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

This beautiful magical world; Its language, its personalities, its crises, its context, its events, and the fertile imagination and amazing beauty of its affairs and techniques. One of the most prominent manifestations of the development of creative writing in the present era is the diversity of novel writing styles and their intersection with different artistic genres and visual arts. The experience of transforming the text of fictional art into visual art, i.e. cinema, is one of the pioneering experiences regarding the bilateral relationship between literature and art, as some filmmakers quoted novels of high value in writing screenplays, and used the narrative structure in films. This increases the aesthetics of cinema on the one hand, and also presents the novel to the viewer, the visual arts. Achieving this artistic experience can only be achieved according to artistic requirements, which is considered a highly creative work. In this research, we discussed the novel “The Beginning and the End” by Naguib Mahfouz and how to turn it into a movie with the same title, by director Salah Abu Seif, through a comparative view of them. The novel deals with accelerating events that keep pace with social life in an era in Egyptian history. We also discussed the mechanisms of transforming a novel into a film, through the descriptive and analytical approach. The results showed that the novel is dramatic par excellence, as Naguib Mahfouz relied on visual techniques in his novel, and that its conversion into the film was done according to specific mechanisms of deletion, addition, reduction, etc. The director intended to dress the film as a sequence of events, with some changes in the representation of events, especially in the first chapters, for visual dramatic reasons, and to maintain the parallel between the novel and the film in some scenes

The relationship between fiction and cinema has occupied an important place in most books written about cinema. Theoretical ideas and practical perspectives and researches in the fields of convergence and divergence between these two categories have become the basis for many researches and studies around which different opinions and contradictory arguments have emerged.
In fact, today's literature, and especially novels and short stories, has unwittingly embarked on a path that shows a tremendous desire to become a filmmaker, and the works created in the field of fiction are similar to the works that are exemplary. We can clearly examine and determine the highlights in the field of cinema in some countries (Kheiri, 1989: 62). Watching any image or set of images (fixed or moving) makes us think. This thought does not necessarily mean the interpretation of the image or images, but since its source is the material existence of images, it is considered a moment from the horizon of its semantic implications (Ahmadi 1397: 24). It should be said that "thought is reconstructed visually" (Ibid: 25).
The interaction between the novel and the cinema is obvious and clear, and each of them needs the other, the cinema uses the previous narrative and opens new horizons. Cinema can provide important services for fiction that has been dusted off on library shelves and catered to a wide audience with diverse cultures. Matching a novel to a movie is more like renovating a house that we have to demolish from the inside before turning it into a beautiful house again.
In this article, the intertextual study and adaptation of the film "Al-Lis wa Al-Kilab" directed by "Kamal Al-Sheikh" from the novel of the same name by "Najib Mahfouz" has been done. The purpose of this article is to study the transition of "Al-Lass wa Al-Kalab" (1962) from one sign system to another sign system through intertextual study and by resorting to interdisciplinary translation. And study how it is represented in the multidisciplinary structure of cinema.

Because literature and cinema are two languages, which is characterized by "written" literature and cinema by "image", and because we live in an age where everyone wants to know a lot in the shortest possible time, and easily learn, In such circumstances, watching a film made from a literary work may be something of value by reading that work, but in a shorter time and more quickly (Kheiri, 1989: 37). On the other hand, the language of cinema is an all-encompassing language that has a universal aspect and provides the possibility of communication between human beings of any culture and race and in any temporal and spatial situation (Ibid: 37).
Even the simplest images are interpreted differently in different cultures. Reading a picture is a thought-provoking phenomenon. The eye chooses what it wants to see. An image is considered mental or imaginative before it is read physically. We also read the film in this sense. The purpose of visual semiotics is to discover the rules of this reading (Ahmadi 1397: 20).
The connection between semiotics and translation is strengthened by Jacobsen's semiotic approach to translation. In The Linguistic Aspects of Translation, Jacobsen introduces three types of translation: linguistic translation, interlinguistic translation, and inter-sign translation.
Given these views, it must be acknowledged that when we want to see a film adapted from a literary work, we should not consider that work as a model for judging the film; Rather, we must consider it an independent and pristine work composed of pictorial elements, not literary ones; And it was an impression that the filmmaker took from it.
These novels and films seem to be a collection of ideas and thoughts that the reader and the viewer cannot judge their content. Because Najib Mahfouz did not declare through the elements of the novel who is guilty and who is the victim. However, he has tried to suffice with the existence of a window through which decisions can be made about the character of Noor, who, in an attempt to justify his deviation, is claimed to have fallen victim to a society.

