The aesthetics of employing dreams in the structure of a film

Abstract

Abstract

Ithas become clear to many concerned and technical specialists that  the concept of dream has, since ancient times, acquired wide and large scopes in the arts, especially in cinema, where it is considered an inspiration and a mine for the majority of cinematic films, and its areas of work have become intensive as an aesthetic and artistic visual achievement that is influential and important through its production of a huge amount of realistic and imaginary cinematic images that are linked to their inclusion of various forms, symbols, signs, connotations and multi-dimensional psychological suggestions that reflect in their proposals the repressed inner desires or unconscious fears, as they sought to create and form an aesthetic, sensory and emotional visual experience. Because of the importance of these dream images and their visual and psychological impact, the methods of their embodiment and ways of their appearance in the cinematic film have diversified, whereby the dream industry and its cinematic realization have crystallized between aesthetic creativity and craftsmanship and through rules and visions that stem from the director’s feelings based on his imagination, artistic visions and intellectual philosophy, as the process of embodying dreams in the cinematic film has represented here the mental ability to create and innovate different The flowing images emanating from the subconscious channels that harmonize the recipient's imagination and subconscious mind, and then work to attract his interaction and identification with interpretation, explanation and analysis, which support the cinematic film form with capabilities and potentials that motivate it to perform its aesthetic, psychological, dramatic and expressive functions. Accordingly, and in accordance with this meaning, the research was divided into four chapters: The first chapter (the methodological framework) included the research problem, which was represented by the following question: What are the aesthetic aspects that contribute to the representations of dreams in the structure of the cinematic film? It also included the importance of the research and the need for it, and then the research objective, which is to reveal the aesthetic aspects that contribute to the representations of dreams in the structure of the cinematic film. The second chapter (the theoretical framework) included three topics: The first topic is: The concept of dreams and the philosophy of dreams. The second topic: Dreams and cinema. The third topic is: Embodying the representations of dreams in the structure of the cinematic film. The third chapter contained (research procedures and sample analysis). The fourth chapter included (results and conclusions), and finally a list of sources .