The Technical Structure of Film: Between the Novel and the Art of Cinema – A Critical Analytical Study

Abstract

One of the fundamental elements from which the contemporary novel has benefited is the cinematic shot. The novel, in essence, is composed of a collection of accumulated and interwoven shots that can only be classified  and distinguished from one anther on a theoretical level. During the process of  narration, the novelist emphasizes these shots with the aim of presenting  the finest details and the aesthetic and rhetorical dimensions of the text through various visual perspectives. In doing so, the novelist seeks to stimulate the recipient’s imagination and broaden the horizon of visual perception.

Among the Kurdish novelists who have employed the cinematic shot with remarkable artistic precision in constructing their narratives are (Ibrahim Ahmad, Bayan Salman, and Jan Dust). Their purpose in adopting this technique is to engage the reader in the movement and dynamism of scenes, the diversity of cinematic shots and images, and to enable the reader to appreciate their aesthetic and artistic qualities.

We have divided the discussion into two topics: The first topic: Under the name of the structure of video art, it focuses on the concept and structure of video, in addition to the similarities and differences between cinema and genre Romanda. In the second topic: Discuss the types of footage, the importance, duties and roles between these two genres and art in terms of theory and practice examples of the film (People's Pain) and compare with the text of the novel and novels (Nights of Adam). – Mirname) is mentioned. We present the results below, in addition to the list of sources.