What was said was an intertextual study of the similarities and differences between the novel and the film Al-Lass wa Al-Kalab, relying on the inter-sign translation between the language system of the novel and cinema. Transferring the novel from its written text to the visual text, moving away from the rules and some of its characteristics, to pour into another artistic form. A close reading of Najib Mahfouz's novel, written after the 1952 Egyptian revolution, shows that Najib Mahfouz used this experience to critique the political and social situation of his time. Novel art techniques are very similar to cinematic technology and differ in the way they are presented; The novel is in the word, and the cinema is done with the camera. The novel Thieves and Dogs is a novel similar in its dramatic composition to movies; With a hero who tries to change his destiny in a tragic struggle. However, as observed in the present study, this film did not present the novel as it is and changed some of its layouts by using the flashback method, removing and repeating some of the characters. In these two visual and written works, an attempt was made to study the representation of the text of the novel in the sign system of cinema and to provide a reading of the content of the two works and the symbols of apple, music, tableau, Sheikh Junidi and woman as the most important conceptual signs of the two texts.

Combining the traditional teaching approach with the new audio-visual teaching methods can, apart from smoothing out the learning process, meet the hitherto less-considered objectives in the emotional area. The present interdisciplinary is of an applied characteristic in objective, and descriptive-evaluative in nature and method. The statistical sample includes all the 11-grade students in secondary schools in Torbat-e Jám from among whom 60 were selected within a cluster sampling framework. The measurement was done by means of screening the puppet play "The Legend of the Snake-Shouldered" (Afsanehe-Mardoosh) in teaching the lesson "Kaveh the Justice Seeker" (Kaveh-e Dadkhah) in the Persian textbook of the 11th grade of the secondary schools and a questionnaire which was organized into three categories: Category A, the completion and stability of the learning process in the cognitive and skill areas in teaching; category B, the emotional, motivational, and modeling areas; and category C, questions that assess the film's audio-visual capabilities in the course of learning the lesson. The data were analyzed through T-single sample. The results obtained show that the screening of the film has a high impact on students' desire to and interest in familiarity with the Shahnameh, gaining Iranian identity, modeling the characters in the Shahnameh. The greatest effect is on the students' desire to use pure Iranian names and words. The film screening has a high impact on the completion and stability of students' learning and skills; but the audio-visual effects of the film are not of high quality.

This paper aims to examine a Carl Bessai's movie produced in 2010; from the perspective of narrative time analysis based on Gérard Genette's theory. We believe that the film can also be seen as an analyzable text; and we will see how the study of narrative time will be more possible for the film than the novel, but at the same time it will have its own complexities in other areas. The purpose of this study is to explain the function of Gérard Genette's narrative time theory in our proposed study of cinema. To this end, in order to find the answer to this question, we will proceed with the process of what Gérard Genette's theory of narrative time has to do with ‘Repeaters’ and how the components of narration work, both in advancing the narrative of the film and in conveying an implicit message. It gives the audience a significant share. In the end, we will see that the structuralist and analytical method of Genette will give us the opportunity to compare the time of the story and the time of the narrative - in the three areas of order, duration and frequency - and with quantitative divisions - such as Dividing the days, events, characters, etc., and thus it helps us to better understand the relationship between the chain of events and the possible causes of their occurrence and reveal the hidden signs of the film.

With the immergence and overwhelming outspread of the consumption of the modern video culture, directors and producers have had the opportunity to employ literary masterpieces for their subject matter and hence, reel in huge profit.

The present study aims to thoroughly analyze three filmic adaptations of Arthur Miller’s Death of a Salesman (1949). In so doing, it is crucial to study the play in the first place. In the next step, the researcher aims to bring to light the dominant discourses and culture of each film’s period of production. The analysis of each adaptation encompasses the ideologies and the mindset of each director and adapter. These different directors and adapters are then compared to each other so as to further bring to light their discourses, not to mention the process of transposition each adaptation has experienced.

