in this section as the laws of deliberative tools detect implicit picture, and it has been discussed establishing deliberative principle in the art of film by examining the evolution of the relationship between the recipient and the film.The third section dealt with the subjectThe first chapter of thesis is about (the hidden... concept and etymology) which we studied the hidden through out searching in the pragmatic law , which its study conditioning the Known the following of the principle of cinema (the composition, evidence and theory) in order to reach to pragmatic theory, Then searching through out the pragmatic law according to its scopeThe Second chapter of thesis is about ( the Hidden in narrative film )Which deals with the pragmatic law describing it as the tools that could reveals the Hidden Picture , In that we studied the scope of pragmatic cinema in the Cinema Art through out the processing of developing the relation between Audience and Cinema Film. The Second chapter of thesis is about (the Hidden in cinema photograph ) we studied the results of creation to sit the elements of the cinema language for the hidden cinema photograph production.then focusing the previous studies for thesis , after finished the viewing scope for the thesis we reached band of signs which we depend on it as tools for analysis the thesis sample and after depending on experts and Instructors In the Third Chapter in that Thesis we have (Methodological scope)We choice sample for reasons explained in the Third Chapter ,then analyzing samples of two films as the following : )PERFUME)، (THE IRON LADY(In the fourth chapter we have ( Results and conclusions ) after analyzing the sample , we reaches to band of results • In the result of hidden as relation between audience and cinema photograph ( pragmatic film ) which starts from the analysis of the (composition and evidence ) for cinema photograph , which we achieved wide concept for the cinema as we have taken in the sample We reached from the viewing results of the thesis we have conclusion • The picture taken by hidden through out scopes of forms of methodological expression in the film which transforms to serious of action of pictures that formed the film chain.. Finally I have concluded my Thesis according to your recommendations

ادب السيرة بين الحقائق التاريخية والرؤية الفنية في الدراما التلفزيونية : دراسة مقارنة == Literature Curriculum Between Historical Facts And Artistic Vision In TV Drama

اسم المؤلف: ايناس عبد الحافظ احمد القباني
اسم المشرف: عبد القادر خلف الدليمي
الموضوع العام: الفنون الجميلة
السنة: 2011
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: تكمن اهمية الفن التلفزيوني في كونه يتصدى لموضوعات شتى تنتمي لاجناس ادبية مختلفة تتوحد داخل لغة الصوره بسطوة الدلالة المباشرة لايقونية الصوره المتشكلة في تراكيب ومعالجات اخراجية يريدها صانع العمل, ومن بين الموضوعات التي يتم التعامل معها مرئيا في الدرا | The importance of art lies in being a television address to the various subjects that belong to different genres unite hold sway within the language is significant direct iconography is formed in the structures and processors directorial arranged by the employer, among the topics to be dealt with is visible in the television drama is literature BiographyAnd the specificity of these issues lies in the fact that the literature curriculum promotes the requirements of formal and structural overlap among the various sciences as a science and the concept of narrative history as part of mating between fiction and drama. This privacy policy was prompted by the researcher to identify the object (Literature curriculum between historical facts and artistic vision in TV drama)The researcher divided this study into five sections, the first systematic framework has included the research problem that arose on the following question : What are the modes by which the employment of the artistic vision in the realization of the historical facts in television dramaSection I : Biography of literature and touched the researcher to define the concept of literature curriculum set out the main features and types, which was the Prophet's biography, curriculum vitae and biography biography and historical roots, and then look at the structural elements in the curriculum and levels of narrativeSection II : sign structure of the image visible in the literature curriculum has been the search structure is a sign to achieve as much of the process of delivering information, or to determine the significance in the formats that are often concerned with time particularyThe third topic : the historical facts in television drama, and in this section have been addressed to the concept of historical truth and honesty historical and means owned by the television drama in the formation of credibility for the construction of historical events dramatically through the adoption of all the elements that work on the level of form, research concluded with previous studies and the most important indicators that Researcher learned from almost the theoretical frameworkChapter III : Research procedures, which were addressed to the research methodology and a tool of research and the research that was three serials, as follows : 1 - serial - Zahir Baybars 2 - Asmahan serial 3 - serial Hulagu Finally, samples were analyzedChapter IV : Results and conclusions And it has been to reach the main results which have been drawn and analysis of the sample 1 - Biography of literature depends upon transfer to a television series on the existence of a personal narrator either as a participant narrator or the narrator of events is co - narrator of the events ranged from diagnosed or undiagnosed narrator and as we have seen in the series of Baybars and the series Asmahan serial Hulagu2 - historical truthis linked to the maker's ability to build an image of actions match the historical record in terms of details and building what is known for his historical and literary bloggers, and in this scenario we have seen in political assassinations in the series, both famous Baybars or Asmahan serial or serial ,Then the formulation of conclusions, which included conceptual framework and analysis of the sample. The research concluded with recommendations and proposals and list of sources of supplements with a questionnaire to the Committee of Experts and a summary in English.

المعالجات الفنية للسيرة الذاتية في الفلم السينمائي الروائي == The Artistic Treatment of The Biography In The Narrative Cinematic Films

اسم المؤلف: انتصار علي مجول حمود الجبوري
اسم المشرف: طه حسن عيسى الهاشمي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The cinematic procedure affirms that the narrative films depend basically on the employment of the aesthetic of cinema ad giving a wide freedom for the subjective imagination of the artistic in order to serve his emotions and creative imagination into a limit of not bounding with reality and logic. Instead , he sets his imagination to the amendment of reality.The director's subjectivity in the cinema of biography managed to submit a reading of the subjectivity of the biography of famous people away from copying or being limited to the traditional literary texts. Therefore, the cinematic display which tackle the narration of a real biography is only a viewpoint that is subjective and subject to the interpretation and the amendment of the director. An important condition of the cinematic narration and the form is the language and the imagination of the living reality.That made the artistic treatment of the biography in its types aiming at the reality and the imitative value of the achievement of the artistic achievement.Hence, the research entitled " The Artistic Treatment of the Biography in the Narrative cinematic Films" of the problem of the artistic treatment of biography films in the narrative cinematic films setting out from the perspective of their subjective interpretations which are innumerable.The research consisted of an abstract and four chapters, chapter One includes the theoretical procedure of the study. The chapter includes an introduction that prepared the way to the understanding of the nature of the study and its problems followed by a comprehension of the important of the research and objectives and limits. Chapter two includes three inquiries; the first is the concept andterm of biography. This inquiry tackles biography as an art, and treated the concepts derived from the literary treatment of the biography in the subjective and objective forms. The second inquiry tackles the patterns of artistic treatments in biography films with the recognition of the reality of the multiples in the treatment and the instability on a rule or law.The ideological dimension affirms the importance of the character for which the film is being made. These aesthetic dimension is affirmed through the here patterns : a pattern that depends on the original scenario of the theme in origin, and another pattern which the director puts his biography from his composition, the third pattern presents a hypothetical pattern that simulate one form of the real character but presents it in for more satisfactory conditions. Perhaps, the most important one is the director's belief that he will be free to tackle it. Chapter three includes the application which the researcher used on the chosen samples to arrive at fulfilling the objective of her study. It includes the procedure followed in the stud and the reasons for choosing the sample and the instrument and the study.Chapter Four includes a summary of the final outcome derived from the analysis. The most important of the results is the multiplicity of the artistic treatment of biography in the narrative film in an open way that does not confine the creative into a limit. Also, some of the conclusions deducted from the results were shown. The researcher poses a number of recommendations which she sees necessary, as well as suggestions for subsequent studies. The research included a list of the resources and references which she depended on her study in Arab and foreign languages and an instruct in English

