{"id":3765,"date":"2024-12-29T17:20:38","date_gmt":"2024-12-29T17:20:38","guid":{"rendered":"https:\/\/journal.ziu-university.net\/?p=3765"},"modified":"2024-12-29T17:20:40","modified_gmt":"2024-12-29T17:20:40","slug":"%d8%a7%d9%84%d8%aa%d8%ad%d9%84%d9%8a%d9%84-%d8%a7%d9%84%d8%b3%d9%8a%d9%85%d9%8a%d8%a7%d8%a6%d9%8a-%d9%84%d9%84%d9%81%d9%8a%d9%84%d9%85-%d8%a7%d9%84%d9%88%d8%ab%d8%a7%d8%a6%d9%82%d9%8a-%d9%88%d8%af","status":"publish","type":"post","link":"https:\/\/journal.ziu.edu.sy\/?p=3765","title":{"rendered":"\u0627\u0644\u062a\u062d\u0644\u064a\u0644 \u0627\u0644\u0633\u064a\u0645\u064a\u0627\u0626\u064a \u0644\u0644\u0641\u064a\u0644\u0645 \u0627\u0644\u0648\u062b\u0627\u0626\u0642\u064a \u0648\u062f\u0648\u0631\u0647 \u0641\u064a \u0643\u0634\u0641 \u0627\u0644\u0642\u064a\u0645 \u0627\u0644\u0645\u062c\u062a\u0645\u0639\u064a\u0629 \u0625\u0628\u0627\u0646 \u0627\u0644\u0623\u0632\u0645\u0627\u062a"},"content":{"rendered":"\n

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Abstract<\/strong>
<\/strong>Documentary films vary in their artistic features, duration, themes, and goals, but they all share the use of a common language: the language of images. This language excels in its ability to represent reality in a way that profoundly impacts the viewer\u2019s emotions and sentiments, more than their conscious mind. In this sense, imagery serves as the ideal medium to inspire people and instill hope during times of crises and disasters. This was evident when the “Sharjah Broadcasting Authority” in the Emirate of Sharjah resorted to short documentary films to appeal to the emotions of its citizens and boost their morale by producing a short film clip that spreads hope and promises the imminent end of the pandemic.<\/p>\n\n\n\n

The analysis of the motivational documentary film draws upon the findings of Roland Barthes, particularly his theory of the rhetoric of the image. Using the conceptual framework of visual semiotics, the study deconstructs the iconic and linguistic messages embedded within the film. It also examines the role of sound effects, types of shots, camera angles, camera movements, and lighting in constructing meaning. The analysis was conducted on two levels: the denotative and the interpretative. The study concludes with insights into the societal values promoted by the film and the producer\u2019s perspective on the roles of the government and citizens in managing crises.<\/p>\n\n\n\n

Keywords: Visual Semiotics, Documentary Film, Cinematic Language, Descriptive and Implicit Image Analysis.<\/strong><\/p>\n\n\n\n

\u0627\u0639\u062f\u0627\u062f : <\/strong><\/p>\n\n\n\n

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LGORJI Atif<\/strong><\/td><\/tr>
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<\/h4>\r\n\t\t\t\t\t<\/div>\r\n\t\t\t\t\r\n\t\t\t\t
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\r\n\t\t\t\t\t\r\n\t\t\t\t\t\t<\/span>\r\n\t\t\t\t\t<\/span>\r\n\t\t\t\t<\/div>\r\n\r\n\t\t\t\t
<\/div>\r\n\r\n\t\t\t<\/div>\r\n\t\t<\/div>\r\n\t<\/div>","protected":false},"excerpt":{"rendered":"

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