فصل الأدب ، وجهة النظر والإعداد الأدبي ١-a .. كتاب فهم السينما

Point of view and literary setting

In fictional novels, the point of view determines the relationship between the material and the narrator, through whose eyes we see the events of the story. That is, ideas and events are sifted out of the language of the narrator of the story, who may or may not be participating in the action through awareness and who may or may not be a reliable guide followed by the reader. There are four basic types of point of view in fantasy novels. The first type is the first person, the second is the omniscient, the third type is the objective, and the last type is the In third person cinema, the point of view is less powerful than in the novel. Although there are cinematic alternatives to these four basic types of narrative, feature films fall naturally into the all-knowing form.
Examples The first person tells his own story -16). In some cases, he is an objective observer who can be relied upon to accurately narrate events. A good one is Nick Carraway in The Fitzgerald Story (The Great Catesby). Other first-person narrators are more subjective in their intervention with the main action and cannot be fully relied upon. In Huckleberry Finn, the immature Heck narrates all events as he tells them. Heck, of course, cannot provide the readers with all the information when he himself cannot have it. In using this type of first-person narration the writer of the novel must let the reader in To see the truth without destroying or undermining the persuasive power of the narrator. In general, the writer of the novel solves this problem by providing the reader with signs that help him see clearer than the vision of the narrator himself. For example, when Huck enthusiastically charms the circus and the astonishing acts of its workers, the more cultured reader sees further than Huck's words mean and concludes that the circus workers are in fact shabby-looking and that their acrobatic feats are a sea of ​​cheap deception.

He has many films that exploit the techniques of the first person who narrates the story, but in a fragmentary manner. The cinematic equivalent of “the voice of the narrator in literature is the eye of the camera.” This difference is important in the novel. The difference between the narrator and the reader is clear, as it is like the reader listening to a friend telling a story. In the film, the viewer associates himself with the character of the lens, and thus tends to mix with the narrator. In order for the film to present a narration on the tongue of the first character, the camera must record all the actions of the character, and this, as a result, makes the viewer the hero of the film. through my eyes

That a machine uses the girl from the hero in the movie (Lady of the Lake). Robert Montgomery tries to film for the first person throughout the duration of the film. It was a great and important experiment, but it failed for many reasons. The first is that the director was forced into a number of jokes. Addressing the characters to the camera was not a big dilemma, so the footage The point of view is known in most films, but there were many actions that seem to have collapsed because of this method, when she advances and kisses him, for example, in this case she has to advance shyly towards the camera and embrace it while her face approaches the lens, like that also when the hero enters into a fist fight. The hand, the opposite character has to actually attack the camera, as it shakes according to the rules whenever a punch falls on the face of the “narrator.” The problem, then, with the absolute use of photography from the point of view of the first person is in its literalness The first is through his words from and from the psychology of the viewer who wants to see the hero in the novel. We get to know the person through his judgments and values ​​that are reflected in his language. In cinema, we get to know the character by observing her in her reactions to people and events. Unless the director breaks with the first person imitation, we can never see the hero, we can only see what he sees. Montgomery partially solved this problem by using multiple shots in the mirror, where the images of the hero reflected in the mirror allow the viewer to He recognizes it, but the real problem remains. As these shots in the woman are usually included in the least dramatic scenes, where the need for a large shot of the hero's face does not exist.

One of the useful filmic methods in the case of the first person is that he, the narrator, narrate his story on the audio track, while the camera usually records the events through different narrative shots. A good diversification of the audio stream style in the use of multiple voices in the first person (178). In the movie (Citizen Kane), five different people present their point of view in drawing the character of Charles Fosterkin. Each narration is accompanied by a return scene, although it is not in the first person format in terms of photography. Return scenes present the character of Kane in somewhat contradictory frameworks, each of which reflects the bias of the storyteller. . Where one of the narrators ends, another narrator who knew Kane at a different period in his life picks up the threads of the story to develop it to a further point until the last narrator tells the events of the last days of Kane's life. For the story with a narrative

A number of omniscient narrators are mostly associated with the novel in the nineteenth century. In general, these narrators do not participate in the story, but rather are knowledgeable observers who provide the reader with all the facts he needs in order to savor the story (188). The omniscient narrator can be the story (as in War and Peace) and he can take on a distinct personality (as in Tom Jones) where the suave story-teller entertains us with his twisted observations and judgments. The omniscient narrator is almost inevitable in film. In literature we find the first person and the omniscient narrator. The only two reciprocal models, since if the character of the first narrator tells us about her thoughts directly, she cannot definitely tell us about the thoughts of the others. However, in cinema, we find that the combination of the first person and the all-knowing narrator tells us what is separate from