Abstract

‫فخرى هحوذ السيذ العسازى‬ ‫اىَذسط تقغٌ اىذين٘س (شؼثح اىَغشح ٗاىغيَْا ٗاىرييفضيُ٘)‬ ‫مييح اىفُْ٘ اىجَييح ‪ -‬جاٍؼح دي٘اُ‬...

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‫فخرى هحوذ السيذ العسازى‬ ‫اىَذسط تقغٌ اىذين٘س (شؼثح اىَغشح ٗاىغيَْا ٗاىرييفضيُ٘)‬ ‫مييح اىفُْ٘ اىجَييح ‪ -‬جاٍؼح دي٘اُ‬

‫التحليل التشكيلي للصورة السينوائيت في الوالحن الشعبيت‬ ‫"دراست تحليليت لفيلن "شفيقت وهتولي ‪1978‬م"‬ ‫فخرى العزازى‪ :‬داطو ػي‪ ٚ‬دسجح اىذمر٘ساج ‪ ً2016‬تؼْ٘اُ "اىفنش اىرظَيَ‪ ٚ‬ىيظ٘سج اىغيَْائيح ف‪ ٚ‬األفالً‬ ‫اىَؼاطشج ٍِ خاله ذييو أػَاه مال ٍِ (ذيٌ تيشذُ٘‪ ،‬داّر‪ ٚ‬فيشذ‪ٗ ٚ‬آالُ ى‪ ، ")ٚ‬ايضا ً داطو ػي‪ ٚ‬دسجح‬ ‫اىَاجغريش ‪ ً2011‬تؼْ٘اُ "اىرشنيو ف‪ ٚ‬اىظ٘سج اىغيَْائيح ٍِ خاله ذقْيح اىغيطشج ػي‪ ٚ‬اىذشمح"‪ ،‬ػَو مَذيش‬ ‫فْ‪ ٚ‬ف‪ٍ ٚ‬جَ٘ػح ٍِ األفالً اىقظيشج اىر‪ ٚ‬ػشضد ػي‪ ٚ‬شاشح اىرييفضيُ٘ تؼْ٘اُ "د‪ ٙ‬ػشٗعر‪ْٕ ٍِ - ٚ‬ا‬ ‫‪ ،"ً2011‬طٌَ ٗأخشج فييٌ قظيش تؼْ٘اُ "اىذالج ‪ ،"ً2016‬مَا طٌَ ٍجَ٘ػح ٍِ دين٘ساخ اىَغشدياخ ٍثو‬ ‫"أدذب ّ٘ذشداً ‪ٗ ،ً2008‬فاج ٍْذٗب ٍثيؼاخ ‪ٍٗ ،ً2012‬اصاىد األسع ذذٗس ‪ ،"ً2013‬شاسك ف‪ ٚ‬اىؼذيذ ٍِ‬ ‫اىَؼاسع اىفْيح اىَشرشمح اىذٗىيح ٗاىَذييح‪ ،‬آخشٕا "ٍؼشع تنييح اىفُْ٘ اىجَييح جاٍؼح فاىْغيا تأعثاّيا ‪."2015‬‬