What makes this study quite innovative is its comparative aspect. The general framework of this study is Comparative Literature as adaptation studies are considered a major branch of comparative methodology. Contextualization is another critical methodology, which brings to the fore the study of major discourses of the time and place of adaptations. The “wh” questions asked by Linda Hutcheon for the delineation of the creative or faithful process an adaptor has gone through in making an adaptation is the first and foremost important theory applied in this study.The next theory applied is that of George Bluestone who analyzes three areas between literature and film. These areas encompass such aspects as linguistic and image, consciousness and inner thoughts and representation of women. Kamilla Elliot, the next theorist employed, introduces six concepts for adaptation through which different types of adaptation process are delineated.

The study comes to find that Benedek and Segal’s adaptations which were produced at a time when America was doing away with Communism as a whole, fail to portray the failure of the American Dream, the theme of the play. Henceforth, the Lomans’ life failure is shown to be the result of the mental demise of the protagonist. German expressionist Schlondörff’s expressionist adaptation being produced at a time when the masses were coming to a consensus that the American Dream is unlikely to come true, fully ad freely depicts the destructive result of the American Dream.

Persian literature is a full-fledged mirror of the national culture of Iran and one of the most effective factors in strengthening our national identity as Iranians. The connection of literature, which is a linguistic element, with national identity is so close. no nation is considered without its national literature. Literature identified with the audience and if there is no audience, there is no work. It is one of the fields of literature, stories, and legends of children. Given the children's impact of the story and their high acceptance in childhood, these stories can be effective in shaping children's national identity. These myths have a special role in shaping children’s mentality. In this regard, mass media have an important role to influence the thoughts, perceptions attitudes, and behaviors of individuals in societies. Therefore, spreading myths and cultural concepts in world’s literary masterpieces and Children literature is a matter of course and can be researched. Due to the necessity of this matter, analytical-descriptive research with library method, to applying literary culture in the field of media, considering and basing the main elements of the scenario, seeks to study and analyze this as an ancient and effective myth among child's mind (Who is a teenager today). The achievement of the present study indicates that the legend of Yosht Fryan in the initial stage has the ability and potential to become a screenplay, for this, important elements and criteria of the screenplay should be considered.

The popular world cinema has represented the narrative literature especially novels. Based on the existing documents, nearly 85% of the Oscar winning or out standing movies are based on famous novels. the attention of cinema to narrative literature has benefits both for cinema itself and narrative literature. Compared to the cinema in the other countries and its attention to narrative literature, in the history of cinema in our country, Iran, it has rarely happened in Iran.. The current reaserchers asume that one of the reasons that Iranian cinema has not paid attention to narrative literature and Iranian novels is lack of ample reaserch on the why, how, the process, the outcomes of cinema adaptation from narrative literature. ". For this purpose, it has been tride to compare different elements cinema with narrative literature. As a result of this the different factors for attractiveness of an adapted work in Iran can be identified and introduced to the interested readers and researchers. One of the important findings of the current research are extraction and introduction of pictorial and literary alternatives and benefiting from narrative elements in both mediums.

Implied author and implied reader are components of a narrative structure, playing a crucial role in illuminating hidden elements within a text. Therefore, studying these elements in literary works can expose the underlying layers of narration and open up new critical outlooks to the readers. Furthermore and in cases of cinematic adaptations, it explains whether this was the novel or the film that has managed to unravel narrative complexities of the other medium more successfully and better facilitate audience understanding. The novel GavKhuni and its film adaptation are among works in which the plot is not causal, but internal and fluid. Thus, the reader has to decode textual evidence in order to understand how conceptions and viewpoints are formed in characters. Afkhami’s adaptation of GavKhuni is totally loyal and all elements of the story are faithfully mirrored in the film. However, Afkhami has made use of these elements to present his own ideological concepts. Repetition is a method that both the author and the director have used to transfer their ideas to the audience. Using a descriptive-analytical methodology and a narratological and inter-disciplinary approach, the present research attempts to analyze the ways in which implied author and reader are represented in the novel and the film. Since the author and the reader of each era are thrown into their work and new meanings are discovered in fulfillment of their expectations, thus the audience of this novel and film would discover new meanings from out of the narrative text of GavKhuni as well as its adaptation.