المشهدية في السينما المتحركة المتخيل المشترك : تجربة تميم البرغوثي كمثال

الملخص EN

Animation Cinema, as an emerging field of contemporary creativity, presents a development both at the level of the techniques employed and at the level of the intellectual presentation of the films produced.

it inevitably embodies the birth of a vast space of creativity through images.

it is that the animated film acquires today another dimension, because “the mechanisms of the assembly became in a way an incarnation of the concern of the memory between reality and imaginary...”.

the editing of the animated film is not only a technical process of making the film, but it is also a way of rethinking through the image, the interesting story, the tight script, and through the coherence of the techniques employed such as lighting, sound, and a produced image.

thus, the process of production of meaning in the animated film constitutes a complete journey of “graphic narrative history”.

considering the specificity of cinema in motion as a complete visual product of visual and linguistic elements, our research in this article aims to identify the specificity of the artistic experience of the poet Tamim Al-Barghouti, and to identify the specificities of the proposed narrative-through the illustrated poem "almanthar"-from oral poetic narration to animated graphic narrative.

our approach, through the article, is to address three steps in the lesson.

the first is an introduction to the concept of poetry and a brief indication of its stages of development.

we then move on to talk about the style of poetic writing.

and this passage is revealed each time from the stage writing to the cinematographic show, and this hidden imaginary of implicit meanings.

whereas, in the third element of the article, we have focused on talking about the portrait as a particular essence that gradually progresses towards the general, presenting similar artistic models in form and thought through which Barghouti has combined the problems of previous civilizations and our contemporary times.

from this point of view, the animated cinematographic image is a structure with a strange and complex organization which makes this information and characteristics of emotional mental structures responsible for extremely complex effects to which the spectator is subjected.

thus, the basis of poetic cinematic language can be formed from this deep visual perception.

visual vision, according to this proposal, is the basis for the formation of cultural awareness and worldview through cinema in general and mobile cinema in particular, it embodies the structure of mindfulness and a specific creative intellectual movement which becomes autonomous.-upright and active in processing word, form, space, movement and time in a continuous cycle based on creative imagination.