‫الولخص‪:‬‬ ‫ذذَو اىَيذَح مجْظ أدت‪ ٚ‬تظَاخ اإلّغاُ األٗه ‪ ٍِ ،‬خاله ذنْيل فْ‪ ٚ‬خاص ال ٕ٘ تاىَغشديح‬ ‫ٗال ٕ٘ تاىشٗايح ‪ ،‬تو ىٔ ٍ٘اطفاخ خاطح ذثشص اىَثاىغح ٗاىرٖ٘يو ٗاىشٍٗاّغيح‪ٗ ،‬طشاع اإلّغاُ‬ ‫ٍغ أشياء ذذيطٔ‪ ،‬ذثذٗ ٕزٓ االشياء غاٍضح ٗق٘يح‪.‬‬ ‫ذظٖش اىَالٍخ اىَيذَيح تشذج ػي‪ ٚ‬ذفاطيو قظح األخ٘يِ "شفيقح ٍٗر٘ى‪ ،"ٚ‬فرذفغ فْاُ اىفييٌ إى‪ٚ‬‬ ‫االذجآ اىفْ‪ ٚ‬اىز‪ ٙ‬يؼرَذ ػي‪ ٚ‬اىطاتغ اىَيذَ‪ ،ٚ‬ىينُ٘ َّ٘رجا ً عيَْائيا ً اترذائيا ً ىَيذَح تظشيح ٍِ‬ ‫ّ٘ع خاص يذَو ثقو ذاسيخ‪ٍ ٚ‬رشامٌ‪.‬‬ ‫ذْرَ‪ ٚ‬قظح شفيقح ٍٗر٘ى‪ ٚ‬إى‪ ٚ‬اىَ٘اه اىشؼث‪ ٚ‬تَا يؼْئ رىل ٍِ ػْاطش راخ طاتغ "ف٘ىني٘س‪"ٙ‬‬ ‫ذظٖش ف‪ ٚ‬اىذين٘س ٗاألصياء ٍَا يْؼنظ ػي‪ ٚ‬اىظ٘سج اىْٖائيح ػي‪ ٚ‬شاشح اىغيَْا‪ ،‬مَا ذذر٘‪ ٙ‬قظح‬ ‫اىفييٌ ػي‪ٗ ٚ‬قائغ ذاسيخيح داعَح ف‪ ٚ‬اىراسيخ اىَظش‪ ٙ‬تظفح ػاٍح‪ٗ ٕٚٗ ،‬قائغ دفش قْاج اىغ٘يظ‬ ‫خاله اىْظف اىثاّ‪ ٍِ ٚ‬اىقشُ اىراعغ ػشش‪.‬‬ ‫يرْاٗه اىثذث ٍَٖح ايجاد طيغح ػيَيح ٗاضذح ٗدقيقح ىشنو اىظ٘سج اىغيَْائيح ف‪ ٚ‬األفالً راخ‬ ‫اىطاتغ اىَيذَ‪ ،ٚ‬در‪ ٚ‬يرثْ‪ ٍِ ٚ‬خاله ذيل اىذساعح اىرذييييح ىٖزا اىؼَو‪ ،‬إٍناّيح ٗضغ َّظ ٍرط٘س‬ ‫يَنِ أُ ينُ٘ َّ٘رجا ً ذقاط ػيئ اىظ٘سج اىغيَْائيح ف‪ٕ ٚ‬زٓ اىْ٘ػيح ٍِ األفالً‪.‬‬ ‫يؼرَذ اىثادث ف‪ ٚ‬مراتح اىثذث ػي‪ ٚ‬اىنرة ٗاىَقاالخ ٗاىرذييالخ ٗاىذساعاخ اىغاتقح ىجَيغ ػْاطش‬ ‫اىظ٘سج اىغيَْائيح ىيفييٌ‪ ،‬ايضا ً ػَو ٍْٖجيح ذذييييح ذؼرَذ ػي‪ٍ ٚ‬شاجغ ذرْاٗه اىقيٌ اىجَاىيح ف‪ٚ‬‬ ‫اىؼَاسج ٗاألصياء ىريل اىفرشج اىضٍْيح‪ٍ ،‬غ ػذً إغفاه اىَْظ اىَيذَ‪ ٚ‬تاىفييٌ‪.‬‬ ‫ذأذ‪ ٚ‬اىذساعح اىرذييييح تقيٌ ذشنيييح ذَيضخ تٖا ٍشإذ ٗىقطاخ اىفييٌ ٍْٖا ػي‪ ٚ‬عثيو اىَثاه ال‬ ‫اىذظش (اىطثيؼح اىثذائيح اىر‪ ٚ‬أضفد ػي‪ ٚ‬ط٘سج اىَشإذ خيطا ً ٍا تيِ األعاىية اإلعالٍيح‬ ‫اىنالعينيح ف‪ ٚ‬اىَخط٘طاخ ٗتيِ ذيقائيح اىرؼثيش اىؼف٘‪ - ٙ‬مشإيح اىفشاؽ ٗاىثؼذ ػِ اىرفاطيو –‬ ‫ػذً االٕرَاً تإتشاص ق٘اػذ اىَْظ٘س ‪ -‬اىر٘صيغ اىَرْاثش ىألى٘اُ ف‪ ٚ‬ج٘اّة اىنادس ىخذٍح اىظشاع‬ ‫اىَيذَ‪.) ٚ‬‬ ‫ذَنِ ٕزٓ اىذساعح ٍِ إىقاء اىض٘ء ػي‪ٕ ٚ‬زا اىَْظ ٍِ األفالً‪ٗ ،‬اىر‪ ٚ‬ذرغٌ تقيَح ذشنيييح ٗجَاىيح‬ ‫ذشذثظ تاىٖ٘يح اىَظشيح ٗاىؼشتيح‪ ،‬فرغاػذ تذٗسٕا ف‪ ٚ‬اىذفاظ ػي‪ ٚ‬ذشاثْا ٍِ اإلّذثاس‪ ،‬مَا ذذفض‬ ‫ػي‪ ٚ‬إٍناّيح ذْاٗه اىقظض اىَيذَيح ف‪ ٚ‬أػَاه عيَْائيح ٍؼاطشج ‪.‬‬

