‫‪welcome to the school of cinema on line‬‬ ‫‪Page 1 of 43‬‬

‫ﺍﻝﻤﺨﺭﺝ ﺸﺎﺩﻯ ﻋﺒﺩ ﺍﻝﺴﻼﻡ‬ ‫ﻓﻴﻠﻡ ﺍﻝﻤﻭﻤﻴﺎﺀ‬

‫ﻭﺼﻑ ﺍﻝﺼﻭﺕ‬ ‫ﻭﺼﻑ ﺍﻝﺼﻭﺭﺓ‬ ‫ﻡ‬

‫ﺍﻝﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻤﺅﺜﺭﺍﺕ‬ ‫ﺍﻝﺤﻭﺍﺭ‬
‫ﺘﻴﺘﺭﺍﺕ ﺍﻝﺒﺩﺍﻴﺔ‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻘﻨﺎﻉ ﺍﻝﻤﻭﻤﻴﺎﺀ‬ ‫‪1‬‬
‫ﻭﺘﻅﻬﺭ ﻝﻭﺤﺔ ﻋﻠﻴﻬﺎ ﻜﻠﻤﺎﺕ‬
‫ﻴﺎﻤﻥ ﺘﺫﻫﺏ ﺴﺘﻌﻭﺩ‬
‫ﻤﻭﺴﻴﻘﻰ ﺍﻝﺘﻴﺘﺭﺍﺕ‬
‫ﻴﺎﻤﻥ ﺘﻨﺎﻡ ﺴﻭﻑ ﺘﻨﻬﺽ‬
‫ﺠﻨﺎﺌﺯﻴﺔ ﺘﺒﺩﻭ‬
‫ﻴﺎﻤﻥ ﺘﻤﻀﻰ ﺴﻭﻑ ﺘﺒﻌﺙ‬
‫ﻜﺄﺠﺭﺍﺱ ﺍﻝﻜﻨﺎﺌﺱ‬
‫ﻓﺎﻝﻤﺠﺩ ﻝﻙ‬
‫ﻝﻠﺴﻤﺎﺀ ﻭﺸﻤﻭﺨﻬﺎ ﻝﻠﺒﺤﺎﺭ ﻭﻋﻤﻘﻬﺎ (‬
‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade - out‬‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade -In‬‬ ‫‪2‬‬
‫ﻝﻠﻭﺤﺔ ﻋﻠﻴﻬﺎ‬
‫ﻭﺯﺍﺭﺓ ﺍﻝﺜﻘﺎﻓﺔ‬
‫ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻌﺎﻤﺔ ﻝﻠﺴﻴﻨﻤﺎ‬
‫ﺘﻘﺩﻡ‬
‫ﻤﺯﺝ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪3‬‬
‫ﺇﻨﺘﺎﺝ‬
‫ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻤﺼﺭﻴﺔ ﺍﻝﻌﺎﻤﺔ ﻝﻠﺴﻴﻨﻤﺎ‬
‫ﺘﻘﺩﻡ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪4‬‬
‫ﻴﻭﻡ ﺃﻥ ﺘﺤﺼﻰ ﺍﻝﺴﻨﻴﻥ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪5‬‬
‫ﺍﻝﻤﻭﻤﻴﺎﺀ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪6‬‬
‫ﻤﺎﺨﻭﺫﺓ ﻋﻥ ﻗﺼﺔ ﺇﻜﺘﺸﺎﻑ ﻤﺨﺒﺄ‬
‫ﺍﻝﻤﻭﻤﻴﺎﻭﺍﺕ ﺒﺎﻝﺩﻴﺭ ﺍﻝﺒﺤﺭﻯ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪7‬‬
‫ﻗﺒﻴﻠﺔ ﺍﻝﺤﺭﺒﺎﺕ‬
‫ﺃﺤﻤﺩ ﻤﺭﻋﻰ ‪ ....‬ﻭﻨﻴﺱ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪8‬‬
‫ﻋﺒﺩ ﺍﻝﻤﻨﻌﻡ ﺃﺒﻭ ﺍﻝﻔﺘﻭﺡ ‪ ....‬ﺍﻝﻌﻡ‬
‫ﻋﺒﺩ ﺍﻝﻌﻅﻴﻡ ﻋﺒﺩ ﺍﻝﺤﻰ ‪...‬ﺍﻝﻘﺭﻴﺏ‬
‫ﺃﺤﻤﺩ ﺤﺠﺎﺯﻯ ‪ ......‬ﺍﻷﺥ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪9‬‬
‫ﻝﻭﺤﺔ‬

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‫ﺯﻭﺯﻭ ﺤﻤﺩﻯ ﺍﻝﺤﻜﻴﻡ ‪ ...‬ﺍﻷﻡ‬

‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪10‬‬
‫ﺃﺤﻤﺩ ﺨﻠﻴل ‪ ..‬ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻷﻭل‬
‫ﺤﻠﻤﻰ ﻫﻼﻝﻰ ‪ .....‬ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ‬
‫ﻤﺤﻤﺩ ﻋﺒﺩ ﺍﻝﺭﺤﻤﻥ ‪.‬ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻝﺙ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪11‬‬
‫ﺃﻓﻨﺩﻴﺔ ﺍﻵﺜﺎﺭ‬
‫ﺃﺤﻤﺩ ﻋﻨﺎﻥ ‪ ..‬ﺍﻝﺒﺩﻭﻯ ﺒﻙ‬
‫ﻤﺤﻤﺩ ﺨﻴﺭﻯ ‪ ...‬ﺃﺤﻤﺩ ﻜﻤﺎل‬
‫ﺠﺎﺒﻰ ﻜﺭﺍﺯ‪ ...‬ﻤﺎﺴﺒﻴﺭﻭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪12‬‬
‫ﺘﺠﺎﺭ ﺍﻵﺜﺎﺭ‬
‫ﺸﻔﻴﻕ ﻨﻭﺭ ﺍﻝﺩﻴﻥ ‪ ..‬ﺃﻴﻭﺏ‬
‫ﻤﺤﻤﺩ ﻨﺒﻴﻪ ‪ ...‬ﻤﺭﺍﺩ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪13‬‬
‫ﻀﻴﻔﺔ ﺍﻝﺸﺭﻑ‬
‫ﻨﺎﺩﻴﺔ ﻝﻁﻔﻰ‬
‫ﻓﻰ ﺩﻭﺭ ﺯﻴﻨﺔ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪14‬‬
‫ﺘﺼﻤﻴﻡ ﺍﻝﻤﻼﺒﺱ‬
‫ﺸﺎﺩﻯ ﻋﺒﺩ ﺍﻝﺴﻼﻡ‬
‫ﻤﺤﻤﺩ ﻋﺯﺕ ‪ ...‬ﻤﺴﺎﻋﺩ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪15‬‬
‫ﻤﻬﻨﺩﺱ ﺍﻝﻤﻨﺎﻅﺭ‬
‫ﺼﻼﺡ ﻤﺭﻋﻰ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪16‬‬
‫ﻗﺎﻡ ﺒﻌﻤل ﺍﻝﻨﻤﺎﺫﺝ ﺍﻝﻤﻁﺎﺒﻘﺔ ﻝﻠﺘﻭﺍﺒﻴﺕ‬
‫ﺍﻝﻔﺭﻋﻭﻨﻴﺔ ﺍﻝﻤﻭﺠﻭﺩﺓ ﺒﺎﻝﻤﺘﺤﻑ ﺍﻝﻤﺼﺭﻯ‬
‫ﻭﺍﻝﻤﻨﻘﻭﻝﺔ ﻤﻥ ﻤﺨﺒﺄ ﺍﻝﻤﻭﻤﻴﺎﻭﺍﺕ ﺒﺎﻝﺩﻴﺭ‬
‫ﺍﻝﺒﺤﺭﻯ ‪1881‬‬
‫ﺼﻼﺡ ﻤﺭﻋﻰ ﺃﻨﺴﻰ ﺃﺒﻭ ﺴﻴﻑ‬
‫ﺒﻬﻴﺞ ﺍﻝﻤﺼﺭﻯ ﻤﺠﺩﻯ ﻨﺎﺸﺩ‬
‫ﻨﺒﻴل ﺍﻝﻭﺭﺍﻗﻰ ﻤﺭﺯﻭﻕ ﺤﻤﺩﻯ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪17‬‬
‫ﺍﻝﻤﺸﺭﻑ ﺍﻝﻔﻨﻰ ﻝﻺﻜﺴﺴﻭﺍﺭ‬
‫ﺠﺎﺒﻰ ﻜﺭﺍﺯ‬
‫ﻤﺴﺎﻋﺩﻭ ﺍﻹﻜﺴﺴﻭﺍﺭ‬
‫ﺒﻬﻴﺞ ﺤﺴﻨﻴﻥ ﺩﺴﻭﻗﻰ ﻤﺤﻤﺩ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪18‬‬
‫ﺍﻝﻤﻜﻴﺎﺝ‬
‫ﻋﺒﺩ ﺍﻝﻭﻫﺏ ﻗﻁﺏ‬
‫ﻨﺒﻴﻠﺔ ﻓﻭﺯﻯ‬

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‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪19‬‬
‫ﻤﺩﻴﺭ ﺍﻹﻨﺘﺎﺝ‬
‫ﺃﺤﻤﺩ ﺴﺎﻤﻰ‬
‫ﺼﻔﻭﺕ ﻤﺼﻁﻔﻰ ‪ ..‬ﻤﺭﺍﻗﺏ ﺇﻨﺘﺎﺝ‬
‫ﺤﻤﺩﻯ ﺤﺴﻥ ‪ ...‬ﻤﺴﺎﻋﺩ ﺇﻨﺘﺎﺝ‬
‫ﺴﻴﺩ ﻋﻠﻰ ‪ ...‬ﺭﻴﺠﻴﺴﻴﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪20‬‬
‫ﺍﻝﻤﺼﻭﺭ‬
‫ﻤﺼﻁﻔﻰ ﺃﻤﺎﻡ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪21‬‬
‫ﺍﻝﻤﺴﺎﻋﺩﺍﻥ‬
‫ﻋﺒﺩ ﺍﻝﻠﻁﻴﻑ ﻓﻬﻤﻰ‬
‫ﻤﺤﻤﺩ ﺒﺭﻫﺎﻡ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪22‬‬
‫ﻤﺴﺎﻋﺩ ﻤﺨﺭﺝ ﺃﻭل‬
‫ﻤﻴﺭ ﻋﻭﻑ‬
‫ﻤﺴﺎﻋﺩ ﻤﺨﺭﺝ ﺜﺎﻥ‬
‫ﻋﺎﻁﻑ ﺍﻝﺒﻜﺭﻯ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪23‬‬
‫ﺤﻭﺍﺭ‬
‫ﺸﺎﺩﻯ ﻋﺒﺩ ﺍﻝﺴﻼﻡ‬
‫ﻋﻼﺀ ﺍﻝﺩﻴﺏ‬
‫ﺘﺴﺠﻴل ﺍﻝﺼﻭﺕ ‪ ..‬ﺍﻝﻤﻬﻨﺩﺱ ﻨﺼﺭﻯ ﻋﺒﺩ‬
‫ﺍﻝﻨﻭﺭ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪24‬‬
‫ﺍﻝﻤﻭﺴﻴﻘﻰ‬
‫ﻤﺎﺭﻴﻭ ﻨﺎﺸﻤﺒﻴﻨﻰ‬
‫ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺼﻭﺘﻴﺔ ﻭﺍﻝﻤﻜﺴﺎﺝ‬
‫ﺍﺴﺘﻭﺩﻴﻭ ‪ .C. D. S‬ﺒﺭﻭﻤﺎ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪25‬‬
‫ﻤﻭﻨﺘﺎﺝ‬
‫ﻜﻤﺎل ﺃﺒﻭ ﺍﻝﻌﻼ‬
‫ﻤﺴﺎﻋﺩﺓ ‪ :‬ﺭﺤﻤﺔ ﻤﻨﺘﺼﺭ‬
‫ﺘﻡ ﺍﻝﻁﺒﻊ ﻭ ﺍﻝﺘﺤﻤﻴﺽ‬
‫ﺒﻤﻌﺎﻤل ﺘﻜﻨﻭﺴﺘﺎﻤﺒﺎ ﺒﺭﻭﻤﺎ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫ﻝﻭﺤﺔ‬ ‫‪26‬‬
‫ﻤﺩﻴﺭ ﺍﻝﺘﺼﻭﻴﺭ‬
‫ﻋﺒﺩ ﺍﻝﻌﺯﻴﺯ ﻓﻬﻤﻰ‬
‫ﻤﺯﺝ ‪Dissolve‬‬
‫‪27‬‬
‫ﻝﻭﺤﺔ‬
‫ﻗﺼﺔ ﻭﺴﻴﻨﺎﺭﻴﻭ ﻭﺤﻭﺍﺭ‬
‫ﺸﺎﺩﻯ ﻋﺒﺩ ﺍﻝﺴﻼﻡ‬

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‫ﺍﺨﺘﻔﺎﺀ ﺘﺩﺭﻴﺠﻰ ‪Fade-out‬‬

‫ﻤﺸﻬﺩ )‪(1‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ‬
‫ﺭﻜﻥ ﺒﺎﻝﻤﺘﺤﻑ ﺍﻝﻤﺼﺭﻯ‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade-in‬‬ ‫‪28‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻭﺘﺴﺘﻌﺭﺽ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺤﺭﻜﺔ ﺒﺎﻨﻭﺭﺍﻤﻴﺔ ﻝﻠﻴﺴﺎﺭ ‪Pan‬‬
‫‪ Left‬ﻝﺒﺭﺩﻴﺔ 'ﺒﻨﺠﻡ' ﺤﻴﺙ ﻨﺭﻯ ﻤﻨﺎﻅﺭ‬
‫ﺼﻭﺕ ﻤﺎﺴﺒﻴﺭﻭ ‪ :‬ﻝﻙ ﺍﻝﺨﺸﻭﻉ‬ ‫ﻵﻝﻬﺔ ﺠﺎﻝﺴﻴﻥ ﻤﻨﻬﻡ ﺍﻹﻝﻪ ﺃﻨﻭﺒﻴﺱ‬
‫ﻭﺍﻷﻝﻬﺘﺎﻥ ﺇﻴﺯﻴﺱ ﻭﻨﻔﺘﻴﺱ ﻭﺒﻴﻨﻬﻡ ﺍﻝﻤﻭﻤﻴﺎﺀ ﻴﺎﺭﺏ ﺍﻝﻀﻴﺎﺀ ﺃﻨﺕ ﻴﺎﻤﻥ ﺘﺴﻜﻥ ﻓﻰ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬
‫ﻭﻫﻨﺎﻙ ﺨﻤﺱ ﺴﻴﺩﺍﺕ ﻨﺩﺍﺒﺎﺕ ﺜﻡ ﺼﻑ ﺁﺨﺭ ﻗﻠﺏ ﺍﻝﺒﻴﺕ ﺍﻝﻜﺒﻴﺭ ﺯ ﻴﺎﺃﻤﻴﺭ ﺍﻝﻠﻴل‬
‫)‪( 2‬‬
‫ﻤﻥ ﺍﻝﻨﺴﺎﺀ ﺍﻝﻨﺩﺍﺒﺎﺕ ‪ ..‬ﺜﻡ ﻤﻭﻤﻴﺎﺀ ﺩﺍﺨل ﻭﺍﻝﻅﻼﻡ ‪ ..‬ﺠﺌﺕ ﻝﻙ ﺭﻭﺤ ﹰﺎ ﻁﺎﻫﺭﹰﺍ‬
‫ﻨﺎﻭﻭﺱ ﻤﻭﺠﻭﺩ ﻋﻠﻰ ﺯﻻﻗﺔ ﻭﺃﻤﺎﻤﻬﺎ ﻜﺎﻫﻨﺎﻥ ﻓﻬﺏ ﻝﻰ‬
‫ﻴﻘﺩﻤﺎﻥ ﻝﻠﻤﻭﻤﻴﺎﺀ ﻗﻁﻌﹰﺎ ﻤﻥ ﺍﻝﻠﺤﻡ‬
‫ﻭﺍﻝﻘﺭﺍﺒﻴﻥ ‪ ,‬ﺜﻡ ﻤﻨﻅﺭ ﻤﻭﻤﻴﺎﺀ ﻭﺨﻠﻔﻬﺎ ﺍﻹﻝﻪ‬
‫ﺃﻨﻭﺒﻴﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ‬ ‫‪29‬‬
‫ﻝﻠﺩﺍﺨل‪ Tracking In‬ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High angle‬ﻝﻤﺠﻠﺱ ﻋﻠﻤﺎﺀ ﺼﻭﺕ ﻤﺎﺴﺒﻴﺭﻭ ‪ .. :‬ﻓﻡ ﺃﺘﻜﻠﻡ ﺒﻪ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﺍﻵﺜﺎﺭ ﺤﻭل ﻤﻨﻀﺩﺓ ﻓﻰ ﻗﺎﻋﺔ ﻭﺍﺴﻌﺔ ﻭﻴﻘﻑ ﻋﻨﺩﻙ ﻭﺃﺴﺭﻉ ﻝﻰ ﺒﻘﻠﺒﻰ ﻴﻭﻡ ﺃﻥ‬
‫)‪( 2‬‬
‫ﻤﺎﺴﺒﻴﺭﻭ ﺒﻴﻨﻬﻡ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﺨﻠﻑ ﺘﺘﺜﺎﻗل ﺍﻝﺴﺤﺏ ﻭﻴﺘﻜﺎﺜﻑ ﺍﻝﻅﻼﻡ ‪...‬‬
‫ﺍﻝﻤﻨﻀﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﺤﻤﺩ ﺃﻓﻨﺩﻯ ﻜﻤﺎل ﺃﺤﻤﺩ ‪ :‬ﺃﻋﻁﻨﻰ ﺃﺴﻤﻰ ﻓﻰ ﺍﻝﺒﻴﺕ‬ ‫‪30‬‬
‫ﻴﻘﺭﺃ ﻤﻥ ﻭﺭﻗﺔ ﺜﻡ ﻴﺭﻓﻊ ﺭﺃﺴﻪ ﻷﻋﻠﻰ ﻓﻰ ﺍﻝﻜﺒﻴﺭ ﻭﺃﻋﺩ ﺇﻝﻰ ﺍﻝﺫﺍﻜﺭﺓ ﺍﺴﻤﻰ‬
‫ﻴﻭﻡ ﺃﻥ ﺘﺤﺼﻰ ﺍﻝﺴﻨﻴﻥ‬ ‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﻤﺎﺴﺒﻴﺭﻭ ‪ :‬ﺼﺩﻯ ﺒﻌﻴﺩ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺎﺴﺒﻴﺭﻭ ‪ :‬ﻴﺄﺘﻰ ﻤﻥ ﻁﻴﺒﺔ ﺍﻝﺒﻌﻴﺩﺓ‬ ‫‪31‬‬
‫ﻴﻔﺼﻠﻪ ﻋﻥ ﻴﻭﻤﻨﺎ ﻫﺫﺍ ﺜﻼﺜﺔ ﺁﻻﻑ‬
‫ﺴﻨﺔ ‪.‬ﻝﻌﻠﻜﻡ ﺘﺒﻴﻨﺘﻡ ﺃﻨﻪ ﻓﺼل ﻤﻥ‬
‫ﻜﺘﺎﺏ ﺍﻝﻤﻭﺘﻰ ‪ .. .‬ﻭﺘﺭﺩﺩﻴﺩ ﻫﺫﻩ‬
‫ﺍﻝﺒﺭﺩﻴﺔ ﻴﻌﻴﺩ ﻝﻠﻤﻴﺕ ﻗﺩﺭﺘﻪ ﻋﻠﻰ ﺃﻥ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M. L. S‬‬
‫ﻝﻤﺎﺴﺒﻴﺭﻭ ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭ ﺜﻡ ﻴﺘﺫﻜﺭ ﺍﺴﻤﻪ ‪ .‬ﺃﻯ ﺭﻭﺡ ﺒﻼ ﺍﺴﻡ‬
‫ﺘﻬﻴﻡ ﻓﻰ ﻋﻨﺎﺀ ﺩﺍﺌﻡ‪ ,‬ﻓﻀﻴﺎﻉ ﺍﻹﺴﻡ‬ ‫ﻴﺠﻠﺱ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل‪Tilt‬‬
‫‪ , Down‬ﺜﻡ ﺘﺒﺘﻌﺩ ﻝﻠﺨﺎﺭﺝ ‪ Zoom Out‬ﻴﺴﺎﻭﻯ ﻀﻴﺎﻉ ﺍﻝﺸﺨﺼﻴﺔ ‪.‬‬
‫ﻝﻴﻅﻬﺭ ﺍﺜﻨﻴﻥ ﻤﻥ ﻋﻠﻤﺎﺀ ﺍﻵﺜﺎﺭ ﺃﺤﺩﻫﻤﺎ ﺃﺤﻤﺩ ﻏﻴﺭ ﺃﻨﻰ ﻝﻡ ﺍﺩﻋﻭﻜﻡ ﺇﻝﻰ ﻫﺫﺍ‬
‫ﺃﻓﻨﺩﻯ ﻜﻤﺎل ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﺍﻵﺨﺭ ﺍﻹﺠﺘﻤﺎﻉ ﻝﻜﻰ ﻨﺘﻨﺎﻗﺵ ﺤﻭل ﻜﺘﺎﺏ‬
‫ﺒﺭﻭﻓﻴل ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﻴﺭﻓﻊ ﻤﺎﺴﺒﻴﺭﻭ ﻴﺩﻩ ﺍﻝﻤﻭﺘﻰ ﺍﻝﺫﻯ ﺘﻌﺭﻓﻭﻨﻪ ﻜﻠﻜﻡ‬
‫ﺍﻝﻤﻤﺴﻜﺔ ﺒﺼﻭﺭﺓ ﺍﻝﺒﺭﺩﻴﺔ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺠﻴﺩﹰﺍ ‪..‬ﺃﻋﻁﺎﻫﺎ ﻝﻰ ﺴﻠﻔﻰ ﺍﻝﻤﺭﺤﻭﻡ‬
‫ﻴﻤﻴﻨﹰﺎ ‪ Pan Right‬ﻝﻴﺭﻓﻊ ﻴﺩﻩ ﺍﻤﺎﻡ ﻤﺼﺒﺎﺡ ﻤﺎﺭﻴﻴﺕ ﺒﺎﺸﺎ ﻭ ﺒﺭﺩﻴﺔ ﺠﻨﺎﺌﺯﻴﺔ‬
‫ﻝﺒﻨﺠﻡ ﺍﻷﻭل ﻤﻥ ﺍﻷﺴﺭﺓ ﺍﻝﺤﺎﺩﻴﺔ‬
‫ﺜﻡ ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺃﺤﻤﺩ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺍﻝﻌﺸﺭﻴﻥ ‪ .‬ﺍﻤﺎ ﺃﺼل ﻫﺫﻩ‬
‫ﺍﻝﺼﻭﺅﺓ ﻓﻬﻭ ﺒﺭﺩﻴﺔ ﺠﻨﺎﺌﺯﻴﺔ ﺘﻡ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺘﻬﺭﻴﺒﻬﺎ ﻤﻥ ﻤﺼﺭ ﻤﻨﺫ ﺤﻭﺍﻝﻰ‬
‫ﺨﻤﺱ ﺴﻨﻭﺍﺕ ﻭﻻﻴﻤﻠﻙ ﻤﺘﺤﻔﻨﺎ‬
‫ﺍﻝﻤﺼﺭﻯ ﻝﻸﺴﻑ ﺴﻭﻯ ﻫﺫﻩ‬
‫ﺍﻝﺼﻭﺭﺓ ‪.‬‬
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‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻷﺤﻤﺩ ﻴﻨﻅﺭ ﻓﻰ‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺤﺭﻙ ﻴﺩﻩ ﻝﻴﻀﻊ ﺍﻝﺒﺭﺩﻴﺔ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 5 of 43‬‬

‫ﺠﺎﻨﺒﹰﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 33‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . S‬ﻝﻤﺎﺴﺒﻴﺭﻭ ﻜﻤﺎ ﻓﻰ‬
‫ﻨﻬﺎﻴﺔ ﻝﻘﻁﺔ )‪ ( 31‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ﻤﺎﺴﺒﻴﺭﻭ ‪ :‬ﺇﻨﻬﺎ ﺘﺤﻤل ﻜﻤﺎ ﻫﻭ‬
‫‪ Pan Left‬ﻝﻴﻅﻬﺭ ﻝﻴﻅﻬﺭ ﺍﻝﺠﻤﻴﻊ ﻭﻴﺠﻠﺱ ﻭﺍﻀﺢ ﺍﺴﻡ ﺍﻝﻤﻠﻜﺔ ﻨﺠﻤﺕ ‪ .‬ﺘﻡ‬
‫ﺍﺤﻤﺩ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺒﺭﻭﻓﻴل ﻭﻴﻨﺎﻭﻝﻬﻡ ﻤﺎﺴﺒﻴﺭﻭ ﺸﺭﺍﺀ ﻫﺫﻩ ﺍﻝﺒﺭﺩﻴﺔ ﻤﻥ ﺘﺎﺠﺭ‬
‫ﻤﺠﻬﻭل ﻓﻰ ﻁﻴﺒﺔ ‪.‬‬ ‫ﺼﻭﺭﺓ ﺍﻝﺒﺭﺩﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 34‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻷﺤﻤﺩ ﻭﻫﻭ ﻴﻨﺯﻉ‬
‫ﺍﻝﻨﻅﺎﺭﺓ ﻋﻥ ﻋﻴﻨﻴﻪ ﻭﻴﻨﻅﺭ ﻷﺴﻔل ﺜﻡ ﻴﻌﻭﺩ ﺼﻭﺕ ﻤﺎﺴﺒﻴﺭﻭ ‪ :‬ﻤﻥ ﻜل‬
‫ﻤﺎﺘﻘﺩﻡ ‪..‬‬ ‫ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 35‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻤﺎﺴﺒﻴﺭﻭ ﻴﻨﻅﺭ ﻤﺎﺴﺒﻴﺭﻭ ‪ :‬ﻴﻤﻜﻜﻨﺎ ﺍﻥ ﻨﺴﺘﺨﻠﺹ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻫﻭ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﺃﻥ ﻫﻨﺎﻙ ﺸﺨﺼﹰﺎ ﻤﺎﻴﻌﺭﻑ ﺒﺎﻝﺘﺤﺩﻴﺩ‬
‫ﻴﻠﺘﻔﺕ ﻝﻴﻨﻁﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻌﻭﺩ ﻭﻴﻨﻅﺭ ﻤﻜﺎﻥ ﺍﻝﻤﻘﺎﺒﺭ ﺍﻝﻤﺠﻬﻭﻝﺔ ﻝﻸﺴﺭﺓ‬
‫ﺍﻝﺤﺎﺩﻴﺔ ﻭﺍﻝﻌﺸﺭﻴﻥ ‪ ,‬ﻭﺃﻥ ﻫﺫﺍ‬ ‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﺍﻝﺸﺨﺹ ﻴﻌﺭﻑ ﻫﺫﺍ ﺍﻝﺴﺭ ﻤﻨﺫ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻗﺕ ﻁﻭﻴل ‪.‬‬
‫ﺼﻭﺕ ﻋﺎﻝﻡ ﺁﺜﺎﺭ ‪ :‬ﻭﻝﻜﻥ ﻻﻴﻭﺠﺩ‬
‫ﺃﻯ ﺃﺜﺭ ﻝﻤﻘﺎﺒﺭ ﻫﺫﻩ ﺍﻷﺴﺭﺓ ﻓﻰ‬
‫ﻁﻴﺒﺔ ﻴﺎﺴﻴﺩ ﻤﺎﺴﺒﻴﺭﻭ !‬
‫ﻤﺎﺴﺒﻴﺭﻭ ‪ :‬ﻨﻌﻡ ﻭﺍﻝﺤﻔﺭﻴﺎﺕ ﻓﻰ‬
‫ﻫﺫﻩ ﺍﻝﺤﺎﻝﺔ ﻤﻀﻴﻌﺔ ﻝﻠﻭﻗﺕ‬
‫ﻭﺍﻝﻤﺎل ‪ .‬ﻫﻨﺎﻙ ﻓﻰ ﻁﻴﺒﺔ ﺸﺨﺹ‬
‫ﻤﺎ ﻴﻌﺭﻑ ﻤﻜﺎﻥ ﻫﺫﻩ ﺍﻝﻤﻘﺎﺒﺭ ﻭﺇﻻ‬
‫ﻓﻜﻴﻑ ﺨﺭﺠﺕ ﻫﺫﻩ ﺍﻷﺸﻴﺎﺀ ﻜﻠﻬﺎ‪..‬‬
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‫ﺼﻭﺕ ﻤﺎﺴﺒﻴﺭﻭ ‪.. :‬ﻷﺴﻭﺍﻕ ﺍﻵﺜﺎﺭ‬
‫ﻓﻰ ﺍﻝﻌﺎﻝﻡ ؟‬
‫ﺃﻭل ﻋﻤل ﻝﻨﺎ ﻓﻰ ﺍﻝﻤﻭﺴﻡ ﺍﻝﻘﺎﺩﻡ‬
‫ﺴﻴﻜﻭﻥ ﻤﻭﻀﻭﻉ ﻫﺫﻩ ﺍﻝﻤﻘﺎﺒﺭ‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻷﺤﻤﺩ ﻭﻫﻭ ﻴﻀﻊ ﺍﻝﻤﺠﻬﻭﻝﺔ ‪ .....‬ﺃﺤﻤﺩ ﺃﻓﻨﺩﻯ ﻜﻤﺎل‬
‫ﻫل ﻝﺩﻴﻙ ﺸﻰﺀ ﺁﺨﺭ ﻗﺒل ﺍﺠﺘﻤﺎﻋﻨﺎ‬ ‫ﻴﺩﻩ ﻋﻠﻰ ﻋﻴﻨﻴﻪ ﻭﻴﻨﻅﺭ ﻷﺴﻔل‬
‫ﺍﻷﺨﻴﺭ ﻝﻬﺫﺍ ﺍﻝﻤﻭﺴﻡ ؟‬ ‫) ﻴﻔﻜﺭ( ﺜﻡ ﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ‬
‫‪ Tracking‬ﻝﻴﻅﻬﺭ ﻜﺘﻑ ﻤﺎﺴﺒﻴﺭﻭ ‪ ,‬ﺜﻡ ﺃﺤﻤﺩ ‪ :‬ﻨﻌﻡ ‪ ..‬ﺃﺭﻴﺩ ﺃﻥ ﺃﻜﻭﻥ ﻓﻰ‬
‫ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪ Tilt Up‬ﻝﺘﺘﺎﺒﻊ ﻁﻴﺒﺔ ﻫﺫﺍ ﺍﻝﺼﻴﻑ ﻤﻥ ﺃﺠل ﻫﺫﺍ‬
‫ﻤﺎﺴﺒﻴﺭﻭ ﻭﺃﺤﻤﺩ ﻭﻫﻤﺎ ﻴﻘﻔﺎﻥ ﻭﻴﻌﻁﻴﻪ ﺍﻝﻤﻭﻀﻭﻉ ﺒﺎﻝﺫﺍﺕ ﻜﻠﻬﻡ ﻫﻨﺎﻙ‬
‫ﺃﻭﺭﺍﻗﹰﺎ ‪ ,‬ﺜﻡ ﻴﺨﺭﺝ ﻤﺎﺴﺒﻴﺭﻭ ﻤﻥ ﻴﻤﻴﻥ ﻴﻌﺭﻓﻭﻥ ﺃﻥ ﺭﺠﺎل ﺍﻵﺜﺎﺭ ﻻﻴﻌﻤﻠﻭﻥ‬
‫ﺍﻝﻜﺎﺩﺭ ‪ .‬ﻭﺘﻌﻭﺩ ﻝﺘﻨﺯل ﻷﺴﻔل‪ Tilt Down‬ﻓﻰ ﺍﻝﺼﻴﻑ ‪ ,‬ﻝﺫﻝﻙ ﻓﻬﻭ ﺍﻝﻔﺼل‬
‫ﻝﺘﺘﺎﺒﻊ ﺃﺤﻤﺩ ﻭﻫﻭ ﻴﺠﻠﺱ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﺍﻝﺫﻯ ﻴﺎﻤﻥ ﻓﻴﻪ ﺴﺎﺭﻗﻭ ﺍﻵﺜﺎﺭ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻭ ﻴﻀﻊ ﺍﻝﻨﻅﺎﺭﺓ ﻭﻴﻨﻅﺭ ﻓﻰ ﻭﻴﻌﻤﻠﻭﻥ ﻓﻰ ﺘﻬﺭﻴﺏ ﻤﺎﻋﻨﺩﻫﻡ‬
‫ﻭﻭﺼﻭﻝﻰ ﺍﻝﻤﻔﺎﺠﻰﺀ ﺴﻭﻑ ﻴﺤﺩﺫ‬ ‫ﺍﻷﻭﺭﺍﻕ‬
‫ﻝﻬﻡ ﺍﻜﺒﺭ ﺇﺭﺘﺒﺎﻙ ﻭﻤﻥ ﺨﻼل‬
‫ﺇﺭﺘﺒﺎﻜﻬﻡ ﻫﺫﺍ ﻻﺒﺩ ﺍﻥ ﺍﺼل ﺇﻝﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﻝﻴل ﻤﺎ‪.‬‬
‫ﻤﺎ‪.‬‬
‫ﻤﺎﺴﺒﻴﺭﻭ‪ :‬ﺇﻨﻨﻰ ﺴﻌﻴﺩ ﺒﺈﻗﺘﺭﺍﺤﻙ ‪..‬‬
‫ﺴﺘﺠﺩ ﻓﻰ ﻫﺫﻩ ﺍﻝﻭﺜﺎﺌﻕ‬
‫ﻤﺎﻴﺴﺎﻋﺩﻙ ‪ ..‬ﻭﺃﻨﺎ ﻭﺍﺜﻕ ﻓﻰ ﺃﻨﻙ‬
‫ﺘﻌﺭﻑ ﻜﻴﻑ ﺘﺘﺼﺭﻑ ﺒﺼﺒﺭ‬
‫ﻭﺤﻜﻤﺔ ‪.‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
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‫ﻤﺸﻬﺩ ) ‪( 2‬‬
‫ﻏﺭﻭﺏ ‪ /‬ﺨﺎﺭﺠﻰ ﺠﺒﺎﻨﺔ ﺍﻝﻘﺭﻴﺔ‬
‫‪ 37‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺭﺠﺎل ﻴﺭﺘﺩﻭﻥ ﻤﻼﺒﺱ‬
‫ﺴﻭﺩﺍﺀ ﻭﻴﻘﻔﻭﻥ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬
‫ﻤﺅﺜﺭ ﺭﻴﺎﺡ ﺸﺩﻴﺩ‬ ‫ﻤﻭﺯﻋﻭﻥ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﻤﺠﻤﻭﻋﺎﺕ ﺼﻐﻴﺭﺓ‬
‫)‪( 3‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ . L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪38‬‬
‫‪ High angle‬ﻝﺭﺠﺎل ﻴﺤﻤﻠﻭﻥ ﻨﻌﺸ ﹰﺎ‬
‫ﺼﻭﺕ ﻨﺤﻴﺏ ﺍﻝﻨﺴﺎﺀ‬ ‫ﻭﻴﺴﻴﺭﻭﻥ ﻓﻰ ﺼﻔﻴﻥ ﻭﻴﻤﺭﻭﻥ ﺒﻴﻥ ﺸﻭﺍﻫﺩ‬
‫ﺨﺎﻓﺕ‬ ‫ﺍﻝﻘﺒﻭﺭ ﺍﻝﺒﻴﻀﺎﺀ ﻭﺘﺘﺎﺒﻌﻬﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﺍ‬
‫‪Pan Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻭﻨﻴﺱ ﻓﻰ ﻤﻘﺩﻤﺔ‬ ‫‪39‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﺴﺎﺭﹰﺍ ﻭﻴﺴﻴﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﻴﻨﻅﺭ ﺒﺭﺍﺴﻪ ﻨﺎﺤﻴﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻅﻬﺭ ﺍﻝﻨﻌﺵ‬
‫ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻨﹰﺎ ﺜﻡ ﻴﻌﻭﺩ ﻭﻴﺘﺎﺒﻊ ﺴﻴﺭﻩ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻌﻤﻕ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫ﺒﺒﻁﺀ‬
‫‪Tracking In‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M. L. S‬ﻝﻠﻌﻡ‬ ‫‪40‬‬
‫ﻭﺍﻝﻘﺭﻴﺏ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻫﻤﺎ ﻴﺴﻴﺭﺍﻥ‬
‫ﻝﻠﻴﺴﺎﺭ ‪ Tracking‬ﻭﻴﻅﻬﺭ ﺍﻷﺥ ﻴﺴﻴﺭ‬
‫ﺃﻤﺎﻤﻬﻤﺎ ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺴﺘﻤﺎﺭ ﻓﻰ‬
‫ﺼﻭﺕ ﺍﻷﻗﺩﺍﻡ‬
‫ﺍﻝﺴﻴﺭ ﻭﻴﻌﺒﺭﺍ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ﻭﺘﻘﻑ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺃﻤﺎﻡ ﻭﻨﻴﺱ ﻭﺃﺨﻴﻪ ﺍﻝﻭﺍﻗﻔﺎﻥ ﺍﻤﺎﻡ ﺍﻝﻨﻌﺵ‬
‫ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ‬ ‫‪41‬‬
‫ﺍﻝﻌﻜﺴﻴﺔ ﻝﻭﻨﻴﺱ ﻭﺍﺨﻴﻪ ﺍﻝﻭﺍﻗﻔﺎﻥ ﺍﻤﺎﻡ‬
‫ﺍﻝﻨﻌﺵ ﻭﺘﻤﺘﺩ ﻴﺩ ﻝﺘﺭﻓﻊ ﺍﻝﻐﻁﺎﺀ ﻋﻥ ﺍﻝﻨﻌﺵ‬
‫ﻭﻴﻨﻅﺭﺍ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺭﺠﺎل ﺍﻝﻘﺭﻴﺔ ﻭﻨﺴﺎﺌﻬﺎ‬ ‫‪42‬‬
‫ﻭﺘﺘﺤﺭﻙ ﺇﻤﺭﺃﺓ ﻤﻥ ﺒﻴﻥ ﺍﻝﺠﻤﻭﻉ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ Tracking‬ﻭﻴﻌﺒﺭ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺭﺠﻼﻥ ﻴﺤﻤﻼﻥ ﺍﻝﻨﻌﺵ ﺍﻝﻔﺎﺭﻍ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﻴﺴﻘﻰ‬ ‫ﺼﻭﺕ ﻤﻜﺘﻭﻡ ﻝﻠﺒﻼﻁﺔ‬ ‫ﻝﻠﻴﻤﻴﻥ ﻭﺘﺴﺘﻤﺭ ﺍﻝﺴﻴﺩﺓ ﻓﻰ ﺍﻝﺘﺤﺭﻙ ﺤﺘﻰ‬
‫)‪(3‬‬ ‫ﺍﻝﺤﺠﺭﻴﺔ‬ ‫ﺘﺼل ﺍﻝﻰ ﺸﺎﻫﺩ ﺍﻝﻘﺒﺭ ﻭﻴﻅﻬﺭ ﻭﻨﻴﺱ ﻭﺃﺨﻴﻪ‬
‫ﻓﻰ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﻓﻰ ﺍﻝﻌﻤﻕ ﻴﻅﻬﺭ ﺭﺠﻼﻥ‬
‫ﻴﻘﻭﻤﺎﻥ ﺒﺩﻓﻥ ﺍﻝﻤﻴﺕ ‪ ,‬ﺘﻨﺤﻨﻰ ﺍﻝﺴﻴﺩﺓ ﺒﺠﻭﺍﺭ‬
‫ﺍﻝﻘﺒﺭ ﺒﺎﻜﻴﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻭﻨﻴﺱ ﻤﻥ‬ ‫‪43‬‬
‫ﺼﻭﺕ ﺍﻝﺒﻼﻁﺔ ﺍﻝﺤﺠﺭﻴﺔ‬ ‫ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ ﻴﺒﻜﻰ ﻭﻴﺤﻨﻰ ﺭﺃﺴﻪ ﻷﺴﻔل‬
‫ﺍﻝﺜﺎﻨﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪44‬‬

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‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﺯﻫﻭﺭ ﻭﺭﺩﻴﺔ‬

‫ﺼﻭﺕ ﺤﻭﺍﻓﺭ ﺨﻴل‬
‫ﺍﻝﻠﻠﻭﻥ ﺘﻤﻼﺀ ﺍﻝﺸﺎﺸﺔ‬
‫ﻤﻨﺨﻔﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 45‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺤﺭﺱ ﻋﻠﻰ ﺠﻴﺎﺩﻫﻡ‬
‫ﻤﺴﺭﻋﻴﻥ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﺍﻝﻰ ﺍﻝﻴﻤﻴﻥ ﻭﺘﺘﺎﺒﻌﻬﻡ‬
‫ﺼﻭﺕ ﺍﻝﺨﻴل ﻋﺎﻝﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪46‬‬
‫‪ High Angle‬ﻝﻠﻘﺒﺭ ﻤﻠﺘﻑ ﺤﻭﻝﻪ ﺭﺠﺎل‬
‫ﻭﻨﺴﺎﺀ ﺍﻝﻘﺭﻴﺔ ﻭﻴﻅﻬﺭ ﻭﻨﻴﺱ ﻭﺃﺨﻴﻪ ﻓﻰ‬
‫ﺍﺨﺘﻔﺎﺀ ﺼﻭﺕ ﺤﻭﺍﻓﺭ‬
‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ﻭﺍﻷﻡ ﺭﺍﻜﻌﺔ ﻭﺍﻝﻌﻡ‬
‫ﺍﻝﺨﻴل ﺘﺩﺭﻴﺠﻴﹰﺎ‬
‫ﻭﺍﻝﻘﺭﻴﺏ ﻴﻨﻅﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪,‬‬
‫ﺜﻡ ﻴﻌﻭﺩﺍ ﻭﻴﻨﻅﺭﺍ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 47‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M. S‬ﻝﻠﻌﻡ ﻭﺍﻝﻘﺭﻴﺏ ﻤﻥ‬
‫ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ ﻭ ﻴﺘﺤﺭﻙ ﺍﻝﻌﻡ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﺤﺘﻰ ﻴﺼل ﺍﻝﻌﻡ ‪ :‬ﻴﺭﺤﻤﻪ ﺍﷲ ‪ ..‬ﻜﺎﻥ ﻴﻌﺩﻜﻤﺎ‬
‫ﺍﻝﻰ ﻭﻨﻴﺱ ﻭﺃﺨﻴﻪ ﻭﻴﻘﻑ ﻓﻰ ﻤﻭﺍﺠﻬﺘﻬﻤﺎ ﻝﻬﺫﺍ ﺍﻝﻴﻭﻡ ﻝﺘﺸﺭﻓﺎ ﺍﺴﻤﻪ ﻭﺘﺭﻋﻴﺎ‬
‫ﻭﻅﻬﺭﻫﻤﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻷﺥ ﻗﺒﻴﻠﺘﻪ ‪ ..‬ﻗﺒﻴﻠﺔ ﺍﻝﺤﺭﺒﺎﺕ ﻫﻨﺎ ﺃﻤﺎﻡ‬
‫ﺍﻷﻜﺒﺭ ﺜﻡ ﻨﺎﺤﻴﺔ ﻭﻨﻴﺱ ﻭﻴﺼﺒﺤﻭﺍ ﻓﻰ ﺤﺠﻡ ﻗﺒﺭ ﺍﺨﻰ ﺃﺒﻭﺡ ﻝﻜﻤﺎ ﺒﺴﺭ ﻤﺎﻫﻭ ﻝﻨﺎ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺜﻼﺜﺔ ‪ M .S. 3‬ﺜﻡ ﺘﻘﺘﺭﺏ ﻤﺎﺩﺍﻡ ﻫﺫﺍ ﺍﻝﺠﺒل ‪ .‬ﺴﺭ ﺘﺤﻤﻴﺎﻨﻪ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ‪ Tracking In‬ﻝﻴﺼﺒﺢ ﺒﺩﻤﺎﺌﻜﻤﺎ ﻭﺒﺤﻴﺎﺘﻜﻡ ‪.‬‬
‫ﻭﻨﻴﺱ ﻭﺍﻝﻌﻡ ﻓﻰ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪(3‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﺠﺒل‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪48‬‬
‫‪ High Angle‬ﻝﺴﻔﺢ ﺍﻝﺠﺒل ﻭﻤﺠﻤﻭﻋﺔ‬
‫ﻤﻥ ﺍﻝﺭﺠﺎل ﻴﺘﺤﺭﻜﻭﻥ ﻓﻰ ﺍﻝﻴﻤﻴﻥ ﺒﻴﻥ‬
‫ﺼﺨﻭﺭ ﺍﻝﺠﺒل ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﺍﻝﻰ ﺍﻝﻴﺴﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﺠﺒل ﻭﻴﺼﻌﺩ ﺍﻝﻘﺭﻴﺏ‬ ‫‪49‬‬
‫ﻤﺅﺜﺭﺍﻝﺼﻌﻭﺩ ﺍﻝﻰ ﺍﻝﺠﺒل‬ ‫ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﺨﻠﻔﻪ ﺍﻝﻌﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﺠﺒل ﻭﻴﺼﻌﺩ ﺍﻝﻘﺭﻴﺏ‬ ‫‪50‬‬
‫ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺨﻠﻔﻪ ﺍﻝﻌﻡ ‪ ,‬ﺜﻡ‬
‫ﻴﺄﺘﻰ ﺍﻷﺥ ﻭﻭﺨﻠﻔﻪ ﻭﻨﻴﺱ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻼ ﻷﻋﻠﻰ ‪Tilt Up‬‬ ‫ﻗﻠﻴ ﹰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪51‬‬
‫ﻤﺅﺜﺭ ﺤﻭﺍﻓﺭ ﺍﻝﺨﻴل‬
‫‪ High Angle‬ﻝﺩﻭﺭﻴﺔ ﺍﻝﺤﺭﺍﺱ ﻋﻠﻰ‬
‫ﻴﺭﺘﻔﻊ‬
‫ﺍﻝﺨﻴل ﺘﺄﺘﻰ ﻤﻥ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻭﺼﻭﺕ ﺭﻴﺎﺡ ﻋﺎﻝﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪52‬‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻝﻠﻌﻡ ﻭﻭﺍﻷﺥ‬
‫ﻴﻨﻅﺭﺍ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﺍﻝﺤﻭﺍﻓﺭ ﻴﻌﻠﻭ‬ ‫ﻴﺴﺎﺭﹰﺍ ‪ , Pan Left‬ﺜﻡ ﻴﺩﺨل ﻭﻨﻴﺱ ﻤﻥ‬
‫ﺍﻝﻴﻤﻴﻥ ﺨﻠﻔﻬﻤﺎ ﻭﻴﺼﺒﺤﻭﺍ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ﻝﺜﻼﺜﺔ ‪ , M. S. 3‬ﻭﻴﺸﻴﺭ ﺍﻝﻌﻡ‬
‫ﺒﻴﺩﻩ ﻭﻴﻭﻗﻔﻪ ‪ ,‬ﻓﻴﻌﻭﺩ ﻭﻨﻴﺱ ﻝﻠﺨﻠﻑ ﻭﻴﻘﻊ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 8 of 43‬‬

‫ﻋﻠﻰ ﺼﺨﻭﺭ ﺍﻝﺠﺒل ‪ ,‬ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ‬

‫‪ Pan Right‬ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ‬
‫‪.M .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 53‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻘﺎﺌﺩ ﺍﻝﺩﻭﺭﻴﺔ ﻭﻫﻭ‬
‫ﻴﺘﺤﺭﻙ ﻭﺨﻠﻔﻪ ﺒﺎﻗﻰ ﺍﻝﺠﻨﻭﺩ ﻭﺘﺘﺎﺒﻌﻬﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪ Pan Right‬ﺤﺘﻰ‬
‫ﻴﺨﺘﻔﻭﺍ ﺨﻠﻑ ﺍﻝﺠﺒل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 54‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬
‫‪ Low Angle‬ﻝﻠﻌﻡ ﻭﺍﻗﻔﺎ ﺭﺍﻓﻌ ﹰﺎ ﻴﺩﻩ ﻨﺎﺤﻴﺔ‬
‫ﺍﻷﺥ ﻭﻴﻨﻅﺭﻷﺴﻔل ﺜﻡ ﻴﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻭﻴﺸﻴﺭ ﺒﻴﺩﻩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 55‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫‪ High Angle‬ﻝﻠﻘﺭﻴﺏ ﻤﺨﺘﺒﺌ ﹰﺎ ﻭﻋﻠﻰ ﻜﺘﻔﻪ‬
‫ﺭﺒﻁﺔ ﺤﺒﺎل ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻋﻜﺱ ﺍﺘﺠﺎﻩ‬
‫ﺨﻁﻭﺍﺕ ﻗﺩﻤﻴﻪ ﻋﻠﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ﻭﻴﻨﻅﺭ ﻷﺴﻔل ﺒﺤﺫﺭ‬
‫ﺍﻝﺼﺨﻭﺭ‬
‫ﻼ ﻭﻴﻌﻴﺩ‬
‫ﻭﻴﺼﻐﻰ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﺃﺒﻌﺩ ﻗﻠﻴ ﹰ‬
‫ﻤﺭﺍﻗﺒﺔ ﺍﻝﻭﺍﺩﻯ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻷﺥ ‪ :‬ﻝﻤﺎﺫﺍ ﻨﺴﺘﻌﻤل ﻫﺫﺍ ﺍﻝﻁﺭﻴﻕ‬ ‫‪56‬‬
‫؟ ﺍﻨﻪ ﻁﺭﻴﻕ ﺍﻝﻤﺎﻋﺯ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻠﻌﻡ ﻴﺸﻴﺭ ﻝﻭﻨﻴﺱ ﺍﻝﻌﻡ ‪ :‬ﻷﻨﻪ ﺃﺃﻤﻥ ‪..‬‬
‫ﻭﺃﺨﻴﻪ ﺃﻥ ﻴﺘﺒﻌﺎﻩ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ﺍﻷﺥ ‪ :‬ﺃﺃﻤﻥ ﻝﻠﻀﺒﺎﻉ‬
‫‪ Pan Left‬ﻝﻴﺼﺒﺢ ﺍﻝﻌﻡ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﺍﻝﻌﻡ ‪ :‬ﺇﺤﺘﻔﻅ ﺒﻬﺫﻩ ﺍﻝﺸﺠﺎﻋﺔ‬
‫ﻗﺭﻴﺒﺔ ‪ Close up‬ﺜﻡ ﻴﻠﺘﻔﺕ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻝﻸﻓﻨﺩﻴﺔ ﻭﺍﻝﺤﺭﺍﺱ ‪ ,‬ﺍﻨﻬﻡ‬
‫ﻴﻨﺘﺸﺭﻭﻥ ﻓﻰ ﺍﻝﺠﺒل ﻜﺎﻝﻁﺎﻋﻭﻥ ‪..‬‬ ‫ﻨﺎﺤﻴﺔ ﻭﻨﻴﺱ‬
‫ﺼﻭﺕ ﺍﻝﻘﺭﻴﺏ‪) :‬ﻴﻬﻤﺱ ( ﺃﺼﻌﺩﻭﺍ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻁﺭﻴﻕ ﺃﻤﺎﻥ ‪.‬‬
‫ﺍﻝﻌﻡ ‪ :‬ﺃﺘﺒﻌﻭﻨﻰ ‪.‬‬
‫‪ 57‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪Medium Close‬‬
‫‪ Up‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High Angle‬‬
‫ﻝﻭﻨﻴﺱ ﻓﻰ ﻤﺨﺒﺌﻪ ﺒﻴﻥ ﺍﻝﺼﺨﻭﺭ ‪ ,‬ﻴﺘﺤﺭﻙ‬
‫ﺼﻭﺕ ﺍﻝﻌﻡ ‪ :‬ﻭﻨﻴﺱ ‪ ...‬ﻤﺎﺫﺍ ﺒﻙ ؟‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺭﺍﺠﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﻠﻑ‬
‫ﻭﻨﻴﺱ ‪ :‬ﻻ ﺸﻰﺀ ‪ ..‬ﻭﻝﻜﻥ‬
‫‪ , Track -Out‬ﻝﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﺍﻻﺨﺘﺒﺎﺀ ﻤﺫﻝﺔ ‪.‬‬
‫ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪ M .S. 2‬ﺤﻴﺙ ﻴﻅﻬﺭ ﺍﻷﺥ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺒﺭﻭﻓﻴل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 58‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻠﻘﺭﻴﺏ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻤﺎﺩﺍ ﻴﺩﻩ ﻷﺴﻔل‬
‫ﻭﻴﻤﺴﻙ ﺒﻴﺩ ﺍﻝﻌﻡ ﻭﻴﺠﺫﺒﻪ‬
‫ﻷﻋﻠﻰ ﺜﻡ ﻴﺼﻌﺩ ﺍﻷﺥ ﺨﻠﻔﻪ ﺭﺍﻓﻀﺎ ﻴﺩ‬
‫ﺼﻭﺕ ﺍﻝﺤﺭﻜﺔ ﻋﻠﻰ‬
‫ﺍﻝﻘﺭﻴﺏ ‪ :‬ﺃﺘﺒﻌﻭﻨﻰ‬ ‫‪,‬‬ ‫ﺍﻝﻘﺭﻴﺏ‬ ‫ﺍﻝﻘﺭﻴﺏ ‪ ,‬ﻭﻴﺘﺒﻌﻪ ﻭﻨﻴﺱ ﺭﺍﻓﻀ ﹰﺎ ﻴﺩ‬
‫ﺼﺨﻭﺭ ﺍﻝﺠﺒل‬
‫ﺜﻡ ﻴﻘﻑ ﺍﻝﻘﺭﻴﺏ ﻭﻴﻌﺒﺭﻫﻤﺎ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻝﻠﺩﺍﺨل ‪ Track - In‬ﻝﻴﺼﺒﺢ ﺍﻝﻘﺭﻴﺏ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ )‪( 4‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 9 of 43‬‬

‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ ﺍﻝﻤﻘﺒﺭﺓ‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ﻷﺥ ﻴﻨﺯل ﻤﻥ ﻓﺘﺤﺔ‬ ‫‪59‬‬
‫ﺍﻝﺒﺌﺭ ﻝﻴﺼﺒﺢ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﻋﻤﻕ‬
‫ﺼﻭﺕ ﻨﺯﻭل ﺍﻷﺥ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﺘﺒﻌﻪ‬
‫ﺼﻭﺕ ﻨﺯﻭل ﺍﻝﻌﻡ‬
‫ﺍﻝﻌﻡ ﺍﻝﺫﻯ ﻴﺄﺘﻰ ﻤﻥ ﻨﻔﺱ ﺍﻝﻤﻜﺎﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺤﻤﻭﻝﺔ ﻝﻠﻤﻘﺒﺭﺓ‬ ‫‪60‬‬
‫ﺍﻝﺘﻰ ﻻ ﻴﻅﻬﺭ ﺍﻝﻜﺜﻴﺭ ﻤﻨﻬﺎ ﺤﻴﺙ ﻻ ﺘﻭﺠﺩ‬
‫ﺇﻀﺎﺀﺓ ﻜﺎﻓﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﻠﻌﻡ ﻓﻰ ﻤﻘﺩﻤﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬ ‫‪61‬‬
‫ﻭﻴﻨﺯل ﻭﻨﻴﺱ ﻤﻥ ﺍﻋﻠﻰ ﻓﻰ ﺍﻝﻌﻤﻕ ﻭﻴﻨﻅﺭ‬
‫ﻝﻠﻌﻡ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ ﻝﺘﺘﺎﺒﻊ ﺍﻝﻌﻡ‬
‫ﺍﻝﺫﻯ ﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ ,‬ﺜﻡ‬
‫ﻴﻘﻑ ﻭﻴﻨﻅﺭ ﻝﻠﻴﻤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻴﻨﺯل ﻤﻥ‬ ‫‪62‬‬
‫ﺃﻋﻠﻰ ﻭﻴﻘﻑ ﻴﺘﺭﻗﺏ ﺍﻝﻤﻜﺎﻥ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ‬
‫ﺼﻭﺕ ﻨﺯﻭل ﻭﻨﻴﺱ‬ ‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺭﺍﺠﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﻠﻑ‬
‫)ﻋﺎﻝﻰ (‬ ‫‪ Track -Out‬ﺜﻡ ﻴﻘﻑ ﻭﻴﺩﺨل ﺃﺨﻴﻪ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭﺍ ﻝﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻨﻬﺎﻴﺔ ﺍﻝﻤﻤﺭ ﺤﻴﺙ‬ ‫‪63‬‬
‫ﺼﻭﺕ ﺇﺸﺘﻌﺎل ﺍﻝﺸﻌﻠﺔ‬ ‫ﻴﺸﻌل ﺍﻝﻌﻡ ﺸﻌﻠﺔ ﻭﻴﺭﻓﻌﻬﺎ ﻷﻋﻠﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻭﺃﺨﻴﻪ ﻴﻤﻴﻥ‬ ‫‪64‬‬
‫ﻜﺎﺩﺭ ﻭﻓﻰ ﺍﻝﻌﻤﻕ ﻴﻨﺯل ﺍﻝﻘﺭﻴﺏ ﺒﺸﺩﺓ ﻤﻥ‬
‫ﺍﻝﻔﺘﺤﺔ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﻅﺭﺍ ﻨﺎﺤﻴﺘﻪ ﻭﻫﻭ‬
‫ﻴﻘﺘﺭﺏ ﻤﻨﻬﻤﺎ ﺜﻡ ﻴﻌﺒﺭﻫﻤﺎ ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﺴﺎﺭ‬
‫ﺍﻝﻜﺎﺩﺭ ﺒﻴﻨﻤﺎ ﻫﻤﺎ ﻴﺘﺎﺒﻌﺎﻩ ﺒﻨﻅﺭﻫﻤﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﻌﻡ ﻤﻤﺴﻜﺎ ﺒﺎﻝﺸﻌﻠﺔ‬ ‫‪65‬‬
‫ﻭﺨﻠﻔﻪ ﺍﻝﻘﺭﻴﺏ ﻤﻤﺴﻜ ﹰﺎ ﺒﺸﻌﻠﺔ ﺃﺨﺭﻯ ﻓﻰ ﺍﻝﻌﻡ ‪ :‬ﺍﺘﺒﻌﻭﻨﻰ ‪ ..‬ﻭﺍﻨﺘﺒﻬﻭﺍ ﻭﻻ‬
‫ﺼﻭﺕ ﺍﻝﺨﻁﻭﺍﺕ‬ ‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺩﺨل ﺍﻷﺥ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﺘﺴﺄﻝﻭﺍ ﻫﻨﺎ ‪ .‬ﻤﺎﺃﻨﺘﻡ ﺇﻻ ﺤﺒﺎﺕ ﺭﻤل‬
‫ﻓﻰ ﺠﻭﻑ ﻫﺫﺍ ﺍﻝﺠﺒل ‪.‬‬ ‫ﺒﻅﻬﺭﻩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻭﺍﻗﻔ ﹰﺎ ﻭﻴﻨﻅﺭ ﻓﻰ ﺼﻭﺕ ﺍﻝﻌﻡ ‪ :‬ﺃﻴﺒﻘﻰ ﻭﻨﻴﺱ ﻫﻨﺎ؟‬ ‫‪66‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﺠﺌﺕ ﻫﻨﺎ ﺘﻨﻔﻴﺫﹰﺍ ﻹﺭﺍﺩﺓ‬ ‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺃﺒﻰ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻷﺥ ‪ :‬ﺴﻴﺄﺘﻰ ﻝﻴﻌﺭﻑ ﻜل‬ ‫‪67‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M. L. S‬ﻝﻠﻌﻡ ﻜﻤﺎ ﻤﺎﺃﻋﺭﻓﻪ ‪.‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻓﻰ ﻝﻘﻁﺔ ) ‪ ( 65‬ﻴﺘﻘﺩﻡ ﺍﻷﺥ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻌﻡ ‪ :‬ﻫﺫﺍ ﻗﻭل ﺭﺠﺎل ‪ ..‬ﺤﻘﹰﺎ ﺃﻨﺘﻤﺎ‬
‫)‪( 4‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻴﻭﺍﺠﻪ ﺍﻝﻌﻡ ﻭﻴﺩﺨل ﻭﻨﻴﺱ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺼﻠﺏ ﺃﺨﻰ ‪.‬‬
‫ﻭﻴﻘﻑ ﺨﻠﻑ ﺃﺨﻴﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫‪68‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺤﻤﻭﻝﺔ‬
‫‪ Hand Camera‬ﻝﻠﻤﻭﻤﻴﺎﻭﺍﺕ ﻭﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﻴﻥ ﺍﻝﺘﻭﺍﺒﻴﺕ ﺍﻝﻤﻠﻘﺎﺓ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﺜﻡ ﺘﺜﺒﺕ ﻋﻠﻰ ﺃﺤﺩ ﺍﻝﺘﻭﺍﺒﻴﺕ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 10 of 43‬‬

