Abstract
Bu çalışma, Mısırlı yönetmen Youssef Chahine’in tarihsel, dini ve kültürel faktörlerden etkilenerek filmlerinin anlatısında renkleri nasıl kullandığını araştırmayı amaçlamaktadır. Çalışmanın temel amacı, izleyicinin duyguları ve film algısı üzerindeki etkisinin yanı sıra sinemasal görüntülerin estetiğini zenginleştirme kabiliyeti nedeniyle renklerin ve sembolizmin bir sinema eserindeki önemine ışık tutmaktır. Bu bağlamda, Chahine’in farklı dönemlerde çekilmiş iki farklı filmi, Al Nasser Salah Al-din (Muzaffer Selahaddin, 1963) ve Al-Massir (Kader, 1997) filmleri örneklem olarak seçilmiştir. Çalışmada, Roland Barthes’ın göstergebilimsel yaklaşımı, seçilen filmlerdeki rengin düzanlamsal ve yananlamsal anlamlarını analiz etmek için kullanılmıştır. Bu analiz, Chahine’nin filmlerinde rengin önemini ve renk sembolizminin yönetmenin fikirlerini aktarmak ve kendine özgü görsel tarzını tasvir etmek için nasıl kullanıldığını ortaya koymaktadır.
References
- Abdulmaged, T. R. (2022). The effect of Egyptian films in Arab cinema (Master thesis). Bahçeşehir University, İstanbul.
- Barthes, R. (1968). Elements of semiology (1st edition) (Trans. A. Lavers & C. Smith). Hill and Wang.
- Bayoumi, M. (Director). (1924). Al-Bashkatib [Movie]. Amon.
- Chahine, Y. & Massad, J. (1999). Art and politics in the cinema of Youssef Chahine. Journal of Palestine studies, 28(2), 77-93. https://doi.org/10.2307/2537936
- Chahine, Y. (Director). (1950). Baba amin [Movie]. Egyptian General Organization for Cinema and Television.
- Chahine, Y. (Director). (1953). Ibn el nil [Movie]. Egyptian General Organization for Cinema and Television.
- Chahine, Y. (Director). (1954). Siraa fil-wadi [Movie]. Egyptian General Organization for Cinema and Television.
- Chahine, Y. (Director). (1958). Bab el hadid [Movie]. Misr international
- Chahine, Y. (Director). (1963). Al nasser salah al-din [Movie]. Lotus
- Chahine, Y. (Director). (1978). Alexandria... why? [Movie]. Misr international.
- Chahine, Y. (Director). (1985). Adieu bonaparte [Movie]. Misr international.
- Chahine, Y. (Director). (1994). Al-muhajir [Movie]. Misr international.
- Chahine, Y. (Director). (1997). Al-massir [Movie]. Misr international.
- Chandler, D. (2002). Semiotics: The basics (1st edition). Routledge.
- Elnaccash, A. (1968). Egyptian cinema: A historical outline. African arts, 2(1), 52-71. https://doi.org/10.2307/3334315
- Fiske, J. (1990). Introduction to communication studies (2nd edition). Routledge.
- Gaffney, J. (1987). The Egyptian cinema: Industry and art in a changing society. Arab studies quarterly, 9(1), 53-75. https://www.jstor.org/stable/41857918
- Halim, H. (1992). The signs of Saladin: A modern cinematic rendition of medieval heroism. Alif: Journal of comparative poetics, 12, 78-94. https://doi.org/10.2307/521637
- Hamam, I. (2010). Chahine, Youssef (1926-2008). T. Ginsburg & C. Lippard (Ed.), Historical dictionary of Middle Eastern cinema (1st edition) (p. 84-86). The Scarecrow.
- Moriarty, S. (2005). Visual semiotics theory. S. Josephson, J. D. Kelly & K. Smith (Ed.), Handbook of visual communication, theory, methods, and media (1st edition) (p. 227-242). Routledge.
- Özyıldırım, M. (2014). Mısır filmlerinin Türk sineması ve Türkler üzerindeki etkileri. M. S. Yıldırım & B. Musa (Ed.), Uluslararası Türk-Arap müşterek değerler ve kültürel etkileşim sempozyumu bildiriler kitabı (1st edition) (p. 286-294). Yunus Emre Türk Kültür Merkezi.
