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|a في موضوع الطبري والسينماتوغرافي، جرى التثبيت أن العرض على شاشة السينما والتلفزيون هو عرض سينماتوغرافي، بمعنى أنه عرض للصورة الفوتغرافية المتحركة، وأن استعمال مصطلحات العرض البصري أو السمعي البصري أو غيره، يذهب إلى استعمال مصطلحات غير دقيقة؛ لأن الأصل في هذا العرض هو حركة [سينما] الصورة الفوتغرافية (الفوتغرافي) هو الصورة الفوتغرافية، ولم تكن السينما هي الفن السابع لأن هناك فنونا ستة سبقتها، بل إنها دخلت مجمع الفنون لأنها تمتلك وسيطا تعبيريا مستقلا هو السينماتوغرافي، أي الصورة الفوتغرافية المتحركة، كما امتلكت الموسيقى وسيطها التعبيري المستقل الذي هو السلالم الموسيقية، والدراما وسيطها المستقل وهو الفعل العياني المجسد توا، والنحت وسيطه الكتلة والفراغ، وهكذا هناك فنون أساسية وتتفرع منها فنون فرعية فالنحت يتفرع منه الفخار [السيراميك]، والموسيقى تتفرع منها الأغنية، والسينما يتفرع منها التلفزيون. كان هذا مهما لنناقش مسلسل الطبري كما نناقش بناء الفيلم السينمائي؛ لأنهما يشتغلان بالوسيط نفسه، وهذا قادنا لمناقشة العلاقة بين السينما والتاريخ، وماهي الحدود التي يمكن أن نعالج فيها التاريخ سينمائيا؟ هل لأجل استخلاص الأمثولة لنساعد مجتمعاتنا على الاتعاظ والتحفيز للأفضل؟ أم لنعالج التاريخ لترويج إيديولوجيا معينة لتثبيت رؤية ما ملحة لنا أنيا أم ذات مدى مستقبلي؟ وهل أن حقل التاريخ استقلت حقائقه أم لا يزال التأويل ممكنا؟ وما مدى هذا التأويل؟ وهل أن كل شيء يستحق التأويل؟
|b In Al-Tabiri and cinematographic topic, it has been agreed that the show on cinema and television screens is a cinematographic show, which means presenting animated photography, and that using visual or acoustic ter- minologies goes back to using inac- curate terminologies, because this show is originally about animated photography, cinema wasn't the sev- enth art because there were six kind of arts that came earlier, but rather entered art for it has expressive inde- pendent medium which are pitches. As for drama it's medium is visual act that is performed instantly, moreover, sculpture's medium are vacuum and volume, and so forth. there are many primary arts that are branched into subsidiary arts, for instance sculpture is branched into pottery (ceramic), music in branched into songs, and cinema into television, and so on. The above mentioned was essential in order to discuss Al-Tabari series and the construction of cinematic films since they both act in the same medium which led us to discuss the relation between cinema and history and what are the limits to address history in a cinematic way? Is it for extracting ideals in order to motivate our societies for the better? Or is it to address history in order to promote a specific ideology to prove an insight that is urgent to us in the present or in the future? And whether history has fixed facts or is it still possible to interpret it? what are the limits for this interpre- tation? And is everything within his- tory worthy of interpretation? Many cinematography outcomes were handled with ideological malice in order to offend a specific religion, ideology, or a nation. The amount of freedom in historical topics is essen- tial, to make our opinion in history embodied in screens and deserves to be discussed logically, and to face all dramatic moments in the proces- sor event or character, such moments create dramatic and novelistic con- struction of a film or a series.
|b Al-Tabari's life had many dramatic turning points, some of them are his interpretations of Holly Quran texts, and his discussion of scholars in a book that was specified for this mat- ter, in addition to the conflict between him and the Hanabila for accusing him with Shi'ism because of his writ- ings about Imam Ali bin Abi Talib and Imam Hussein (peace be upon them), which made him write about two of the Righty Guided Caliphs Abi Bakr Al-Siddiq and Al-Farouq Omar bin Al-Khattab (may Allah be pleased with them), to ensure that Is- lam is for every free, open-minded, and learned person. Other dramatic turning points are his relations with the Abbsid and Tulunid authorities, and whether he was an intellectual who address authorities or a muslim who wants to protect Islam and mus- lims in their homelands? Moreover, his resist to make his own doctrine. Analyzing all of the mentioned above, and discussing the data of this research (Al-Tabari series in its eigh- teen episodes according to cinematic language and narration, and art form) they both assured that discussing his- tory can be reached through a cin- ematic high-level language, cinemat- ic efficient narration, and an artistic form that facilitates proceeding. Thus this research included discussing the historical era for the series through cinematography, by presenting the tale, characters, narrative and nov- elistic construction, and artistic con- struction. We hope that we stated useful matters, since- for the first time- we are pre- senting our research to a non-artistic magazine, but rather a magazine that is specialized in patrimony, which is the reason that made us explain some of the intuitive matters that would not be mentioned if this researched was presented in a cinematic magazine. May Allah bless and guide.
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