‫ﻗﻠﻴﻼ ً‪ Tilt Up‬ﻝﺘﺘﺎﺒﻊ ﺍﻝﻘﺭﻴﺏ ﻭﺍﻝﻌﻡ ﻭﻫﻤﺎ‬

‫ﻴﻘﻭﻤﺎ ﺒﻔﺘﺢ ﺍﻝﺘﺎﺒﻭﺕ ‪ .‬ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻝﻠﺩﺍﺨل ‪ Track-In‬ﻝﺘﺘﺎﺒﻊ ﺃﻴﺩﻯ ﺍﻝﻌﻡ‬
‫ﻭﺍﻝﻘﺭﻴﺏ ﻭﻫﻤﺎ ﻴﻨﺯﻋﺎﻥ ﺍﻷﻏﺸﻴﺔ ﻋﻥ‬
‫ﺍﻝﻤﻭﻤﻴﺎﺀ ﺒﺎﻝﺴﻜﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪69‬‬
‫ﻤﺅﺜﺭ ﺍﻝﺠﺒل‬ ‫ﻤﻨﺨﻔﻀﺔ ‪ Law Angle‬ﻝﻭﻨﻴﺱ ﺘﻤﻸ‬
‫) ﺍﻝﺭﻴﺎﺡ (‬ ‫ﺍﻝﺩﻤﻭﻉ ﻋﻴﻨﺎﻩ ﻭﺘﻀﻰﺀ ﺍﻝﺸﻌﻠﺔ ﻭﺠﻬﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪70‬‬
‫‪ High Angle‬ﻝﻠﻌﻡ ﺘﻤﺘﺩ ﻴﺩﻩ ﻝﺭﻗﺒﺔ‬
‫ﺍﻝﻤﻭﻤﻴﺎﺀ ﻭﺘﻅﻬﺭ ﻗﻼﺩﺓ ﺫﻫﺒﻴﺔ " ﻋﻠﻰ ﺸﻜل‬
‫ﻋﻴﻥ ﺤﻭﺭﺱ "‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close Up‬ﻝﻠﺒﻠﻁﺔ ﺘﻨﺯل‬ ‫‪71‬‬
‫ﻷﺴﻔل ﻝﺘﻔﺼل ﺍﻝﺭﺃﺱ ﻋﻥ ﺍﻝﺠﺴﺩ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Tilt Down‬ﻝﺘﻨﺯل ﻋﻠﻰ ﺭﻗﺒﺔ‬
‫ﺍﻝﻤﻭﻤﻴﺎﺀ ‪ ,‬ﺜﻡ ﺘﻤﺘﺩ ﻴﺩ ﺍﻝﻘﺭﻴﺏ ﻝﺘﺠﺫﺏ‬
‫ﺍﻝﻘﻼﺩﺓ ﻤﻥ ﺭﻗﺒﺔ ﺍﻝﻤﻭﻤﻴﺎﺀ ﺜﻡ ﺘﺘﺭﺍﺤﻊ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﻠﻑ ‪ Track -Out‬ﻭﻫﻰ‬
‫ﺼﻭﺕ ﺍﻝﺒﻠﻁﺔ‬ ‫ﺘﺘﺎﺒﻊ ﺍﻝﻘﻼﺩﺓ ﻓﻰ ﻴﺩ ﺍﻝﻌﻡ ﺍﻝﺫﻯ ﻴﻤﺩﻫﺎ ﻨﺎﺤﻴﺔ‬
‫ﺘﻌﻠﻭ ﺍﻝﻤﻭﺴﻴﻘﻰ‬
‫ﺼﻭﺕ ﻀﻭﻀﺎﺀ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﺘﺩﺨل ﺍﻝﺸﻌﻠﺔ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻌﺒﺭ‬
‫ﺍﻝﻌﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‪Pan‬‬
‫‪ Right‬ﺤﺘﻰ ﻴﻘﻑ ﺃﻤﺎﻡ ﺍﻷﺥ ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ‪Pan‬‬
‫‪ Right‬ﺴﺭﻴﻌﹰﺎ ﻨﺎﺤﻴﺔ ﻤﻜﺎﻥ ﻭﻨﻴﺱ ﺍﻝﺫﻯ‬
‫ﺍﻝﻌﻡ ‪ :‬ﺇﺤﻤل ﻫﺫﻩ ﻷﻴﻭﺏ ﺍﻝﺘﺎﺠﺭ‬ ‫ﺍﺨﺘﻔﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 5‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﺠﺒل‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪72‬‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻓﻭﻕ ﻗﻤﺔ ﺍﻝﺠﺒل‬
‫)‪( 4‬‬ ‫ﻭﻴﻅﻬﺭ ﻭﻫﻭ ﻴﺘﻠﻔﺕ ﺤﻭﻝﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺴﺭﻴﻌﹰﺎ‬ ‫‪73‬‬
‫ﻝﻠﻭﺍﺩﻯ ﺍﻝﻔﺎﺭﻍ ﻝﻠﻴﻤﻴﻥ ﻝﺴﻔﺢ ﺍﻝﺠﺒل ﻤﻥ‬
‫ﻭﺠﻬﺔ ﻨﻅﺭ ﻭﻨﻴﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻴﺠﺭﻯ ﻴﺴﺎﺭﹰﺍ‬ ‫‪74‬‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ ‪Pan left‬‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ ﺠﺭﻯ‬
‫ﻭﻴﺨﺘﻔﻰ ﺨﻠﻑ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺼﺨﻭﺭ ‪ ,‬ﺜﻡ‬
‫ﻭﻨﻴﺱ‬
‫ﻴﻅﻬﺭ ﺜﺎﻨﻴﺔ ﻤﺴﺘﺄﻨﻔ ﹰﺎ ﺠﺭﻴﺎﻨﻪ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﺒﻴﻥ ﺍﻝﺼﺨﻭﺭ‬ ‫‪75‬‬
‫ﻴﻬﺒﻁ ﺍﻝﺴﻔﺢ ﺍﻝﻤﻨﺤﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ‬
‫‪Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻭﻨﻴﺱ ﻴﺘﻌﺜﺭ‬ ‫‪76‬‬
‫ﻭﻴﺴﻘﻁ ﻋﻠﻰ ﻭﺠﻬﻪ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 11 of 43‬‬

‫ﻗﺭﻴﺒﺔ ‪ , Close Up‬ﺜﻡ ﻴﺤﺎﻭل ﺃﻥ ﻴﺭﻓﻊ‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ‬ ‫ﺭﺃﺴﻪ ﺍﻝﻤﻌﻔﺭ ﺒﺎﻝﺘﺭﺍﺏ‬
‫)‪( 4‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻴﺤﺎﻭل‬ ‫‪77‬‬
‫ﺍﻝﻘﻭﻑ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ‪Tilt Up‬‬
‫ﻝﺘﺘﺎﺒﻌﻪ ﻭﺘﺘﺭﺍﺠﻊ ﻝﻠﺨﻠﻑ ﻭﻭﻨﻴﺱ ﻴﻨﻅﺭ ﻓﻰ‬
‫ﺍﺘﺠﺎﻫﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 6‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻘﺎﺒﺭ ﺍﻝﻘﺭﻴﺔ‬
‫‪ 78‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺤﻤﻭﻝﺔ‬
‫‪ Hand Camera‬ﻝﺸﺎﻫﺩ ﻗﺒﺭ ﺃﺒﻴﻪ‬
‫ﺍﻷﺒﻴﺽ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻘﺒﺭ ‪ ,‬ﺼﻭﺕ ﻭﻨﻴﺱ ﺍﻝﺩﺍﺨﻠﻰ ‪ :‬ﻤﺎﻫﺫﺍ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻭﻴﺩﺨل ﻭﻨﻴﺱ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻤﺴﺭﻋ ﹰﺎ ﺜﻡ ﻴﻘﻑ ﺍﻝﺴﺭ !! ﺠﻌﻠﺘﻨﻰ ﺃﺨﺸﻰ ﺍﻝﻨﻅﺭ‬
‫)‪( 5‬‬ ‫ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺤﺠﻡ ﺇﻝﻴﻙ ‪....‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ , Zoom In‬ﺜﻡ ﻴﻠﺘﻔﺕ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻨﺎﺤﻴﺔ ﺍﻝﺠﺒل‬
‫ﻭﻴﺨﺒﻁ ﺭﺃﺴﻪ ﻋﻠﻰ ﺍﻝﺼﺨﺭﺓ ﻭﻴﻀﻊ ﻴﺩﻴﻪ‬
‫ﻋﻠﻰ ﻭﺠﻬﻪ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 7‬‬
‫ﻨﻬﺎﺭ‪ /‬ﺩﺍﺨﻠﻰ ﺒﻴﺕ ﺍﻝﻌﺎﺌﻠﺔ‬
‫‪ 79‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬
‫‪ Low Angle‬ﻝﻸﺥ ﻴﺘﺤﺭﻙ ﻓﻰ ﻋﻤﻕ‬
‫ﺼﻭﺕ ﻭﻨﻴﺱ ﺍﻝﺩﺍﺨﻠﻰ ‪... :‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﻏﺭﻓﺔ ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺍﻝﻰ‬
‫ﻴﺎﺃﺒﻰ ‪ ..‬ﻤﺎﻤﺼﻴﺭﻯ ﺍﻵﻥ‬
‫ﺃﻥ ﻴﺨﺘﻔﻰ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ‬
‫)‪( 5‬‬ ‫ﺍﻷﺥ ‪ :‬ﻤﺎﻫﺫﺍ ﺍﻝﺴﺭ‪ !..‬ﺍﻝﻌﻠﻡ ﺒﻪ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻴﻅﻬﺭ ﻭﻨﻴﺱ ﺃﻋﻠﻰ ﺍﻝﺴﻠﻡ ﻓﻰ‬
‫ﺫﻨﺏ ‪.. ..‬‬
‫ﺍﻝﻤﻤﺭ ﺍﻝﺤﺠﺭﻯ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 80‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻴﻨﺯل ﺍﻝﻤﻤﺭ‬
‫ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺭﺍﺠﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﻠﻑ‬
‫ﺼﻭﺕ ﺍﻷﺥ ‪ :‬ﻭﺍﻝﺠﻬل ﺒﻪ ﺫﻨﺏ‬
‫‪ ,Track -Out‬ﻭﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻋﻠﻰ‬
‫ﺃﻜﺒﺭ‪..‬‬
‫ﺠﺎﻨﺏ ﺍﻝﺤﺎﺌﻁ ﺒﺒﻁﺀ ﺸﺩﻴﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻐﺭﻴﺏ ‪ :‬ﺫﻨﺏ ؟ ﺃﻯ ﺫﻨﺏ ﻴﺎﺒﻥ‬ ‫‪81‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻸﻡ ﺘﺠﻠﺱ ﻋﻠﻰ ﺃﺭﻴﻜﺔ ﺍﻝﻌﻡ ؟ ﺍﻨﺎ ﻻ ﺃﻓﻬﻡ ﻫﺫﺍ ﺍﻝﻜﻼﻡ!‬
‫ﺨﺸﺒﻴﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻤﺘﺸﺤﺔ ﺒﺎﻝﺴﻭﺍﺩ ‪ ,‬ﺍﻷﺥ ‪ :‬ﻭﺃﻨﺎ ﻻ ﺃﻓﻬﻡ ﻫﺩﻭﺀﻙ !‪..‬‬
‫ﻭﺍﻝﻘﺭﻴﺏ ﻭﺍﻗﻔﹰﺎ ﺨﻠﻑ ﺍﻷﺭﻴﻜﺔ ﺒﻴﻨﻤﺎ ﺍﻝﻌﻡ ﻤﻨﺫ ﺴﻨﻭﺍﺕ ﻭﺃﻨﺎ ﺃﺤﻤل ﺃﺸﻴﺎﺀ‬
‫ﺠﺎﻝﺴ ﹰﺎ ﺒﺭﻭﻓﻴل ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻋﻠﻰ ﻤﻘﻌﺩ ﺒﺠﻭﺍﺭ ﻷﻴﻭﺏ ﺍﻝﺘﺎﺠﺭ ﻗﻠﺘﻡ ﻝﻰ ﺃﻨﻬﺎ ﺃﺸﻴﺎﺀ‬
‫ﺍﻷﺭﻴﻜﺔ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪,‬ﻭﻴﺘﺤﺭﻙ ﺍﻝﻘﺭﻴﺏ ﻭﺠﺩﺕ ﻓﻰ ﺍﻝﺠﺒل ‪ ..‬ﻋﻠﻤﺘﻤﻭﻨﻰ ﺃﻻ‬
‫ﻭﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﻠﻑ ‪ Track - Out‬ﺍﺴﺄل ﻓﺼﺩﻗﺘﻜﻡ ‪ ..‬ﻜﺎﻨﺕ ﻫﺫﻩ‬
‫ﻝﻴﻅﻬﺭ ﺍﻷﺥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻘﺘﺭﺏ ﺍﻝﻘﺭﻴﺏ ﻁﺭﻴﻘﺘﻨﺎ ﻓﻰ ﺍﻝﺤﻴﺎﺓ ‪.‬‬
‫ﻝﻴﻘﻑ ﺒﺠﻭﺍﺭ ﺍﻝﻌﻡ ﻤﻥ ﺍﻝﻨﺎﺤﻴﺔ ﺍﻷﺨﺭﻯ ‪ ,‬ﺍﻝﻌﻡ ‪ :‬ﻜﺎﻨﺕ ﻭﺴﺘﻅل ﻁﺭﻴﻘﺘﻨﺎ ﻓﻰ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ﻝﻠﺩﺍﺨل ‪ Pan‬ﺍﻝﺤﻴﺎﺓ ‪.‬‬
‫‪ Right , Tracking‬ﻝﺘﺘﺎﺒﻊ ﺍﻷﺥ ﻝﻴﺼﺒﺢ ﺍﻷﺥ ‪) :‬ﺒﺤﺩﺓ ( ﺃﻻ ﺘﺭﻭﻥ ﻤﺎﺫﺍ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ , .M .S‬ﺜﻡ ﺘﻔﻌﻠﻭﻥ ؟ ﺃﻻ ﻴﻭﺠﺩ ﻤﻥ ﻴﻘﻠﻘﻪ‬
‫ﻀﻤﻴﺭﻩ ﻓﻴﻨﻁﻕ ‪.‬‬ ‫ﻴﻠﺘﻔﺕ ﻝﻴﻨﻅﺭ ﺨﻠﻔﻪ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪,‬‬
‫ﺍﻝﻌﻡ ‪ :‬ﺍﻨﺕ ﺍﻵﻥ ﺘﻌﺭﻑ ﺴﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺩﻓﻴﻨﺔ ‪ ..‬ﻨﺼﻴﺏ ﺃﺒﻴﻙ ﻝﻙ ﺃﻨﺕ‬
‫ﻭﺃﺨﻴﻙ ‪ ,‬ﻫل ﺇﻗﺘﺴﺎﻤﻪ ﻤﻊ ﺃﺨﻴﻙ‬

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‫ﻫﻭ ﺍﻝﺫﻯ ﻴﺯﻋﺠﻙ؟‬

‫ﺍﻷﺥ ‪ :‬ﺇﻗﺘﺴﺎﻡ ﺍﻝﻤﻭﺘﻰ !‬
‫ﺍﻝﻘﺭﻴﺏ ‪ :‬ﻫﺅﻻﺀ ﺍﻝﺫﻴﻥ ﺘﺴﻤﻴﻬﻡ‬ ‫‪82‬‬
‫ﺍﻝﻤﻭﺘﻰ ﻝﻴﺴﻭﺍ ﺇﻻ ﺭﻤﺎﺩﹰﺍ ﺃﻭ ﺨﺸﺒ ﹰﺎ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻌﻡ ﻭﺍﻝﻘﺭﻴﺏ ﻭﺍﻗﻔ ﹰﺎ‬
‫ﻤﻥ ﺁﻻﻑ ﺍﻝﺴﻨﻴﻥ ‪ ...‬ﻻ ﺃﺤﺩ ﻴﻌﺭﻑ‬
‫ﻴﻨﻅﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭﺍ ﻝﺒﻌﻀﻬﻤﺎ‬
‫ﻝﻬﻡ ﺁﺒﺎﺀ ﺃﻭ ﺃﺒﻨﺎﺀ ‪.‬‬
‫ﺍﻝﺒﻌﺽ ‪ ,‬ﻴﺩﺨل ﺍﻷﺥ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻴﻘﻑ‬
‫ﺍﻝﻌﻡ ‪ :‬ﻴﺎﺴﻴﺩﺓ ﺍﻝﺩﺍﺭ ﺍﻝﻜﺭﻴﻤﺔ ‪..‬‬
‫ﻭﺘﺘﺭﺍﺠﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Track - out‬‬
‫ﺍﻝﺒﻘﻴﺔ ﻓﻰ ﺤﻴﺎﺘﻙ ﺠﺌﻨﺎ ﺃﻝﻰ ﺩﺍﺭﻙ ‪..‬‬
‫ﻝﻴﺼﺒﺤﻭﺍ ﺠﻤﻴﻌ ﹰﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﺩﺍﺭ ﺃﺨﻰ ﺍﻝﻤﺭﺤﻭﻡ ﺴﻠﻴﻡ ﺍﻨﻌﺯﻴﻙ‬
‫‪.L .S‬‬
‫ﻭﻨﺸﺎﺭﻜﻙ ﺃﺤﺯﺍﻨﻙ ﻭﻨﻘﺩﻡ ﻝﻙ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺎﺘﻁﻠﺒﻴﻥ ‪.‬‬
‫ﺍﻷﻡ ‪ :‬ﻭﺠﻭﺩﻜﻡ ﻭﺤﺩﻩ ﻴﻌﺯﻴﻨﻰ ‪...‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪83‬‬
‫ﻤﻨﺨﻔﻀﺔ ‪ , Low Angle‬ﻴﻘﻑ ﻭﻴﺭﺠﻊ‬
‫ﺼﻭﺕ ﺍﻷﻡ ‪ ...:‬ﻭﻴﺸﺭﻑ ﺍﻝﺩﺍﺭ ‪.‬‬
‫ﺒﻅﻬﺭﻩ ﻝﻴﺴﺘﻨﺩ ﻋﻠﻰ ﺍﻝﺤﺎﺌﻁ ﺒﺠﻭﺍﺭﻩ ﻭﺘﺘﺤﺭﻙ‬
‫ﺼﻭﺕ ﺍﻝﻌﻡ ‪ :‬ﻗﺩﺭﻙ ﺍﷲ ﻋﻠﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ‪ Track- In‬ﺤﺘﻰ ﻴﺼﺒﺢ‬
‫ﺇﺤﺘﻤﺎل ﺤﺯﻨﻙ ‪ ..‬ﻭﺃﻨﺕ ﻴﺎﺇﺒﻥ ﺃﺨﻰ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close Up‬ﻭﻴﻨﻅﺭ‬
‫ﻤﺎﺍﻝﺫﻯ ﻴﻐﻠﻰ ﺒﺩﺍﺨﻠﻙ ؟‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ ﺼﻭﺕ ﺍﻷﻡ ‪ ...:‬ﻭﻴﺸﺭﻑ ﺍﻝﺩﺍﺭ ‪.‬‬ ‫‪83‬‬
‫ﻤﻨﺨﻔﻀﺔ ‪ , Low Angle‬ﻴﻘﻑ ﻭﻴﺭﺠﻊ ﺼﻭﺕ ﺍﻝﻌﻡ ‪ :‬ﻗﺩﺭﻙ ﺍﷲ ﻋﻠﻰ‬
‫ﺒﻅﻬﺭﻩ ﻝﻴﺴﺘﻨﺩ ﻋﻠﻰ ﺍﻝﺤﺎﺌﻁ ﺒﺠﻭﺍﺭﻩ ﻭﺘﺘﺤﺭﻙ ﺇﺤﺘﻤﺎل ﺤﺯﻨﻙ ‪ ..‬ﻭﺃﻨﺕ ﻴﺎﺇﺒﻥ ﺃﺨﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‪ Track - In‬ﺤﺘﻰ ﻴﺼﺒﺢ ﻤﺎﺍﻝﺫﻯ ﻴﻐﻠﻰ ﺒﺩﺍﺨﻠﻙ ؟‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻭﻴﻨﻅﺭ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﺍﻝﻌﻡ ‪ :‬ﻝﻡ ﻝﻡ ﺘﺴﻠﻡ ﺍﻷﻤﺎﻨﺔ‬ ‫‪84‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﻐﻁﺎﺀ ﺍﻝﻘﻼﺩﺓ ﻷﻴﻭﺏ ﺍﻝﺘﺎﺠﺭ ؟‬
‫ﻴﺭﺘﻔﻊ ﻭﺘﻅﻬﺭ ﺍﻝﻘﻼﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﺍﻝﻌﻡ ‪ :‬ﻜل ﺍﻝﻘﺒﻴﻠﺔ ﺘﻨﺘﻅﺭ ﺘﻤﻨﻬﺎ ‪..‬‬ ‫‪85‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻠﻌﻡ ﺠﺎﻝﺴﹰﺎ ﻴﻤﻴﻥ ﻝﻭ ﻜﺎﻥ ﺃﺒﻭﻙ ﺤﻴ ﹰﺎ ‪...‬‬
‫ﻜﺎﺩﺭ ﻭﺍﻝﻘﺭﻴﺏ ﻭﺍﻗﻔ ﹰﺎ ﺒﺠﻭﺍﺭﻩ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﺍﻷﺥ ‪ ) :‬ﻴﻘﺎﻁﻌﻪ ( ﺍﺘﺭﻙ ﺍﻝﻤﻭﺘﻰ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻸﺥ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪86‬‬

‫ﻤﻨﺨﻔﻀﺔ ‪Low Angle‬ﻭﻫﻭ ﺭﺍﻜﻌ ﹰﺎ ﻴﻤﻴﻥ ﻓﻰ ﺴﻼﻡ ‪.‬‬
‫ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﻨﻅﺭ ﻷﻋﻠﻰ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪87‬‬
‫ﺍﻝﻘﺭﻴﺏ ‪ :‬ﺘﻘﺼﺩ ﺃﻥ ﺘﺘﺭﻜﻬﻡ‬
‫ﻝﻸﻓﻨﺩﻴﺔ ‪ ..‬ﺃﻯ ﺘﺠﺎﺭﺓ ﻝﻨﺎ ﻤﻊ‬
‫ﻫﺅﻻﺀ ‪ ..‬ﺃﻓﻨﺩﻴﺔ ﺍﻝﻘﺎﻫﺭﺓ‬
‫ﺍﻝﻤﺘﻜﺒﺭﻴﻥ ﺴﻴﻀﻌﻭﻨﻙ ﻓﻰ ﺍﻝﺤﺩﻴﺩ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M . S‬ﻜﻤﺎ ﻓﻰ ﻝﻘﻁﺔ ) ﻝﻭ ﻭﺠﺩﻭﺍ ﻤﻌﻙ ﻫﺫﺍ ﺍﻝﺸﻰﺀ ‪..‬‬
‫‪ ( 85‬ﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﻘﺭﻴﺏ ﻝﻸﻤﺎﻡ ﻭﻴﻘﻑ ﺍﻨﻬﻡ ﻴﻐﺘﺼﺒﻭﻥ ﻜل ﺸﻰﺀ ‪ ..‬ﻭﻻ‬
‫ﺒﺭﻭﻓﻴل ‪ ,‬ﺜﻡ ﺘﺘﺭﺍﺠﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﻠﻑ ﻴﺩﻓﻌﻭﻥ ﻝﻨﺎ ﻜﻤﺎ ﻴﺩﻓﻊ ﺃﻴﻭﺏ ‪.‬‬
‫‪ Track -Out‬ﻝﻴﻅﻬﺭ ﺍﻷﺥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻓﻰ ﺍﻷﺥ ‪ :‬ﻗﻁﻌﺔ ﻤﻥ ﺍﻝﺫﻫﺏ ‪ ..‬ﻫﻰ ﻝﻙ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺜﻼﺜﺔ ‪ ,M .S. 3‬ﻭﻝﻜﻨﻰ ﺃﺭﺍﻫﺎ ﻋﻴﻨﹰﺎ ﺘﻼﺤﻘﻨﻰ ‪.‬‬
‫ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Track -In‬ﻋﻨﺩﻤﺎ ﺍﻝﻘﺭﻴﺏ ‪ :‬ﻋﻴﻨ ﹰﺎ ﻤﻴﺘﺔ ﺒﻬﺎ ﺫﻫﺏ‬

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‫ﻴﺘﺤﺭﻙ ﺍﻝﻘﺭﻴﺏ ﻝﻴﻘﻑ ﺒﺠﻭﺍﺭ ﺍﻝﻌﻡ ﻭﻴﺼﺒﺤﺎ ﻴﻁﻌﻡ ﻤﺎﺌﺔ ﻓﻡ ‪.‬‬

‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪ ,M .S. 2‬ﺍﻷﺥ ‪ :‬ﻤﺎﺌﺔ ﻓﻡ ﺘﺄﻜل ﻝﺤﻤﻙ ﻝﻭ‬
‫ﻭﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻴﻅﻬﺭ ﺭﺠﻼﻥ ﻤﻥ ﺍﻝﻘﺒﻴﻠﺔ ﺠﺎﻋﺕ ‪.‬‬
‫ﺍﻝﻘﺭﻴﺏ ‪ :‬ﻭﺃﻨﺕ ﻤﻥ ﺃﻴﻥ ﻜﻨﺕ ﺘﺄﻜل‬ ‫ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﻓﻰ ﻨﻬﺎﻴﺔ ﻤﻤﺭ‬
‫ﻁﻭل ﻋﻤﺭ ﻙ ؟‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻌﻡ ‪ :‬ﻋﺸﺕ ﻝﻜﻰ ﺃﺭﻯ ﺇﺒﻥ ﺴﻠﻴﻡ‬
‫ﻴﺘﻜﻠﻡ ﻝﻐﺔ ﺍﻷﻓﻨﺩﻴﺔ ‪..‬ﺃﺭﻴﺩﻙ ﺃﻥ ﺘﻌﻠﻡ‬
‫ﺃﻥ ﺩﺨﻭﻝﻙ ﺍﻝﻤﻐﺎﺭﺓ ﻭﺨﺭﻭﺠﻙ ﻤﻨﻬﺎ‬
‫ﻗﺩ ﺠﻌل ﻤﻨﻙ ﺸﺨﺼ ﹰﺎ ﺃﺨﺭ ‪..‬‬
‫ﺼﻭﺕ ﺍﻝﻌﻡ ‪ :‬ﺸﺨﺼﹰﺎ ﻴﺨﺘﻠﻑ ﻋﻥ‬ ‫‪88‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻭﻨﻴﺱ ﻭﺍﻗﻔﹰﺎ ﻋﻠﻰ ﺃﻫل ﺍﻝﻭﺍﺩﻯ ‪ ..‬ﻭﻋﻥ ﺍﻷﻓﻨﺩﻴﺔ‬
‫ﺍﻝﺫﻴﻥ ﻴﺘﻤﻨﻭﻥ ﺃﻥ ﻴﻌﺭﻓﻭﺍ ﺍﻝﺴﺭ ‪...‬‬ ‫ﺍﻝﺩﺭﺝ ﻓﻰ ﺍﻝﻤﻤﺭ ﺘﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Track -Out‬ﻝﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﺃﺭﻴﺩﻙ ﺃﻥ ﺘﻌﻠﻡ ﺃﻴﻀ ﹰﺎ ﺃﻥ ﺴﺭ‬
‫ﺍﻝﺩﻓﻴﻨﺔ ﺃﻏﻠﻰ ﻤﻥ ﺤﻴﺎﺓ ﺃﻯ ﻓﺭﺩ ﻓﻰ‬ ‫ﻜﺒﻴﺭﺓ ‪.L .S‬‬
‫ﻗﺒﻴﻠﺔ ﺴﻠﻴﻡ ‪...‬ﻝﻘﺩ ﺃﻋﺩﻙ ﺃﺨﻰ ﻝﻬﺫﺍ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻴﻭﻡ ‪..‬‬
‫‪ 89‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻌﻡ ﻭﺍﻝﻘﺭﻴﺏ ‪ ,‬ﺍﻝﻌﻡ ‪ :‬ﻭﻝﻜﻨﻰ ﺃﺭﺍﻙ ﺃﻤﺎﻤﻰ ﺘﺭﺘﻌﺵ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ‪ Track -In‬ﻜﻁﻔل ‪ ..‬ﺇﻥ ﻋﻴﺸﻨﺎ ﻜﻔﺎﺡ ﺼﻌﺏ‬
‫ﻝﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﺜﻡ ﺘﻘﺘﺭﺏ ﻭﻝﻜﻨﻙ ﻋﻠﻰ ﻤﺎﻴﺒﺩﻭ ﻀﻌﻴﻑ ﺃﻭ ﻏﻴﺭ‬
‫ﻗﺎﺩﺭ ‪..‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Track -In‬ﻤﻥ ﻭﺠﻪ ﺍﻝﻌﻡ‬
‫ﻭﻴﺼﺒﺢ ﻓﻰ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪Close Up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 90‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﻸﺥ ﻴﻨﻅﺭ ﻴﺴﺎﺭ ﺍﻷﺥ ‪ :‬ﻤﺎﺘﺴﻤﻴﻪ ﻋﻴﺸﻨﺎ ‪ ,‬ﺃﺸﻌﺭ ﺒﻪ‬
‫ﻜﺎﺩﺭ ﻷﺴﻔل ﺜﻡ ﻴﻨﺤﻨﻰ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺴﻤﹰﺎ ﻓﻰ ﺠﺴﺩﻯ ‪...‬ﻫﺫﺍ ﻋﻴﺵ‬
‫ﻷﺴﻔل ‪ Tilt Down‬ﻝﻴﻠﺘﻘﻁ ﺍﻝﻘﻼﺩﺓ ﺍﻝﻀﺒﺎﻉ ‪....‬ﺇﺤﻤﻠﻭﺍ ﻭﺤﺩﻜﻡ ﻫﺫﻩ‬
‫ﻭﻴﺭﻓﻌﻬﺎ ﻓﻰ ﻭﺠﻪ ﺍﻝﻌﻡ ﺍﻝﺠﺎﻝﺱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺍﻝﺫﻨﻭﺏ ‪.‬‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ . M .S‬ﺍﻝﻌﻡ ‪ :‬ﺘﻠﻙ ﻜﺎﻨﺕ ﺤﻴﺎﺓ ﺃﺒﻴﻙ ‪..‬‬
‫‪ ,‬ﻭﻴﻤﺴﻙ ﺒﻬﺎ ﻓﻰ ﻭﺠﻪ ﺍﻝﻌﻡ ‪ ,‬ﻭﺘﺭﺘﻔﻊ ﻭﺤﻴﺎﺓ ﺃﺒﻴﻪ ﻤﻥ ﻗﺒﻠﻪ ‪ ..‬ﻝﻘﺩ ﺸﺎﺀ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ﻝﺘﺘﺎﺒﻊ ﺍﻝﻌﻡ ﺍﻝﺫﻯ ﻴﻘﻑ ﻫﻭ ﺃﻥ ﺘﻌﻠﻡ ﺃﻨﺕ ﺴﺭ ﺍﻝﺩﻓﻴﻨﺔ ﻭﻝﻭ‬
‫ﻜﺎﻥ ﺤﻴ ﹰﺎ ﺍﻵﻥ ﻝﺸﺎﺀ ﺃﻥ ﺘﺤﺭﻡ ﻤﻥ‬ ‫ﻭﻴﻨﻅﺭ ﻷﺴﻔل‬
‫ﺤﻴﺎﺘﻙ ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻷﺥ ‪ :‬ﺃﻨﺎ ﻻ ﺃﺨﺎﻑ‬ ‫‪91‬‬
‫ﻜﻼﻤﻙ ‪..‬ﻓﻠﺘﺨﺵ ﺃﻨﺕ ﺃﻭﻻﺩﻙ‬ ‫ﺘﺘﺭﻙ‬ ‫ﺍﻷﺥ‬ ‫ﻝﻴﺩ‬ ‫‪Close‬‬ ‫‪Up‬‬ ‫ﻗﺭﻴﺒﺔ‬ ‫ﻝﻘﻁﺔ‬
‫ﺍﻝﻘﻼﺩﺓ ﻋﻠﻰ ﺍﻷﺭﺽ ‪ ,‬ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻨﺩﻤﺎ ﻴﺴﺄﻝﻭﻨﻙ ﻴﻭﻤﹰﺎ ﻤﺎ ‪ ..‬ﻫل‬
‫ﺼﻭﺕ ﺴﻘﻭﻁ ﺍﻝﻘﻼﺩﺓ‬ ‫ﻷﻋﻠﻰ‪ Tilt up‬ﻝﺘﺘﺎﺒﻌﻪ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻫﺫﺍ ﻋﻴﺸﻨﺎ ؟‬
‫ﻋﻠﻰ ﺍﻷﺭﺽ‬ ‫ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ M .Close Up‬ﺜﻡ ﺘﺘﺎﺒﻌﻪ ﺍﻝﻌﻡ ‪ :‬ﺴﻭﻑ ﻨﺭﺒﻴﻬﻡ ﻋﻠﻰ ﺇﺤﺘﺭﺍﻡ‬
‫‪ Pan Left‬ﻭﻫﻭ ﻴﻌﺒﺭ ﺍﻷﺜﻨﻴﻥ ﻭﻴﺼﺒﺤﺎ ﺘﻘﺎﻝﻴﺩ ﺁﺒﺎﺌﻬﻡ ‪.‬‬
‫ﺒﺭﻭﻓﻴل ﻭﻅﻬﺭﻫﻤﺎ ﻝﻪ ﺒﻴﻨﻤﺎ ﻴﻘﻑ ﻫﻭ ﻓﻰ ﺼﻭﺕ ﺍﻷﻡ ‪ :‬ﻓﻰ ﻫﺫﺍ ﺍﻝﻜﻔﺎﻴﺔ ‪...‬‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻨﺎﻅﺭﹰﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻡ ﻭﺍﻝﻘﺭﻴﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻝﻸﻡ ﻴﻤﻴﻥ ﺍﻷﻡ ‪ :‬ﺃﻨﺎ ﺍﻝﺘﻰ ﺭﺒﻴﺕ ﺃﻭﻻﺩﻯ ‪..‬‬ ‫‪92‬‬
‫ﻭﻗﺩ ﺭﺒﻴﺘﻬﻡ ﻋﻠﻰ ﺍﻝﻜﺒﺭﻴﺎﺀ‬ ‫ﺘﻨﻅﺭﻷﻋﻠﻰ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻭﺍﻝﺸﻤﻭﺥ ﻜﺎﻝﺠﺒل ‪..‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 93‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻌﻡ ﻭﺍﻝﻘﺭﻴﺏ ﺍﻝﻘﺭﻴﺏ ‪ :‬ﻭﻨﺤﻥ ﻻ ﻨﻘﺒل ﺍﻹﻫﺎﻨﺔ‬
‫ﻴﻨﻅﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻘﻑ ﺨﻠﻔﻬﻤﺎ ﺍﻷﺥ ﻨﺎﻅﺭﹰﺍ ﻓﻰ ﺒﻴﺕ ﺃﺨﻴﻨﺎ ‪,‬ﺇﻨﻪ ﻤﺎﺯﺍل ﺒﻴﺘﻪ ‪...‬‬
‫ﺃﺭﺠﻭ ﺫﻝﻙ ‪.‬‬ ‫ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻴﻤﻴﻥ‬
‫ﺍﻷﺥ ‪ :‬ﺠﺩﺭﺍﻨﻪ ﻓﻘﻁ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪94‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻸﻡ ﺘﻠﺘﻔﺕ ﻭﺘﻨﻅﺭ‬
‫ﻷﺴﻔل ﺜﻡ ﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ‪Track -‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 14 of 43‬‬

‫‪ Out , Tilt Down‬ﻭﺘﻨﺯل ﻝﺘﺘﺎﺒﻊ ﺍﻝﻘﺭﻴﺏ‬

‫ﻭﻫﻭ ﻴﻨﺤﻨﻰ ﻝﻴﺄﺨﺫ ﺍﻝﻘﻼﺩﺓ ‪ ,‬ﻭﺘﺭﺘﻔﻊ ﻷﻋﻠﻰ‬
‫‪ Tilt Up‬ﻝﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﺍﻷﻡ ‪ :‬ﺍﻝﺠﺩﺭﺍﻥ ﻭﻤﻥ ﺘﺤﻤﻴﻬﻡ‬
‫‪ .M .S‬ﻤﻊ ﺍﻝﻌﻡ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ ﺍﻝﺠﺩﺭﺍﻥ ‪.‬‬
‫‪ Pan Left‬ﻝﺘﺘﺎﺒﻌﻬﻤﺎ ﻭﻫﻤﺎ ﻴﻌﺒﺭﺍ ﺍﻷﺥ ﺼﻭﺕ ﺍﻝﻌﻡ ‪ :‬ﺃﻋﻁﻨﻰ ﻫﺫﻩ‬
‫ﻭﻴﺨﺭﺠﻭﺍ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺍﻝﻰ ﻤﻤﺭ ﻓﻰ ﻋﻤﻕ ﺍﻝﻘﻁﻌﺔ ‪ ..‬ﻤﺜل ﻫﺫﻩ ﺍﻷﺸﻴﺎﺀ ﻻ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ ﺍﻝﺭﺠﺎل‬
‫ﺍﻝﻜﺎﺩﺭ ﺤﻴﺙ ﺒﻌﺽ ﺭﺠﺎل ﺍﻝﻘﺒﻴﻠﺔ ‪ ,‬ﺜﻡ ﻴﺠﺏ ﺃﻥ ﺘﻘﻊ ﻋﻠﻴﻬﺎ ﺃﻯ ﻴﺩ ‪ ...‬ﺃﻤﺎ‬
‫ﻴﺨﺭﺠﻭﻥ ﺠﻤﻴﻌ ﹰﺎ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻅل ﺍﻝﻌﻡ ﻨﺤﻥ ﻓﻠﻨﻨﺼﺭﻑ ﺍﻵﻥ ‪ ..‬ﺒﻌﺩ ﺇﺫﻨﻙ‬
‫ﻼ ﻭﻴﻬﻤﺱ ﻝﻪ ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﻴﺎﺴﻴﺩﺓ ﺍﻝﺩﺍﺭ ‪ .‬ﻗﺩﺭﻙ ﺍﷲ ﻋﻠﻰ‬ ‫ﻭﺍﻗﻔ ًﹶﺎ ﻭﻴﺄﺘﻰ ﺭﺠ ﹰ‬
‫ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﻭ ﻴﻨﻅﺭ ﺍﻝﻌﻡ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﺇﺤﺘﻤﺎل ﺍﻝﻤﻜﺘﻭﺏ ‪.‬‬
‫ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻸﺥ ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬ ‫‪95‬‬
‫ﻝﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻤﻊ ﺍﻷﻡ‬
‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺘﺎﺒﻌﻪ ﻝﻠﺩﺍﺨل ‪ Track -In‬ﺍﻷﻡ ‪ :‬ﺃﻴﻥ ﻭﻨﻴﺱ ؟‬
‫ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻴﺴﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻸﻡ ﺘﺠﻠﺱ ﻋﻠﻰ‬ ‫‪96‬‬
‫ﺍﻷﺭﻴﻜﺔ ﻓﻰ ﻤﻨﺘﺼﻑ ﺍﻝﻜﺎﺩﺭ ﺨﺎﻓﻀﺔ ﺭﺃﺴﻬﺎ‬
‫ﺜﻡ ﺘﻘﻑ ﺍﻷﻡ ﻭﻴﺩﺨل ﺍﻷﺥ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
‫ﺍﻷﺥ ‪ :‬ﺩﺍﻓﻌﺕ ﻋﻨﻰ ﻋﻨﺩﻤﺎ ﺘﻜﻠﻤﻭﺍ‬
‫ﻭﻴﺼﺒﺢ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻋﻥ ﺘﺭﺒﻴﺘﻰ ﻓﻘﻁ ‪...‬‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﺍﻷﻡ ‪ :‬ﻨﻌﻡ ‪ ..‬ﻝﻘﺩ ﺘﺠﺎﻭﺯﻭﺍ ﺤﺩﻭﺩ‬
‫‪ .M. L. s‬ﻭﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻷﻡ ﻭﻫﻰ‬
‫ﺇﺤﺘﺭﺍﻡ ﻫﺫﺍ ﺍﻝﺒﻴﺕ ‪ ..‬ﺇﺫﻫﺏ ﻭﺇﺒﺤﺙ‬
‫ﺘﺘﺤﺭﻙ ﻴﺴﺎﺭﹰﺍ ‪ Pan Left‬ﻭﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ‬
‫ﻋﻥ ﺃﺨﻴﻙ ‪ ..‬ﻫل ﺭﺃﻴﺘﻪ ﻤﻨﺫ ﺃﻥ ‪...‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻭﺘﻨﻅﺭ ﻝﻠﺨﻠﻑ‬
‫ﻨﺎﺤﻴﺔ ﺍﻷﺥ ﻴﻤﻴﻨﹰﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻷﺥ ‪ :‬ﻨﻌﻡ ‪.‬‬ ‫‪97‬‬
‫ﺍﻷﻡ ‪ :‬ﻫل ﺘﻜﻠﻤﺕ ﻤﻌﻪ ؟‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻓﻭﻕ ﺍﻝﺴﻠﻡ‬
‫ﺍﻷﺥ ‪ :‬ﻨﻌﻡ‬
‫ﺒﺎﻝﻤﻤﺭ ﺍﻝﺤﺠﺭﻯ ﻭﺍﻗﻔﹰﺎ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺍﻷﻡ ‪ :‬ﺘﻜﻠﻤﺕ ﻤﻌﻪ‬
‫ﻭﻴﻨﺯل ﺨﻁﻭﺓ ‪ ,‬ﺜﻡ ﺘﺩﺨل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫ﺍﻷﺥ ‪ :‬ﻤﺎﺫﺍ ﺘﺨﺒﺌﻪ ﻝﻨﺎ ﺍﻷﻴﺎﻡ ‪...‬؟‬
‫‪ Track -In‬ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻭﻴﺼﺒﺢ ﻓﻰ‬
‫ﺇﻥ ﻋﻘﻠﻰ ﺍﻝﻤﻀﻁﺭﺏ ﻻ ﻴﻘﺩﺭ ﻋﻠﻰ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪.M .S‬‬
‫ﺍﻝﺼﻤﺕ ‪ ...‬ﺃﺠﻴﺒﻰ ‪ ..‬ﻋﺩﻯ ﻤﻌﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻜﻡ ﺠﺜﺔ ﺃﻨﺘﻬﻜﺕ ﻴﺩ ﺃﺒﻰ ﻝﻨﺄﻜل ؟؟‬
‫ﺍﻷﻡ ‪ :‬ﻜﻔﻰ ‪ ..‬ﻤﺎﺫﺍ ﺘﺭﻴﺩ ؟؟‬
‫ﺍﻷﺥ ‪ :‬ﺃﺭﻴﺩ ﺍﻝﺤﻘﻴﻘﺔ ‪......‬ﺍﻵﻥ ‪.‬‬ ‫‪98‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻸﻡ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺍﻷﻡ ‪ :‬ﺴﻭﻑ ﺘﻌﺭﻓﻬﺎ ﻴﻭﻤﺎ ﻤﺎ ‪ ..‬ﺃﻭ‬
‫ﻴﺩﺨل ﺍﻷﺥ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﺘﺘﺤﺭﻙ ﺍﻷﻡ ﻴﻤﻴﻥ ﺴﻭﻑ ﻻ ﺘﻌﺭﻓﻬﺎ ﺃﺒﺩﹰﺍ ‪ ...‬ﺃﻤﺎ‬
‫ﺍﻝﺤﻘﻴﻘﺔ ﺍﻝﺘﻰ ﺍﻋﺭﻓﻬﺎ ﺃﻨﺎ ﻓﻬﻰ ﺃﻨﻙ‬
‫ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ Pan Right‬ﻝﺘﺼﺒﺢ‬
‫ﻝﻭﺜﺕ ﺇﺴﻡ ﺃﺒﻴﻙ ﻓﻰ ﺩﺍﺭﻩ ‪ .....‬ﻻ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻭﺘﻘﻑ ﻓﻰ‬
‫ﻝﻥ ﻴﻤﺴﻪ ﺃﺤﺩ ﺒﺴﻭﺀ ﻓﻰ ﻤﺴﺘﻘﺭﻩ‬
‫ﺭﻜﻥ ﺍﻝﻐﺭﻓﺔ ﻭﺘﺴﺘﺩﻴﺭ ﻝﺘﻘﺘﺭﺏ ﺜﺎﻨﻴﺔ ﻤﻥ‬
‫ﺤﺘﻰ ﻭﻝﻭ ﻜﺎﻥ ﺇﺒﻨﻪ ‪ ....‬ﻜﺎﻥ‬
‫ﺍﻷﺥ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪Pan Left‬‬
‫ﺸﺭﻴﻙ ﺃﻴﺎﻤﻰ ‪ ..‬ﺍﻝﺤﻘﻴﻘﺔ ؟ ‪..‬‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ ‪ ,‬ﺜﻡ‬
‫ﻤﻠﻌﻭﻨﺔ ﺤﻘﻴﻘﺘﻙ ﻭﻤﻠﻌﻭﻥ ﺃﻨﺕ ﻷﻨﻙ‬
‫ﺘﺘﺤﺭﻙ ﻝﻠﻴﻤﻴﻥ ﻨﺎﺤﻴﺔ ﻤﻤﺭ ﻭﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ‬
‫ﺃﻗﻠﻘﺕ ﻤﻥ ﺃﻨﺘﻬﻰ ﻭﺃﺭﺘﺎﺡ ‪ ..‬ﺍﻵﻥ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻭﺘﺨﺭﺝ ﻤﻥ‬
‫ﻝﻥ ﻴﻌﺭﻑ ﺍﻝﺭﺍﺤﺔ ﺃﺒﺩﺍ‪ ....‬ﻤﻠﻌﻭﻥ‬
‫ﺃﻨﺕ ‪ ...‬ﺭﺤﻤﺕ ﻋﻴﻭﻨﻨﺎ ﻨﻅﺭﺓ‬ ‫‪Pan‬‬ ‫ﺍﻝﻤﻤﺭﻭﻭﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Right‬‬
‫ﺍﻝﺼﻔﺎ ‪ ....‬ﺃﻏﺭﺏ ﻋﻥ ﻭﺠﻬﻰ ﺃﻴﻬﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺘﻌﺱ ﺃﻨﺎ ﻻ ﺍﻋﺭﻑ ﺃﺴﻤ ﹰﺎ‬
‫ﻝﻙ ‪......‬‬

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‫‪ 99‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻸﺥ ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ‬

‫ﺍﻷﺥ ‪ :‬ﻭﻨﻴﺱ ‪...‬ﻭﻨﻴﺱ ‪ ..‬ﻝﻤﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺠﺯﺀ ﻤﻥ ﻭﺠﻬﻪ ﻤﻀﺎﺀﹰﺍ ﻭﻴﺘﺤﺭﻙ‬
‫ﺘﺘﺒﺎﻋﺩ ﺩﺍﺌﻤ ﹰﺎ ‪.‬‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻴﻤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 100‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻸﺥ‬
‫ﻴﺩﺨل ﻤﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻭﻨﻴﺱ ﻓﻰ ﻋﻤﻕ ﻭﻨﻴﺱ ‪ :‬ﻝﻤﺎ ﻓﻌﻠﺕ ﺒﻬﺎ ﻜل ﻫﺫﺍ ؟؟‬
‫ﺍﻝﻜﺎﺩﺭ ﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ﺼﺎﻋﺩﹰﺍ ‪ ,‬ﻴﻨﻅﺭ ﺍﻷﺥ ﺍﻷﺥ ‪ :‬ﺇﻨﻬﺎ ﻻ ﺘﻌﻴﺵ ﺇﻻ ﻓﻰ‬
‫ﻨﺎﺤﻴﺔ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺴﺘﻤﺭ ﻭﻨﻴﺱ ﻓﻰ ﺍﻝﻤﺎﻀﻰ‬
‫ﺍﻝﺼﻌﻭﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﺃﻁﻠﻌﺘﻨﻰ ﻋﻠﻰ ﻤﺼﻴﺭ‬ ‫‪101‬‬
‫ﻤﻅﻠﻡ ‪ ..‬ﺼﺤﺭﺍﺀ ﻋﻠﻰ ﺃﻥ ﺃﺴﻴﺭﻫﺎ‬
‫ﻭﺤﺩﻯ ‪ ..‬ﺨﺎﺌﻔﹰﺎ ﻤﻥ ﺍﻝﻤﺸﺎﻋﺭ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫ﻭﺍﻝﺫﻜﺭﻯ ‪.‬‬
‫‪ High Angle‬ﻤﻥ ﺍﻝﻨﺎﺤﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ‬
‫ﺍﻷﺥ ‪ :‬ﺃﻯ ﺯﻜﺭﻯ ‪ ..‬ﺍﻝﺘﺫﻜﺭ‬
‫ﻝﻭﻨﻴﺱ ﺼﺎﻋﺩﹰﺍ ﺍﻝﺴﻠﻡ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻴﻀﻌﻑ ﺍﻹﺭﺍﺩﺓ ‪..‬‬
‫ﻭﺍﻷﺥ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺃﺴﻔل ﺍﻝﺴﻠﻡ ﺜﻡ ﻴﺘﻘﺩﻡ‬
‫ﻭﻨﻴﺱ ‪ :‬ﺃﻴﻪ ﺇﺭﺩﺍﺓ ‪ ...‬ﺃﻥ‬
‫ﻭﻨﻴﺱ ﻭﻴﻌﺒﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻴﻠﺘﻔﺕ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺃﻨﺴﻰ ‪ ..‬ﻤﺎ ﻜﺎﻥ ﺒﺎﻷﻤﺱ ﺤﻘﻴﻘﺔ‬
‫ﻝﻴﺼﺒﺢ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺩﺨل ﺃﺨﻴﻪ ﻤﻥ ﺍﻝﻴﺴﺎﺭ‬
‫)‪( 6‬‬ ‫ﻝﻰ ‪...‬‬
‫ﻭﻴﻨﻅﺭﺍ ﻝﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ ﻭﻴﻀﻊ ﻴﺩﻩ ﻋﻠﻰ‬
‫ﺍﻷﺥ ‪ :‬ﺘﻌﺎل ﻨﺒﺩﺃ ﻓﻰ ﻤﻜﺎﻥ ﺃﺨﺭ ‪..‬‬
‫ﻜﺘﻑ ﻭﻨﻴﺱ ‪ ,‬ﻭﻴﻨﺯل ﻭﻨﻴﺱ ﻴﺩﻩ ﻓﻴﺨﺭﺝ ﻤﻥ‬
‫ﻝﻡ ﻴﻌﺩ ﻝﻨﺎ ﺸﻰﺀ ﻫﻨﺎ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻤﻕ ﺃﻋﻠﻰ‬
‫ﻭﻨﻴﺱ ‪ :‬ﻝﻡ ﺃﻁﻠﻌﺘﻨﻰ ﻋﻠﻰ ﻜل‬
‫ﺍﻝﻤﻤﺭ ‪.‬‬
‫ﻫﺫﺍ ‪...‬؟ ﻭﻝﻤﺎ ﺃﻨﺕ ﺃﺨﻰ ‪..‬؟‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻷﺥ ‪ :‬ﺇﺴﻤﻊ ‪..‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﻻ ﺃﺭﻴﺩ ﺃﻥ ﺃﺴﻤﻊ ‪ ..‬ﻜﻔﻰ‬
‫ﻤﺎﺴﻤﻌﺕ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 8‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﻨﻴل‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M. Close Up‬‬ ‫‪102‬‬
‫ﻝﻸﺥ ﻴﺘﺤﺭﻙ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﺄ ‪Pan‬‬
‫‪ Right‬ﺜﻡ ﻴﻌﺒﺭﻫﺎ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻤﻕ‬
‫ﺃﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ‬ ‫ﻤﺒﺘﻌﺩﹰﺍ ﻋﻨﻬﺎ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‬
‫)‪( 6‬‬
‫‪ .L. S‬ﻭﻴﻅﻬﺭ ﻓﻰ ﺍﻝﻌﻤﻕ ﺸﺭﺍﻉ ﻤﺭﻜﺏ‬
‫ﻨﻴﻠﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close Up‬ﻝﻜﻔﻴﻥ ﻤﺭﺴﻭﻤﻴﻥ‬ ‫‪103‬‬
‫ﻋﻠﻰ ﻤﺭﻜﺏ ﺸﺭﺍﻋﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .Close Up‬‬ ‫‪104‬‬
‫ﻝﺭﺠل ﻤﻠﺜﻡ ﻭﺍﻗﻔ ﹰﺎ ﻋﻠﻰ ﺸﺎﻁﻰﺀ ﺍﻝﻨﻴل‬
‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻭﻕ ﺍﻝﻤﺭﻜﺏ ﻭﻴﻅﻬﺭ ﺠﺯﺀ ﻤﻥ‬
‫ﻼ ﻓﻭﻕ ﺍﻝﻤﺭﻜﺏ ﻭﻴﺒﺘﻌﺩ ﺍﻝﻤﺭﻜﺏ‬ ‫ﻅﻬﺭ ﺭﺠ ﹰ‬
‫ﻋﻥ ﺍﻝﺸﺎﻁﻰﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﺭﺠﻠﻴﻥ ﺍﻝﻤﻠﺜﻤﺎﻥ‬ ‫‪105‬‬
‫ﺠﺎﻝﺴﺎﻥ ﻋﻠﻰ ﺍﻝﺸﻁﻰﺀ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻤﻨﻬﻤﺎ ‪Track -In‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪106‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻸﺥ ﺠﺎﻝﺴﹸﺎ ﻓﻭﻕ‬
‫ﺍﻝﻤﺭﻜﺏ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺨل ﺭﺠﻼ ﻤﻥ‬

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‫ﺨﻠﻔﻪ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻓﻴﻠﺘﻔﺕ ﺍﻷﺥ ﻝﻠﺨﻠﻑ‬