المعالجات الفنية لعناصر التعبير الفلمي في السينما التجريبية == Experimentation Trials In Cinematographical Films And Their Presentati

اسم المؤلف: بان جبار الربيعي
اسم المشرف: طه حسن عيسى الهاشمي
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون السينمائية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان البحث الموسوم "المعالجات الفنية لعناصر التعبير الفلمي في السينما التجريبية" يتصدى لمشكلة مهمة في التنظير السينمائي هي التجريب في الفن السينمائي.ان مشكلة التجريب طبعت تاريخ جماليات الفلم بشكل استاثرت فيه بكل تاريخ السينما ومراحله المختلفة، والغريب في ا | The research is trying to tackle an important problem in the “cinematic theorizing “which is the experimentation in the cinema art. The experimentation problem prints the history of the film creativities in the way that it covered all the cinema history in its deferent stages. Surprisingly, we couldn’t find clear defintion for this term nor the logic that is work in, also there weren’t specific limitations between the Experimentation as a creative act and the Synthesis that covered by creativities, morever the experimentation term and using other different terms that almost erase the experimentation term, then the problem became much more difficult when the researcher found many illusions affecting the term of experimentation and its relation with the term of “modernization “which considered as a Vague term due to its different definitions in the resources that explained it.This research includes a summary and four chapters; the 1St chapter was like a methodical framework for the research and it includes Introduction to understand the kind of the research then “the problem of the research and its necessity”. So the problem of the research identified by the following.What are the Experimental trials that print the cinema film?What is the limitation of experimentation? And what kind of logic can control it in the filming show on the screen as a basic visual reality?The researchers other the individuals interested are in need for such researches to solve the ambiguity that occurs in the fundamental terms related to the development of all cinema sciences. The objects of the research were to uncover “what are the Experimentation and of the logic of its effects “as a filming show appeared on screen. The place factor was widely open for the research because the cinema creation is not a limited by a place also because the creation come out from everywhere with a cinematic production, concerning to the time factor, the researcher found after its putting in mind of the Experimentation that the from the begining of the third millennium until this moment of the writing the research a period of most understanding and growing for the Experimentation cinema despite not forgetting, anyway, the previous important trials.The research added previous studies to its methodical framework, believing that such studies should precede the writing of the research in order to be its guidance in the positive negative way its issue. Chapter II includes three sections; the first section was “the expircal cinema the term and concept” this section addressed to all the Experimentation practiced by cinema as a creative art, but during discussing all of this, the section excluded the experimentation in the silent cinema, allegedly that the right Experimentation is accomplished by envolving all the cinematic language factors, since the silent cinema doesn’t have the sound factor the silent cinema miss, subsequently After further study, the researcher found that the Experimentation in some aspects needs a a longer reactive time in order to find the range of its disclosures so the short movies also have been excluded from the research, the emphasis has been put on by the usual narrative cinema, those movies which fund the movie Film industry by attravting huge masses the people who buy the expensive tickets for the sake of this art, it rendering the art of the age indeed in terms of its popularity that exceeded any other art, conseauently excluded the Experimental film made for the elite Which is displayed indoors then disappeared to be found only in the cinema archives.The experimental film presented by this section is the movie that never gives up its fans nor its experimental and creative discoveries and both are difficult demands, the movie that achieved those demands is the movie that add something to the cinema art as experimentation use for the first time in the cinema language or narrative filming or the shape or all together.The section refers to the relation between the modernism and the experimentation, and tried to put both terms in its own range.The second section entitled “experimental generation”, it was an attempt to go through the experimentation as a human significance practiced by the mankind, identifying how the human creativity introduced something in certain time and hide things to be discovered in another period, it’s about to say that experimentation does not to “narrow” through surrender the usual techniques and looks for a new technique not recognized yet. The section concludes that the cinematogra one experimentation hides in the previous experimental films prior the expreimation because it refers to something related to the cinema language or film narration and figure, through the study of the movie as semiotic text in addition to what it content of text signs cohere into a linguistic significance effected to the traditional and experimental film, but the research focused on the semiotic of the experimental film through understanding the means that insure the right use of the expressive tool.We will study also the linguistic system for the experimental film and what it contains from text, context or message and all the conceptual system which came from the science of signals that started basically from a philosophical approach which is the Logic adopted by the signals, so the Logic is the tool directed by the mind to realize things and the semiotic is the science which enables us to know the logic of signals due to its signals roots found in the same logic, here we reach to a fact that It is not possible that we impose the standard science logic upon the art.In this section has we have taken advantage of avaluable lesson on lecture regarding the (science of signs and semiotic) especially the lecture of “the original signalsand the subsidiary ones and how they work in the experimental film” Perhaps the stopovers in some of the top actors who involved modernity & experimentation will become a necessity for such section like (Bonweel, Bazolini and Ghodar) whom considered the film art is a wide open area for the experimentation and creativity.The third section involved in the” experimentation in the cinema and the neighbor artistic fields. like poetry, novel ,painting ,theater and others.the section came to an important result which is the film art in its experimentation possessed the major part of originality either in the film figure or narration, moreover the film art regarding its tale said that it use all the experimental narrative discoveries for its interest due to the ability of its expressive tool to cover the elements whether narrative or artistic It is inevitably, the research figure out signs to use it as guidance to analyze its components, so all its signs that subjected to evaluation of the exports had covered what the research contained from analysis and the signs were as the following.1. Experimental film is the film that presents unexpected trials for the factors of the cinematic language which insure its unique signs functions, either if it was picture the unbelievable role of the camera lights the movements time and place for a factor or some or them of all of themThe third chapter contains the research procedure included the research approach which is a describing approach and the research sample which contained three films which are 1. Dialogues with other women 2. Dogh feel 3. Sin city The research tool was the indicati of the theoretical frame that agreed by the experts with amending some other components that touche the surface of the indicator but not its essence that’s mean that the experts completely agreed on this signs while the analysis unit was the complete filming scene.The research started to analyze its three samples according to its signs and it’s important for such research to include results, conclusions, recommendations and suggestions.The results of the research1. The research presents filming figures taken from its experiment in the filming language and narration, and it is not an imposed figure on its experimentation.The research also had several conclusions which are: - 1. The experimentation in the filming art didn’t come from emptiness; it was the continuation to a deep accumulation in various efforts exerted by various creators.The research recommended to study the experimental documentary film and to study the short narrative experimental film to add the benefits of this experimentation to the long narrative experimental cinema in the usual mass production and enriching the free direct cinema and the underground cinema, thus the research ended with its different recourses, appendecies and English language summary

المعالجات السينمائية للرواية الحديثة == Film Adaptations of Themodern Novel

اسم المؤلف: احمد جبار عبد الكاظم العبودي
اسم المشرف: طه حسن عيسى الهاشمي
الموضوع العام: الفنون الجميلة
السنة: 2011
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: 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.

