فصل الأدب ، المتكررات والرموز والاستعارات والتلميحات ١-a .. كتاب فهم السينما

Repetitions, symbols, metaphors and allusions

In 1948, in an article titled “The Camera, the Film,” Alexander Struc noted that one of the traditional problems with film was the difficulty of expressing thoughts. The invention of sound was of course a great advantage for the film-maker as, with spoken language, he could express almost any kind of abstract idea. However, filmmakers also wanted to explore the possibilities of the image as an expression of abstract ideas. In fact, even before sound, filmmakers invented a number of non-verbal diagnostic techniques. squeeze out

Diagnostic style can be defined as an artistic means by which something suggests an abstract idea or emotion beyond what is meant by the thing itself. There are a number of these methods in literature and cinema, but the most common of them are repetitions, symbols and metaphors. In actual application, there is a great deal of overlap between these intertwined terms. All of these are "symbolic" means as long as they guarantee the thing or event a meaning beyond its limited connotations of meaning. However, the most pragmatic way to differentiate between these techniques is perhaps the method of describing the degree of prominence of each. The repetitions are the least extreme, the metaphor is the most apparent, and the symbol is a general term that falls between this and that, although each category overlaps somewhat with its neighbor.

The recurrences are so closely related to the realistic fabric of the film that we can almost refer to them as "submersible" or "invisible" symbols. Recurring is a method that is repeated regularly in a film and yet is not particularly interesting. Even after several repetitions of the repeated, we find that it is not always apparent because its symbolic significance is not left to transcend or favor itself over its literalism (108). In the movie 81/2) or verbally (as in the term “the bud” in the movie “The Citizen”) (Kin or audibly (such as the beating of the waves in the movie “La Ventura”).

The symbol is not returned to suggest its idea, as its meaning is usually clear from its specific dramatic framework. Symbols, like repetitions, can be tangible objects, but there is an underlying (additional) meaning. In addition, the symbolic meanings of these things can transmitted with the dramatic context. A good example of the transmission of symbolic connotations can be seen in the uncut version of Kurosawa's The Seven Samaritans. In this film, a young Samaritan and a peasant girl are attracted to each other, but class differences are an insurmountable obstacle. In a scene that takes place late at night, the two meet by chance. Kurosawa confirms their separation by keeping them in separate frames at a time when there is a fire burning outside as a kind of barrier (118, b). However, their attraction is strong, after which they appear in the shot as the only obstacle. Nevertheless, in a contradictory way, it suggests itself, and the fire between them suggests Fire is also the sexual desire that both of them feel. (8-11, c) They approach each other, so the fire becomes beside them, and its sexual symbol dominates. (8-11, d) They enter a hut, so the light from the external fire is an affirmation of the sexual atmosphere of the scene. (8-11 AH) Suddenly, the girl's father finds the two lovers, so the panting becomes a sign of moral anger, and their image is almost erased by the intensity of the fire (11, f) It rains and the young Samaritan returns in despair (8-11, G) At the end of the scene, Kurosawa gives us a big shot For fire, and rain extinguishes its flames (8 Fire).(11

A metaphor is usually defined as a comparison of a certain kind that may not be true literally. Two commonly unrelated terms put together and produce a certain sense of literal incoherence, poisonous time torn apart by grief” and “swallowed by love.” These are all metaphors. Montage is a frequent source of metaphor in the film, as two shots can be linked together to produce a third symbolic idea. This is the basis of Eisenstein's theory in the montage in the movie (October), for example. The cowardly class of pretty guitarists comes