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7 articles filed under this keyword.
The Director's Role in Translating Symbols and Signs From The Text into Cinematic Imagery
Adnan Osman Ali, Zhilwan Tahir Bapir
We observe that cinema is in a constant state of change and development, both in terms of techniques and artistic form. It produces diverse films and outputs in terms of content and various complex models (dual propositions). Undoubtedly, all aspects and sections of film production have been influenced by the developments that occurred during the technological revolution. What draws attention is that viewers do not easily notice the efforts of the "unknown soldier" in the entire process—the person who strives with all their energy to produce a good film. This unknown soldier is the director, who is credited with the film's success and bears the responsibility for its artistic and technical aspects. The director’s understanding, cultural level, intelligence, and artistic experience manifest their impact and signature in the film's content. One of their primary duties is to translate the script, this written text, into a language of images, transforming static characters into vibrant individuals that come to life before our eyes, conveying the events and conflicts from the pages to the camera. The director bears the responsibility for these transformations, turning words, sentences, and scenes into imagination and visualization, which should be present in all films, regardless of their levels. Without imagination and visualization, there can be no event. Thus, the director is the backbone of producing a good and distinguished film, especially in Kurdish cinema, which has undergone many changes and developments in both artistic and technical aspects. However, in terms of creating images and imagination, this does not progress in parallel with the ongoing developments. Therefore, in this research, we aim to shed light on this important and sensitive topic.
Volume 12 · Issue 2 · April 2025Analysis of the text "Echo of Khani" according to formalist theory
Jivan Noaman Haji
The text of Khani’s echo is a poetic text that represents a conversation with an absent text and builds its foundation on it. This idea was presented by Ahmad Khani in his famous epic "Mem and Zin." This text consists of (59) verses. These verses are organized in a syllabic meter with ten segments and a rhyming couplet. This text attempts to transcend Khani's philosophy and explains the subject with new wisdom and philosophy, mentioning examples and evidence. For this reason, it caught our attention and we chose it as the title for our research entitled (Analysis of the Text of Khani’s echo According to Formalist Theory) to analyze the text and observe the extent of its intertextuality with the ancient text. Due to the necessity of the subject, Bakhtin's dialogic theory was also used in the analysis. The research consists of two chapters. The first chapter addresses the external structure of the text and how to analyze it. The second chapter discusses the internal structure and the reflection of intertextuality within it.
Volume 12 · Issue 2 · April 2025Reading the poem "Sweatheart" by "Hazrvan Abdullah" according to the principals of horizon of expectation by Jauss.
Halmat Bayiz Rasool, Dindar Mustafa Saado
Several critical theories have emerged throughout the history of literary criticism, evolving with the different stages and eras in which they developed. One such theory, reception theory, originated in response to the critiques of Russian constructivists and formalists. Established in the early 1970s by Hans-Robert Jauss and Wolfgang Iser, this theory emerged under particular circumstances in Germany and marked a significant shift in literary criticism by placing a strong emphasis on the role of the reader. The founders introduced numerous concepts and principles for analyzing literary texts, one of the foundational principles being the "horizon of expectations" put forward by Hans-Robert Jauss. This research focuses on analyzing the poem Sweetheart by (Hazervan Abdullah) through the lens of Jauss "horizon of expectations." It examines how the poem’s textual horizons influence and shape the reader’s reception, as well as how new horizons emerge during the act of interpretation. A literary text, particularly a new one, contains limitless horizons, offering diverse possibilities and perspectives to the reader. The significance of this research lies in its innovative approach, particularly in exploring the concept of "expectation" as a key principle in reception theory for analyzing intellectual poetry. In the poem Sweetheart, the poet employs numerous linguistic, structural, and artistic deviations, using them to disrupt the reader’s preconceived horizons, creating a sense of shock and transformation. These deviations allow the poet to exceed the reader's expectations, prompting spontaneity, reflection, and change. As a result, the reader is not confined by the text or passively absorbed in it, but instead becomes an active participant in the reading process—deductive, productive, and driven to uncover alternative meanings within the text.