المعالجة الاخراجية للموروث الشعبي في الدراما التلفزيونية العراقية == The Directing Treatment of Popular Heritage In Iraqi Television Drama

اسم المؤلف: فردوس مدحت رؤوف
اسم المشرف: عبد الكريم حسين السوداني
الموضوع العام: الفنون الجميلة
السنة: 2010
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يمثل الموروث الشعبي اهم اشكال الثقافة الحياتية ومرجعية لطقوس وحراك ويمكن توصيفه بالذاكرة المعرفية المتمركزة على ما تنتجه المخيلة الانسانية في صراعها المستمر عبر المراحل التاريخية المختلفة ولا يمكن لاي شعب ان ينفصل عن تاريخه وممارساته التلقائية والتي تعكس | The popular heritage represents the most important forms of life culture and a reference of rituals and motion. It can be characterized with the cognitive memory centered on what the human imagination produces in its continuous struggle across different historical stages. No people can be separated from its history and its spontaneous practices which reflect its attitudes and awareness. What manifestations and expressions the events distinguish promote the thinking level and the characteristics of each people or human group. Because the popular heritage includes deep human experiments, it holds decisively a living and existential essence motivating many artists whether in Iraq or in other world states to turn to invest the data and values he distinguishes. It is easy to transform the social facts to artistic visions, especially TV drama works, besides the marriage between the heritage and TV reflects the fact that the popular polarization size of the little screen made the reception characterized with this extensiveness in that the serials or drama works grew addressing the popular memory towards employing what is common and deep rooted in the collective social mind. Hence, the researcher submitted her topic entitled (The Directing Treatment of the Popular Heritage in Iraq Television Drama) within the light of five chapter as the following : In chapter one (the Methodological Frame), the researcher identified the research problem manifested in the following question : What are direction styles of popular heritage in Iraqi TV drama? then comes the research significance which was obvious from the significance of the topic (popular heritage), since the directing treatments of the popular heritage topics require standing long at them for it is one of the topics that documents a nation life through reformulate its history in a TV drama work. This matter makes it of an obvious importance in searching it in order to provide the chance for the one who works in the field of direction to stand at the potentialities and merits of the works treating the popular heritage as well as to provide a search reference for the followers and readers to get what is within its contents, in addition to the advantage given to the critics, authors and directors who work in TV drama and the advantage goes to the students of the College and the Institute of Fine Arts. As to the research aim, it was in exposing the directing treatment of popular heritage in Iraqi TV drama. Chapter two (The Theoretical Frame and Previous Studies) included five sections as follows : 1 - Section one : The Popular Heritage - The Origin and Concept. 2 - Section Two : The Elements of Popular Heritage and Their Employment. 3 - Section Three : Employing the Popular Heritage in Iraqi TV drama. 4 - Section Four : The Directing Treatment of Popular Heritage Topics. 5 - Section Five : Glimpses of Addressing the Popular Heritage in Some Works. The indicators of the theoretical frame distinguished some results dealing with the directing treatment nature of popular heritage in Iraqi TV drama. As to previous studies and after studying and searching, the researcher found a master study in the library of the College of Fine Arts for the student Adnan Mizhir Lafta entitled (the Cinematic Formulation of Superstitious Story in the Narrative Movie 2004). In chapter three (Research Procedures), the researcher dealt with the research method where she took the descriptive method which fits the research nature. While the instrument was concerned with the elements of the popular heritage and how to employ them as well as the expressing elements which contribute in embodying the popular heritage. The researcher took the scenes as a main unit in analyzing the sample in that she took the research samples purposively which contain the popular heritage essence represented in several samples mentioned with details. Chapter four addressed the analysis of samples. Chapter five (Results and Their Discussion) covered a detailed display of the results arrived at by the researcher where some customs and traditions were shown in most drama works addressed in the research, in that the directors asserted running after the details of traditions and heritage glimpses clearly as well as the popular songs were embodied with all it could turn us to their reality, so the instruments like the Joza and Khishba and singing the squares (Muraba'at) necessitated that there should be a privacy when directing them. Thus, they were discussed and then the conclusions came out, the most important of which are quoting some international works (as popular heritage) and reflecting them on our heritage where the features and characters are changed in a way simulates the Iraqi traditions which makes the director subject to the original text in the treatment process. Afterwards came the recommendations and suggestions matching the research aims. Finally, the researched adopted several suggestions for future topics.

السمات الفكرية والفنية للفلم السياسي == Tellectual And Artistic Features of The Film'S Political

اسم المؤلف: سرى عباس علي مصطفى
اسم المشرف: محمد عبد الجبار كاظم | عدنان جبار شبيب
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون السينمائية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: السينما السياسية واحدة من اخطر الانواع الفيلمية واكثرها انتشارا لتزاوجها مع انواع اخرى من الانواع الفيلمية وتاثيرها الخطير في عقل المتلقي اكثر من اي خطاب سياسي مباشر وقد اختصت الباحثة بالافلام المنتجة داخل الكيان الصهيوني (اسرائيل) والمدعومة من قبل الحكو

السمات الغرائبية للشخصية الدرامية في افلام الفنتازيا == Instinctual Features of The Character In The Drama Film Fantasia