‫ﻭﻴﻘﻑ ﻓﺠﺄﺓ ﻓﻴﻀﻊ ﺍﻝﺭﺠل ﻴﺩﻩ ﻋﻠﻰ ﻓﻡ ﺍﻷﺥ‬
‫ﻭﻴﺩﺨل ﺭﺠﻼﻥ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﺍﻝﻴﺴﺎﺭ ﻭﺘﺴﻘﻁ‬
‫ﺼﻭﺕ ﺍﻝﺨﻁﻭﺍﺕ‬
‫ﺍﻝﻌﺼﺎ ﻤﻥ ﻴﺩ ﺍﻷﺥ ‪ ,‬ﻴﻐﺭﺯ ﺍﻝﺭﺠل ﺴﻜﻴﻥ ﻓﻰ‬
‫ﺼﺩﺭ ﺍﻷﺥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻓﻭﻕ ﺍﻝﻤﺭﻜﺏ ﺘﺒﺘﻌﺩ‬ ‫‪107‬‬
‫ﺼﻭﺕ ﻀﺭﺒﺔ ﺍﻝﺴﻜﻴﻥ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻋﻥ ﺍﻝﺭﺠل ﺍﻝﻤﻠﺜﻡ ﺍﻝﻭﺍﻗﻑ ﻋﻠﻰ‬
‫ﺼﻭﺕ ﺼﺭﺨﺔ ﺍﻷﺥ‬ ‫ﺍﻝﺸﺎﻁﻰﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .Close Up‬‬ ‫‪108‬‬
‫ﻝﺠﺴﺩ ﺍﻷﺥ ﻴﺤﻤﻠﻭﻨﻪ ﻭﻴﻬﻤﻭﻥ ﺒﺈﻝﻘﺎﺀﻩ ﻓﻰ‬
‫ﺍﻝﻤﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻤﺎﺀ ﻭﺘﻠﻘﻰ ﺠﺜﺔ‬ ‫‪109‬‬
‫ﺼﻭﺕ ﺴﻘﻭﻁ ﺍﻝﺠﺜﺔ ﻓﻰ‬
‫ﺍﻷﺥ ﻓﻴﻬﺎ‬
‫ﺍﻝﻤﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻤﺭﻜﺏ ﻓﻰ ﺍﻝﻤﺎﺀ‬ ‫‪110‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺘﺘﺤﺭﻙ ﻭﻴﻅﻬﺭ ﻋﻠﻰ ﺍﻝﺠﺎﻨﺏ ﺍﻝﻜﻔﻴﻥ ‪ ,‬ﺜﻡ‬
‫)‪( 6‬‬ ‫ﺘﺨﺭﺝ ﻤﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﻅﻬﺭ ﺼﻔﺤﺔ ﺍﻝﻤﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 9‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻌﺒﺩ ﺍﻝﺭﻤﺴﻴﻭﻡ‬
‫‪ 111‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﺭﺃﺱ ﺘﻤﺜﺎل‬
‫ﺼﻭﺕ ﺒﺎﺨﺭﺓ ﻋﺎﻝﻰ‬ ‫ﻓﺭﻋﻭﻨﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 112‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻭﻨﻴﺱ ﺠﺎﻝﺴ ﹰﺎ ﻋﻨﺩ‬
‫ﻗﺩﻤﻰ ﺘﻤﺜﺎل ﻀﺨﻡ ‪ ,‬ﺨﺎﻓﻀﹰﺎ ﺭﺃﺴﻪ ﺒﻴﻥ‬
‫ﺭﻜﺒﺘﻴﻪ ‪ ,‬ﺜﻡ ﻴﻨﻬﺽ ﻭﻴﻨﻅﺭ ﺒﻤﻴﻨ ﹰﺎ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﺼﻭﺕ ﺍﻝﺒﺎﺨﺭﺓ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﺍﻝﺘﻰ ﺘﺼﺒﺢ ﻓﻰ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ ﺸﺩﻴﺩﺓ‬ ‫ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪ ,Low Angle‬ﻭﻴﻅﻬﺭ‬
‫ﺘﻤﺜﺎل ﺭﻤﺴﻴﺱ ﺍﻝﺜﺎﻨﻰ ﻤﻤﺘﺩﹰﺍ ﻓﻰ ﻋﻤﻕ‬
‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﻴﻘﻑ ﻭﻨﻴﺱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 113‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﻁﻴﻭﺭ ﻓﻰ ﺍﻝﺴﻤﺎﺀ ﻓﻭﻕ‬
‫ﺍﻝﻤﻌﺒﺩ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪Pan‬‬
‫‪Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 10‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﻭﺍﺩﻯ‬
‫ﺘﻼل ﺭﻤﻠﻴﺔ‬
‫‪ 114‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻭﻨﻴﺱ‬
‫ﻴﺘﺤﺭﻙ ﻴﻤﻴﻨ ﹰﺎ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪ , Right‬ﺜﻡ ﺘﻅﻬﺭﻥ ﻤﺭﺘﺩﻴﺘﺎﻥ ﻤﻼﺒﺱ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ ﻋﻠﻰ‬
‫ﺴﻭﺩﺍﺀ ‪ ,‬ﻭﻴﺘﺤﺭﻜﻥ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ‪,‬‬
‫ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ‬
‫ﻴﻌﺒﺭﻫﻤﺎ ﻭﻨﻴﺱ ﺜﻡ ﻴﻠﺘﻔﺕ ﻴﺴﺎﺭﹰﺍ ﻓﻰ ﻋﻤﻕ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪115‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ‬

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‫‪welcome to the school of cinema on line‬‬ ‫‪Page 17 of 43‬‬

‫ﻭﻨﻴﺱ ﻭﺍﻝﻔﺘﺎﺘﺎﻥ ﺘﻨﻅﺭﺍﻥ ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﻤﻴﻥ‬

‫ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻠﺘﻔﺘﺎ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻬﻤﺴﻥ ‪,‬‬
‫ﻭﺘﺠﺫﺏ ﺇﺤﺩﺍﻫﻥ ﺍﻷﺨﺭﻯ ﻭﻴﺘﺤﺭﺤﻥ ﻓﻰ‬
‫ﺍﺘﺠﺎﻩ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﺘﺒﻬﻁ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل‬
‫ﻋﻠﻰ ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 11‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﻨﻬﺭ‬
‫‪ 116‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﺴﻔﻴﻨﺔ ﺘﺄﺘﻰ ﻤﻥ ﻋﻤﻕ‬
‫ﺼﻭﺕ ﺍﻝﺴﻔﻴﻨﺔ‬ ‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 117‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻷﻓﺭﺍﺩ ﺍﻝﻘﺒﻴﻠﺔ ﻭﺍﻗﻔﻴﻥ‬
‫ﻋﻠﻰ ﺍﻝﺸﺎﻁﻰﺀ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ‬
‫ﻴﻨﻅﺭ ﺍﻝﻌﻡ ﻭﺍﻝﻘﺭﻴﺏ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻓﺠﺄﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻌﻡ ‪ :‬ﻤﺎﺍﻝﺫﻯ ﺠﺎﺀ ﺒﻬﻡ ﻗﺒل‬ ‫‪118‬‬
‫ﺍﻝﻤﻭﻋﺩ ؟‬ ‫ﻤﺭﺘﻔﻌﺔ‬ ‫ﺯﺍﻭﻴﺔ‬ ‫ﻤﻥ‬ ‫‪.‬‬ ‫‪L‬‬ ‫‪.S‬‬‫ﻜﺒﻴﺭﺓ‬ ‫ﻝﻘﻁﺔ‬
‫‪ High Angle‬ﻝﺭﺠل ﻤﻠﺜﻡ ﻴﺼﻌﺩ ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﻘﺭﻴﺏ ‪ :‬ﻴﺠﺏ ﺃﻥ ﻨﺒﺤﺙ ﻋﻥ‬
‫ﺍﻝﺭﻤﻠﻴﺔ ﻭﻴﻘﻑ ﺃﻤﺎﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﻴﻨﻤﺎ ﺍﻝﻌﻡ ﻓﻰ ﻭﻨﻴﺱ ‪ ..‬ﻓﻬﻭ ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻯ ﻴﻌﺭﻑ‬
‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﺍﻝﺴﺭ ‪.‬‬
‫ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ M .Close Up‬ﻭﻴﻬﻤﺱ ﺍﻝﻌﻡ ‪ :‬ﻻ ‪ ..‬ﺍﺘﺭﻜﻭﺍ ﺍﻝﺒﻜﺎﺀ ﻴﺨﻠﺼﻪ‬
‫ﻝﻠﻌﻡ ‪ ,‬ﻓﻴﺨﻔﺽ ﺍﻝﻌﻡ ﺭﺃﺴﻪ ﺒﺤﺯﻥ ‪ ,‬ﺜﻡ ﻤﻥ ﻁﻔﻭﻝﺘﻪ ‪ ...‬ﺴﻴﻌﻭﺩ ‪ ..‬ﻋﻨﺩﻤﺎ‬
‫ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﺍﻝﻰ ﺍﻝﻘﺭﻴﺏ ﻴﺩﻓﻌﻪ ﺍﻝﺠﻭﻉ ﻭﺍﻝﻭﺤﺩﺓ ‪..‬‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ , .M .S‬ﺍﻝﻌﻡ ‪ :‬ﺭﺍﻗﺏ ﻭﻨﻴﺱ ﻋﻥ ﺒﻌﺩ‬
‫ﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﻌﻡ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺎﺤﻴﺔ ﻜﺎﻝﻅل ‪ ..‬ﻭﺤﺫﺍﺭﻯ ﺃﻥ ﻴﺼﻴﺒﻪ‬
‫ﺍﻝﻌﻤﻕ ‪ ,‬ﻭﻴﺒﻘﻰ ﺍﻝﻘﺭﻴﺏ ﻓﻰ ﺍﻝﻜﺎﺩﺭ ﺍﻝﺫﻯ ﺴﻭﺀ ‪ ...‬ﺇﺒﺤﺜﻭﺍ ﻋﻥ ﻫﺫﺍ ‪ ..‬ﺨﺎﺩﻡ‬
‫ﻴﻠﺘﻔﺕ ﺍﻝﻰ ﺍﻝﻌﻡ ﻭﻴﺘﺎﺒﻌﻪ ﺒﻌﻴﻨﻴﻪ ﺜﻡ ﻴﻌﻭﺩ ﺃﻴﻭﺏ ﺫﻯ ﺍﻝﻭﺠﻪ ﺍﻝﺸﺎﺤﺏ ‪..‬‬
‫ﺍﻝﻘﺭﻴﺏ ‪ :‬ﻤﺭﺍﺩ!‬ ‫ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺸﻴﺭ ﺒﻴﺩﻩ ‪.‬‬
‫ﺍﻝﻌﻡ ‪ :‬ﻨﻌﻡ ‪ ..‬ﻤﺎﺯﺍل ﻭﺠﻬﻪ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺠﻬﻭﻻ ﻋﻨﺩ ﺤﺭﺍﺱ ﺍﻝﺠﺒل ‪.‬‬
‫‪ 119‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ ..L. S‬ﻷﺒﻨﺎﺀ ﺍﻝﻌﻡ ﺍﻝﺫﻴﻥ‬
‫ﻴﺘﺤﺭﻜﻭﻥ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ﻓﻰ‬
‫ﻨﺼﻑ ﺩﺍﺌﺭﺓ ‪ Tracking‬ﻭﻴﺼﺒﺤﻭﻥ ﻓﻰ‬
‫ﺍﻝﻴﺴﺎﺭ ﻭﺍﻝﻘﺭﻴﺏ ﻓﻰ ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﻭﻴﺼﺒﺤﻭﺍ ﻓﻰ‬
‫ﺍﻝﻘﺭﻴﺏ ‪ :‬ﺇﺫﻫﺏ ﻭﺇﺒﺤﺙ ﻋﻥ‬
‫ﺼﻭﺕ ﺍﻝﺒﺎﺨﺭﺓ ﻴﻌﻠﻭ‬ ‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪, .M .L. S‬‬
‫ﻤﺭﺍﺩ ‪.‬‬
‫ﺜﻡ ﻴﺨﺭﺠﻭﻥ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻴﻠﺘﻔﺕ ﺍﻝﻘﺭﻴﺏ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻘﺘﺭﺏ ﻤﻨﻪ ‪Zoom In‬‬
‫ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 120‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺴﻔﻴﻨﺔ ﺘﻅﻬﺭ ﻓﻰ‬
‫ﺍﻝﻌﻤﻕ ﻭﺘﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ‪Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 11‬‬
‫ﻨﻬﺎﺭ ﺨﺎﺭﺠﻰ ﺍﻝﻭﺍﺩﻯ‬
‫ﺼﻭﺕ ﺃﻭﻻﺩ ﺍﻝﻌﻡ ‪ :‬ﻤﺭﺍﺩ ‪ ..‬ﻤﺭﺍﺩ ‪.‬‬ ‫‪121‬‬
‫ﻤﺭﺍﺩ ‪ :‬ﺘﻭﺒﺔ ‪ ..‬ﻝﻴﺱ ﻝﻰ ﺒﻬﺫﺍ‬
‫ﺍﻝﺸﺄﻥ ‪ ..‬ﺍﺃﻨﺎ ﻤﻐﻔل ﻝﻜﻰ ﺃﺴﺘﻤﺭ ﻓﻰ‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻤﺭﺍﺩ ﻭﺍﻝﻔﺘﺎﺘﺎﻥ ﺨﻠﻔﻪ ﺘﺠﺎﺭﺓ ﺃﻴﻭﺏ ﻭﺍﻵﻥ ‪..‬؟ ﺃﺴﻤﻊ‬
‫ﺘﺴﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ﻭﺘﺨﺭﺠﺎ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺩﺨل ﺼﻭﺕ ﺼﻔﺎﺭﺓ ﺍﻝﻤﺭﻜﺏ ﺍﻝﺠﺩﻴﺩ ‪..‬‬

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‫ﺃﺒﻨﺎﺀ ﺍﻝﻌﻡ ﺍﻝﺜﻼﺜﺔ ﻤﻥ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﻝﻘﺩ ﻋﺎﺩ ﺍﻷﻓﻨﺩﻴﺔ ﺒﺄﺴﺭﻉ ﻤﻤﺎ‬
‫ﻤﺭﺍﺩ ﺍﻝﻭﺍﻗﻑ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻨﺘﻭﻗﻊ ‪ ..‬ﻭﺍﻝﺒﺩﻭﻯ ﺒﻙ ﻭﺤﺭﺍﺴﻪ‬
‫ﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Zoom In‬ﻝﻤﺭﺍﺩ ﺍﻝﺫﺫﻯ ﺴﻭﻑ ﻴﺴﺩﻭﻥ ﻜل ﻁﺭﻴﻕ ‪ .‬ﻗﻭﻝﻭﺍ‬
‫ﻴﺘﺤﺭﻙ ﻴﻤﻴﻨﹰﺎ ﻭﺒﺠﻭﺍﺭﻩ ﺃﺤﺩ ﺃﺒﻨﺎﺀ ﺍﻝﻌﻤﻭﻤﺔ ﻫﺫﺍ ﻝﻌﻤﻜﻡ ‪ ..‬ﺍﻝﺤﻴﺎﺓ ﻓﻰ ﻫﺫﺍ‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ﺍﻝﻤﻜﺎﻥ ﺃﺼﺒﺤﺕ ﺘﺤﺘﺎﺝ ﺇﻝﻰ ﺭﺠل‬
‫‪ M .S. 2‬ﺜﻡ ﻴﻨﻅﺭﺍ ﻝﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ ‪ , .‬ﻤﻥ ﻨﻭﻉ ﺃﺨﺭ ‪ ..‬ﺭﺠل ﺒﺎﺭﻉ ‪...‬‬
‫ﺜﻡ ﻴﻨﺤﻨﻰ ﻤﺭﺍﺩ ﻷﺒﻥ ﺍﻝﻌﻡ ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﺃﻨﺕ ﺠﺒﺎﻥ ‪.‬‬
‫ﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻔﺘﺎﺘﺎﻥ ﻭﻴﺼﺒﺤﻭﺍ ﻓﻰ ﺤﺠﻡ ﻤﺭﺍﺩ ‪ :‬ﻨﻌﻡ ﻴﺎﺴﻴﺩﻯ‪ ...‬ﺃﻨﺎ ﺠﺒﺎﻥ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻝﺜﻼﺜﺔ ‪ , M .S. 3‬ﻴﻨﻅﺭ ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﺇﺫﻥ ﻝﻡ ﻻ ﺘﺭﺤل ؟‬
‫ﻤﺭﺍﺩ ‪ :‬ﻭﻝﻡ ﺃﺭﺤل ! ‪ ..‬ﻫﺎﻗﺩ ﺠﺎﺀﺕ‬ ‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﺴﻴﺩﺘﻰ ﺯﻴﻨﺔ ﻝﺘﻔﺘﺢ ﺩﻜﺎﻨ ﹸﺎ ﺼﻐﻴﺭﹰﺍ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻗﺭﺏ ﺍﻝﻤﻴﻨﺎﺀ ﻝﺨﺩﻤﺔ ﺍﻷﻓﻨﺩﻴﺔ ‪..‬‬
‫ﻭﺃﻨﺎ ﻭﺇﺒﻨﺔ ﻋﻤﻰ ﺴﻨﺴﺎﻋﺩﻫﺎ ‪..‬‬
‫ﻓﺘﺎﺓ ﻤﺨﻠﺼﺔ ‪.‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M.S‬ﻝﻸﺒﻨﺎﺀ ﺍﻝﻌﻡ ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﻤﺘﻰ ﻭﺼﻠﺘﺎ ‪..‬؟ ﻝﻡ‬ ‫‪122‬‬
‫ﻴﻨﻅﺭﻭﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻜﻭﺍ ﻨﺎﺤﻴﺔ ﻤﺭﺍﺩ ﺘﺤﺩﺜﻨﺎ ﻋﻨﻬﻤﺎ ﻤﻥ ﻗﺒل !‬
‫ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﺘﻰ ﺘﺘﺭﺍﺠﻊ ﺇﻝﻰ ﺍﻝﺨﻠﻑ ﻤﺭﺍﺩ ‪ :‬ﻭﻤﻨﺫ ﻤﺘﻰ ﺘﺴﺄﻝﻭﻥ ﻋﻥ‬
‫‪ Track-out‬ﻝﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﻤﺭﺍﺩ ﻤﻥ ﻤﺭﺍﺩ ﺍﻝﻐﻠﺒﺎﻥ ؟ ﻜﻠﻜﻡ ﺘﺴﺄﻝﻭﻥ ﻋﻥ‬
‫ﺍﻝﻴﻤﻴﻥ ﻭﻴﻅﻬﺭ ﺠﺎﻨﺏ ﻤﻥ ﻭﺠﻬﻪ ‪ ,‬ﺜﻡ ﻴﻠﺘﻔﺕ ﺃﻴﻭﺏ ‪ ..‬ﺃﻴﻭﺏ ‪..‬ﻭﺃﻴﻥ ﺃﻴﻭﺏ‬
‫ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺘﺎﺒﻊ ﺍﻝﺴﻴﺭ ﻝﻸﻤﺎﻡ ﻓﻰ ﺍﻵﻥ ‪..‬؟ ﻓﻰ ﺍﻝﻘﺎﻫﺭﺓ ‪ ..‬ﻓﻰ‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﺘﻰ ﺘﺘﺭﺍﺠﻊ ‪ Track -out‬ﺍﻝﺴﻭﻴﺱ ‪ ..‬ﻓﻰ ﺃﻯ ﻤﺩﻴﻨﺔ‬
‫ﻴﺸﺎﺀ ‪ ..‬ﻭﻋﻨﺩﻤﺎ ﻴﻌﻭﺩ ﻨﺠﺭﻯ ﻜﻠﻨﺎ‬ ‫‪ ,‬ﺜﻡ ﻴﻘﻑ ﻭﻴﻠﺘﻔﺕ ﻨﺎﺤﻴﺔ ﺃﺒﻨﺎﺀ ﺍﻝﻌﻡ‬
‫ﻭﻴﻨﺤﻨﻰ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ﻝﻨﺨﺩﻤﻪ ‪ ...‬ﺇﻨﺘﻅﺭﺍ ﻴﺎﺇﺒﻨﺘﻰ ﺍﻝﻌﻡ ‪..‬‬
‫‪ Pan Right‬ﻭﻫﻭ ﻴﺼﻌﺩ ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ ﺇﻨﻬﻡ ﻓﻰ ﻏﺎﻴﺔ ﺍﻝﺸﻭﻕ ﻝﺭﺅﻴﺔ‬
‫ﺃﻓﻨﺩﻴﺔ ﺍﻝﻘﺎﻫﺭﺓ ‪ ..‬ﺇﻋﺫﺭﻭﻨﻰ ‪ ..‬ﻻ‬ ‫ﻨﺎﺤﻴﺔ ﺍﻝﻔﺘﺎﺘﺎﻥ‬
‫ﻴﺼﺢ ﺃﻥ ﺃﺘﺭﻜﻬﻤﺎ ﺩﻭﻥ ﺤﻤﺎﻴﺔ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L .S‬ﻷﺒﻨﺎﺀ ﺍﻝﻌﻡ ﻭﻴﺼﻌﺩﻭﻥ‬ ‫‪123‬‬
‫ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ ﻭﺭﺍﺀ ﻤﺭﺍﺩ ﻭﺍﻝﻔﺘﺎﺘﺎﻥ ‪,‬‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪ ,‬ﺜﻡ ﻴﻘﻔﻭﻥ ﻴﺴﺎﺭ‬
‫ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﻨﻅﺭﻭﻥ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻝﻭﻨﻴﺱ ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ‬ ‫‪124‬‬
‫ﺼﻭﺕ ﺍﻝﺒﺎﺨﺭﺓ ﻭﻤﺎﺀ‬
‫ﺍﻝﺒﺎﺨﺭﺓ ﺍﻝﺘﻰ ﺘﻅﻬﺭ ﻓﻰ ﺍﻝﻌﻤﻕ‬
‫ﺍﻝﻨﻬﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻤﺭﺍﺩ‬ ‫‪125‬‬
‫ﻭﺨﻠﻔﻪ ﺍﻝﻔﺘﺎﺘﺎﻥ ﻴﻨﻅﺭﻭﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺸﻴﺭ‬
‫ﻝﻬﻥ ﻭﺘﺘﺒﻌﻨﻪ ﻭﺘﺴﻴﺭﻥ ﻋﻜﺱ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﺘﺨﺭﺠﻥ ﻤﻥ ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ‪,‬‬
‫ﻭﻴﺘﺤﺭﻙ ﻤﺭﺍﺩ ‪ Track- Right‬ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﻭﻨﻴﺱ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﻤﺭﺍﺩ ‪ :‬ﻤﺯﻴﺩ ﻤﻥ ﺃﻓﻨﺩﻴﺔ ﺍﻝﻘﺎﻫﺭﺓ ‪..‬‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ’ ‪ M. Close‬ﻭﺒﻠﺩ ﻋﺎﺌﻡ ﻤﻌﻬﻡ ‪ ...‬ﺍﻝﻐﺭﺒﺎﺀ‬
‫‪ up‬ﻭﻴﻌﺒﺭﻩ ﻭﻴﺼﺒﺢ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺍﻷﺜﺭﻴﺎﺀ ‪ ..‬ﺃﺜﺭﻴﺎﺀ ﻫﻡ ﺤﻘ ﹰﺎ ‪..‬ﺃﻴﺎﻤﺎ‬
‫ﻴﻤﻴﻨﹰﺎ ﻭﻭﻨﻴﺱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﻋﺼﻴﺒﺔ ﻗﺎﺩﻤﺔ ‪ .‬ﻭﺃﺒﻭﻙ ﺍﷲ ﻴﺭﺤﻤﻪ‬
‫ﻼ ‪ ....‬ﻓﻠﻴﺭﻗﺩ ﻓﻰ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺴﺭﻴﻌ ﹰﺎ ‪ Tracking‬ﻝﻴﺼﺒﺢ ﺤﻤﻠﻙ ﺴﺭﹰﺍ ﺜﻘﻴ ﹰ‬
‫ﻭﻨﻴﺱ ﻓﻰ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺍﻝﻔﺘﺎﺘﺎﻥ ﻓﻰ ﻋﻤﻕ ﺴﻼﻡ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻨﹰﺎ ﻴﻨﻅﺭ ﻭﻨﻴﺱ ﺇﻝﻴﻬﻤﺎ ‪ ,‬ﺜﻡ ﻴﺄﺘﻰ‬
‫ﺃﺒﻨﺎﺀ ﺍﻝﻌﻤﻭﻤﺔ ﻭﺘﺴﺘﻤﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ‬
‫ﻤﺘﺎﺒﻌﺔ ‪ Tracking‬ﺃﺒﻨﺎﺀ ﺍﻝﻌﻡ ﻓﻰ‬
‫ﺤﺭﻜﺘﻬﻡ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻅل ﻭﻨﻴﺱ ﻓﻰ ﻴﺴﺎﺭ‬
‫ﻜﺎﺩﺭ ﻨﺎﻅﺭﹰﺍ ﺍﻝﻰ ﺍﻝﺠﻤﻴﻊ ‪ ,‬ﺜﻡ ﺘﺘﺤﺭﻙ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ‪ Tracking‬ﻝﻴﻅﻬﺭ ﻤﺭﺍﺩ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 19 of 43‬‬

