جستجوی مقالات مرتبط با کلیدواژه "السینما" در نشریات گروه "ادبیات و زبان ها"

Focalization in narrative texts determines the point of view in movies. This also plays a significant role in advancing the events and the narrative process through the multiple effects of the focal point. It can be argued that the overlap between novelistic focalization and cinematic focalization is advantageous for both fields. Focalization in narrative texts designates the position and place of the narrator and the point of view from which he/she narrates the events while in cinema focalization means that the camera narrates each character’s point of view separately, which affects the spectator. Also, these dramatic elements increase the audience’s ability to understand the discourse in such a way that focalization becomes a dramatic technique. This argument holds particularly true for Zahran Al-Qassimi’s The Sniper. He locates the viewpoints in different places of the villages of Oman through the camera Saleh bin Sheikhan, the protagonist, carries with him. This study, based on a descriptive-analytical method, addresses the focalization techniques within the cinematic discourse and its various effects in The Sniper focusing on the image structure. The objective of this study is to examine the signs of image focalization within the novel’s cinematic discourse. It finds that the way the interaction of the camera and the narrator’s personality affects the spectator can be observed in various scenes. This study specifically focuses on visual focalization and its dimensions.

The cinema was able to achieve a very large audience in a very short time and after the advent of this art, the writers were able to enrich their literary texts and hence the poets embodied the modern poetic vision free of complexity and entanglement, according to the art of cinema and among these expressive means is the decoupage is one of the key elements that influenced the current poem to remove dust from the poetic vision and expansion, and this is achieved by the influence of cinematic style on poets thought and imagination, and this phenomenon often comes involuntarily. And decoupage refers to the cutting of the last stage of the scenario, which is directed and it includes lighting mapping, shot sizes, length, and camera movements, and this is what we find in the poem "Qayrun... a place in memory" of the poet Mamdouh Adwan, as he was able to build his poem in accordance with the art cutting by the director. This study came in accordance with the descriptive-analytical method which applied the decoupage method to this poem starting from the lighting to show the place where the poet lives, the village of "Kiron" and the sizes of shots taken by the poetic camera from the place as well as the image and motion related to the poetic camera and sound effects and this study has reached the most important results; that the poem "Kiron .. place in memory" appeared in the cinematic language, which is subject to the style of decoupage and it builds animated images in the recipient's mind through various sizes and poetic camera movements, and in this work, the poetic text of the poem diverged from the static and static image towards the movement and the delicate imagination.

“The House of Thorns” is a work of the contemporary Iranian writer, Abdolhossein Farzad. The time is stopped for the narrator at seven in the morning. This suspension in timelessness is an opportunity for the narrator to analyze history. His goal is to explore the past to find the moment of human evil; because the end of human dignity has paralyzed the narrator’s brain. This research is descriptive – analytical. The research findings show that it is a metaphorical work. This novel is a metaphor of Noah’s flood and the narrator’s bed is like Noah’s Ark. The storm of “The House of Thorns” and the waves which are hitting the ship of the narrator’s bed and occupying his mind, are metaphors for various waves of thoughts: waves of time, history, art, literature, poetry, philosophy and physics especially Quantum mechanics and till the end of the story and the end of the storm that the rainbow of “knowledge is power” appears, the author like Noah tries to talk about the problematic human and giving meaning to life with help of art ,poetry ,literature and humanistic cinema ,seeking to save mankind and human dignity by the Ark of his thoughts.

In order to benefit from other arts, poetic discourse has practiced experimental aspects for a long time. That is why poets have taken advantage of modern techniques in their poetry to enrich and enhance it. Cinematography is one of the arts that poets went after. The mechanisms of cinematography that poets used are image linking tools that are serialized in the montage process, such as mixing, repetition, and omission. With these tools, some modern poetic images relate to each other. This is considered as one of the most accurate ways of expressing a modern vision that combines emotional strings in the poem. One of the most important books in this field is Washm al-Aqarib, a divan by Woroud al-Moussawi. The poet links the poetic lines in her book through these cinematic mechanisms, in order to distinguish the poems with cinematic narration. Due to the importance of the issue, this research studies the mechanisms of cinematic linking in Washm al-Aqarib. Among the most important tenets of this research are the synthesis of repetitive shots, scene synthesis by means of the idea repeated at the beginning of each section, mixing contrasting and similar shots, and omission. One of the most important findings of the research is that employing the technique of cinematography in this book has enhanced its poetic style, and that the poet has approached the images that are related to each other through the techniques of blending and erasing, which constitute an important part of montage. Through these mechanisms, the poet has been able to link poetic images and contrasting scenes.