اسم المؤلف: معتز محمد علي جبر
اسم المشرف: صباح مهدي الموسوي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The imagination represents the bases which the arts and especially the art film set out from it, and how treat with the imagination in description of the reality of the movie is the moderns of Cinematographic kinds, according to the self - evident of the imagination, is the real driver for the films the Realism and Impressionism, the story or the Directorial vision and the way which the cinematographic language elements are employing, it must to raise on a large estimate of the imagination, the imagination is consider the base element, so the researcher found that specialization of Fantasia subject which is known fantasy, it was the motive to make it as a subject for his research by rely on the strange characters for the other dramatic figures, these figures have common features which distinguish from the other of the figures dramatic. They are figures which couldn’t available within the physically world, but they set out from the reality to the maximum degree of imagination whether in terms of the shape or from another side the ability to do extraordinary deeds, all that give it libration from the abstracts which tie up the material worlds. the strange figure in Fantasia movies is considered an important element, Innovative and creative, it works by sharing with other figures to reach the Content associated with the Exoticism, from this point of the imagination, the researcher has limited a title of this research as following ((Exoticism features of drama figures in movies Fantasia)), the research has been divided in four chapters : The first chapter/ the Systematic framework which include : The research problem which Crystallized in these questions : what the exoticism features and how show in building the dramatic figure in Fantasia movies? Aims of the research : the revealing about the exoticism features of the dramatic figure in fantasia movies. In addition to show the important of the research and its borders and conclude the chapter by limiting the most important terms.The second chapter ((Theoretical framework)), it has been divided to three researches as following : The first research : consist of fantasia movies ((type and feature)) The second research : the research consist of the exoticism features for the dramatic figure The third research : it deals element role of the cinematographic language in embody the exoticism features for the dramatic figure.In the third chapter : (research measures) the researcher depended on the analytical Descriptive approach according to Indicators of the theoretical framework describing as analyses instrument, after it has been offered to group of the experts, finally it has been chosen the research, they are documentary movies and he put them for many reasons, finally the research has analyzed sample of the research as following : ((X men, The Fantastic four, Thief of thunderbolt, Nightmare in Elem Street))The fourth chapter, the results and Conclusions : it has consist of the most important of the results and conclusions that the researcher has reached as following1 - The Extraordinary capacity for the dramatic figure consider the Instinctual qualities which Fantasia movie bases on 2 - form Embodiment of the instinctual figure presents one of the necessities which reveal about it’s the Instinctual qualities.The most important conclusions are,1 - Fantasia movie represents a Cinematographic kind, which has specialty in presenting a specific subject also the Cinematographic treatments 2 - The dramatic figure in Fantasia movie a large space in variety operation on level of the form and function because multitude its forms, they may be human figure, but it has superpower or Mythic Creatures or monsters Finally it has been offered the recommendations and the suggestions and it has been ended the research by list of the sources.

ملامح البطل الشعبي في الدراما التلفزيونية العراقية == Features of Public Hero In Iraqi TV Drama

اسم المؤلف: سلوان بهاء كاظم
اسم المشرف: علي صباح سلمان
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: تطلع الانسان منذ بداية حياته على الارض الى مثال، او انموذج فية قيم البطولة بعضها، او كلها التي تنسجم مع مستوى وعيه وطبيعة الشعب الذي يعيش فيه، وتتناسب في صيرورتها المتطورة مع مراحل تطور الفكر الانساني المعاصر الذي ينسج عن طريق تعالق وتشابك الانسان مع طبيع | The human, since his struggle on earth, looks for an example characterized with values of heroism that corresponded with his thought and nature of people whom he lives with. These values match the development stages of temporary thought that resulted from getting the man to be aware of surrounding circumstances in respect to social, political and economical factors which considered as a main basis for crystallizing human and people's awareness. Hence, the public hero gets his sufferings by his expression about physical human action in different forms affected by place and time across human life decades. Hero features got determined as a result of human awareness development in respect to life that required a set of features the hero characterized with as to express through which about human action linking to his awareness about nations in an active way.The research includes four chapters , the first chapter deals with the methodical field included problem of the research that represented in the following question : What are outstanding features of public Hero in Iraqi TV Drama? In addition to the research's significance, its goal and finally terms definition.The second chapter includes theoretical filed and previous studies. The theoretical filed divided into 3 parts (1st part) : public hero in relation to significance and term, where it had been defined definition of public hero according to conception of public hero.( 2 nd part ) and about the second research : drama construction at the television series which included the most important of emerging and theories that belong to the drama construction for television series. (3nd part) : includes features of public hero in drama and basic supports pertaining to features and aspects in the drama. This gives him a distinction as to embody his people longings and desires via his action and his struggles with other forces.After then, the researcher got theoretical field that helped him after the approval of experts committee as to be a tool for analysis.The third chapter includes applications the researcher depends on for analyzing the sample chosen on purpose as to get to the goal of the research. The application includes the research tool and text and reasons lying behind its choose , the analysis unit, tool confirmation and sample analysis.The fourth chapter includes final results conclusion resulted from the analysis. Actions and changes of public hero have been considered as a real and actual expression about social structure and self - patriotic in its ambitions , hopes , equity and justice. It also exposes conclusions resulted from the research results , top of which have been social, economic and political changes that formed picture of public hero in TV Drama; besides, it includes some recommendations and also suggestions for later study.The research has concluded with list of references the researcher depends on and a summary of study with English Language.

الدلالات الزمنية للصورة في الدراما التلفزيونية == The Time Indications Forpicture In Television Drama

اسم المؤلف: صابرين كامل زيدان خلف
اسم المشرف: عصام عيسى علوان السامرائي
الموضوع العام: الفنون الجميلة
السنة: 2012
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: ان وعينا لمفهوم الزمن وادراكنا له,ليس في كونه زمنامجردا,بل في معايشتنا له,جعل الباحثة تستقصي حالات بناء الزمن ودلالته وكيفية نشوء فكرته لدى الانسان وصولا الى ادراكه واستيعابه من خلال البنى الفنية بتعدد صنوفها وحالاتها والتي تصاغ بسبل درامية تعطي متصوا انس | That our awareness of the concept of time is not in the fact that time merely, but in the Maistna him to make a researcher investigating cases of building time and the significance and how the emergence of the idea of a guidance man down to the perceptible and absorbed through the structures of art multiplicity of its different, situation and formulated ways of dramatic give a vision humanly creative about the time.In aspects of the philosophical, scientific and technical witness the effect of time and the concept of time, occupies an important place in the drama in human life, self and external environment and society, all this gives the structure of image work dramatic themes promise revolves time Petrchinha So it was a question that deals with the search : (What are the qualities under which the pixels to produce indications of time of the events in the drama TV show?)The first chapter deals with the structure of the research, the problem and the need for it, its goal and its importance, and which controls the border area of research as well as determine the terms.Chapter II addresses the theoretical framework (two topics), the first contains several sections and includes each time its concept, types and concept philosophically, and in the section other includes the structure of semantic of the image in the television drama, and represents the time in which to infer the effects of time of the artwork and understood by the receiver when watching action film and television and then reviewed by a researcher the results of the theoretical framework and left him in several indicators,In the third quarter, which includes measures of research methodology - sample of the research - the search tool and the unit of analysis,Finally moving to the fourth quarter to deal with the analysis of samples selected from the serials, which have been selected Qsidia two series (King Farouk, another series of kings) and through the search tool is obtained, our findings through the analysis and thus complete the research conclusions, proposals and recommendations complementary to search then fixed list sources and supplements