Fakhry Mohamed ELsayed Alazazzy Lecturer at Department of Décor – Production Design for (Theatre, Cinema and TV) Faculty of Fine Arts (Helwan University)

The Formative Analysis of the Cinematic Image in Folk Epics "An analytical study of the film "Shafika and Metwally 1978" Fakhry Alazazzy : In 2016 Finished (PHD) with title " CONCEPTUAL DESIGN OF CINEMATIC SCENES IN CONTOMPRARY MOVIES, Through Analysis Works of "Tim Burton, Dante Ferretti, Alan Lee". He Finished (MA) at Production Design for Cinema, Theatre and Television, in 2011 with title "CINEMATIC FORMING THROUGH THE TECHNIQUE OF MOTION CAPTURE", Achieved: [Direction, Conceptual Design, Virtual Scenes] for Short Film [HALLAJ] in 2016, Worked as Art director for 2 short films [De Arosti and From There 2011]. Sketched, designed and Supervised at the implementation of [HUNCH BACK OF NOTERDAME 2008] play, Sketched and designed all scenes of [DEATH OF A SALESMAN 2012], [AND STILL THE EARTH REVOLVES 2013] plays, Participated at many international and local exhibitions, The last one at Fine Arts of Valencia University, Spain, with title [La Cátedra Arte y Enfermedades 2015].

Abstract: The epic as a genre Includes the first human fingerprints, Through a special technique is not the play or novel, but it highlights the particular specifications exaggeration and hype and romance, and the human conflict with things surrounded him, these things seem mysterious and powerful. Epic features strongly appear on the details of the story of two brothers "Shafika and Metwally," overwhelm the film artist to artistic direction, which depends on the epic character, to be a model elementary cinematically visual epic of a special type carries the weight of historical accumulated. The story of "Shafika and Metwally" belongs to Folk singing "Mawal" including means of nature items appear in decor and fashion design, which is reflected on the final image on a movie screen, also the story contains historical facts decisive in Egyptian history 'the Suez Canal' during the second half of the nineteenth century. This paper deals with the task of finding a clear and precise scientific formula to the form of image in cinematic epic nature films, through the analytical study of this work aims to the possibility of formation an advanced pattern could be a model measured by the cinematic image in these kinds of movies. The Researcher depends on books and articles and analyzes of previous studies of all elements for the film image, also worked on analytical methodology relies on references dealing with aesthetic values in architecture and fashion for that period, without forgetting epic style film. The result of analytical study came with plastic arts values for the film scenes, for example, but not limited (primitive nature, which added to the image confusion between classic Islamic methods in the manuscripts and the spontaneous expression hatred of emptiness and avoiding details - disregarding highlighting the rules of perspective - Distribution Frizzy of colors in the aspects of frame to serve the epic conflict). Finally, this study was able to shed light on this type of films, which are plastic and aesthetic worth linked to the Egyptian and Arab identity, its role helping to maintain our heritage from extinction, also stimulates the possibility of taking the epic stories in contemporary cinematic work.

Filmography The film of "Shafika and Metwally 1978" Director: Ali Badrakhan Story: Ahmed Shawki Abdel-Hakim The script: Salah Jaheen Director of Photography: Abdel Halim Nasr - Mohsen Nasr Montage: Saeed Sheikh Production designer: Nagy Shaker Music: Fouad Zahery Cast: Soad Hosni - Ahmed Mazhar - Mahmoud Abdul-Aziz - Ahmad Zaki Production: Egyptian company Global Film - Egypt 1978