‫ﺒﺭﻭﻓﻴل ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻓﻰ ﺍﻝﻴﻤﻴﻥ‬

‫ﻨﺎﻅﺭﺍ ﺍﻝﻰ ﻭﻨﻴﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪126‬‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﻭﻨﻴﺱ ‪ :‬ﻤﺎﺫﺍ ﺘﺭﻴﺩ ﺍﻵﻥ ﻴﺎﻤﺭﺍﺩ ؟‬
‫ﺜﻡ ﻴﺩﺨل ﻤﺭﺍﺩ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻤﺭﺍﺩ ‪ :‬ﺤﻤﺎﻙ ﺍﷲ ‪ ..‬ﺴﻼﻤﺘﻙ‬
‫ﻴﻤﻴﻨ ﹰﺎ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻝﻠﻴﻤﻴﻥ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻘﻁ ‪...‬ﺇﻨﻬﻡ ﺍﻗﻭﻴﺎﺀ ﻭﺒﺎﺭﻋﻭﻥ ‪..‬‬
‫‪ Pan Right‬ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻭﺍﻝﺸﻐل ﻜﻴﻑ ﺴﻴﻜﻭﻥ ﺍﻵﻥ ‪ ...‬ﺇﻨﻪ‬
‫‪ Close up‬ﻭﻴﻠﺘﻔﺕ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﺍﻝﻭﺍﺠﺏ ﺃﻥ ﻴﻌﺭﻑ ﺍﻹﻨﺴﺎﻥ‬
‫ﻝﻴﻘﻑ ﺨﻠﻑ ﻭﻨﻴﺱ ‪ ,‬ﺜﻡ ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻜﻴﻑ ﻭﻤﻊ ﻤﻥ ﻴﺘﻌﺎﻤل ‪.‬‬
‫ﺴﺭﻴﻌﹰﺎ ‪ Tracking‬ﻝﻭﻨﻴﺱ ﺍﻝﺫﻯ ﻴﺼﺒﺢ ﻭﻨﻴﺱ ‪ :‬ﻫل ﻫﺫﻩ ﺭﺴﺎﻝﺔ ﻤﻥ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﺜﻡ ﺘﻌﻭﺩ ﺃﻴﻭﺏ?‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ﺜﻡ ﻴﺴﺎﺭﹰﺍ ﻝﻸﺜﻨﻴﻥ ﻤﺭﺍﺩ ﻤﺭﺍﺩ ‪ :‬ﺃﻴﻭﺏ ‪ ..‬ﺃﻴﻭﺏ ﻤﻥ ‪..‬؟‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻭﻨﻴﺱ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻭﻨﻴﺱ ‪ :‬ﺴﻴﺩﻙ ‪.‬‬
‫‪ Close up‬ﻤﺭﺍﺩ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺨﻠﻑ ﻭﻨﻴﺱ ﻤﺭﺍﺩ ‪ :‬ﺴﻴﺩﻯ ﺍﻝﺫﻫﺏ ﻭﺒﺭﻴﻘﻪ ‪...‬‬
‫ﺴﻴﺩﻯ ﺃﻨﻅﺭ ‪.‬‬ ‫ﻭﻭﻨﻴﺱ ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪127‬‬
‫‪ High Angle‬ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻜل ﻤﻥ‬
‫ﻭﻨﻴﺱ ﻭﻤﺭﺍﺩ ﻝﻠﺴﻔﻴﻨﺔ ﺍﻝﺘﻰ ﻴﻨﺯل ﻤﻥ ﻋﻠﻰ‬
‫ﺴﻼﻝﻤﻬﺎ ﺃﻓﻨﺩﻴﺔ ﺍﻵﺜﺎﺭ ﻤﺭﺘﺩﻴﻥ ﻤﻼﺒﺱ‬
‫ﻋﺼﺭﻴﺔ ﺍﻝﺫﻴﻥ ﻴﺘﺤﺭﻜﻭﻥ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
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‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺭﺠﺎل ﺍﻝﺸﺭﻁﺔ ﻋﻠﻰ‬ ‫‪128‬‬
‫ﺨﻴﻭﻝﻬﻡ ﻴﺄﺘﻭﻥ ﻤﻥ ﺨﻠﻑ ﻤﺭﺍﺩ ﻭﻭﻨﻴﺱ‬
‫ﺼﻭﺕ ﺤﻭﺍﻓﺭ ﺍﻝﺨﻴل‬
‫ﻭﻴﺨﺭﺠﻭﻥ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
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‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﺭﺠل ﻴﺭﺘﺩﻯ ﻋﺒﺎﺀﺓ‬ ‫‪129‬‬
‫ﺒﻴﻀﺎﺀ " ﺍﻝﻌﻤﺩﺓ" ﻭﺨﻠﻔﻪ ﺒﻌﺽ ﺍﻝﺭﺠﺎل‬
‫ﻭﻴﺘﺤﺭﻜﻭﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻝﻴﺼﺎﻓﺢ ﺍﻝﻌﻤﺩﺓ ﺃﺤﻤﺩ‬
‫ﺃﻓﻨﺩﻯ ﻜﻤﺎل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M . S‬ﻝﻭﻨﻴﺱ ﻴﻘﻑ‬ ‫‪130‬‬
‫ﺒﺭﻭﻓﻴل ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻓﻰ‬
‫ﺼﻭﺕ ﺍﻝﻔﺘﺎﺓ ‪ :‬ﻤﺭﺍﺩ ‪.‬‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﻔﺘﺎﺘﺎﻥ ﺘﺄﺘﻴﺎﻥ ﻨﺎﺤﻴﺔ‬ ‫‪131‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﻴﺩﺨل ﻤﺭﺍﺩ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﺴﺎﺭ‬
‫ﻝﻴﺼﺒﺢ ﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ ﻨﺎﻅﺭﺍ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻤﺭﺍﺩ ‪ :‬ﺇﺒﻨﺔ ﻋﻤﻰ ﻓﻰ ﻏﺎﻴﺔ ﺍﻝﺸﻭﻕ‬
‫ﻭﺘﺨﺭﺠﻥ ﺍﻝﻔﺘﺎﺘﺎﻥ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻨﺤﻨﻰ ﻝﺭﺅﻴﺔ ﺃﻓﻨﺩﻴﺔ ﺍﻝﻘﺎﻫﺭﺓ ‪ .‬ﺴﺎﻤﺤﻨﻰ‬
‫ﻤﺭﺍﺩ ﻭﻴﺒﺘﻌﺩ ﻋﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺎﺒﻌﻪ ﻝﻠﻴﺴﺎﺭ ﻴﺎﺴﻴﺩ ﻭﻨﻴﺱ ﺴﺄﺤﻭﻡ ﻭﺍﺘﺠﺴﺱ‬
‫‪ , Pan Left‬ﻭﺘﺼﺒﺢ ﺍﻝﻠﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L. S‬ﻷﻋﺭﻑ ﺴﺒﺏ ﻤﺠﻴﺌﻬﻡ ‪ ,‬ﻭﺴﺄﺨﺒﺭﻙ‬
‫‪ .‬ﻝﻠﺸﺎﻁﻰﺀ ﻭﺍﻝﻔﺘﺎﺘﺎﻥ ﻭﻴﺼل ﺇﻝﻴﻬﻥ ﻤﺭﺍﺩ ﻓﻴﻤﺎ ﺒﻌﺩ ‪ ...‬ﺸﺭﻓﻨﻰ ﺒﺎﻝﺯﻴﺎﺭﺓ‬
‫ﻭﻴﺘﺤﺭﻜﻭﻥ ﺠﻤﻴﻌﺎﺹ ﻭﻴﻅﻬﺭ ﻓﻰ ﺨﻠﻔﻴﺔ ﻴﺎﺴﻴﺩ ﻭﻨﻴﺱ ‪ ..‬ﺃﻨﺎ ﺨﺎﺩﻤﻙ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ﺭﺠﺎل ﺍﻝﻘﺭﻴﺔ ﺒﻤﻼﺒﺴﻬﻡ ﺍﻝﺒﻴﻀﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪132‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻭﻨﻴﺱ ﺨﻠﻑ ﺍﻝﻜﺜﺒﺎﻥ‬
‫ﺍﻝﺭﻤﻠﻴﺔ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low Angle‬‬
‫‪ ,‬ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻝﻠﻴﺴﺎﺭ ﺜﻡ‬
‫ﻴﻘﻑ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻫﻬﺎ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪134‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻷﺤﻤﺩ ﺃﻓﻨﺩﻯ ‪ ,‬ﻴﺩﺨل‬
‫)‪( 7‬‬
‫ﺍﻝﻀﺎﺒﻁ ﻝﻴﺤﻴﻴﻪ ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ‬
‫ﻴﺄﺘﻰ ﺃﺤﻤﺩ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻨﹰﺎ‬
‫ﻝﻴﻘﺘﺭﺏ ﻤﻥ ﻭﻨﻴﺱ ﻭﻴﻨﻅﺭﺍ ﻝﺒﻌﻀﻬﻤﺎ ‪ ,‬ﺜﻡ‬
‫ﻴﻘﺘﺭﺏ ﻭﻴﻌﺒﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
‫ﻭﻴﻘﻑ ﻭﻨﻴﺱ ﻨﺎﻅﺭﹰﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫)‪( 7‬‬
‫‪ 135‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻷﺤﻤﺩ ﻴﺩﺨل ﻤﻥ‬
‫ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻤﺴﺎﻋﺩ ﺍﻝﺠﺎﻝﺱ ﻓﻭﻕ ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﻨﻅﺭﺍﺘﻪ ﻏﺭﻴﺒﺔ‬
‫ﻋﺭﺒﺔ ﻓﻰ ﺍﻝﻌﻤﻕ ﺜﻡ ﻴﺄﺘﻰ ﻝﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻨﻌﻡ ‪.‬‬
‫ﻭﻴﻨﺤﻨﻰ ﻨﺎﺤﻴﺔ ﺃﺤﻤﺩ ﺍﻝﺫﻯ ﺍﻝﺫﻯ ﻴﻘﻑ ﻴﺴﺎﺭ ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﻜﺄﻨﻬﺎ ﻝﺘﻤﺜﺎل ﻋﺎﺩﺕ ﺇﻝﻴﻪ‬
‫ﺍﻝﺤﻴﺎﺓ ‪.‬‬ ‫ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭﺍ ﻝﻠﻴﺴﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 136‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬
‫‪ Law Angle‬ﻝﻭﻨﻴﺱ ﻭﺍﻗﻔ ﹰﺎ ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 12‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻌﺒﺩ ﺍﻝﺭﻤﺴﻴﻭﻡ‬
‫) ﺍﻷﻗﺼﺭ (‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﺠﺯﺀ ﻤﻥ ﺘﻤﺜﺎل‬ ‫‪137‬‬
‫ﺭﻤﺴﻴﺱ ﺍﻝﺜﺎﻨﻰ ‪ ,‬ﺘﻘﻑ ﻓﻭﻗﻪ ﺤﻤﺎﻤﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺘﻤﺜﺎﻝﻴﻥ ﻴﺄﺘﻰ ﺍﻝﻐﺭﻴﺏ‬ ‫‪138‬‬
‫ﻤﻥ ﺍﻝﻌﻤﻕ ﻤﺭﺘﺩﻴ ﹰﺎ ﺠﻠﺒﺎﺒﹰﺎ ﻭﻴﺤﻤل ﻋﻠﻰ ﻜﺘﻔﻪ‬
‫ﺼﺭﺓ ‪ ,‬ﻭﻴﻘﻑ ﺃﺴﻔل ﺍﻝﺘﻤﺜﺎﻝﻴﻥ ﻭﻴﻨﻅﺭ‬
‫ﺇﻝﻴﻬﻤﺎ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ‪ Tracking‬ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻻ ﻭﺠﻭﻩ ﻝﻬﻡ‬
‫ﻓﻴﻅﻬﺭ ﻭﻨﻴﺱ ﺠﺎﻝﺴ ﹰﺎ ﺨﻠﻑ ﺃﺤﺩ ﺃﺠﺯﺍﺀ ﻭﻨﻴﺱ ‪ :‬ﻨﻌﻡ ‪.‬‬
‫ﺍﻝﺘﻤﺎﺜﻴل ﻭﺘﻜﻭﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻭﻝﻜﻥ ﻫﻨﺎﻙ ﻭﺠﻪ ﻜﺒﻴﺭ‬
‫‪ , High Angle‬ﺜﻡ ﻴﺄﺘﻰ ﺍﻝﻐﺭﻴﺏ ﻭﻴﺼﻌﺩ ﻓﻰ ﺤﺠﻡ ﺭﺠل ‪.‬‬
‫ﻓﻭﻕ ﺃﺤﺩ ﺍﻷﻋﻤﺩﺓ ﺍﻝﻤﻭﺠﻭﺩﺓ ﻋﻠﻰ ﺍﻷﺭﺽ‬
‫ﻭ ﻴﻌﺒﺭ ﻭﻨﻴﺱ ﺍﻝﺠﺎﻝﺱ ﻭﻴﺨﺭﺝ ﻤﻥ‬
‫ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻭﻨﻴﺱ ﻴﻤﻴﻨﹰﺎ ‪ ,‬ﺜﻡ ﻴﻘﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪139‬‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﻭﺠﻪ ﺘﻤﺜﺎل‬
‫ﻓﺭﻋﻭﻨﻰ ﻀﺨﻡ ﺭﺍﻗﺩﹰﺍ ﻋﻠﻰ ﺍﻷﺭﺽ ﻤﻥ‬
‫ﻭﺠﻬﺔ ﻨﻅﺭ ﻭﻨﻴﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻠﻘﺭﻴﺏ ﻴﻨﻅﺭ ﻓﻰ ﻭﻨﻴﺱ ‪ :‬ﻫل ﺃﻨﺕ ﻏﺭﻴﺏ ﻋﻥ ﺍﻝﺠﺒل‬ ‫‪140‬‬
‫ﻼ ﺍﻝﺼﺭﺓ ﻋﻠﻰ‬ ‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ﺤﺎﻤ ﹰ‬
‫ﻜﺘﻔﻪ ‪ ,‬ﻭﺜﻡ ﻴﺩﺨل ﻭﻨﻴﺱ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻨﻌﻡ ‪.‬‬
‫ﻭﻴﻘﻑ ﺨﻠﻑ ﺍﻝﻘﺭﻴﺏ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻭﻨﻴﺱ ‪ :‬ﺃﻝﻴﺱ ﻓﻰ ﺍﻝﻭﺍﺩﻯ ﻋﻨﺩﻜﻡ‬
‫ﺨﻠﻔﻪ ﻴﺴﺎﺭﹰﺍ ﻭﻴﻘﻑ ﺜﻡ ﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ Pan‬ﻤﺜل ﻫﺅﻻﺀ‬
‫‪ Left‬ﻓﻰ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻭﻫﻭ ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻻ ‪ ..‬ﺃﻝﻡ ﻴﺨﻴﻔﻭﻙ ﻴﻭﻤ ﹰﺎ ؟‬
‫ﻭﻨﻴﺱ ‪ :‬ﻜﺎﻨﻭﺍ ﺭﻓﺎﻕ ﻁﻔﻭﻝﺘﻨﺎ ‪..‬‬ ‫ﻴﺘﺤﺭﻙ ﻝﻠﺨﻠﻑ‬
‫ﻜﻨﺎ ﻨﺨﺘﺒﻰﺀ ﺒﻴﻨﻬﻡ ‪ ...‬ﺃﻨﺎ ﻭﺃﺨﻰ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻜﻔﻰ ﺘﻤﺜﺎل ﻤﻠﻘﺎﺓ‬ ‫‪141‬‬

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‫ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Tracking‬‬

‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬
‫ﻴﺴﺎﺭﹰﺍ ﺘﺴﺘﻌﺭﺽ ﺍﻝﻜﻔﻴﻥ ‪.‬‬
‫)‪(8‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪142‬‬
‫‪ high angle‬ﻝﻭﻨﻴﺱ ﻴﺘﺤﺭﻙ ﺒﺠﻭﺍﺭ‬
‫ﺍﻝﺘﻤﺜﺎل ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺘﻠﻤﺱ ﻴﺩﻩ‬
‫ﺍﻝﺘﻤﺜﺎل ﺍﻝﻤﻠﻘﻰ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ‪ .‬ﻴﺩﺨل ﺍﻝﻐﺭﻴﺏ ﻤﻥ ﺍﻝﻴﻤﻴﻥ‬
‫ﻭﻴﺘﺤﺭﻙ ﻝﺨﻠﻑ ﺍﻝﺘﻤﺜﺎل ﻭﻴﺘﺒﻌﻪ ﻭﻨﻴﺱ ﺒﻌﺩ‬
‫ﺃﻥ ﻴﻠﻘﻰ ﻨﻅﺭﺓ ﻋﻠﻰ ﺍﻝﺘﻤﺜﺎل ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺘﺤﺭﻙ‬ ‫‪143‬‬
‫ﻝﻠﻴﺴﺎﺭ‪ Tracking‬ﻝﺘﺘﺎﺒﻊ ﻭﻨﻴﺱ ﻭﺍﻝﻐﺭﻴﺏ‬
‫ﻭﻫﻤﺎ ﻴﺘﺤﺭﻜﺎﻥ ﺒﻴﻥ ﺍﻝﺘﻤﺎﺜﻴل ﺍﻝﻤﻨﺘﺸﺭﺓ ﻓﻰ‬
‫ﺍﻝﻤﻌﺒﺩ ‪ .‬ﻭﻴﻘﻔﺎﻥ ﺒﺠﻭﺍﺭ ﺍﺤﺩ ﺍﻝﺘﻤﺎﺜﻴل ‪ ,‬ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻫﺫﻩ ﻴﺩ ﻀﺨﻤﺔ ﺘﻘﺒﺽ‬
‫ﻭﻴﺨﺭﺝ ﻭﻨﻴﺱ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺒﻴﻨﻤﺎ ﻋﻠﻰ ﻤﺼﻴﺭﻫﺎ‪ ..‬ﻝﻥ ﺘﻘﺭﺃ ﺃﺒﺩﹰﺍ ‪.‬‬
‫ﻴﺒﻘﻰ ﺍﻝﻐﺭﻴﺏ ﻭﻴﻨﻅﺭ ﺍﻝﻰ ﻴﺩ ﻀﺨﻤﺔ ﻷﺤﺩ‬
‫ﺍﻝﺘﻤﺎﺜﻴل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻴﻘﻑ ﻴﺴﺎﺭ‬ ‫‪144‬‬
‫ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﺨﻠﻔﻪ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺩﺨل ﻭﻨﻴﺱ ‪ :‬ﺃﻯ ﻤﺼﻴﺭ ﻴﻘﺭﺃ ﻓﻰ ﻜﻑ‬
‫ﺍﻝﻐﺭﻴﺏ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﻴﻭﻗﻑ ‪ .‬ﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻤﻥ ﺍﻝﺤﺠﺭ ؟‬
‫ﻝﻠﻌﻤﻕ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Zoom In‬ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻤﺼﻴﺭ ﻤﻥ ﺸﻴﺩﻭﺍ ﻜل‬
‫ﺒﻁﻰﺀ ‪ ,‬ﺜﻡ ﻴﺨﺘﻔﻰ ﺨﻠﻑ ﺃﺤﺩ ﺍﻷﻋﻤﺩﺓ ﻫﺫﻩ ﺍﻝﻘﺼﻭﺭ ﺍﻝﺘﺼﺎﻭﻴﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻊ ﺤﺭﻜﺔ ﺘﺘﺒﻊ ﻝﻠﻴﻤﻴﻥ‬ ‫‪145‬‬
‫‪ , Tracking‬ﻴﺨﺭﺝ ﺍﻝﻐﺭﻴﺏ ﻤﻥ ﺨﻠﻑ ﺍﻝﻐﺭﻴﺏ ‪ :‬ﺭﺠﺎل ﻴﺴﻴﺭﻭﻥ ﺇﻝﻰ ﻻ‬
‫ﻤﻜﺎﻥ ‪...‬‬ ‫ﺃﺤﺩ ﺍﻷﻋﻤﺩﺓ ﺍﻝﻜﺒﻴﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ِ‪ . M . S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪146‬‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Law Angle‬ﻝﻭﻨﻴﺱ ﻴﻘﺘﺭﺏ‬
‫ﻤﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻨﻅﺭ ﻷﻋﻠﻰ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪,‬‬
‫ﻭﻴﺘﺤﺭﻙ ﻴﺴﺎﺭﹰﺍ ﻭﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪ .‬ﺒﻴﻨﻤﺎ ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻭﺴﻔﻥ ﺘﺭﺤل ﺇﻝﻰ ﻻ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺭﺘﻔﻊ ﻷﻋﻠﻰ ‪ Tilt up‬ﻨﺤﻭ ﺃﺤﺩ ﻤﻜﺎﻥ ‪...‬ﻭﺃﻋﻤﺩﺓ ﻻ ﺘﺭﻓﻊ ﺴﻘﻔﹰﺎ ‪.‬‬
‫ﺍﻷﻋﻤﺩﺓ ﻭ ﺘﺩﺨل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ‪Zoom In‬‬
‫ﺴﺭﻴﻊ ﻝﻠﺴﻤﺎﺀ ﺍﻝﺘﻰ ﺘﻤﻼﺀ ﺍﻝﺸﺎﺸﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻭﺠﻪ ﻭﻨﻴﺱ ﻴﻨﻅﺭ‬ ‫‪147‬‬
‫ﺘﻌﻠﻭ ﻤﻭﺴﻴﻘﻰ‬
‫ﻷﻋﻠﻰ ﺜﻡ ﻴﺨﻔﺽ ﺭﺃﺴﻪ ﻨﺎﺤﻴﺔ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ‬
‫) ‪(8‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻜﻑ ﺍﻝﺘﻤﺜﺎل‬ ‫‪148‬‬
‫‪Track -‬‬ ‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ‬
‫ﻨﻬﺎﻴﺔ ﺍﻝﻤﻭﺴﻴﻘﻰ‬
‫‪out‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪149‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻭﻨﻴﺱ ﻭﺍﻝﻐﺭﻴﺏ ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﻭﺘﺘﺤﺭﻙ‬
‫ﺼﻭﺕ ﺍﻷﻗﺩﺍﻡ ﻋﺎﻝﻰ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻌﻬﻤﺎ ‪ Tracking‬ﻴﺘﺤﺭﻜﺎﻥ‬
‫ﺒﺠﻭﺍﺭ ﺤﻭﺍﺌﻁ ﺍﻝﻤﻌﺒﺩ ﻤﻥ ﺍﻝﺨﺎﺭﺝ ﻭﺒﻴﻥ‬
‫ﺍﻝﺤﻭﺍﺌﻁ ﻴﻅﻬﺭ ﺭﺠﻼﻥ ﻴﺭﺍﻗﺒﻬﻤﺎ ﻭﻭﻨﻴﺱ‬
‫ﻭﺍﻝﻐﺭﻴﺏ ﻭﻴﻘﻔﺯﺍ ﻓﻭﻕ ﺍﻝﺼﺨﻭﺭ ﺍﻝﻤﻠﻘﺎﺓ ﻋﻠﻰ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 22 of 43‬‬

‫ﺍﻷﺭﺽ ‪ ,‬ﻴﻅﻬﺭ ﺭﺠﻼﻥ ﺁﺨﺭﺍﻥ ﻴﺭﺍﻗﺒﺎﻥ‬

‫ﺍﻹﺜﻨﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 150‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M. L. S‬ﻝﻠﺭﺠﻼﻥ‬
‫ﺒﻴﻥ ﺼﺨﻭﺭ ﺍﻝﺤﺎﺌﻁ ﻴﻨﻅﺭﺍ ﻷﺴﻔل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 13‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻌﺴﻜﺭ ﺍﻵﺜﺎﺭ‬
‫‪ 151‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫‪ High Angle‬ﻝﻭﻨﻴﺱ ﻭﺍﻝﻐﺭﻴﺏ ﻭﻫﻤﺎ‬
‫ﻴﺘﺤﺭﻜﺎ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﻓﻰ‬
‫ﺼﻭﺕ ﺤﻭﺍﻓﺭ ﺍﻝﺨﻴل‬ ‫ﺍﻝﺨﻠﻔﻴﺔ ﻤﺠﻤﻭﻋﺔ ﺭﺠﺎل ﺒﻤﻼﺒﺱ ﺒﻴﻀﺎﺀ‬
‫ﻤﻠﺘﻔﻴﻥ ﺤﻭل ﺒﻌﻀﻬﻡ ‪ ,.‬ﺜﻡ ﻴﻠﺘﻔﺕ ﺍﻝﻐﺭﻴﺏ‬
‫ﻨﺎﺤﻴﺔ ﻭﻨﻴﺱ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 152‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻐﺭﻴﺏ ﻴﻠﺘﻔﺕ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻨﺎﺤﻴﺔ ﻭﻨﻴﺱ ﺍﻝﻭﺍﻗﻑ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻅﻬﺭﻩ ﺼﻭﺕ ﻤﻥ ﺒﻌﻴﺩ ‪ :‬ﺘﻌﺎﻝﻭﺍ ﺇﻋﻤﻠﻭﺍ‬
‫)‪( 9‬‬ ‫ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﻋﻨﺩ ﺍﻷﻓﻨﺩﻴﺔ ‪ ..‬ﺇﻗﺘﺭﺒﻭﺍ‬
‫ﻭﻨﻴﺱ ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻨ ﹰﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﺍﻝﻐﺭﻴﺏ ‪ :‬ﺘﻌﺎل ﺒﻨﺎ ‪ ..‬ﺇﻨﻪ ﺭﺯﻕ‬
‫ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻭﻴﻘﻑ ﺍﻝﻐﺭﻴﺏ ﻓﻰ ﺍﻝﻌﻤﻕ ﺤﻼل ‪..‬‬
‫ﻨﺎﻅﺭﺍ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﺜﻡ ﻴﻌﻭﺩ ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺼﻭﺕ ﺍﻝﻤﻼﺤﻅ ‪ :‬ﺇﻗﺘﺭﺒﻭﺍ ‪..‬‬
‫ﻭﻨﻴﺱ ﺜﻡ ﻴﺘﺤﺭﻙ ﻝﻠﻌﻤﻕ ﻨﺎﺤﻴﺔ ﺍﻝﻤﻌﺴﻜﺭ ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻜﻨﺕ ﺃﺭﻴﺩ ﺃﻥ ﻨﺒﻘﻰ‬
‫ﻭﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻨﻴﺱ ﻴﻤﻴﻨ ﹰﺎ ‪ Pan Right‬ﻤﻌ ﹰﺎ ‪ ..‬ﻭﻝﻜﻨﻨﻰ ﻏﺭﻴﺏ ﻫﻨﺎ ﻭﺃﺤﺘﺎﺝ‬
‫‪ ,‬ﻴﻠﺘﻔﺕ ﻭﻨﻴﺱ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺘﺤﺭﻙ ﻝﻠﻌﻤل ﻷﺒﻘﻰ ‪....‬‬
‫ﻴﺴﺎﺭﹰﺍ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﺤﺘﻰ ﻭﻨﻴﺱ ‪ :‬ﺴﻨﻠﺘﻘﻰ ﺁﺨﺭ ﺍﻝﻨﻬﺎﺭ ﻋﻨﺩ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻴﻘﻑ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close‬ﺍﻝﻤﻴﻨﺎﺀ ‪ ..‬ﺴﻼﻡ ﻝﻙ ﻴﺄﺨﻰ ‪.‬‬
‫)‪(9‬‬ ‫ﺍﻝﻐﺭﻴﺏ ‪ :‬ﺴﻼﻡ ﻝﻙ ﻴﺎﺨﻰ ‪.‬‬ ‫‪ up‬ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 14‬‬
‫ﻨﻬﺎﺭ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻌﺴﻜﺭ ﺍﻵﺜﺎﺭ‬
‫‪ 153‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﺨﺭﻴﻁﺔ ﻭﺍﺩﻯ ﺃﺤﻤﺩ ‪ :‬ﻜل ﺸﻰﺀ ﻴﺒﺩﻭ ﻫﻨﺎ‬
‫ﺍﻝﻤﻠﻭﻙ ‪ ,‬ﻭﺘﺘﺭﺍﺠﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ ﻏﺎﻤﻀ ﹰﺎ ‪.‬‬
‫‪ Tracking‬ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻤﻘﺎﺒﺭ ﻤﻔﻘﻭﺩﺓ ﻤﻥ ﺃﺴﺭﺓ‬
‫ﻝﻴﻅﻬﺭ ﻅﻬﺭ ﺃﺤﻤﺩ ﺃﻓﻨﺩﻯ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻓﻰ ﺒﺄﻜﻤﻠﻬﺎ ‪ ..‬ﻫﺫﺍ ﺍﻝﺫﻯ ﺘﻘﻭﻝﻪ ﺼﻌﺏ‬
‫ﺍﻝﻌﻤﻕ ﺍﻝﺒﺩﻭﻯ ﺒﻙ ﺭﺌﻴﺱ ﺍﻝﺸﺭﻁﺔ ‪ ,‬ﺍﻝﺫﻯ ﺍﻝﺘﺼﻭﺭ ‪ ....‬ﻝﻘﺩ ﺴﻠﻜﺕ ﻜل‬
‫ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻤﻕ ﻭﺍﻝﻭﺍﺩﻯ ﺃﺴﻔل ﺍﻝﺠﺒل ‪ ,‬ﻤﻤﺭﺍﺕ ﻫﺫﺍ ﺍﻝﺠﺒل ﻭﻜﻠﻬﺎ‬
‫ﺜﻡ ﻴﻌﻭﺩ ﻭﻴﻠﺘﻔﺕ ﻭﻴﺄﺘﻰ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﻤﻬﺠﻭﺭﺓ ‪ ...‬ﺸﺨﺹ ﻤﻠﻌﻭﻥ ﻴﺭﺒﻁ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺃﺤﻤﺩ ‪ ,‬ﺜﻡ ﻴﻠﻑ ﺒﻴﻥ ﻫﺫﻩ ﺍﻝﻤﻘﺎﺒﺭ ﻭﺒﻴﻥ ﺍﻝﺘﺠﺎﺭ‬
‫ﺤﻭل ﺍﻝﺨﺭﻴﻁﺔ ﺍﻝﻤﻭﻀﻭﻋﺔ ﻋﻠﻰ ﻤﻨﻀﺩﺓ ﺍﻝﻤﺘﺠﻭﻝﻴﻥ ‪ ..‬ﺴﺄﺨﻠﻰ ﻤﻨﻁﻘﺔ‬
‫ﺃﻤﺎﻡ ﺃﺤﻤﺩ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪ Pan‬ﺍﻝﺠﺒل ﻤﻥ ﺠﻤﻴﻊ ﺴﻜﺎﻨﻬﺎ ‪,‬‬
‫‪ , Left‬ﺜﻡ ﺘﻘﺘﺭﺏ ‪ Zoom In‬ﻝﻴﺼﺒﺢ ﻓﻰ ﻭﺴﺄﻗﺒﺽ ﻋﻠﻰ ﻜل ﻤﻥ ﻴﻘﺘﺭﺏ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻤﻨﻬﺎ ‪.‬‬
‫‪ Medium‬ﻭﻴﻨﻅﺭ ﻷﻋﻠﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺼﻭﺕ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻭﻨﻔﻘﺩ ﺍﻝﺩﻝﻴﺒل‬
‫ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻯ ﺴﻴﻘﻭﺩﻨﺎ ﻴﻭﻤ ﹰﺎ ‪...‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ .. :‬ﺇﻝﻰ ﺘﻠﻙ ﺍﻝﻤﻘﺎﺒﺭ‬ ‫‪154‬‬
‫ﺍﻝﻤﻔﻘﻭﺩﺓ !‪..‬‬
‫ﺍﻝﺒﺩﻭﻯ ‪ :‬ﺃﻨﺕ ﻻ ﺘﻌﺭﻑ ﻤﺩﻯ‬
‫ﺘﺤﺩﻯ ﺃﻫل ﺍﻝﺠﺒل ‪ ..‬ﺇﻨﻬﻡ ﻻ‬
‫ﻴﺒﺎﻝﻭﻥ ﺒﻨﺎ ‪ ..‬ﻭﻻ ﻴﺤﺘﺭﻤﻭﻥ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ Medium Close‬ﺍﻝﻘﻭﺍﻨﻴﻥ ‪ ..‬ﺒل ﻴﺠﻌﻠﻭﻨﻨﺎ ﻨﺸﻌﺭ ﺃﻨﺎ‬

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‫‪welcome to the school of cinema on line‬‬ ‫‪Page 23 of 43‬‬