اشتغال الشفرات الثقافية في المسلسلات التلفزيونية التركية == The Functioning of Cultural Codes In Turkish TV Series

اسم المؤلف: علي عبد الرضا مزبان المطيري
اسم المشرف: ياسر عيسى حسن الياسري
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: بدات العروض الدرامية التلفزيونية الاجنبية وبالخصوص المسلسلات التركية تاخذ مداها الاوسع في البث والانتشار في الساحة العربية عبر وسائل العرض المتنوعة ومنها القنوات العربية كافة الحكومية والاهلية، وصارت تشق لها طريقراحبا وسط المتلقين العرب عبر ما تبثه من قيم | Began offers dramatic foreign TV and in particular Turkish soap operas take a range of broader in broadcast and spread in the Arab arena through the means of various display including Arab television all government and private , and became make their its way welcomed amid recipients Arabs over what was done to the values , ideas, and the meanings of various , across what was done to their offerings dramas diverse in terms of form and content , and therefore it has become necessary to monitor this phenomenon art by researchers and scholars in the fields of film and Television Arts so that it can understand and comprehend the vast amount of marks artistic , aesthetic and semiotics posed on according to their own perspective , and that seemed to constitute as mentioned phenomenon of great artistic occupied Arab public opinion and Muslim world as a whole. In order to prove a research that this phenomenon is its own language was we have to disclose their tools and language Tglatha aesthetic and expressive and semantic terms of form and composition and meaning , and here began , the first steps in the study of this phenomenon artistic expatriate us , through an approach to language film structures semiotics active and effective participation in Mndzha iconic pregnant for the meaning of the signifier ( s dramatic itself ) , in terms of function units and compositional organization and shape and Altmzar , and the resulting emergence of Encode cultural meet the privacy of work and gives him his identity , social and cultural well and shown on according Achtglatha multiple hidden and implicit within the overall context of the presentation of dramatic television , the offer system nested and linked to cultural life public and the same time is a separate system of cognitive intellectual aesthetic operates according to its own language and Its blades specialized Kalza and theorist , music, physical movement , and here and where resulting from this approach several results had them , the possibility of the application of most of the structures of semiotics linguistic the accomplished television drama based on the manifestation and emanation built Alamih lingual and non - lingual actor like , blades , and built a communicative other is determined by which identity and privacy accomplished dramatic television and his art , through interdependence and different and Talvadtha markers ( iconography , and symbolism , and indicative) incarnated and is operated in the body art , and the problem with this , a system of rules and technical norms , which in turn lead later to deliver a message with deep meanings , using all elements of cinematic language. And according to the progress of speech and a request to build the foundations of scientific research , academic, and in order to stand on the details of the chapters of this research work and covered components of the various it has been the study title, year ( the functioning of cultural codes in the dramatic TV series Turkish ) and were divided into four chapters , as follows : Chapter I ( methodological framework ) : The intake of this chapter the research problem , which crystallized and was studying the modalities of the functioning of cultural codes in the structures of television dramas Turkish embodied in the form of dramas and demonstrate their functional and semantic through the identification of structures cryptographic elements display art and semiotics. Vassana work uses blades cultural reality expressed through the expressive elements of cinematic language , in turn, creates a cultural Its blades that gives the drama of technical specificity and uniqueness distinctive. Also included this chapter objectives of the research , also included a chapter on the rest of the ingredients methodology other than the importance of research and its limits , and the definition of terms and came second chapter ( the theoretical framework and previous studies ) : Based on the manifestation of the subject of current research into the levels of synthetic and Alamih and expressive , diverse saw the researcher to study what's covered by the installation of elements within the construction and semiotic recaps of the drama television show as a structure and shape Accordingly, the researcher finds this chapter is divided into several sections , were as follows : First : dramatic structure in Turkish TV series : Second : the semiotics of dramatic television building : Third, the concept of semiotic codes in the field : The third chapter ( research procedures ) is based on two main pillars : research methodology , and it has been adopted descriptive analytical method based on the unit of analysis that are part of the selected sample Qsidia a way that fits with the nature of the research, in addition to clarifying the reasons for choosing this sample. The resulting theoretical framework for a number of indicators adopted by the researcher as a tool for the analysis of the sample after the presentation to the committee of professors and experts for the purpose of examination and evaluationCO : Analysis of selected sample according to the tool that came out of a researcher from the theoretical framework. , The sample consisted of the series ( Valley of the Wolves ) measure performed seventh.And ensure the fourth quarter , a set of findings and conclusions , the most prominent of which contribute to the adoption of cultural codes through Ostglatha multi as markers or glitter Tgeorah and deliberative adopt the concept of relational in the supply , transportation and neighborhoods structures and forms Alamih with Achtgalat extinct and dead , or specific markers ( arrows ) (Poison ) ( cord ) ( secret rituals ) , employed in the service of a broader meaning and shows the function within the context of the Great unity (Serial ). The research also included a series of recommendations and suggestions for the search ends with a list of diverse sources and a summary of research in English

التوظيف الفني والجمالي للخيال في الخطاب الصوري الموجه للطفل == Aesthetical And Artistical Use of The Imagination In The Audio - Visual Message Directed To The Children

اسم المؤلف: شذى حسين محمد العاملي
اسم المشرف: متي عبو بولص
الموضوع العام: الفنون الجميلة
السنة: 2008
الموضوع الدقيق: الفنون السمعية والمرئية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: The two media technique, film and virtual reality, use variety of technology to form a represented copy of perceptible reality. Like imagination, the two try to present a form of reality that induce a mental concepts which goes begond what is perceivable by the senses.In accordance with his imagination (techniques) the child finds himself in a state of transmigration and emotional involvement with what is going on the screen. He engrosses in a total isolation of the world around him and indulges in a sentiment communication with the film events.In his school age, the child's imagination. Grow as his mental abilities expand from, to more creative and combined, this can be enriched by watching film and TV stories which have heroes and adventures.The innovators in the film and television industry are leading the children into acomlete fancy world by using a third dimisions pictures and stereo digital audio.As result of the huge advance in the field of special effects, film became a whole special effects work engaging our senses.The researcher presents three pattern of imagination taken from the real child imagination which creati8ng a whole crazy world such as the fantastic events of Alice in The wonderland, or science fiction world that allow people to travel to the future or to the past.The perfect combination of a real world and imaginary world in a story, fascinate the child and put him in a warm and spontaneous feeling

التمثلات البنائية والفكرية للمكان في مشاهد الاستهلال في الفيلم الروائي == Representations Structural And Intellectual Place In The Scenes Initialization In The Feature Film

