The artistic operations of visual composition elements and pictorial language in constructing the television image
DOI:
https://doi.org/10.35560/jcofarts1732Keywords:
engagements - composition - image- - televisionAbstract
The associative presence that characterizes the creative artistic process in its visual construction is one of the essential pillars of the visual formation process. This formation determines the entire visual structure of the television series and establishes its profound connection to the inherent aesthetic value within it. The role of the television image is not limited to being a visual form within a frame, but rather becomes an integrated structure manifested through the visual composition with its main elements and sub-components. Furthermore, visual language, as an artistic tool, is capable of producing an authentic achievement at the levels of artistic form and dramatic content, which together constitutes what is known as visual construction. From this standpoint, the television image possesses a set of visual and aesthetic components that enable it to present itself as both an art and a craft. These elements contribute to shaping its structure and supporting the process of narrating the dramatic events within the television series. The moving image here is not merely a carrier of events; rather, it is a means of capturing the imagination and transforming it into multiple meanings, whose connotations are renewed by different methods of employment and formation. Accordingly, visual construction, in its artistic and dramatic dimensions, is linked. Closely linked to the ability to realize the series' integrated artistic structure, the artistic engagement of visual composition and pictorial language imposes its presence within the dramatic context with deliberate awareness and organized intent, its impact clearly manifesting through the technical energies and visual treatments that work to fulfill the requirements of the artistic concept. This structure, in its formative essence, works to realize the artistic vision of the dramatic concept, giving the series a distinct form, especially in light of the technological boom witnessed by the new millennium, which elevated the television image to high levels of ability to create a visual form in which aesthetic features are clearly manifested and integrated through visual technologies capable of fulfilling the expressive and functional requirements of the artistic concept.
References
Al-Sayed, A. A. (2019). The Film Between Language & Text. Cairo: Cairo.
Fadl, S. (1998). Theory of Constructivism (Vol. first edition). Cairo: Dar Al-Shorouk.
Jannetty, L. (1981). Understanding Cinema. Baghdad: Dar Al-Rashid Publishing House.
Krantz, J., & Schwartz, B. (2015). Sensation and Perception. Chicago: Chicago.
Reid, H. (1986). The Meaning of Art. (S. Khashaba, Trans.) Baghdad: House of General Cultural Affairs.
Tarkovesky, A. (2008). elements of cinema. United Kingdom: Rektion Books.
Al-Baydani, H. (2016). The Aesthetic Employment of Sound in Alfred Hitchcock Films. Baghdad: al- Academiy Journal.
Al-Saeed Badawi,. (1986). Dictionary of the Arabic Language, (Vol. 1st ed). Beirut,: Lebanon Publishers Library,.
Al-Tahanawi, M. (1996). Encyclopedia of reconnoitering Conventions of Arts and Sciences (1st ed ed.). Beirut: Lebanon Library.
Aumont, J. (2013). the Image (Vol. first edition). (R. E. Khoury, Trans.) Beirut: Arab Organization for Translation.
Bordwell, D. (2022). Intensify Continuity (Visual Style in Contemporary American Film). (Vol. Film Quarterly). LA: University of California Press.
Bowen, H., & J, H. (1957). Islamic society and the West. Oxford: Oxford press.
Carmona, C. R. (2016). Cinema and its ability to represent a staged reality. Portugal: Centre for Research in Science and Technology of the Arts.
Cleve, B. (2006). Film Production Management (Vol. 3rd). Oxford: Focal press.
Cline D Hofstadter ، و HW Griffin. (2015). Dictionary of Visual Science (المجلد 7TH ED Revised edition.). Boston: Butterworth-Heinemann Publish.
Daniel Arikhon. (1997). Cinematic Language Grammar. (Ahmed El-Hadary، المترجمون) Cairo: The Egyptian General Book Organization.
Dean, A. (1986). The Basic Elements of Directing the Play. (S. A. Hamid, Trans.) Baghdad: University of Baghdad - College of Fine Arts, Baghdad.