‫‪ up‬ﻷﺤﻤﺩ ﺠﺎﻝﺴﹰﺎ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﻴﺩﺨل ﺩﺨﻼﺀ ‪ ..‬ﻝﺫﻝﻙ ﻓﺄﻨﺎ ﻻ ﺃﺭﻯ ﺍﻝﻴﻭﻡ‬
‫ﺴﺒﺒ ﹰﺎ ﻹﺴﺘﺴﻼﻤﻬﻡ ‪..‬‬ ‫ﺍﻝﺒﺩﻭﻯ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﺒﺭﻭﻓﻴل ﻭﻴﻨﻅﺭﺍ‬
‫ﻝﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ ‪ ,‬ﺜﻡ ﻴﻌﺎﻭﺩﺍ ﺍﻝﻨﻅﺭ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺴﻴﺴﺘﺴﻠﻤﻭﻥ ‪...‬‬
‫ﻼ ﻷﺴﻔل ﻓﻜﻼﻨﺎ ﻴﻌﺭﻑ ﻗﻭﺓ ﺍﻷﺨﺭ ‪ ..‬ﺃﻨﺎ‬ ‫ﻝﻠﺨﺭﻴﻁﺔ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫‪ , Tilt Down‬ﻴﺘﻨﻅﺭ ﺍﻝﻴﻬﺎ ﺍﻝﺒﺩﻭﻯ ﺒﻙ ‪ ,‬ﺃﺴﺘﻁﻴﻊ ﺍﻹﻨﺘﻅﺎﺭ ﺃﻤﺎﻡ ﻫﺫﺍ ﺍﻝﺠﺒل ‪,‬‬
‫ﻝﻥ ﻴﻘﻠﻘﻨﻰ ﺸﻰﺀ ‪ ..‬ﻭﻝﻜﻨﻬﻡ ﻻ‬ ‫ﻓﻰ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻴﺴﺘﻁﻴﻌﻭﻥ ﺫﻝﻙ ﻝﻔﺘﺭﺓ ﻁﻭﻴﻠﺔ ﻭﻫﻨﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻓﻘﻁ ﺘﻜﻤﻥ ﻗﻭﺘﻰ ‪..‬ﻓﻰ ﻤﻜﺎﻥ ﻤﺎ‬
‫ﻤﻥ ﻫﺫﺍ ﺍﻝﺠﺒل ﻴﺭﻗﺩ ﻓﺭﺍﻋﻨﺔ‬
‫ﺍﻷﺴﺭﺓ ﺍﻝﺤﺎﺩﻴﺔ ﻭﺍﻝﻌﺸﺭﻴﻥ ‪..‬‬
‫ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻜل ﻫﺫﻩ ﺍﻝﻤﻨﻁﻘﺔ ﺘﺤﺕ‬
‫ﺤﺭﺍﺴﺘﻨﺎ ‪..‬‬
‫ﺍﻝﺒﺩﻭﻯ ‪ .. :‬ﻭﺠﻤﻴﻊ ﺍﻝﻤﻤﺭﺍﺕ ﺇﻝﻰ‬ ‫‪155‬‬
‫ﺒﻴﺒﺎﻥ ﺍﻝﻤﻠﻭﻙ ‪.‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻠﺨﺭﻴﻁﺔ ‪Close up‬‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻗﺩ ﻻ ﺘﻜﻭﻥ ﻫﺫﻩ‬
‫)‪(10‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻤﻘﺎﺒﺭ ﻓﻰ ﺒﻴﺒﺎﻥ ﺍﻝﻤﻠﻭﻙ ‪ ..‬ﻓﻬﻨﺎﻙ‬
‫ﻤﻘﺎﺒﺭ ﺍﻷﺴﺭﺍﺕ ‪.‬‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ .. :‬ﺍﻝﺜﺎﻤﻨﺔ ﻋﺸﺭﺓ‬ ‫‪156‬‬
‫ﻭﺍﻝﺘﺎﺴﻌﺔ ﻋﺸﺭﺓ ﻭﺍﻝﻌﺸﺭﻴﻥ‬
‫ﻓﻘﻁ ‪..‬ﻭﻜﻠﻬﻡ ﻨﻬﺒﻭﺍ ﻤﻨﺫ ﺜﻼﺜﺔ‬
‫ﺁﻻﻑ ﺴﻨﺔ ﻋﻨﺩﻤﺎ ﺇﻨﻬﺎﺭﺕ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻷﺤﻤﺩ ﻴﺘﺤﺭﻙ ﺍﻹﻤﺒﺭﺍﻁﻭﺭﻴﺔ ﺍﻝﻔﺭﻋﻭﻨﻴﺔ ‪.‬‬
‫ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺒﺠﻭﺍﺭﻩ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻭﻜﺎﻨﻭﺍ ﺃﻋﻅﻡ‬
‫ﺍﻝﺒﺩﻭﻯ ﺒﻙ ‪ ,‬ﺜﻡ ﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﺍﻝﻔﺭﺍﻋﻨﺔ ‪ ..‬ﺍﻯ ﻤﺼﻴﺭ ﻝﻘﻴﻪ ﻫﺅﻻﺀ‬
‫ﻜﺒﻴﺭﺓ ‪ .l .S‬ﻭﻓﻰ ﺍﻝﻌﻤﻕ ﻴﺒﺩﻭ ﺍﻝﻤﻌﺒﺩ ‪ ,‬ﺜﻡ ﺠﻤﻴﻌ ﹰﺎ ‪ ..‬ﺃﺤﻤﺱ ﻤﺤﺭﺭ ﻭﺍﺩﻯ‬
‫ﻴﻠﺘﻔﺕ ﺃﺤﻤﺩ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﺍﻝﻨﻴل ‪ ..‬ﻭﺇﺒﻨﻪ ﺃﻤﻨﺤﺘﺏ ﻭﻜل‬
‫ﺍﻷﺴﺭﺍﺕ ﺍﻝﺘﻰ ﺘﻠﺘﻬﺎ ‪ ..‬ﺃﻤﺭ‬ ‫ﻜﺎﺩﺭ ﻭﻴﻠﺘﻔﺕ ﺍﻝﺒﺩﻭﻯ ﻜﺫﻝﻙ‬
‫ﻋﻠﻴﻬﻡ ﻓﺄﺠﺩ ﻤﻘﺎﺒﺭﻫﻡ ﺨﺎﻝﻴﺔ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻤﻅﻠﻤﺔ ‪ ..‬ﻜﻜﻬﻭﻑ ﻓﻰ ﺒﻁﻥ‬
‫ﺍﻝﺠﺒل ‪ .‬ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻜﺠﺭﺍﺡ‬
‫ﻏﺎﺌﺭﺓ ﻓﻰ ﺒﻁﻥ ﺍﻝﺠﺒل ﻭﻫﻨﺎﻙ ﻋﻠﻰ‬
‫ﻁﻭل ﺍﻝﻭﺍﺩﻯ‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪ Extreme Long Shot‬ﺼﻭﺕ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺃﻁﻼل‬ ‫‪157‬‬
‫ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ ﺒﺎﻨﻭﺭﺍﻤﻴﺔ ﻝﻠﻴﺴﺎﺭ ‪ Pan‬ﻤﻌﺎﺒﺩﻫﻡ ﺍﻝﺠﻨﺎﺌﺯﻴﺔ ‪ ..‬ﺘﺤﺘﻤﺱ‬
‫ﺍﻝﺜﺎﻝﺙ ﻓﺎﺘﺢ ﺃﻭل ﺇﻤﺒﺭﺍﻁﻭﺭﻴﺔ‬ ‫‪Left‬‬
‫ﻋﺭﻓﻬﺎ ﺍﻝﺘﺎﺭﻴﺦ ‪...‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ .. :‬ﺴﻴﺘﻰ ﺍﻷﻭل ﺃﺒﻭ‬ ‫‪158‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻷﺤﻤﺩ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﺭﻤﺴﻴﺱ ﺍﻝﺜﺎﻨﻰ ‪ ..‬ﺍﻝﺫﻯ ﺤﻤل‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻼ ﺃﺴﻤﻪ ﺍﻷﺴﻁﻭﺭﻯ ﺃﺴﺭﺓ ﻓﺭﻋﻭﻨﻴﺔ‬ ‫ﻜﺎﺩﺭ ﺜﻡ ﻴﺠﻠﺱ ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ﻗﻠﻴ ﹰ‬
‫ﺼﻭﺕ ﻨﻭﺍﺡ ﻨﺴﺎﺀ‬
‫)‪( 10‬‬ ‫ﺒﺄﻜﻤﻠﻬﺎ ‪..‬ﻫﻨﺎ ﻤﻌﺒﺩﻩ ﻭﻫﻨﺎﻙ ﺤﻔﻴﺩﻩ‬ ‫‪Tilt Down‬‬
‫ﺭﻤﺴﻴﺱ ﺍﻝﺜﺎﻝﺙ ‪.....‬ﻤﺎﻫﺫﺍ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺼﻭﺕ ؟‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme Long‬‬ ‫‪159‬‬
‫‪ High Angle‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ﻝﻘﺒﻴﻠﺔ‬
‫ﺍﻝﺤﺭﺒﺎﺕ ﻭﺍﻝﻨﺴﺎﺀ ﻭﺍﻝﺭﺠﺎل ﻴﺘﺤﺭﻜﻭﻥ ﻓﻰ‬
‫ﺍﻝﻌﻤﻕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺒﺩﻭﻯ ‪ :‬ﺼﻭﺕ ﺍﻝﻨﺎﺌﺤﺎﺕ ﻤﻥ‬ ‫‪160‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M. S‬ﻝﻠﺒﺩﻭﻯ ﺒﻙ ﻴﺘﺤﺭﻙ ﻫﺫﻩ ﺍﻝﻘﺒﻴﻠﺔ ﺍﻝﺠﺒﻠﻴﺔ ‪...‬ﻜﺒﻴﺭﻫﻡ‬
‫ﻴﺴﺎﺭﹰﺍ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ Pan Left‬ﺤﺘﻰ ﻤﺎﺕ ﺃﻤﺱ ‪ ..‬ﻭﺩﻓﻥ ﻜﻌﺎﺩﺘﻬﻡ ﻋﻨﺩ‬
‫ﻴﻘﻑ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﻅﻬﺭ ﺃﺤﻤﺩ ﻜﻤﺎل ﺴﻔﺢ ﺍﻝﺠﺒل ‪.‬‬

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‫ﺠﺎﻝﺴﹰﺎ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻨﹰﺎ ‪ .‬ﺜﻡ ﻴﺨﺭﺝ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺤﺩﺜﻨﻰ ﻋﻥ ﻫﺫﻩ‬
‫ﺍﻝﺒﺩﻭﻯ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﺍﻝﻘﺒﻴﻠﺔ ‪.‬‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ﻓﻰ ‪ Zoom In‬ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﻝﺒﺩﻭﻯ ‪ :‬ﺒﻌﺽ ﺍﻝﺭﻋﺎﺓ ﺍﻝﺫﻴﻥ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻴﻅﻬﺭ ﻭﻨﻴﺱ ﺨﻠﻑ ﻴﺭﺠﻊ ﺘﺎﺭﻴﺨﻬﻡ ﺇﻝﻰ ﺨﻤﺴﺔ‬
‫)‪(10‬‬ ‫ﺍﻷﺴﻼﻙ ﺍﻝﺸﺎﺌﻜﺔ ﻭﻴﺼﺒﺢ ﻓﻰ ﻓﻰ ﺒﺅﺭﺓ ﻗﺭﻭﻥ ‪.‬ﻗﺒﻴﻠﺔ ﺍﻝﺤﺭﺒﺎﺕ ﺍﻝﺸﻬﻴﺭﺓ ‪..‬‬
‫ﺍﻝﻌﺩﺴﺔ‪ In Focus‬ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﻫﻡ ﻻ ﻴﺘﺭﻜﻭﻥ ﺍﻝﺠﺒل ﺃﺒﺩﹰﺍ ‪..‬ﻭﻻ‬
‫ﻋﻼﻗﺔ ﻝﻬﻡ ﺒﺄﻫل ﺍﻝﻭﺍﺩﻯ ﺇﻨﻨﻰ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺍﺭﺍﻗﺒﻬﻡ ﻤﻨﺫ ﺯﻤﻥ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪Medium Close‬‬ ‫‪161‬‬
‫‪ up‬ﻷﺤﻤﺩ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻭﻨﻴﺱ ﺍﻝﺯﺍﻭﻴﺔ‬
‫ﺍﻝﻌﻜﺴﻴﺔ ‪ ,‬ﻭﻴﺩﺨل ﺍﻝﺒﺩﻭﻯ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻫل ﺘﻌﺭﻓﻪ ؟‬
‫ﻭﻴﻨﻅﺭ ﻷﺤﻤﺩ ﺍﻝﺫﻯ ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻭﻨﻴﺱ‬ ‫‪162‬‬
‫ﻨﺎﻅﺭﹰﺍ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻻ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻜﻤﺎ ﻝﻘﻁﺔ‬ ‫‪163‬‬
‫ﺍﻝﺒﺩﻭﻯ ‪ :‬ﺃﻨﺕ !‬ ‫) ‪ ( 161‬ﻷﺤﻤﺩ ﻜﻤﺎل ﻭﺍﻝﺒﺩﻭﻯ‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺼﻤﺘﹰﺎ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M . L. S‬ﻜﻤﺎ ﻓﻰ‬ ‫‪164‬‬
‫ﻝﻘﻁﺔ )‪ ( 162‬ﻭﻝﻜﻥ ﺍﻝﻜﺎﺩﺭ ﻻ ﻴﻭﺠﺩ ﻓﻴﻪ‬
‫ﻭﻨﻴﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ )‪( 15‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ‬
‫ﺃﺤﺩ ﺍﻝﻤﻘﺎﺒﺭ ﺒﺎﻝﺠﺒل‬
‫‪ 165‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪Medium Close‬‬
‫‪ up‬ﻝﻭﻨﻴﺱ ﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﻭﻴﻨﻅﺭ ﻋﻜﺱ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ ﻋﺎﻝﻰ‬ ‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﻴﻥ ﺠﺩﺭﺍﻥ ﺇﺤﺩﻯ ﺍﻝﻤﻘﺎﺒﺭ‬
‫ﺍﻝﻔﺭﻋﻭﻨﻴﺔ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 166‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻭﻨﻴﺱ‬
‫ﻝﺯﻴﻨﺔ ﺍﻝﻭﺍﻗﻔﺔ ﺃﻤﺎﻡ ﺃﺤﺩ ﺠﺩﺭﺍﻥ ﺍﻝﻤﻘﺒﺭﺓ ‪ ,‬ﺜﻡ‬
‫ﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺩﺨل ﻤﻥ ﻭﺭﺍﺀ‬
‫ﺍﻝﺠﺩﺍﺭ ‪ ,‬ﺘﺨﺘﻔﻰ ‪ ,‬ﺜﻡ ﻴﺩﺨل ﻭﻨﻴﺱ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﻥ ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ‬
‫ﺼﻭﺕ ﺍﻝﺭﻴﺎﺡ‬
‫‪ Tracking‬ﻝﻴﻅﻬﺭ ﺍﻝﻤﻤﺭ ﺒﻴﻥ ﺍﻝﻤﻘﺎﺒﺭ‬
‫ﺼﻭﺕ ﺍﻝﺨﻁﻭﺍﺕ‬
‫ﻭﺘﻅﻬﺭ ﺯﻴﻨﺔ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﻨﻬﺎﻴﺔ‬
‫ﺍﻝﻤﻤﺭ ﻭ ﺜﻡ ﺘﺨﺭﺝ ﻭﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻌﻤﻕ ﺠﺭﻴ ﹰﺎ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Zoom‬‬
‫ﺴﺭﻴﻊ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 167‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﺯﻴﻨﺔ ﺘﺨﻔﻰ‬
‫ﻭﺠﻬﻬﺎ ﻭﺘﻨﻅﺭ ﻴﺴﺎﺭﹰﺍ ﺜﻡ ﺘﺠﺭﻯ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻌﻤﻕ ﻭﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Zoom -out‬‬
‫ﺼﻭﺕ ﺍﻝﺨﻁﻭﺍﺕ ﻴﻌﻠﻭ‬ ‫ﻝﺘﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪, .L. S‬‬
‫ﻴﻨﺨﻔﺽ ﺼﻭﺕ ﺍﻝﺭﻴﺎﺡ‬ ‫ﺘﺩﺨل ﺃﺤﺩ ﺃﺒﻭﺍﺏ ﺍﻝﻤﻘﺒﺭﺓ ﻓﻰ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪,‬‬
‫ﻴﻅﻬﺭ ﻭﻨﻴﺱ ﻓﻰ ﺍﻝﻌﻤﻕ ﻴﺄﺘﻰ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺩﺨل ﺃﺤﺩ ﺍﻷﺒﻭﺍﺏ ﻓﻰ ﺍﻝﻴﻤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬

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‫‪ 168‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻭﻨﻴﺱ ﺍﻝﻜﺎﻤﻴﺭﺍ‬

‫ﻤﺤﻤﻭﻝﺔ ‪ Hand Camera‬ﺘﺘﺎﺒﻌﻪ ﻭﻫﻭ‬
‫ﻴﺩﺨل ﺇﻝﻰ ﺍﻝﻤﻤﺭﺍﺕ ‪ ,‬ﺜﻡ ﻴﻘﻑ ﻭﻴﻨﻅﺭ ﺍﻝﻰ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ﻝﻴﻅﻬﺭ‬
‫ﻭﻨﻴﺱ ﻤﻥ ﺨﻠﻑ ﺍﻝﺤﺎﺌﻁ ‪ ,‬ﻭﻴﺠﺭﻯ ﺍﻝﻰ ﺃﺤﺩ‬
‫ﺍﻝﻤﻤﺭﺍﺕ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 169‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ close up‬ﻝﺯﻴﻨﺔ ﺒﻅﻬﺭﻫﺎ ﻭﻫﻰ‬
‫ﺘﺘﻠﺘﻔﺕ ﻴﻤﻴﻥ ﻭﻴﺴﺎﺭ ‪ ,‬ﺜﻡ ﺘﻘﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 170‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻴﺄﺘﻰ ﻤﻥ‬
‫ﺍﻝﻌﻤﻕ ﻭﻴﻘﻑ ﻴﻤﻴﻨ ﹰﺎ ﺃﻤﺎﻡ ﺃﺤﺩ ﺃﺒﻭﺍﺏ ﺍﻝﻤﻘﺒﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ )‪( 16‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺩﺍﺨﻠﻰ ﻭﻜﺭ ﻤﺭﺍﺩ ﺒﺎﻝﻤﻘﺒﺭﺓ‬
‫‪ 171‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﺯﻴﻨﺔ ﻭﻤﺭﺍﺩ ﻴﻨﻅﺭﺍ‬
‫ﻤﺭﺍﺩ ‪ :‬ﺴﻴﺩ ﻭﻨﻴﺱ ‪ ..‬ﺘﻔﻀل‬
‫ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﻭﻨﻴﺱ‬
‫ﺒﺎﻝﺩﺍﺨل ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﻫﺫﻩ ﺍﻝﺭﻴﺢ‬
‫ﻭﻴﻨﺤﻨﻰ ﻤﺭﺍﺩ ‪ ,‬ﻭﺘﺘﺭﺍﺠﻊ ﺯﻴﻨﺔ ﻝﻠﺨﻠﻑ ‪,‬‬
‫ﺍﻝﻤﺘﺭﺒﺔ ‪ ....‬ﻴﺠﺏ ﺍﻷ ﻴﺭﺍﻨﺎ‬
‫ﻭﻴﺨﺭﺝ ﻤﺭﺍﺩ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺘﻌﻁﻰ‬
‫ﺃﺤﺩ ‪ .....‬ﻻ ﺍﻷﻓﻨﺩﻴﺔ ﻭﻻ‬
‫ﺯﻴﻨﺔ ﻅﻬﺭﻫﺎ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻏﻴﺭﻫﻡ ‪ ..‬ﺘﻔﻀل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺼﻭﺕ ﻤﺭﺍﺩ ‪ :‬ﺍﺘﺭﻴﺩ ﺍﻥ ﺘﻌﺭﻑ ﻝ ‪‬ﻡ‬ ‫‪172‬‬
‫ﺠﺎﺀﻭﺍ ؟ ‪ ..‬ﻴﺒﺩﻭ ﺃﻥ ﻭﺭﻗﺔ ﺒﺭﺩﻯ‬
‫ﻭﻗﻌﺕ ﻓﻰ ﻴﺩ ﻜﺒﻴﺭ ﺍﻷﻓﻨﺩﻴﺔ ‪ ...‬ﻝﻘﺩ‬
‫ﻼ‪.‬‬ ‫ﺸﺎﺥ ﺃﻴﻭﺏ ﻫﺫﺍ ﻭ ﺃﺼﺒﺢ ﻤﻬﻤ ﹰ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻴﺎﺘﻰ ﻤﻥ‬
‫ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺩﺨل ﻭﻨﻴﺱ ‪ :‬ﻫل ﺘﻜﻠﻤﺕ ﻤﻌﻪ ؟‬
‫ﻤﺭﺍﺩ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻨﹰﺎ ﻭﻴﺴﺘﻨﺩ ﻤﺭﺍﺩ ‪ :‬ﻤﻊ ﻤﻥ ؟‬
‫ﻋﻠﻰ ﺍﻝﺤﺎﺌﻁ ‪ .‬ﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻝﻠﺨﻠﻑ ﻭﻨﻴﺱ ‪ :‬ﻤﻊ ﻜﺒﻴﺭ ﺍﻷﻓﻨﺩﻴﺔ ؟‬
‫ﻤﺭﺍﺩ ‪ :‬ﻨﻌﻡ ‪ ...‬ﻻ ‪.‬‬
‫ﻭﺘﺘﺤﺭﻙ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Tracking‬ﻓﻰ‬
‫ﻭﻨﻴﺱ ‪ :‬ﺇﺫﻥ ﻜﻴﻑ ﻋﺭﻓﺕ ؟‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻭﻴﻘﺘﺭﺏ ﻤﻥ‬
‫ﻤﺭﺍﺩ ‪ :‬ﻤﻥ ﻤﺴﺎﻋﺩﻴﻪ ‪ ...‬ﺇﻨﻬﻡ ﺤﻘﹰﺎ‬
‫ﺍﻝﺤﺎﺌﻁ ‪ ,‬ﺜﻡ ﻴﻠﺘﻔﺕ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻘﻑ‬
‫ﺸﺒﺎﻥ ﺨﺒﺜﺎﺀ ‪ ...‬ﻴﻘﻭﻝﻭﻥ ﺃﻥ ﺘﻠﻙ‬
‫ﻓﻰ ﻨﻬﺎﻴﺔ ﺍﻝﻤﻤﺭ ‪ ,‬ﻭﻴﺩﺨل ﻤﺭﺍﺩ ﺍﻝﻜﺎﺩﺭ‬
‫ﺍﻝﺒﺭﺩﻴﺔ ﺠﺎﺀﺕ ﻤﻥ ﻤﻘﺒﺭﺓ ‪.‬‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ‪Pan Left‬‬
‫ﻭﻁﺒﻌ ﹰﺎ ﺃﻨﺕ ﺨﻴﺭ ﻤﻥ ﻴﻌﺭﻑ ‪..‬‬
‫ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ‪ .L .S‬ﻜﺒﻴﺭﺓ ﺜﻡ‬
‫ﺍﻝﺠﺒل ﻜﻠﻪ ﻤﻠﻙ ﻝﻙ ‪ ..‬ﺃﻋﺫﺭﻨﻰ‬
‫ﻴﺴﺘﺩﻴﺭ ﻭﻴﺩﺨل ﻭﻨﻴﺱ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻴﺘﺤﺭﻙ ﻴﺎﺴﻴﺩ ﻭﻨﻴﺱ ‪ ..‬ﺸﻐﻠﻨﻰ ﺍﻝﺤﺩﻴﺙ‬
‫ﻝﻠﻌﻤﻕ ﻨﺎﺤﻴﺔ ﻤﺭﺍﺩ ﺒﺒﻁﺀ ﻭﻴﻘﻑ ﻓﻰ ﺩﺍﺨل‬
‫ﻋﻥ ﻫﺅﻻﺀ ﺍﻷﻓﻨﺩﻴﺔ ‪ ..‬ﻭﺠﻌﻠﻨﻰ‬
‫ﺍﻝﻐﺭﻓﺔ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻴﻤﻴﻨﹰﺎ ﻓﺠﺄﺓ‬
‫ﺃﻨﺴﻰ ﺃﺼﻭل ﺍﻝﻀﻴﺎﻓﺔ ‪..‬‬
‫ﻓﻠﺘﺸﺭﻓﻨﻰ ﺒﺎﻝﺩﺨﻭل ‪ ...‬ﻋﻨﺩﻯ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺒﻌﺽ ﺍﻝﺫﻴﻥ ﺘﻌﺯﻫﻡ ﻭﻴﻌﺯﻭﻨﻙ‬
‫ﻭﻴﺴﻌﺩﻫﻡ ﺃﻥ ﻴﺘﻤﻠﻭﺍ ﺒﻭﺠﻬﻙ ‪.‬‬
‫ﺼﻭﺕ ‪ :‬ﻤﺭﺤﺒﹰﺎ ﺒﺯﻋﻴﻤﻨﺎ ‪.‬‬
‫‪173‬‬
‫ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﻻ ﺘﺸﻐل ﺒﺎﻝﻙ ﺒﺎﻷﻓﻨﺩﻴﺔ‬
‫ﻜﻌﺠﺎﺌﺯ ﺍﻝﻘﺒﻴﻠﺔ‬
‫ﻭﻨﻴﺱ ‪ :‬ﺃﻨﺎ ﻻ ﺃﻫﺘﻡ ﺒﺎﻷﻓﻨﺩﻴﺔ ‪.‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﺼﻭﺕ ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﺨﻁﺔ ﻋﻅﻴﻤﺔ‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻷﺒﻨﻰ ﺍﻝﻌﻡ ﻝﺯﻋﻴﻤﻨﺎ ‪.‬‬
‫ﺠﺎﻝﺴﺎﻥ ﺩﺍﺨل ﺍﻝﻐﺭﻓﺔ ﻭﻴﻨﻅﺭﺍﻥ ﻓﻰ ﺍﺘﺠﺎﻩ ﺼﻭﺕ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ ‪ :‬ﻭﻝﻜﻥ ﻫل‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﺩﺨل ﻭﻨﻴﺱ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻤﻥ ﺍﻝﺤﻜﻤﺔ ﺃﻥ ﻴﺜﻕ ﺯﻋﻴﻤﻨﺎ ﻓﻰ‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪ , Pan Right‬ﺍﻝﻐﺭﺒﺎﺀ ‪.‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 26 of 43‬‬

‫ﻭﻴﻘﻑ ﺒﺠﻭﺍﺭ ﺃﺤﺩ ﺍﻝﻤﻤﺭﺍﺕ ﻭﻴﻨﻅﺭ ﻝﻠﻌﻤﻕ ‪ ,‬ﻭﻨﻴﺱ ‪ :‬ﺇﻨﻪ ﻝﻴﺱ ﺇﻻ ﻏﺭﻴﺏ‬
‫ﺜﻡ ﻴﻌﻭﺩ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﻌﺒﺭ ﺃﺒﻨﻰ ﺍﻝﻌﻡ ﻭﻴﻅﻬﺭ ﻋﺎﺒﺭ ‪.‬‬
‫ﻓﻰ ﺍﻝﻌﻤﻕ ﺃﺤﺩ ﺃﺒﻨﺎﺀ ﺍﻝﻌﻤﻭﻤﺔ ﻭﻴﺩﺨل ﺍﻝﺜﺎﻨﻰ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ ‪ :‬ﻭﻴﻌﻤل ﻝﺤﺴﺎﺏ‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﻤﻴﻨ ﹰﺎ ‪ ,‬ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪ Pan‬ﺍﻷﻓﻨﺩﻴﺔ ‪ ..‬ﻭﻫﻡ ﺃﻴﻀﹰﺎ ﻏﺭﺒﺎﺀ‬
‫‪ Left‬ﻭﻴﺼﺒﺢ ﺒﻤﻔﺭﺩﻩ ‪ , ,‬ﻴﻅﻬﺭ ﻓﻰ ﻋﻤﻕ ﻭﻋﺎﺒﺭﻭﻥ ‪...‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻓﻰ ﻨﻬﺎﻴﺔ ﺍﻝﻤﻤﺭ ﺭﺠﻼ ﻋﺎﺭﻴﹰﺎ ﻴﺠﺫﺏ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻷﻭل ‪ :‬ﻜﻡ ﻤﻥ ﺍﻝﻐﺭﺒﺎﺀ‬
‫ﺠﻠﺒﺎﺒ ﹰﺎ ﻭﻴﺄﺨﺫ ﺘﻤﺜﺎ ﹰﻻ ﺼﻐﻴﺭﹰﺍ ﻤﻨﻪ ﻭﻴﻨﻅﺭ ﺴﻴﺤﻀﺭﻭﻥ ﺇﻝﻰ ﺠﺒﻠﻨﺎ ﻭﻴﻐﺘﺭﻓﻭﻥ‬
‫ﻤﻨﻪ ﻴﺄﺒﻥ ﺴﻠﻴﻡ ‪.‬‬ ‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﻨﻴﺱ ‪ :‬ﻝﺴﺕ ﻓﻰ ﺤﺎﺠﺔ ﺇﻝﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻜﻠﻤﺎﺘﻜﻡ ﻝﻜﻰ ﺃﻋﺭﻑ ﻤﻥ ﺃﻨﺎ ‪...‬‬
‫ﺼﻭﺕ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻷﻭل ‪ :‬ﻓﻠﺘﻨﺱ‬
‫ﺃﺤﻼﻤﻙ ﻴﺎﻭﻨﻴﺱ ‪ ..‬ﻝﻥ ﻴﻌﻭﺩ‬
‫ﺍﻷﻤﺱ ﺃﺒﺩﹰﺍ ‪.‬‬
‫‪ 174‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪Medium Close‬‬
‫‪ Up‬ﻝﻭﻨﻴﺱ ﻴﺘﻘﺩﻡ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺼﻭﺕ ﻓﺘﺎﺓ ‪ :‬ﻤﺭﺍﺩ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 175‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M. S‬ﻝﻠﻔﺘﺎﺓ ﺇﺒﻨﺔ ﻋﻡ ﻤﺭﺍﺩ‬
‫ﻭﻫﻰ ﺸﺒﻪ ﻋﺎﺭﻴﺔ ‪ ,‬ﻭﺘﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻔﺘﺎﺓ ‪ :‬ﻤﺭﺍﺩ ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺸﻴﺭ ﺒﻴﺩﻫﺎ ﺍﻝﺘﻰ ﻓﻴﻬﺎ ﺍﻝﺘﻤﺜﺎل ﻭﻨﻴﺱ ‪ :‬ﻤﺎﺍﻝﺫﻯ ﻴﺤﺩﺙ ﻫﻨﺎ ؟؟‬
‫ﺍﻝﺼﻐﻴﺭ ‪ ,‬ﻭﻴﺩﺨل ﻤﺭﺍﺩ ﻤﺴﺭﻋﺎ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻤﺭﺍﺩ ‪ :‬ﺴﺂﺘﻰ ﺒﻬﺎ ﻴﺎﺴﻴﺩ ﻭﻨﻴﺱ ‪..‬‬
‫ﻼ ﻝﻴﻅﻬﺭ ﻭﻨﻴﺱ ﻓﻰ ﺴﺂﺘﻰ ﺒﻬﺎ ‪ ..‬ﺃﻯ ﺸﻰﺀ ﺘﺸﺘﻬﻴﻪ ‪.‬‬ ‫ﻭﺘﺘﺭﺍﺠﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ‪ ,‬ﻭﻴﺠﺭﻯ ﻤﺭﺍﺩ ﻤﻥ ﺃﺤﺩ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻝﺙ ‪ :‬ﺤﻘﹰﺎ ﺇﻨﻙ ﺘﺎﺠﺭ‬
‫ﺍﻝﻤﻤﺭﺍﺕ ﺍﻝﺘﻰ ﻓﻰ ﺍﻝﻤﻘﺒﺭﺓ ﻭﻴﻠﺘﻔﺕ ﻭﻨﻴﺱ ﺒﺎﺭﻉ ﻴﺎﺇﺒﻥ ﺍﻝﻌﻡ ﻝﻡ ﻴﺭﺽ ﺃﻥ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺘﺤﺭﻙ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan‬ﻴﻌﻁﻴﻨﻰ ﺍﻝﺒﻨﺕ ﺍﻝﺠﻤﻴﻠﺔ ‪...‬‬
‫‪ Right‬ﻝﻴﻠﺤﻕ ﺒﻤﺭﺍﺩ ﺍﻝﺫﻯ ﻴﺨﺘﺒﻰﺀ ﺨﻠﻑ ﻭﻨﻴﺱ ‪ :‬ﻤﺎﻫﺫﺍ ﺍﻝﺫﻯ ﻴﺤﺙ ﻫﻨﺎ ؟‬
‫ﺃﺒﻨﻰ ﺍﻝﻌﻡ ﺍﻝﺫﺍﻥ ﻴﺭﻓﻌﺎ ﺯﺭﺍﻋﻴﻬﻤﺎ ﻝﻴﺤﻤﻭﻨﻪ ‪ ,‬ﻭﻤﻥ ﺃﺠل ﻤﻥ ‪...‬؟‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ ﻴﻌﻠﻭ‬ ‫ﻭﻴﻌﻭﺩ ﻭﻨﻴﺱ ﻝﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻝﻴﻅﻬﺭ ﺃﺒﻥ ﺍﻝﻌﻡ ﺇﺒﻨﺔ ﺍﻝﻌﻡ ‪ :‬ﻤﻥ ﺃﺠل ﻤﻥ !ﺃﻝﺴﺕ‬
‫ﺍﻝﺜﺎﻝﺙ ﻭﻫﻭ ﻴﺭﺘﺩﻯ ﺒﺎﻗﻰ ﻤﻼﺒﺴﻪ ﻓﻰ ﺍﻝﻤﻤﺭ ﺃﺤﺴﻥ ﻤﻥ ﻗﻁﻌﺔ ﺤﺠﺭ ‪..‬؟‬
‫ﻭﺘﻅﻬﺭ ﺍﻝﻔﺘﺎﺓ ﻓﻰ ﺍﻝﺸﻕ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻨﻴﺱ ‪ :‬ﺃﺴﻜﺘﻰ ﻴﺎﺇﻤﺭﺃﺓ ﻭﺇﻓﻬﻤﻰ‬
‫ﻭﺘﺨﺭﺝ ﻤﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺨﻠﻑ ﺍﻝﻤﻤﺭ ﺼﻭﺕ ﻤﺭﺍﺩ ‪ :‬ﺘﻌﺎﻝﻰ ﻴﺎﻜﻨﺯﻯ ‪..‬‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ‪ Pan Right‬ﻭﻫﻰ ﺇﻨﻬﻡ ﻴﺘﺤﺩﺜﻭﻥ ﻋﻥ ﺍﻝﺘﺠﺎﺭﺓ ‪.‬‬
‫ﺘﺨﺘﻔﻰ ﺨﻠﻑ ﺃﺤﺩ ﺃﺒﻨﺎﺀ ﺍﻝﻌﻡ ﻭﺘﺘﺤﺭﻙ ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﻤﺎﺫﺍ ﺤﺙ ﻝﻙ ﻴﺎﻭﻨﻴﺱ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ‪ Pan Right‬ﻝﺘﺩﺨل ﻓﻰ ؟؟‬
‫ﺍﻝﻤﻤﺭ ﺍﻝﺫﻯ ﻴﻅﻬﺭ ﻓﻴﻪ ﻤﺭﺍﺩ ﻭﻴﺠﺫﺒﻬﺎ ﻴﻤﻴﻥ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ ‪ :‬ﺴﻨﺘﻌﺎﻤل ﻤﻊ‬
‫ﻜﺎﺩﺭ ﻭﻴﻘﻑ ﺃﺒﻨﻰ ﺍﻝﻌﻡ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﻨﻅﺭﺍ ﻤﺭﺍﺩ ﺇﺫﺍ ﺃﻋﻁﺎﻨﺎ ﻤﺎﻨﺭﻴﺩ ‪..‬‬
‫ﺼﻭﺕ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻝﺙ ‪ :‬ﻁﺒﻌﹰﺎ ‪..‬‬ ‫ﻓﻰ ﺍﺘﺠﺎﻩ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻁﺒﻌ ﹰﺎ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﻤﺎﻴﻭﺠﺩ ﻓﻰ ﺍﻝﺠﺒل ﻴﺠﺏ‬ ‫‪176‬‬
‫ﺃﻥ ﻴﻘﺴﻡ ﻋﻠﻰ ﺍﻝﻘﺒﻴﻠﺔ ﻜﻠﻬﺎ ‪.‬‬
‫ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻷﻭل ‪ :‬ﺴﻨﺘﻘﺎﺴﻤﻬﺎ ﻤﻌﻙ‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪ Medium Close‬ﺍﻨﺕ ‪.‬‬
‫‪ up‬ﻝﻭﻨﻴﺱ ﺒﺭﻭﻓﻴل ﻴﺘﺤﺭﻙ ﻴﻤﻴﻨ ﹰﺎ ﻭﺘﺘﺎﺒﻌﻪ ﻭﻨﻴﺱ ‪ :‬ﻜل ﻤﺎﻴﻭﺠﺩ ﻓﻰ ﺍﻝﺠﺒل‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ , Pan Right‬ﺜﻡ ﻴﺩﺨل ﺇﺒﻥ ﺍﻝﻌﻡ ﻴﺠﺏ ﺃﻥ ﻴﻘﺴﻡ ﻋﻠﻰ ﺍﻝﻘﺒﻴﻠﺔ ﻜﻠﻬﺎ‪.‬‬
‫ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ ‪ :‬ﻭﻫل ﺘﺴﺘﻁﻴﻊ ﺃﻥ‬
‫ﻗﺭﻴﺒﺔ ﻝﻺﺜﻨﻴﻥ ‪ ,Medium Close up‬ﺜﻡ ﺘﻘﻭل ﻫﺫﺍ ﻝﻸﻓﻨﺩﻴﺔ ‪ .‬ﺃﻨﺕ ﺯﻋﻴﻤﻨﺎ‬
‫ﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻴﻤﻴﻨ ﹰﺎ ﻭﻴﺘﺎﺒﻌﻪ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ ﺍﻵﻥ ‪.‬‬
‫ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻷﻭل ‪ :‬ﻭﻝﻡ ﻨﺘﻘﺎﺴﻡ ﻤﻊ‬ ‫ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺘﺤﺭﻙ ﻴﻤﻴﻨ ﹰﺎ ﻝﺘﺘﺎﺒﻌﻬﻤﺎ‬
‫ﻋﺠﺎﺌﺯ ﺍﻝﻘﺒﻴﻠﺔ ﻭﻨﺨﺴﺭ ﻨﺼﻑ‬ ‫ﻝﻘﻁﺔ‬ ‫‪ Tracking‬ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ‬
‫ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ ,Medium Close up‬ﻤﺎﻨﺠﻨﻴﻪ ‪ ..‬ﺍﻝﺠﺒل ﻝﻡ ﻴﻌﺩ ﻝﻬﻡ‬
‫ﺜﻡ ﻴﺄﺘﻰ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻝﺙ ﻭﻴﺘﺤﺭﻙ ﻭﺤﺩﻫﻡ ‪.‬‬
‫ﻭﻨﻴﺱ ﻴﺴﺎﺭﹰﺍ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Left‬ﻭﻨﻴﺱ ‪ :‬ﺒﺤﻕ ﺍﻝﺴﻤﺎﺀ ﺒﻤﺎﺫﺍ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 27 of 43‬‬