اسم المؤلف: محمد عبد الحميد ضيدان
اسم المشرف: علي حسين صفوك الركابي
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتلخص موضوع البحث ( التمثلات البنائية والفكرية للمكان في مشاهد الاستهلال في الفيلم الروائي) كونه يبحث الجانب البنائي للمكان, اي مجموع العناصر التي تتفاعل معا في تحقيق تلك البنائية وما يترتب عن ذلك من وظائف تحقق تلك البنائية المكانية وخصوصا في مشاهد الاسته | Boils research topic ( representations structural and intellectual place in the scenes initialization in the feature film ) being looking side constructivist place, any sum of elements that interact together in achieving those Constructivism and the consequent functions check those structural spatial and especially in the scenes of initiation which usually reveal the nature of the events and the dimensions of the characters and their actions , and the atmosphere psychological, social , cultural and otherwise, for the link to place a lot of dimensions that can be drawn or expected , so I saw a structural place over the course of art film a lot of transformations which Erafqgaha necessarily a change in the functions performed. In terms of representations intellectual place , the directors usually hire the place in order to bring out their ideas , either directly provides an understanding of the receiver to the idea of the film from the beginning, or indirectly by encoding the place and thus may postpone the director in the detection of the idea of the film to movie scenes Other may sometimes up to the end , and it will be a key component in place to receive information either visible or invisible and a substitute for the usual methods such as dialogue or commentary , or other methods of narrative.The research is divided into five chapters : Chapter One : to ensure a systematic framework for research and included a research problem , which was the following question : What representations structural and intellectual place in the start - up scenes in the feature film ?And also included a theoretical framework to search a target detection modalities that their place is structurally and intellectually in the start - up scenes in the feature film. The search also included the importance of and the need for him , as well as to clarify and define the limits of search terms.The second chapter included a theoretical framework and previous studies theoretical framework has been divided into three sections : The first topic : the concept of the place and divided into three main axesDiscourses place linguistically and philosophical concept of the place and the concept of the place of artThe second section was talking about the structural location and the types of films that Abanna?aat what are the cinematic elements that participate in these structural and how they operate.The third topic : it was the place to talk about the film structure and significance , particularly in the start - up scenes , and touched on the concept of search start - up in literature and cinema and what is the structure of the privacy of the place in the opening scenes , and how they hired Bna?aat place in those scenes.He then discussed the intellectual side of the place in the opening scenes and how they were dealt with by the directors of place in the presentation of their implications intellectual ways and means Ctoziv many cinematic elements and other methods such as the use rhetorical symbol and metaphor. After the completion of the theoretical framework presented earlier studies that dealt with the subject of research from afar or from nearby , concluded the researcher to a number of indicators that felt researcher to be a tool for analysis after the presentation to the experts and ratification by them , so the researcher analyzed the three films has arrived at a set of results was the most important : 1 - saw the place in the structure of scenes initialization shifts and many changes as a result of the active role of this structure and of its own functions on the level of dramatic and aesthetic and intellectual.As of the most important conclusions was : 1 - maker cares about the structure of the work place in the side as a start - up scenes of the most influential and enjoyed plenty of the recipient in terms of reaction and anticipation fascinate and expand the horizon of expectations.Then your search is over some of the recommendations and proposals.Find then concluded with a list of the most important references and sources that hired the researcher and a summary in English

التمثل الدلالي للسريالية في الفيلم الروائي == Semantic Assimilation of The Surreal In The Feature Film

اسم المؤلف: اثير عبد الرزاق بدن الساعدي
اسم المشرف: ماهر مجيد ابراهيم
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يركز صانع العمل في خطابه على انتاج المعنى، عبر توظيف الوسائل التي تولد المعاني الظاهرة والضامرة، وترتبط عملية انتاج المعنى بالمرجعيات التنظيرية التي ترتبط بذات الموضوع، فللموضوعة الواقعية خصوصتها في التعامل مع المعنى، وهذا ما ينطبق على باقي المرجعيات التن | Focuses maker working in his speech on the production of meaning, through the employment of means which generates meanings phenomenon and vestigial, and linked to the process of production of meaning reference laparoscopic, which are associated with the same subject, subject realism particularity in dealing with meaning, and this is what applies to the rest of the references laparoscopic, such as formal theory or Cinema dogma, and other references that assume a particular form of dealing with the raw material and the elements of the language of the mediator, and Surrealism one of these references, which are characterized by particularity in dealing with the meaning and production of special means, represent this means the basic features of the surreal, which crystallized images cinematic configurations working to represent the significance of Surrealism in the film, hence the title of his research researcher identified the following : (semantic assimilation of surreal in the feature film), and the researcher dividing the search on four chapters, were as follows : Chapter I (methodological framework), which included the research problem, and summarized by asking the following : What are how they are semantic assimilation of surreal in the feature film? Then the importance of research and the need for him, as well as the objectives of the research and its borders, and identify the most important chapter seal the terms contained in the title search. Chapter II (theoretical framework) and came on the three sections, are as follows : The first topic : the concept and references Surrealism : researcher where the concept of Surrealism, and techniques adopted, as well as the attributes of the surreal. The second topic : embodiment and abstraction of the cinematic image : in this topic was discussed modes of assimilation in the picture Surrealist film, once deprivation through symbol and metaphor and again personification by employing elements mediator Film Festival. The third topic : the significance and layers of meaning : in this section have been addressed to the term significance, and the beginning of this science, and the mechanism for making semantics and Production of meaning, as well as layers of meaning direct and implied indirect, through which assimilation Surrealist inside feature film. In light of this, the researcher to a set of indicators that represent the summary of the theoretical framework. Chapter and seal with previous studies.Chapter III (action research) : has included research methodology, tool research and analysis unit and the research community and the sincerity of the tool and steps of analysis and research sample that has been selected Deterministic are as follows : First : the movie (Black Swan) output (Inception) Second : the movie (Inception - Inception) Directed (Christopher Nolan) Then, the researcher analyzed the sample from the theoretical framework of indicators after taking the opinion of the Committee of Experts and arbitrators. Chapter IV (findings and conclusions) : it ensures results that came out of the researcher after analyzing the sample, and the most important results 1. activation rhetorical elements of the language of the mediator film for the production of meaning in ways different from what is familiar, becomes a meaning associated consciously receiver, and the capabilities of psychoanalysis to uncover the nature of relations constructivism in movie scenes, as demonstrated in the research sample (film Black Swan, and film Inception) 2. shape the narrative in the film Surrealist manner vehicle, it is beyond the formats of traditional narrative, clinging to such modalities narrative hybrids that overlap the middle of texts, and becomes a sequence of Psychological is dominant in the presentation of the events, as demonstrated in the research sample (film Black Swan, and film Inception) The researcher then went out to a number of conclusions, and recommendations and proposals. Find and seal a list of sources and supplements and a summary in English.