The shot and its types are intended to mean how the camera stands in the places where cinematography appears in the film, from someone or the things to focus on.The poetic image was characterized by many developments and changes in recent decade and one of the most prominent domains affected by the poetic image is cinema, especially by benefiting the techniques and types of shot that the contemporary poet uses in the poetic artistic image. From this standpoint, we see the poet Ali Kanaan excelled in employing the cinematic snapshot that was reflected in his poems. In particular, his book, "ghoyum alkhashkhash" which the poet enriched from movie clips.  Through this descriptive-analytical approach, this study reviews the types of cinematic footage in the book of “ghoyum alkhashkhash” by Ali Kanaan who came in his poems with cinematic vision. Among the most important axis that this research revolves around are: the substantive snapshot, the audio snapshot, the Nadir snapshot, the macro snapshot, or the detailed snapshot. The most important results of the research show that Ali Kanaan has used all kinds of cinematic scenes in the divan of "Ghayoum Al-Khakhshakh" in a way that it has given special feelings to the poetic image and has led to the clear visualization of images and phenomena. The poet has also tried to use cinematic language in her poetic structure and to reveal the poetic scenes that are embodied in the mind of the audience.

From the very beginning, cinema has embraced all the literary discourses including the poetry discourse, and, more interestingly, this is a two-way influence. Contemporary poetry has, therefore, exceeded frontiers of arts such as drawing, cinema art and its techniques including camera, scenario and especially montage. So, the montage ode is originated from the art and poetry together. And, because the montage plays a significant role in developing the structure of the modern ode, we tried here to focus on the montage style in the contemporary ode which is based on the cinema montage and its rules. Montage means the technical cutting and connecting the scenes and attaching sequential images to each other or irrelevant views together to express a definite concept and idea so that the modern poet cuts and attaches the figures of a part of a poem and connects the continuous figures to express a special idea just like a montage movie. And, in this way, the reader's rank is upgraded to a real spectator. One of these modern poets is Adnan Al-sayegh whose constructs his poems like a movie showing the bad accidents happens in his homeland, and portrays scenes of deep tragedy for his audience.     This descriptive-analytic study tries to investigate the extent of employing cinematic techniques, especially montage technique and the implementation of this technique on some of Al-sayegh’s ode. The findings of this research shows the role of cinematic assembly in transforming the poetic image into an attractive and spectacular image and that shows the poet’s skill and his accord to this technique. Through this style, the poet has been able to inspire his ideas and themes to the audience. Also, cinematic montage has a significant role in strengthening the meaning of narrative in poetry, and the promotion of the ode from the superficiality of styles to the ideal style.

Poetry is capable of exploiting auditory and visual elements and potential of arts and painting. Before the appearance of the seventh art, the cinema, poetry initially influenced literary and dramatic arts and gradually developed into the present stage, which encompasses auditory and visual elements. Cinematic techniques such as scene design, camera, and mixing play a significant role in promoting the structure of Qasida. In this regard, scene design is considered to be the latest in cinema techniques, and is intended to describe event sequences, places, times, and characters. Among the most prominent poets who have employed these potentials is Saadi Yousef. The poetic structure of Saadi is very similar to the cinematic structure, especially in the poem "Jablia's Branch", inspired by the successive sceneries that surround the villages in Italy, as well as the adventures that he has undertaken along with his friends, Joanne Mari Macanelli and Fawzi al-Dailami. The scene-arrangement techniques he has employed is manifested in such a setting. This research seeks to investigate the scene-planning techniques concurring with the epic events of the Qasida (ode) “Mountain Reefs (Shoa’ab Jabila)” by a descriptive-analytical method. This research revealed that the poem "Mountain Reefs" employs cinematic scenes in a descriptive fashion to portray scenes that inspire the spirit of activity, vitality and fun in the soul. the poet focuses his camera on monitoring audio-visual scenes, which are described according to descriptive rules such as the artistic cutting of the shots and the images that the screenwriter brings in his pamphlet. And the poet mixes the poetic spirit and the beauty of the nature to convey these scenes to the recipients. The poet has used the rules of the cinematic screeplay in a successful manner. He has used verbs and grammatical tenses consistent with the time of the real- time presentation of the scenes, the voices of the characters are not abandoned and the sound of the contextual music is heard in the text.

The novel has taken new functions and mechanisms in contemporary era and sits on top of literary genres. Overlap and interference of novel with other literary elements is of the most important modern function of novel. This function collaborated to the emergence of novel in a new narrative frame so that a dynamic and brilliant literary genre can be proposed. This relation between novel and other literary genres includes applying element of dramatic dialogue, poetic features, heroic idealism, and supernatural epic events. In modern era, the phenomenon "new novel" has communicated with visual arts including cinema. Relation between novel and cinema is bilateral. The novel could use cinematic visual functions as decoupage of images, motion and mise en scene. Ibrahim Nasrollah is among those novelists who borrowed elements of other arts in their narration especially cinematic elements and features. In this paper, the authors have tried to study cinematic techniques in the novel through analytical- descriptive method. Nasrollah has taken some important cinematic elements in his novel as zoom technique, montage function, cinematic narration, scenario writing, etc.