Volume 11 · Issue 5 · October 2024Direct Intentionalism and its Impact on the Recipient in Ma'rouf Al-Rusafi's Divan
Hogir Zahid Jalal, Fadhil Hama Said
This study, titled “Direct Intentionalism and its Impact on the Receiver in Divan Ma’ruf Al-Rusafi, a Pragmatic Study,” seeks to monitor direct intentionality and its impact on the recipient, through selected models, based on the fact that speech is not devoid of intentionality, which is one of the elements that contribute to directing the parties to the communicative process. Whether intentionality is direct or indirect, the research is limited to direct intentionality through: informative intentionality, presupposition intentionality, and direct verbal intentionality. The research tries to shed light on these deliberative mechanisms used by the poet to communicate his direct intention to the recipient in order to influence the recipient, and change his ideas and beliefs, and urge the recipient towards sophistication and progress and reject backwardness and isolation and ignorance.
Volume 10 · Issue 3 · September 2023The balance between text and image in TV news editing The example of the 8:00 PM news bulletin on NRT & K24 Analytical and comparative research
Yohan Othman Hama, Shna Ahmed Amin
This research entitled (The Balance between text and image in TV news editing) is an attempt to clarify the balance between two main elements, which are text and image in the TV news editing process on Kurdish satellite channels. The research explores how TV channels use text-image balance in news broadcasting. The main objective of this study is exploring the methods of balancing between text and image in news editing. The researcher relies on descriptive and content analysis methods to achieve its objectives. The research follows some methods of collecting data including monitoring and note-taking, interviews, surveys. The main finding of this research is: K24 keeps balance between text and image in news stories related to political, economic, partisan, governmental, military, environmental, and religious. In contrast, NRT follows balancing only in news stories involving governmental, partisan, and organizational. The results show that K24 is using balance more than NRT. This research also shows that both channels are working on that breaking news and current affairs by using description and showing the images when available. In their news editing they show the same angles and frames that are new and they use different sources. They use more (Cut effect) in editing, which is one of the crucial and suitable effects of news editing on TV.
Volume 10 · Issue 2 · June 2023Reading the poem (I’m capable of doing it) by (Abdulla Pashew) According to reader reception and response theory
Sarkawt Omar Ibrahim, Pakhshan Ali Ahmed, Lanja Abdulrahman Gharib
Abdullah Pashew's poem (I’m capable of doing it) is one of the different poems of the poet, in which the story of four years of the poet's love relationship with the opposite sex is told. The poet's upheaval in the poem has led to different views and their reflection in various critical articles and research. From this point of view, according to the method of receiving and responding to the reader, we have tried to analyze some of the articles written about this text Some of these views and opinions expressed their opposition to the text and did not meet their expectations because they believed that it could not be disturbed within the framework of the message It is fiery and threatening to stand up to the love of women. On the other hand, another discourse and message emerges among some critics and readers of the text, which is coordinated with their intellectual acceptance and adaptation to the idea of the text and becomes satisfactory and welcome it They reject the charges against the poet.
Volume 7 · Issue 3 · August 2020Color in Dramatic Text
Manswr Nahman Najim
The research includes four topics. In topic one, research problem is addressed through formulating the query, how color would be employed in dramatic text. The importance of the research was demonstrated as an indication of the various aesthetic and critical readings of the dramatic texts, that grants renewed life in different understandings. One central goal was identified, exposing chromatic diversity in the texture of dramatic text. As for the objective limit, it was: Variation of color and movement in the structure of the dramatic text. Topic two has two axes: 1- Words & color symbol, in which the color schemes were addressed as an integral part of the effectiveness of the dramatic text. 2- Color and significance. The semantics of the text are unlimited, but completely open to different understandings, because they push it to formulate a new meaning, which may be completely different from its familiar meaning. In topic 3 three texts were deliberately chosen from the research community: 1- Richard III, by Shakespeare 2- When Moon Faded, by Singh2 3- Little Eylof, by Ibsen3 The sample was analyzed under the shed of descriptive analytical approach, while its tool was observation and the resulting theoretical framework. The sample is analyzed within the following axes Chromatic Characterization Chromatic contrast. 2 -Personal heroine color3 Color metaphor4 Results discussed at topic 4, such conclusions emerged 1- The dominant color in the dramatic text is in a specific color, and may be in two specific colors 2- Color forms a deep structure in dramatic text. 3-Dramatic space pairs with the psychological color of the hero. A recommendation was made and the research was concluded with a list of sources and references.