البناء الحركي وانتاج المعنى الدلالي في المشهد التلفزيوني == The Buildup of Motion And Production of Semantics Meaning In The Television Scene

اسم المؤلف: كمال شناوي ذياب
اسم المشرف: دريد شريف محمود
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: سعى الباحث في هذه الدراسة الى ابراز دور الحركة كمفهوم شمولي في مستويات متعددة امتلكها الفلم كمنتج فني سواء على مستوى السينما او التلفزيون بشكل عام، كما سعى الباحث الى تجذير العلاقة ما بين الحركة ذاتها بكل مستوياتها ومراحلها وتاثيراتها في انتاج المعنى الد | Researcher sought in this study to highlight the role of the motion as a comprehensive concept in several levels the film has as an artistic product, both at the level of the cinema or television in general. The researcher sought to consolidate the relationship between motions itself at all levels and stages and their effects in the production of the semantic meaning. The study tried to follow the appropriate way to achieve the maximum benefit through reading all views in line with the research objectives, the research was divided entitled (buildup of motion and production of semantics meaning in the television scene) into four chapters in which he first entitled (The methodological framework ) which includes the problem research, its limits and its goals, while the problem of the research can be summarized asking following ((what are the aspects of motion affecting the production semantic meaning in unified artistic buildup?)). Yet, the importance of the research being dealing with basic subject in the structure of a scene, which is motion and their meanings in production as well as the possibility of becoming a useful study for those interested in field of TV drama. Meanwhile, the limits of the research focus on studying television drama. The research objectives have been limited to (detecting the modes in which motion operates within its various forms on production of semantics of meaning in the television scene). The chapter also included on a definition of the term motion, while chapter two (the theoretical framework and previous studies) which has included three studies which have formed the theoretical foundation of the research, these studies were titled as follows : The first section (motion from the structure to the meaning) it gave a thorough discussion to the concept of motion, in addition to the structure and semantics and the significant of the structure on scene buildup in films, in addition to the theoretical picture and its relation with the meaning which is being dealt in details. The second section (from the movement to the film) it reviews the history of motion picture and factors that affect the composition of picture in television.The third section (motion and dramatic structure in the television scene) it addresses the concept of drama, in addition to the elements of action and its buildup, also we have dealt with the rhythm of the scene and building it both intellectually and editing (montage). The research also tackled a number of previous studies that have smaller interests. The researcher has come out of a number of indicators which are the results of the theoretical framework.The third chapter included (research procedures) which included the used methodology and the research community and the chosen samples and justifications for choosing them, as well as the mechanism of research and unit of analysis, this chapter also included analysis of the selected samples. The fourth chapter includes conclusions that focused on two television series that were intentionally chosen to meet the requirements of the research. There are fundamental findings that both series have resorted to motion levels in producing the meaning in different manners, starting from the buildup of motion to vision and the editing, camera and sound. The researcher confirmed on a number of conclusions that have resulted in the light of discussing the samples of the research which confirmed that television series should deal with almost all levels of motion and its meanings in the production of the television scene, with a significant difference in the levels of motion in building of the scene. The results and the recommendations have maintained the goal that the researcher has made in mind in his scientific plan, as mentioned above. This chapter also includes the recommendations, proposals and sources, in addition to summary of the research in English.

المعالجات الفنية لمشاهد الاحلام في الخطاب السينمائي الروائي == Artistic Processors of Scenes of Dreams In The Narrative Cinematic Discourse

اسم المؤلف: سالم شدهان غبن
اسم المشرف: رعد عبد الجبار ثامر الشاطي
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: دكتوراه
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: يتناول البحث الحالي الفصول الاتية : الفصل الاول (اطار البحث) الذي يتضمن : 1 - مشكلة البحث : وفيها تحدث الباحث عن الحلم داخل السينما وعن مبررات وجوده وكيف تاتي مشاركته بفكرة الفيلم ومدى قربة من الواقع كمقدمة بسيطة للتساؤل الذي يمثل المشكلة وهو : ما هي نظم واشك

الاثراء الجمالي للكادراج في تشكيل فضاء اللقطة لبنية الفيلم السينمائي == Aesthetic Enrichment For Cadrage In The Formation of A Snapshot Space of The Film Structure

