المستخلص:
في البدء بدى امر انتقال المصطلحات من الحقول المجاورة الى السينما غير مشروع قبل ان يصبح الامر مرحبا به لاحقا حيث يجير المصطلح بمحتواه الى السينما بعد تهجينه.التحول اذن، والدلالة، مصطلحان ينحدران من البلاغة، جير المفهومان الى الفنون عامة ومنه الى السينما | With early twentieth century Italy was living under realistic, natural, and position the French, even came factual , to remember the Italian north, including the hardship the people of the South, by social bitter, from the economic situation is bad and misery myself, south struggle achieved unity Italian who was born as an idea and grew and Gracenote their victory under the leadership of Garbalde, also appeared in this period of several books that talk about the local reality and nostalgia for tradition, and provided factual demands that creativity alert of reality as a condition to read self then comes the need for creativity.The years have seen also the first translation of the works of Karl Marx, also appeared theorizing of anarchism, and issued Benedetto Krochi magazine (critic) enshrined against positivism and Marxism, and return to German philosophy, to perfect Hegel, to become one of the most important men of Italian culture throughout the first quarter of the twentieth century, To be theorist first intellectual current literary based on rejection draft democracy and advocate idealism being interested requirements truth of life and distance away from entering into theories is feasible for Modernism, in this period began generation jump concern, public weary of the failure of imperialism to Italy in Libya and Ethiopia recognizes itself in the writings Pirandello and Giovanni Papin, for being more than reveal what in store for that stage of the illusions, and historical importance, and a lot of disappointments, as was seen GabrielliDanotzio of fascism, and Thomas Marineta the future and calling him the need to pay attention to what the current of vital energy, and published poets poems that sing disappointed hope of politics and history.Antonio Gramsci name most worried and fame among the names and one of the founders of the Italian Communist Party, enters the legislative elections to become a deputy in the parliament, and each occupy what is written the hearts and minds of young people, arrested and jailed to die when in (1937), there are in prison compose the most important books ( Messages prison) and then (books prison), which will be for publishing a significant impact on the intellectual life of the post - World War not only within Italy but even outside, and as he was Krochi away from fascist party Italian was Pirandello enters the party from his door wide, and perform Mussolini treaty with Vatican, for dominates dictatorship platform judgment, in light of censorship, writing, running several authors underground resistance after that they took from the south bastion of activity secret, to rise votes demanding the return of the system and theorizing against future, and claim editing literature and uphold the word and openness to European culture and the schools surrealism The Impressionist, such as writings Oginyumntala anti - fascist and a member of the resistance movement, while revolution Pirandello contemporary theater in his writings about the game (theater within theater) to establish this subject dramatic than fiction theater, such as plays (six figures search of an author, night play tonight representing, each Sheikh him way), to have this theater theater loss of identity, loss of self, is moving later in European culture.In (1945) appeared neorealist critique of ethics Italian and position intellectuals days of the fascist and characterized by refusing to scattering of art, to be crowned classics of literary works such as people and others for (ElioVittorana) and the world prisoner's (for GollymoPetrona) and Christ stopped in Epoly's (Carlo Levy), all of which converge in a single theme is resistance to fascism.Before that date three years called critic Amberto barbo term (neo - realism) with film Rosllina (Rome Open City), to be the art form most importantly in Italy, from boiling postwar years until the mid seventies of the last century, where he was subjected to currents and storms changed much in concepts espoused by and addressed and achieved a cinema audience from time to time, where invaded waves films cowboy American movies myths and movies, thrillers, to become film Italian group contradictions between form U.S. and the sense of European, while remained American cinema in spite of currents revolutionary new where to maintain their shape and forms the film industry Despite the different circumstances, commercial Italian cinema is illegal fledgling American cinema, American producers have benefited from the nature of Italy and low wages, melted the original features of the new realism that was during the fifties back to real forties Cinema, popular, authentic.All of these reasons, plus the entry of Spain as a party product for enjoyment existence desert similar to the desert and Mexican villages, cities and population, where there are film events western spaghetti, made the movie Italian audience of world cinema to open in front of him the commercial market, but this did not prevent great artists to submit works confirm authenticity and the date and thought cinema Italian, presenting their films according to their mood and private