Volume 3, Issue 11 (2006)
LIRE 2006, 3(11): 55-80 |
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Picture Capacity of "Shah-e Siah Pooshan" Tale from Cinema Related viewpoints. LIRE 2006; 3 (11) :55-80
URL: http://lire.modares.ac.ir/article-41-37325-en.html
URL: http://lire.modares.ac.ir/article-41-37325-en.html
Abstract: (1901 Views)
Hayati. Z.
Abstract:
Versified story of 'Shah-e Siah Pooshan" written by Nezami Ganjavi has its own pictures capacities which can be dealt with in cinema related viewpoints. Cinema camera can record the pictures from different viewpoints and the same can be said about the poets on his mind. For example, as cinema tradition uses symbolic or complete picture to show the viewers characters and situations, Nezami extend the sphere to a more extensive one when he introduces in some scenes the characters to the viewer. In another example, cinema camera generally shows the person in a greater picture to show his / her mental situation and the poet use a similar method to express the character situation in a critical situation or by a more extensive expression to make the readers concentrates on his / her situation. The poet’s eyes and camera have a kind of similarity. As the camera moves horizontally and vertically, the poetry explanation of "Shah-e Siah Pooshan" also concentrates on a kind of explanation of a phenomenon on the earth to explain a Heavenly phenomenon and materializes the movement by the addressee's mind eye. Along with movement of the camera and the corners, there are some other features such as decoration and background in "Shah-e Siah Pooshan". For example, when Nezami takes the Shah to the land of the Wearning Black Men, he decorates the scene by black clothes, sorrowful people, the ruins and simple homes to express the desired meaning. It can be said that cinema skills are modern tools which help the literature researchers to explain the works of poems specially Nezami Ganjavi.
Abstract:
Versified story of 'Shah-e Siah Pooshan" written by Nezami Ganjavi has its own pictures capacities which can be dealt with in cinema related viewpoints. Cinema camera can record the pictures from different viewpoints and the same can be said about the poets on his mind. For example, as cinema tradition uses symbolic or complete picture to show the viewers characters and situations, Nezami extend the sphere to a more extensive one when he introduces in some scenes the characters to the viewer. In another example, cinema camera generally shows the person in a greater picture to show his / her mental situation and the poet use a similar method to express the character situation in a critical situation or by a more extensive expression to make the readers concentrates on his / her situation. The poet’s eyes and camera have a kind of similarity. As the camera moves horizontally and vertically, the poetry explanation of "Shah-e Siah Pooshan" also concentrates on a kind of explanation of a phenomenon on the earth to explain a Heavenly phenomenon and materializes the movement by the addressee's mind eye. Along with movement of the camera and the corners, there are some other features such as decoration and background in "Shah-e Siah Pooshan". For example, when Nezami takes the Shah to the land of the Wearning Black Men, he decorates the scene by black clothes, sorrowful people, the ruins and simple homes to express the desired meaning. It can be said that cinema skills are modern tools which help the literature researchers to explain the works of poems specially Nezami Ganjavi.
Article Type: مقالات علمی پژوهشی |
Subject:
Literature and Cinema
Received: 2019/10/13 | Accepted: 2019/10/13 | Published: 2019/10/13
Received: 2019/10/13 | Accepted: 2019/10/13 | Published: 2019/10/13
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