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Abstract
This study explore the ways in which Egyptian director Youssef Chahine employed colors within the narrative of his films, influenced by historical, religious, and cultural factors. The main purpose of the study is to shed light on the significance of colors and their symbolism in any cinematic work, due to its impact on the viewer’s emotions and perception of a film, as well as its ability to enhance the aesthetics of the cinematic imagery. In this context, two different films of Chahine, Al Nasser Salah Al-din (Saladin the Victorious, 1963) and Al-Massir (Destiny, 1997), which were shot in different periods, were selected. In study uses Roland Barthes’ semiological approach as a to analyze the denotational and connotational meanings of color in selected films. This analysis reveals the significance of color in Chahine’s films and how color symbolism is employed to convey the director’s ideas and depict their distinctive visual style.
References
- Abdulmaged, T. R. (2022). The effect of Egyptian films in Arab cinema (Master thesis). Bahçeşehir University, İstanbul.
- Barthes, R. (1968). Elements of semiology (1st edition) (Trans. A. Lavers & C. Smith). Hill and Wang.
- Bayoumi, M. (Director). (1924). Al-Bashkatib [Movie]. Amon.
- Chahine, Y. & Massad, J. (1999). Art and politics in the cinema of Youssef Chahine. Journal of Palestine studies, 28(2), 77-93. https://doi.org/10.2307/2537936
- Chahine, Y. (Director). (1950). Baba amin [Movie]. Egyptian General Organization for Cinema and Television.
- Chahine, Y. (Director). (1953). Ibn el nil [Movie]. Egyptian General Organization for Cinema and Television.
- Chahine, Y. (Director). (1954). Siraa fil-wadi [Movie]. Egyptian General Organization for Cinema and Television.
- Chahine, Y. (Director). (1958). Bab el hadid [Movie]. Misr international
- Chahine, Y. (Director). (1963). Al nasser salah al-din [Movie]. Lotus
- Chahine, Y. (Director). (1978). Alexandria... why? [Movie]. Misr international.
- Chahine, Y. (Director). (1985). Adieu bonaparte [Movie]. Misr international.
- Chahine, Y. (Director). (1994). Al-muhajir [Movie]. Misr international.
- Chahine, Y. (Director). (1997). Al-massir [Movie]. Misr international.
- Chandler, D. (2002). Semiotics: The basics (1st edition). Routledge.
- Elnaccash, A. (1968). Egyptian cinema: A historical outline. African arts, 2(1), 52-71. https://doi.org/10.2307/3334315
- Fiske, J. (1990). Introduction to communication studies (2nd edition). Routledge.
- Gaffney, J. (1987). The Egyptian cinema: Industry and art in a changing society. Arab studies quarterly, 9(1), 53-75. https://www.jstor.org/stable/41857918
- Halim, H. (1992). The signs of Saladin: A modern cinematic rendition of medieval heroism. Alif: Journal of comparative poetics, 12, 78-94. https://doi.org/10.2307/521637
- Hamam, I. (2010). Chahine, Youssef (1926-2008). T. Ginsburg & C. Lippard (Ed.), Historical dictionary of Middle Eastern cinema (1st edition) (p. 84-86). The Scarecrow.
- Moriarty, S. (2005). Visual semiotics theory. S. Josephson, J. D. Kelly & K. Smith (Ed.), Handbook of visual communication, theory, methods, and media (1st edition) (p. 227-242). Routledge.
- Özyıldırım, M. (2014). Mısır filmlerinin Türk sineması ve Türkler üzerindeki etkileri. M. S. Yıldırım & B. Musa (Ed.), Uluslararası Türk-Arap müşterek değerler ve kültürel etkileşim sempozyumu bildiriler kitabı (1st edition) (p. 286-294). Yunus Emre Türk Kültür Merkezi.
- Rosti, S. (Director). (1927). Leyla [Movie]. Isis.
- Shafik, V. (2007). Arab cinema: History and cultural identity (2nd edition). American University in Cairo.
Details
| Primary Language | English |
|---|---|
| Subjects | Cultural Studies (Other) |
| Journal Section | Research Articles |
| Authors | |
| Publication Date | February 27, 2025 |
| Submission Date | August 26, 2024 |
| Acceptance Date | January 3, 2025 |
| Published in Issue | Year 2025Issue: 13 |
ARTS is licensed under CC BY-NC 4.0 
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