فصل الميزانسين ، التكوين ٣-a .. كتاب فهم السينما

It is the design and structural entity that informs the most visual configurations. During different ages, artists especially preferred the shape of the letter S, the letter X, and the triangle and circle designs. These designs are used simply because they are believed to be inherently beautiful. The famous curve of the letter S, for example, is considered by many to be the most feminine and graceful formative building, and it is favored in particular by Japanese cinema. In particular, the films of Japanese film director Kenji Mitsukoshi, which are characterized by heroines instead of heroes. Design usually overlaps with the idea of ​​​​content, at least in the most wonderful films in Joule, for example. Truffaut constantly uses triangular designs because the film deals with the subject of three characters whose relationships are constantly changing, but they are always intertwined. The case symbolizes the eternal triangle of the dramatic content. The triangular construction of Truffaut's visuals makes them appear more dynamic and more lopsided and subject to change. And if we speak in general terms, the designs consisting of units with 3, 5, 27 (15) tend to achieve such effects, while the designs consisting of units with 2, 4 or 6 appear more static and stable and balanced. bridle

In the movie The Seven Samaritans, the Japanese director Irakurusawa used circular and triangular designs with high intensity, and these plastic indicators are directly related to the theme of the film, which is a constant concern in Japanese cinema: namely, the individual's need to work in accordance with the need of his society. The film takes place in the Senkoku period of the sixteenth century, a period of the collapse of the class system and violent social uprisings. In this era, the traditionally sacred ideals of social cooperation and civil harmony were not clearly defined in Japan. In Kurosawa's film we see invading herds of bandits terrorizing the countryside undisturbed, pillaging villages, raping women and confiscating the meager harvest. In this state of desperation, some peasants hire seven sub-class Samaritan warriors to protect their village. The traditional Samaritan is a member of the courtiers attached to the aristocracy, and the Samaritan was considered after the royal line.in the social hierarchy in Japan. However, at the time of the events of the film, the days were hard for this class, and many of them began wandering around the countryside without a master. In fact, as many of them turned to banditry and plundering as ordinary bandits). In his film, Kurosawa clearly differentiates between three groups: the peasants, the bandits, and the Samaritans, and each group has its own musical melody. Featured.
The circular plastic indicator is presented to us at the beginning of the film, where we see the village huts built in a circle, with the exception of three huts located outside the gathering of the circle, then we see the villagers gathered together in a circle and they kneel on the ground mourning their fate Hungry at the hands of ruthless bandits (16) (b) and after hiring seven Samaritans, one of them (Tushirwa) Meguni is revealed to be a fake that he is in fact the son of a peasant, which means a great descent in the social class ladder. As a joke, the village flag consists of six circles (one) each (a Samaritan, a letter representing the farming village, and a triangle representing the fake peasant Samaritan who seems out of place, though in the end he proves to be one of the most flexible and intelligent of the main characters (16c). Circles are used to represent both social and individual unity That is, the small world and the big world. The villagers gather in a circle in order to receive instructions, and their spears are coordinated like the teeth of a wheel, while the center of the circle, Samaritan Chief Takashi Shimura, stands to stress the need for the peasants to work as a unified group, not as individuals (16) (d). Its unit is (16) e, and) and when three peasants rebel and insist that they will not sacrifice their three huts that lie outside the circle, the chief Samaritan forces the rebels to enter the circle. On the back of his robe, we see the circular Ben Yank insignia, which is a Buddhist symbol of mystical unity and reconciliation between opposites (16g), and Corsawa often presents us with three shots of a single scene, as he did when the peasants in the city searched for a poor Samaritan, but he was willing (16h, the village is a mill with a wheel It is attached to one of the outer huts and gives us Kurosawa Three separate shots of the wheel, which is a symbol of social unity in the film (16k). Later, during the attack of the bandits, one of the peasants refuses to obey orders and rushes to his mill. However, this individual action costs him his life, as the bandits set fire to the mill and its wheel (16) n. Kurosawa uses the image of the burning wheel as a warning symbol of what can happen to society if individuals refuse to act in solidarity with one another (16) (x) and the bandits are finally defeated precisely because of the Samaritan Leader's strategy of isolating one bandit or

Some of them are from the main group. And every time a bandit is killed, the Samaritan chief crosses out one district in his registration list (16p).

Thus, we see that some types of design can suggest implicit ideas that the dramatic context is the most important in the totality of the film (2-17). Thus, we see the circle formed by the column of wagons in most American films of American West life when attacked by Indians, and it suggests the same symbolic ideas of unity and safety as we witnessed in Kurosawa's film. However, the circular design in the Psycho film suggests completely different ideas. Hitchcock's film deals with the guilt and depravity of all characters, even the nominally innocent ones. Psycho, like Hitchcock's works, deals with the idea of ​​prophecy, in fact the idea that cinema is many of the artistic prophecies. The camera's eye enters at the beginning of the film and in the opening scene the window of a hotel room where we see a scene between two hidden lovers who are half naked. Hitchcock equates, during the film, images of the human eye with circular-shaped assets, such as the human eye, washing basins, basin emptying holes, toilets, and empty eye openings in a human skull. As a deeply pessimistic work, Psycho suggests that behind every human eye hides a psychological sinkhole, a pernicious reservoir of corruption, guilt, and violence.