اسم المؤلف: علي حيدر خالد فرمان
اسم المشرف: متي عبو بولص
الموضوع العام: الفنون الجميلة
السنة: 2014
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: When he was told earlier that the film image and the movement were matched at the same moment that attempts perpetual to find potential unique art film , a possibility that must be characterized and unique among the rest of the other arts , which laid with the long history of the foundations of language unique.. as he says Eisenstein in his book Movie format that the musician uses a ladder of votes , as well as a painter uses the area graded colors as that of the scribe set of characters and words.. but in return what fired on cinema recipe she image and movement have come to the recipe opaque in the eyes of aesthetics film since there is no image transmitted the camera does not move CONTAINED within this cadre express virtually no way for the uniqueness of this special art.. the picture itself is a possibility of many other visual arts... as well as the movement within a specific framework cadre is also a feature of the theater.The image and movement are two of the data of this language does not mean in themselves this language , but is just data , and these data are recoverable only to the restructuring and the creation and then the way restructuring is the same as that language desired , which will uniqueness of the art film venue solo the rest of the languages of art, because the cinema visual art , it was the configuration the effect of the basis of the formation of the mainstay of this art , Valtkoan picture film performs a critical function in the development of any accomplish my film , not surprising that the overlap in the configuration process all the technical elements and technology that contribute to the making of the film , way out and photographer and designer decor , actor and sound engineer contributing to all of us in creating a configuration Film Festival, as well as " all this, the film largely depend on the aesthetic image problem system configured I mean , it can be Mahbuka Banazare and special effects nearby , which qualifies the process of attracting viewers and raise their senses and provoke Maiqathm about topics that drama Moot film , particularly as it was the product of a technical support look and feel as a showpresenting , and leaning on the configuration elements and forming processes in the formation of the final image of the drama movie , which up to the viewer , carrying in its content story or idea , in the framework of art was his mastery and drafted through the techniques and tools employed by Maker work with his style and his way and visions.Hence the researcher in identifying placed his research (such as the inclusion of aesthetic enrichment in the formation of a space snapshot of the structure of the movie), has been divided into five chapters on research were as follows : The first chapter ( frame systematic ) : to ensure the research problem, which was questioning follows ((what qualities by which to achieve enrichment aesthetic such as the inclusion in the formation of a space snapshot of the structure of the movie?)), As well as its importance and the need for him in being dealt with articulation accurate one language elements film, in addition to the aim of the research, which represents detects modalities by which or contribute to the enrichment aesthetic such as the inclusion in the formation of a space snapshot of the structure of the movie, as well as ensure that the limits of the search, and seal Chapter determine the terms contained in the title search.Chapter II (theoretical framework and previous studies ) : The researcher dividing the chapter on the three sections, as shown below : 1. The first section : (Alkadraj in the structure of the movie)2. Second topic : ( plastic film shot in space )3. Third topic : (aesthetic building frames acoustically and visually)Finally, the researcher came out at the end of the second chapter of inter indicators formed a summary of the theoretical framework.Chapter III ( action research ) : ensure research methodology and the research community and the research sample, and the search tool has been identified through the indicators derived from the theoretical framework after a presentation to a committee of experts for examination and evaluation.Chapter IV (sample analysis and discussion) : ensure that the sample analysis and discussion of the analysis was to deliberate three movies to get to the results and objectives , A film (Shakespeare in Love), directed by John Madden and film (Kingdom of Heaven), directed by Ridley Scott and the film (a nightmare of blood and sex), directed by Joseph Kolbyk.Chapter V ( findings and conclusions ) : Review of the researcher to ensure that the most important results that came out of the analysis of the sample , including : 1. Enrichment is a given aesthetic basis for action when Alkadraj composition of space from the vision of self - treatment of structural frames in the film , as demonstrated in our research sample film ( Kingdom of Heaven ) and film ( Shakespeare in Love ).2. The building Alkadraj means the ability of the director to manipulate the rhythm and the mass distribution through homologues and antonyms , which represents the process of enriching the aesthetic of the snapshot in the structure of the film as a whole , as demonstrated in our research sample film ( Kingdom of Heaven ) and film ( the nightmare of blood and sex ).3. Represent the process of the mass distribution within the framework of the standard basis in shaping the aesthetics of the rhythm of the picture and the overall unity of rising onthe balance of the overall composition of which , as demonstrated in our research sample movies.4. Achieved enrichment aesthetic through activation of the text scanner , and the gradient hormonal colors or Alcontrast which is a factor creating clarity and isolation and vision , as well as distortion and guess in a sense, as demonstrated in our research sample film ( Shakespeare in Love ) and film ( the nightmare of blood and sex).As well as the conclusions that the researcher extracted from the overall theoretical framework and analysis of the sample and that of the most prominent : 1. The Alkadraj is one of the most important means of creating distance aesthetic image , Valotra aesthetic in the picture is constructive Eptgeh director of that image in its final form, it is that expresses the sum of intellectual and formative vision of Foreign Affairs of the same artist to public life , which is the result of all his thoughts and instincts on differing trends and inclinations and different affiliations , culture and consciousness , experience and practice , which represents emotions and maturity and the extent of his capabilities , which led him to this level of performance excretory , especially since the plastic snapshot extends to the meanings of Interior , which is closely related to and interacting with all shapes and sizes , and the characters and decoration , furniture, fashion and color and lighting of during that intentionality regulatory those different elements.2. Said enrichment aesthetic such as the inclusion controlled by the ability of the director to manipulate the rhythm mass distribution language brevity of its subject , who is filming , as well as by staff and the framework Ikts intent to form was footage establishes turn later scenes , which in turn containsall elements of the picture and formations granted by the characteristics and dynamics , which is incorporated in the final form of image expression and its beauty.3. Polarization and induction of wonder and exoticism at the viewer , to establish enjoy and gravitate to the image Bmoduaadtha , shape and construction of the picture and the objective and all this is thanks to the amount and type and multiplicity ( abundance ) and the shape , color, size and method of formation of fonts, colors and decorations and sculptures , which are in constant flux and constant , and that even included fashion accessories and all assets in most movies samples.Chapter and seal the proposals and recommendations , and then the list of sources and references that benefited the researcher and seal search extract in English.

الاثراء الجمالي للمؤثرات الرقمية في الصورة التلفزيونية == Aesthetic Enrichment of Digital Effects In The Television Picture

اسم المؤلف: نوفل جنان بهنام فتوحي
اسم المشرف: ماهر مجيد ابراهيم
الموضوع العام: الفنون الجميلة
السنة: 2013
الموضوع الدقيق: الفنون التلفزيونية
الدرجة: ماجستير
الجامعة: جامعة بغداد
اللغة: العربية
مكان الجامعة: بغداد
الصفحات الاولى:
المستخلص: Tertat data aesthetic and practical achievement of enrichment variable technical and scientific development adopted by means Alcinmatugraveh, especially psychotropic Digital, which employs in the production of TV picture, and the formulation of the reality of art as much as possible of persuasion, since they represent the process enriching the form of technical drama television, producing layers of meaning, accompanied that achieving credibility dealing with vocabulary set drama, so granted the fact of the Incarnation in the window, and this articulation select researcher Title search (b enrichment aesthetic effects digital TV picture), where it formed digital technologies certain scope for creative building (picture art) characterized by high capacity on intellectual expression because of its highly effective techniques to achieve aesthetic enrichment level exceeded the traditional concept of the tricks and traditional influences, has been divided researcher discussed into Khosma chapters were as follows : Chapter One (methodological framework) : which included the research problem that summarized in the following question : How are achieved aesthetic enrichment of digital effects in the TV picture?The importance of research and the need for it, as well as the limits of search, and seal identifying the most important chapter of the terms contained in the title search.Chapter II (theoretical framework) : included three sections were as follows : The first topic : technical development and creative construction in artworkThe second topic : employ digital effects in TV pictureSection III : aesthetic influential digital television drama.In light of this, the researcher to a set of indicators which represent abstract theoretical framework as a prelude to the presentation to the Committee of Experts as described in Chapter III, the researcher concluded Chapter Two previous studies.Chapter III (search procedures) : The research methodology included, and search tool, the unit of analysis and research community and sincerity of the tool and analysis steps, and finally the research sample, where purposive sample was selected are as follows : three television series : First series : (Sinbad) Directed by (Brian Grant - Andy Weston)Second series : (Visitors Visitors) Directed by Scott Peters.Third series : (Spartacus Spartacus) first season out (Rick Jacobson)Then, the researcher analyzed the sample from theoretical framework indicators after taking the opinion of the Committee of Experts and the arbitrators.In the fourth quarter (results and conclusions) : it included findings researcher after analyzing a sample search, including : 1 - aesthetic enrichment achieved through the effective capacity of the effects on the formulation parameters of time and space in the television drama high flexibility and voluntarily whether through industry place fully, or partially. As we have seen in the research sample TV (Sinbad, Spartacus, visitors).2 - leads enrichment aesthetic image to enrich the credibility and construction, verification and conformation, which means achieving maximum active connotations expressive different in all cases the result is a functioning aesthetic features the ability to combine the advantages of the real world and the vision fictional at the same time. As we saw in the research sample (Sinbad, visitors)The researcher came after a number of conclusions, and seal research recommendations and proposals.The researcher finally put a list of Arab and foreign sources adopted by research, supplements and seal research Abstract in English.