Edward Stachev and Rudy Bretz,. (n.d.). Television Programs:Production and Direction,. (Ahmed Taher, , Trans.) Cairo,: Arab Record Foundation,.
Gillam, R. (P.T.). Foundations of Design. (M. M.-B. Ibrahim, Trans.) Cairo: Dar Nahdet Misr for Printing and Publishing.
Hammouda, A. (1998). Dramatic Construction. Cairo: the Egyptian General Book Organization.
Hassan, A. M. (2016). The Expressive and Aesthetic Role of the Introductory Scenes in the Figurative Discourse (Cinematography). bahgdad: Academic Journal.
Ibn Manzur,. (1290). Lisan al-Arab (Vols. third edition, ). Beirut,: Arab History Foundation,.
Ibrahim Mustafa and others. (2005). Al-Mu'jam Al-Wasit (Vols. Third Edition, ). Istanbul,: (Dar Al-Da'wa Publishing,.
Ibrahim, T. A. (2012). Reading the plastic image between truth and revelation (Vol. 3). Sudan: Sudan University of Science and Technology.
Jalal al-Din Sa'id,. (2000). Dictionary of Philosophical Terms and Evidence. Tunis, : Dar al-Janub Publishing House, .
Kitaygorodsky, A., & Landau, L. (1978). Physics for All, Moscow. (M. P. House., Trans.) Moscow: Mir Printing and Publishing House.
Lawson, J. H. (2002). Creative Practical Cinema. Baghdad: House of General Cultural Affairs.
Marcel Martin. (2009). Cinematic Language and Writing with Image. (Saad Makkawi، المترجمون) Damascus: Publications of the Ministry of Culture.
Mascelli, J. (2005). The 5C, s of Cinematography (Motion Picture Filming Technique’s). Los Angles: Silman James Press.
Meyer, B. (1966). Figurative Arts and How We Appreciate Them. (S. A.-M. Al-Qadi, Trans.) Cairo - New York: The Egyptian Renaissance Bookshop and The Franklin Institute for Printing and Publishing.
Michael Romm. (1981). Conversations on Film Direction (المجلد first edition). (Adnan Madanat، المترجمون) Beirut: Dar Al-Farabi.
Muhammad Saeed , A. (1990). Research Methodology Science. Mosu: Dar Al-Hikma for Printing and Publishing.
Mustafa Moharam, . (2010). Drama and Television,. Cairo, : Egyptian General Book Authority, .
Nichols, B. (2007). Films and Methods. (H. Bayoumi, Trans.) Cairo: National Center for Translation.
Nudd, P., & Taggart, A. (2017). Framing the Artists in Film. Chicago: Nordic Institute for Contemporary Art.
Olson, R. (1994). Art Direction for Film and Video. (Vol. second edition). , New York & London: focal press.
Pam cook. (2005). Fictions of identity, Nostalgia in Cinema. New York, 2005: Routledge.
Paola Marati. (2003). Gilles Deleuze Cinema & Philosophy. Baltimore: the johns Hopkins university press.
Rabiger, M. (2018.). Film Direction: Techniques and Aesthetics. (N. Wannous, Trans.) Abu Dhabi: Department of Culture.
Riyad, A.-F. (1973). Formation in Fine Arts (Vol. first edition). Cairo: United Printing Company for Publishing and Distribution.
Roy S, B. (2000). Principles of Digital Color Technology in Televised Production. New York: Wiley Publish House.
Shimi, S. (2014). The Cinematic Image from Silent to Digitald. Cairo: Al-Amal Company for Printing and Publishing.
Wulff, J. (2017). Creating a Synthetic Optical Flow Benchmark. Germany: Max-Planck Institute for Intelligent Systems.
Wulff, W. (2017). Creating a Synthetic Optical Flow Benchmark. Germany: Max-Planck Institute for Intelligent Systems.