convictions and perceptions of life, so these films contributed greatly to confirm that ancient heritage of arts and literature of Italy under Mataoua despite took this heritage of forms and methods of strange.Such shifts in the life Italian was pointing to different connotations in political and economic realities and technical, these indications and transformations will be the other factor evolutionarily within the structure of neo - realism itself, and it carries the traditions and schools and many ways, although the confluence of its members was not about aesthetic common among them as desire sense of responsibility towards society, and the role of human society, the war was the factor that near the activities creative, and their commitment to ethical to tell the truth is that putting them, and no doubt that the convergence on the topics and tools of expression has helped to give a new concept of freedom, and even when it ended the war and the time for construction, she stayed presents a picture of human suffering like his spokesman as Scriptwriter Zafatyna was the unofficial spokesman for realistic despite his Marxist leanings.We have imposed a new realism itself as a new phenomenon we discover through Italy through the same, and give a role for that segment of the population that were absent throughout the life of cinema debut on the screen, came down cinema to the streets, fields and farms and factories, fell for the worker and the farmer and the scanner shoes, to be these people anonymous heroes of events , and topics that come into contact with for the first time and tragedy state of society, has been the primary obligation for these filmmakers moral obligation before be technically commitment.Was Cesare Zafatyna is the first to develop the foundations of neo - realism film, was his films with Vittorio De Sica premises first of those cinema across theory (poetic monitoring and tracking), any monitoring of personal actions, and lines functioning, without giving solutions to their problems, while longer film (Rome City open) by Roberto Rusolliny model initiated movement and style together, stating after the screening that (things are like this) and to become the phrase slogan movement, while authorizing a scene as great as Siegfried Krakaor that (neo - realism was believed the goal of cinema is celebrated diary of events).I was born neo - realism and realities other, and a large part of the strength and greatness of Italian cinema that it derives from the fact that it could not continue in the tradition of neo - realism, and certainly it will not do so even if it could, it can move from (Rome Open City) to (Gamora) or (best of youth) of direct social protest of the new realism to the film, which cut a slice of experience, leaving us the task of interpreting and decide what is going on on the screen, to summarize a large part of the history of cinema that country during more than half a century.The directors worked in new realism from the data, while working directors after neo - realism through the language of the questions, and repeated questions failed history to provide answers on the status of fact, they do so objectively assume recipients response to unusually, but realistic objective is still a founding , despite the different trends and styles beyond neo - realism, and despite the different connotations producer.Contemporary Italian cinema does not let us forget that they are going to the same old legacy that began with tales of social conscience, which submitted and will offer over time.The researcher clarity research plan has been divided into five chapters, began the Terminator display framework research and problem of the question: What is the semantic shifts and features when generation after neo - realism in Italian cinema? The importance that carries it, and the goals it seeks to achieve with the capacity limits that moves?.The second chapter included the theoretical framework and previous studies, and came in three sections first is for: the nature of significant film and components, divided section into three joints first one: the significance of language and cinema, and the second: for cinema of significance to filmology and the third one: the component semantic and how employed in the cinema.The second section is for Italy culture and cinema configuration. The third section, including the semantic shifts of the new realism and beyond.The researcher recorded at the end of the chapter, among other indicators:The post - realism generation characterized like aesthetic of reality and the moral conflict as characterized by the novelty and intellectual conflicts and retracement towards the self.The third chapter included research procedures required research methodology and identify his tool - appointed depending on the unit of analysis scene and shot, researcher has chosen (four) analytical samples, each sample represents the direction of trends in Italian cinema.The fourth chapter ensure each sample analysis of the samples according to the theoretical framework indicators. The fifth chapter includes inter results that came out of the researcher, as guaranteed by the conclusions, and the researcher in the end a campaign of guidance and suggestions to draw attention on the importance of trends beyond neo - realism in Italian cinema.
اسم المشرف:
علي حسين صفوك الركابي
اسم المؤلف:
فراس عبد الجليل الشاروط
