فصل الأدب ، وجهة النظر والإعداد الأدبي ٢-a .. كتاب فهم السينما

common. Whenever the director moves the camera - either within a single shot or between shots - he presents us with a new point of view through which we can evaluate the scene. He can cut easily from a subjective point of view shot (first person) to a variety of objective shots. He can focus on a single reaction (big shot) or the simultaneous reactions of several characters (distant shot). A film director can, in seconds, show cause and effect, action and reaction. Can relate different time periods and locations at nearly the same time (parallel montage) Can blend pictures of different time periods into one image (interlacing or multiple exposure) The all-knowing camera Can be a dispassionate observer as in many of Chaplin's films Or can be An intelligent commentator - evaluating events - as is often the case in Hitchcock films or

Lubitsch

is the third person viewpoint the third person plural of a thing. During a story whose essence is a diversification of the all-knowing narrator, meaning that a narrator does not participate in the events, he narrates the consciousness of one character. In some novels, this narrator penetrates completely into the mind of the main character, and in others there is almost no penetration. In Jane Austen's Vanity and Prejudice, for example, we know what Elizabeth Bennett is thinking and feeling about the events, but we are never able to enter the consciousness of the other characters. We can only guess how they feel from Elizabeth's often imprecise explanations. Her interpretations are not given directly to the reader, as in the first character, but through the intermediary narrator who narrates the responses.

He narrates in cinema there is an approximate equivalent in the third person, but it is not as strong as in literature. We usually find third-person narrators in documentaries, where an unknown person comments on the background of the central character in The Quiet Man (Sydney Meyer, for example). The visuals dramatize certain violent events in the life of a poor young man, Donald. Because of it Donald acts the way he does and how he feels about his parents, his classmates, and his teachers. Third person audible is also used in some literary settings, such as John Huston's version of Crane's novel The Red Badge of Courage. Perhaps the formal equivalent of the third person is a shot of the central character. Most films combine the first and third person . For example, we will question ourselves about the character's experiences through a point of view (first person) and then present us with a large shot of the character's face (third person). Let's often identify with

The objective point of view is rarely used in novels, although writers sometimes use it in short stories such as Kerbin's "The Blue Hotel".
The objective voice is also a diversification of the omniscient. Objective narration is the most detached of them, as it does not enter the consciousness of any of the characters but only informs us of the events from the outside. In fact, he likened this sound to a camera that records events impartially and impartially. It presents the facts and allows the reader to interpret for themselves. The objective voice is more appropriate for film than for literature, since cinema makes the literal use of the camera. The objective point of view in cinema is generally used by realist directors who keep their cameras on Unfamiliar lenses or filters. A distant shot, and they avoid all distortions that may “hang” on the event, such as angles

The greater part of films is a preparation from a literary source. In some ways, preparing a novel or a play requires more skill than writing a screenplay. In addition, the better the literary work, the more difficult the preparation. This is why most of the prepared films depend on weak sources, as few people will be disturbed by the changes required in the film if the source itself is not of an excellent type. There are many films made that are far better than their originals. Birth of a Nation), for example, was taken from a cheap novel by Thomas Dixon entitled (The Man of the Tribe). Some commentators believe that if the work of art has reached the peak of its expressive capacity in one of the artistic forms, then the preparation will definitely be inferior to the original (8-19). (The gold rush) or (Citizen Kane) which is closer to the literary film. There is much truth in this view as we have seen how literature and film tend to solve dilemmas differently and how the real content of each medium is subject to the organic control of form.

The real problem for the compiler is not how to reproduce the content of the literary work (impossible) but how to keep close to the raw information the material's content in the sense we have been using in this chapter. It is this degree of honesty that decides the three general categories of loose, faithful, and verbal preparation. These divisions are, of course, for the sake of clarity, since in actual practice most films fall somewhere in between these categories.

A loose setting is what the word generally means, just an idea, situation or character taken from a literary source and then independently developed. The films prepared in this way can be likened to Shakespeare's treatment of a story taken from Plutarch, or to the ancient Greek playwrights who used to take a lot of known mythology. (8-20. Among the films that fall under this section is Kurosawa’s Throne of Blood, which turns Shakespeare’s play Macbeth into a completely different story that takes place in medieval Japan, although the filmmaker preserves many plot elements as in the Shakespearean original.

The honest setting, as the phrase implies, attempts to recreate the literary source with filmic expression, preserving the spirit of the original source as much as possible. André Bazin likened the faithful translator to the translator trying to find the equivalents of the original. Of course, Bazin was aware of the essential differences that existed between the two mediums. The problem of the translator
Turning the word “road” into “strada” (Italian) or “strasse” (German) is not as acute as the filmmaker’s problem when he turns the word into a picture (8-21) An example of this kind of setting is Richardson’s Tom Jones. The screenplay by John Osborne preserves much of the plot structure as in the novel, as well as the main events and most of the important characters. Even the clever omniscient narrator was kept. However, the film is not just a depiction of the novel.
As Fieldink's book is stuffed with more events than what the film setting requires. Many of the scenes set in the inn are reduced to the central action scene of the Upton Inn. Two minor aspects of the novel are amplified in the film: the famous dining scene between Tom and Mrs. Waters and the fox hunting scene. These scenes are included because they are Wildenck's favorite metaphors throughout the story and they are all based on food and hunting. The result is that Osborne uses sparse metaphors as raw material for suggestion. His scenes are filmic equations in the sense intended by Bazin. she

Literary preparation is very limited to plays. We have also seen that the two main means of drama - action and language - are also present in film. The major problem in theatrical preparation is the treatment of space and time, not language. If the cinematographer left the camera for a long shot and restricted the editing with transitions to the viewer, the result would be similar to the original. However, we have seen that few filmmakers want to simply record the play, and he should not do so, because if he did, he would lose much of the excitement in the original text, while he does not benefit from the advantages of the medium he is preparing for, especially his freedom in dealing with time and space. . Cinema can add many dimensions to a movie The play, especially through the large and productive adjacent shots, as long as these techniques are not present in the theater, even the literal preparation “will not be rigid in this way (8- (22) the theatrical dialogue is often preserved in the cinematic preparation, but its effect on the audience differs. John Franktheimer’s film The Snowman (Coming) maintains most of Eugene O'Neill's dialogue, but the meaning of language in a theatrical production is decided by the fact that the actors are all on stage at the same time and act with the same words in the film. Space and time are fragmented by single shots. Moreover, the film has always been figurative in degree The first and verbally in the second degree Almost all the dialogue is changed by means of the images The differences between the unstressed preparation and the faithful and the literal are therefore a matter of degree. In each case the cinematic form inevitably changes the content of the literary original. It is in its essence