‫ﺜﻡ ﻴﺴﺘﺩﻴﺭ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻌﻭﺩ ﺃﺴﻤﻴﻜﻡ ؟‬

‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ‪ . Pan right‬ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ ‪ :‬ﺃﺒﻨﺎﺀ ﻋﻤﻙ‬
‫ﻭﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻝﺙ ﻭﻴﺒﻌﺩ ﺍﻹﺜﻨﻴﻥ ﻭﺭﻓﺎﻕ ﺤﻴﺎﺘﻙ ‪.‬‬
‫ﻋﻥ ﺒﻌﻀﻬﻤﺎ ﻗﺒل ﺃﻥ ﻴﺸﺘﺒﻜﺎ ﻭﻴﻌﻭﺩﺍ ﺇﻝﻰ ﻭﻨﻴﺱ ‪ ) :‬ﺒﻌﻨﻑ ( ﺭﻓﻘﺔ‬
‫ﺍﻝﻭﺭﺍﺀ ﻭﻴﺨﺭﺝ ﻭﻨﻴﺱ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﺍﻝﻌﻘﺎﺭﺏ ‪ ..‬ﻀﺒﺎﻉ ‪ ..‬ﺘﻌﻴﺸﻭﻥ‬
‫ﻴﻠﺘﻔﺕ ﺇﺒﻥ ﺍﻝﻌﻡ ﻝﻠﻴﺴﺎﺭ ﻭﻴﺨﺎﻁﺏ ﻭﻨﻴﺱ ﻋﻠﻰ ﻝﺤﻡ ﻤﻥ ﺃﻁﻌﻤﻜﻡ ‪.‬‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻹﺜﻨﻴﻥ ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ ‪ :‬ﻜﻴﻑ ﺘﺨﺎﻁﺒﻨﺎ‬
‫‪ ,M. S. 2‬ﺜﻡ ﻴﻘﺘﺭﺏ ﻭﻨﻴﺱ ﻤﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻫﻜﺫﺍ ﺃﻤﺎﻡ ﺍﻝﻐﺭﺒﺎﺀ‬
‫ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ﻭﻨﻴﺱ ‪ :‬ﻜﺄﻨﻙ ﺘﻌﺭﻑ ﻤﺎﻫﻭ‬
‫ﺍﻝﺨﺠل ‪.‬‬ ‫‪Medium Close up‬‬
‫ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﻜﻔﻰ ‪ ..‬ﻻﺯﻝﻨﺎ ﺃﻭﻻﺩ ﻋﻡ‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫ﻭﻨﻴﺱ ‪ :‬ﺃﺒﺩﹰﺍ ‪.‬‬

‫‪ 177‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻤﺭﺍﺩ ﻴﺩﺨل ﻤﻥ‬
‫ﺍﻝﻴﻤﻴﻥ ﻤﻨﺤﻨﻴﹰﺎ ﻭﻴﻀﻊ ﺍﻝﺘﻤﺜﺎل ﻓﻰ ﻴﺩ‬
‫ﻭﻨﻴﺱ ‪ ,‬ﺜﻡ ﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ‪Tilt‬‬
‫ﻤﺭﺍﺩ ‪ :‬ﺇﻏﻀﺏ ﻋﻠﻰ ﺃﻴﻭﺏ ‪..‬ﻻ‬
‫‪ Up‬ﻝﺘﺘﺎﺒﻊ ﻭﻨﻴﺱ ﺍﻝﺫﻯ ﻴﻠﺘﻔﺕ ﻨﺎﺤﻴﺔ‬
‫ﺘﻐﻀﺏ ﻋﻠﻰ ﺃﻭﻻﺩ ﻋﻤﻙ ‪ ...‬ﻫﻭ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺭﻓﻊ ﺍﻝﺘﻤﺜﺎل ﺜﻡ ﻴﺄﺘﻰ ﻤﺭﺍﺩ ﻤﻥ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﺫﻯ ﺨﺩﻉ ﻗﺒﻴﻠﺘﻙ ﺃﻨﺎ ﺃﻋﺭﻑ ﻫﺫﺍ‬
‫ﺍﻝﺨﻠﻑ ﻭﻴﻘﻑ ﻨﺎﻅﺭﹰﺍ ﺇﻝﻰ ﻭﻨﻴﺱ ﻓﻰ ﺤﺠﻡ‬
‫)‪(11‬‬ ‫ﺠﻴﺩﹰﺍ ‪ ,‬ﻓﻘﺩ ﻋﻤﻠﺕ ﻤﻌﻪ ‪....,.‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻺﺜﻨﻴﻥ ‪Medium‬‬
‫ﺇﺭﺠﻊ ﻴﺎﺴﻴﺩ ﻭﻨﻴﺱ ‪ ..‬ﻻ ﺘﺨﺭﺝ‬
‫‪ , Close up‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻓﻰ ﻫﺫﻩ ﺍﻝﺭﻴﺢ ﺍﻝﻌﺎﺼﻑ ‪.‬‬
‫ﺍﻝﺘﻰ ﺘﺘﺭﺍﺠﻊ ﻝﻠﺨﻠﻑ ﻭﻫﻭ ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻫﻬﺎ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 178‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺯﻴﻨﺔ ﺘﻘﻑ ﻓﻰ ﻋﻤﻕ‬
‫ﺍﻝﻜﺎﺩﺭ ﺍﻤﺎﻡ ﺍﻝﻤﻤﺭ ‪ ,‬ﺜﻡ ﺘﺘﻘﺩﻡ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﻴﻅﻬﺭ ﺠﺯﺀ ﻤﻥ ﺠﺴﺩ ﻭﻨﻴﺱ‬
‫ﺼﻭﺕ ﻤﺭﺍﺩ ‪ :‬ﺘﻌﺎﻝﻰ ﻴﺎﺯﻴﻨﺔ‬ ‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ﻹﺜﻨﻴﻥ ‪ , M . S. 2‬ﻭﻴﺭﻓﻊ ﻭﻨﻴﺱ ﺍﻝﺒﻨﺎﺕ ‪ ..‬ﻻ ﺘﺨﺎﻓﻰ ‪ ...‬ﺇﻨﻨﻰ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ ﺯﻴﻨﺔ‬ ‫ﻴﺩﻩ ﻝﻴﻤﻨﻌﻬﺎ ﻤﻥ ﺍﻝﻤﺭﻭﺭ ﻭﺘﻠﻘﻰ ﻋﻠﻴﻪ ﻨﻅﺭﺓ ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﻋﻁﻰ ﺃﻜﺜﺭ ﻤﻥ‬
‫) ‪( 11‬‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪ ,‬ﺜﻡ ﻴﺨﻔﺽ ﻴﺩﻩ ﻝﺘﻌﺒﺭﻩ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺃﻴﻭﺏ ‪ ...‬ﺴﻴﺎﺘﻰ ﺃﻴﻭﺏ ﺍﻝﻴﻭﻡ ﻝﻴﺄﺨﺫ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪ Pan Left‬ﻝﺘﺼﺒﺢ ﻓﻰ ﺍﻝﻌﻴﻥ ﺍﻝﺫﻫﺒﻴﺔ ‪..‬‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close Up‬ﻭﺘﺘﺤﺭﻙ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﻌﺒﺭ ﺃﺒﻨﺎﺀ ﺍﻝﻌﻡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 179‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪ Medium Close‬ﻤﺭﺍﺩ ‪ :‬ﻝﻡ ﻻ ﺃﺨﺫﻫﺎ ﺍﻨﺎ ‪ ..‬ﻭﺃﻨﺎ ﻫﻨﺎ‬
‫‪ Up‬ﻝﻭﻨﻴﺱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻤﺭﺍﺩ ﻴﻤﻴﻥ ﻤﻌﻜﻡ ﺩﺍﺌﻤﹰﺎ ﺃﺨﺩﻤﻜﻡ ‪.‬‬
‫ﻜﺎﺩﺭ ‪ ,‬ﻴﻠﺘﻔﺕ ﻭﻨﻴﺱ ﻨﺎﺤﻴﺔ ﻤﺭﺍﺩ ‪ ,‬ﻭﻴﻠﺘﻔﺕ ﻭﻨﻴﺱ ‪ :‬ﺨﺩﻤﺔ ﻭﻀﻴﻌﺔ‬
‫ﻨﺎﺤﻴﺔ ﺃﺒﻨﺎﺀ ﺍﻝﻌﻡ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺜﻡ ﻴﻌﻭﺩ ﻤﺭﺍﺩ ‪ :‬ﺭﺒﻤﺎ ‪ .‬ﻭﻝﻜﻥ ﺃﻴﻭﺏ ﻫﻭ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Track -‬ﺍﻝﺫﻯ ﻋﻠﻤﻨﻰ ‪ ..‬ﻫﻜﺫﺍ ﺒﺩﺃ ﺃﻴﻭﺏ‬
‫ﻫﻨﺎ ‪.‬‬ ‫‪ Out‬ﻋﻨﻪ ﺴﺭﻴﻌﹰﺎ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻭﻨﻴﺱ ‪ :‬ﺇﺤﺫﺭ ﺃﻥ ﺃﺭﺍﻙ ﻴﻭﻤﹰﺎ ﻓﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫) ‪( 12‬‬ ‫ﻁﺭﻴﻘﻰ ﻴﺎﻤﺭﺍﺩ ‪ ..‬ﻻ ﺃﻨﺕ ﻭﻻ ﺃﺤﺩ‬
‫ﻤﻨﻜﻡ‪.‬‬
‫ﺇﺒﻥ ﺍﻝﻌﻡ ﺍﻝﺜﺎﻨﻰ ‪ :‬ﺴﻨﻠﺘﻘﻰ‬
‫ﻭﻨﻴﺱ ‪ :‬ﺃﺒﺩﹰﺍ ‪.‬‬
‫ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﺍﻝﺤﺭﺒﺎﺕ ﻻ ﺘﻌﺭﻑ‬
‫ﺴﻭﻯ ﻁﺭﻴﻕ ﺼﺎﻋﺩ ﺇﻝﻰ ﺍﻝﺠﺒل ‪.‬‬

‫ﻤﺸﻬﺩ ) ‪( 17‬‬

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‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻨﻁﻘﺔ ﺠﺒﻠﻴﺔ‬

‫)ﻋﺎﺼﻔﺔ (‬
‫‪ 180‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L . S‬ﻝﻠﻐﺭﻴﺏ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻭﻫﻭ ﻗﺎﺩﻤ ﹰﺎ ﻓﻰ‬
‫ﻼ ﻤﻥ ﻴﻤﻴﻥ‬ ‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻴﺩﺨل ﺭﺠ ﹰ‬
‫ﻤﺅﺜﺭ ﺭﻴﺎﺡ ﻋﺎﻝﻰ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻜﺎﺩﺭ ﻭﺁﺨﺭ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻤﺴﻙ ﻜل‬
‫ﺼﻭﺕ ﺍﻝﻌﺼﺎ ﻋﻠﻰ ﺠﺴﺩ‬ ‫ﺍﻝﻐﺭﻴﺏ ‪) :‬ﻴﺼﺭﺥ ( ﺁﻩ‬
‫) ‪( 12‬‬ ‫ﻤﻨﻬﻡ ﻋﺼﺎ ﻓﻰ ﻴﺩﻩ ‪ ,‬ﻭﻴﺩﺨل ﺭﺠﺎل ﺃﺨﺭﻭﻥ‬
‫ﺍﻝﻐﺭﻴﺏ‬
‫ﻭﻴﻤﻠﺌﻭﻥ ﺍﻝﻜﺎﺩﺭ ﺒﻤﻼﺒﺴﻬﻡ ﺍﻝﺴﻭﺩﺍﺀ ‪ ,‬ﻭﻴﻘﻊ‬
‫ﺍﻝﻐﺭﻴﺏ ﻓﻰ ﻭﺴﻁﻬﻡ ‪ ,‬ﻭﻴﻅﻬﺭ ﻤﻥ ﺒﻴﻥ‬
‫ﺃﻗﺩﺍﻤﻬﻡ ﻓﻰ ﻤﺴﺘﻭﻯ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﺠﺒل‬ ‫‪181‬‬
‫) ‪( 12‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 18‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﻁﻰﺀ ﺍﻝﻨﻴل‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L‬ﻝﻠﺸﺎﻁﻰﺀ ﻭﺘﻘﺘﺭﺏ ﺴﻔﻴﻨﺔ‬ ‫‪182‬‬
‫ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻝﻠﻴﻤﻴﻥ ﻭﺘﺭﺴﻭ ﻋﻠﻰ ﺸﺎﻁﻰﺀ‬
‫ﺍﻝﻨﻴل ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪Pan right‬‬
‫ﺒﺒﻁﺀ ﻭﺘﻘﻑ ﺍﻝﺴﻔﻴﻨﺔ ﺒﺠﻭﺍﺭ ﺴﻔﻴﻨﺔ ﺭﺠﺎل‬
‫ﺍﻵﺜﺎﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻷﻴﻭﺏ ﻓﻭﻕ ﺍﻝﺒﺎﺨﺭﺓ‬ ‫‪183‬‬
‫ﻤﺭﺘﺩﻴﹰﺎ ﻤﻌﻁﻔﺎ ﺤﺭﻴﺭﻴ ﹰﺎ ﻭﻗﺒﻌﺔ ﻗﻁﻴﻔﺔ ﻭﻋﻠﻰ‬
‫ﻜﺘﻔﻪ ﺸﺎ ﹰﻻ ﻤﺯﺭﻜﺸ ﹰﺎ ﻭﻴﻤﺴﻙ ﻓﻰ ﻴﺩﻩ ﺴﺒﺤﺔ‬
‫ﻁﻭﻴﻠﺔ ‪,‬ﻴﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺜﻡ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ﻭﻨﺎﻅﺭﹰﺍ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻷﻓﻕ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﺒﻁﺀ ‪Pan right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪184‬‬
‫‪ High Angle‬ﻝﺭﺠﻼﻥ ﻴﺄﺘﻴﺎﻥ ﺠﺭﻴ ﹰﺎ ﻋﻠﻰ‬
‫ﺸﺎﻁﻰﺀ ﺍﻝﻨﻴل ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ ﺃﺤﺩ ﺍﻝﺭﺠﺎل ‪ :‬ﺇﺭﺠﻊ ﻴﺎ ﺃﻴﻭﺏ ‪..‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ‪ , Pan Left‬ﺜﻡ ﻴﻘﻔﺎ ﻓﻰ ﺍﻝﺤﺭﺍﺱ ﻓﻰ ﻜل ﻤﻜﺎﻥ ‪.‬‬
‫ﺍﻝﻤﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low‬‬ ‫‪185‬‬
‫) ‪( 13‬‬ ‫‪ Angle‬ﻷﻴﻭﺏ ﻴﻨﻅﺭ ﻷﺴﻔل ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺎﺒﻌﻪ‪ Pan Right‬ﻋﻨﺩﻤﺎ‬
‫ﻴﺘﺤﺭﻙ ﻴﻤﻴﻨﺎ ﺤﺘﻰ ﻴﺼل ﺇﻝﻰ ﻤﺴﺎﻋﺩﻩ ﺼﻭﺕ ‪ :‬ﺴﻠﻴﻡ ﺍﻝﺫﻯ ﺘﻌﺭﻓﻪ ﻗﺩ‬
‫ﺍﻝﻭﺍﻗﻑ ﻋﻠﻰ ﺴﻠﻡ ﺍﻝﺒﺎﺨﺭﺓ ﻭﻴﻘﺘﺭﺏ ﻤﻨﻪ ﻤﺎﺕ ‪.‬‬
‫ﺃﻴﻭﺏ ﻭﻴﻘﻔﺎ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺒﻌﻀﻬﻤﺎ ﺍﻝﺒﻌﺽ ‪ ,‬ﻤﺴﺎﻋﺩ ﺃﻴﻭﺏ ‪ :‬ﻓﻠﻨﺭﺤل ﻴﺎﺃﻴﻭﺏ ‪..‬‬
‫ﺜﻡ ﻴﻌﻭﺩ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan,‬ﻝﻡ ﻴﻌﺩ ﻝﻨﺎ ﻋﻴﺵ ﻫﻨﺎ‪.‬‬
‫ﺃﻴﻭﺏ ‪ :‬ﺴﻴﺄﺘﻰ ﺴﻠﻴﻡ ﺁﺨﺭ ‪ ..‬ﻫﺫﺍ‬ ‫‪ Left‬ﺤﺘﻰ ﻴﻘﻑ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍﺍﻝﻰ ﺍﻝﺸﺎﻁﻰﺀ ﻤﺴﻨﺩﹰﺍ ﻴﺩﻴﻪ ﻋﻠﻰ ﻤﻭﻋﺩﻨﺎ ﻜل ﺸﻬﺭ ‪....‬ﺴﻴﺄﺘﻰ ﺴﻠﻴﻡ‬
‫ﺁﺨﺭ ‪.‬‬ ‫ﺤﺎﻓﺔ ﺍﻝﺒﺎﺨﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫)‪( 13‬‬
‫‪186‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺸﺎﻁﻰﺀ ﺍﻝﻨﻴل ﻤﻥ‬
‫ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻝﺸﺒﺢ ﻴﺄﺘﻰ‬
‫ﻤﻥ ﺨﻠﻑ ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪,‬‬
‫ﺼﻭﺕ ﺤﺭﻜﺔ ﺍﻝﻤﺭﻜﺏ‬ ‫ﻭﻴﺩﺨل ﻓﻰ ﺍﻝﻤﺎﺀ ﻭﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﺴﺎﺭ‬

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‫ﻓﻰ ﺍﻝﻤﺎﺀ‬ ‫ﻤﺭﻜﺒ ﹰﺎ ﺼﻐﻴﺭﹰﺍ ﻭﻴﻘﻭﻡ ﺍﻝﺭﺠل ﺒﻤﺴﺎﻋﺩﺓ ﺍﻝﺭﺠل‬

‫ﺍﻵﺨﺭ ﻓﻰ ﺠﺫﺏ ﺍﻝﻤﺭﻜﺏ ﻨﺎﺤﻴﺔ ﺍﻝﺸﺎﻁﻰﺀ‬
‫ﻭﻴﻅﻬﺭ ﺃﻴﻭﺏ ﻓﻰ ﺍﻝﻤﺭﻜﺏ ﻭﻴﺠﺫﺒﺎ ﺍﻝﻤﺭﻜﺏ‬
‫ﻓﻰ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﺭﺠل ﻴﺄﺘﻰ ﻤﻥ ﻭﺭﺍﺀ‬ ‫‪187‬‬
‫ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ ﻤﺭﺘﺩﻴ ﹰﺎ ﺠﻠﺒﺎﺒﹰﺎ ﺃﺴﻭﺩ ﻭﻭﺠﻬﻪ‬
‫ﻤﻠﺜﻤﹰﺎ ﻭﻴﺠﺭﻯ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻷﻴﻭﺏ ﻴﺤﻤﻠﻪ ﺍﻝﺭﺠﻼﻥ‬ ‫‪188‬‬
‫ﻭﻴﺨﺭﺠﺎ ﺒﻪ ﻤﻥ ﺍﻝﻤﺎﺀ ﺇﻝﻰ ﺭﻤﺎل ﺍﻝﺸﺎﻁﻰﺀ‬
‫ﺨﻭﻓﹰﺎ ﻋﻠﻴﻪ ﻤﻥ ﺍﻝﺒﻠل ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻴﻌﻭﺩﺍ ﻝﻴﻘﻔﺎ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ‬
‫ﺃﻴﻭﺏ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪.M .S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺭﺠل ﺍﻝﻤﻠﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﺭﺠل ﺍﻝﻤﻠﺜﻡ ‪ :‬ﺇﺩﻓﻊ ﺜﻤﻥ ﻫﺫﻩ ﻴﺎ‬ ‫‪189‬‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻝﻴﺼل ﺇﻝﻰ ﺃﻴﻭﺏ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺃﻴﻭﺏ ﻭﺇﺫﻫﺏ ‪.‬‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪. M .S‬ﻭﻴﻌﻁﻴﻪ ﺍﻝﻌﻴﻥ ﺃﻴﻭﺏ ‪ :‬ﻭﻜﻴﻑ ﺤﺎل ﺍﻝﺸﻴﺦ ﺴﻠﻴﻡ ؟‬
‫ﺍﻝﺫﻫﺒﻴﺔ ‪ ,‬ﻭﻴﺘﺤﺭﻙ ﺃﻴﻭﺏ ﻝﻴﺘﻔﺤﺼﻪ ﻤﻥ ﺍﻝﺭﺠل ﺍﻝﻤﻠﺜﻡ ‪ :‬ﻤﺎﺕ ‪ ...‬ﻭﻤﻥ‬
‫ﺍﻝﺨﻁﺭ ﻋﻠﻰ ﺃﺨﻴﻪ ﺃﻥ ﻴﺘﺤﺭﻙ ﻭﻫﺫﻩ‬ ‫ﺍﻝﻴﻤﻴﻥ ﻭﺍﻝﻴﺴﺎﺭ ﻤﺤﺎﻭ ﹰﻻ ﻤﻌﺭﻓﺔ‬
‫ﻭﺠﻬﻪ ‪.‬ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ ‪ Pan‬ﻓﻰ ﻴﺩﻩ ‪.‬‬
‫‪ Right‬ﺜﻡ ﻴﺴﺎﺭًﹶﺍ ﻭﻴﻌﻁﻴﻪ ﻜﻴﺱ ﺍﻝﻨﻘﻭﺩ ‪ ,‬ﺃﻴﻭﺏ ‪ :‬ﻭﻤﺎﺫﺍ ﺃﻴﻀ ﹰﺎ ‪.‬‬
‫ﺜﻡ ﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﺍﻝﺭﺠل ﺍﻝﺭﺠل ﺍﻝﻤﻠﺜﻡ ‪ :‬ﻴﻘﻭل ﻝﻙ ﻤﻥ‬
‫ﺍﻝﻤﻠﺜﻡ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻫﻭ ﻴﺘﺭﻙ ﺃﻴﻭﺏ ﻝﻴﺘﺤﺭﻙ ﺍﻷﻀﻤﻥ ﺃﻥ ﺘﺒﻴﻊ ﻗﻁﻌﺔ ‪ ..‬ﻗﻁﻌﺔ ‪,‬‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭ ﻴﺼﻌﺩ ﻓﻭﻕ ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ ﺃﺤﻭﺍل ﺍﻝﻘﺒﻴﻠﺔ ﻝﻴﺴﺕ ﻋﻠﻰ‬
‫ﻭﺘﺼﺒﺢ ﻓﻰ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪ Low angle‬ﻤﺎﻴﺭﺍﻡ ‪. ..‬‬
‫‪ ,‬ﻭﻴﻠﺘﻔﺕ ﺍﻝﺭﺠل ﻴﺴﺎﺭ ﻜﺎﺩﺭ‪ ,‬ﺜﻡ ﻴﺠﺭﻯ ﺼﻭﺕ ﺃﻴﻭﺏ ‪ :‬ﻭﺃﻴﻥ ﺃﻭﻻﺩﻩ ‪...‬؟‬
‫ﺍﻝﺭﺠل ﺍﻝﻤﻠﺜﻡ ‪ :‬ﺇﺫﻫﺏ ﻴﺎﺃﻴﻭﺏ ﻭﻻ‬ ‫ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﺘﺴﺄﻝﻨﻰ ‪ ..‬ﻝﻘﺩ ﻗﻠﺕ ﻤﺎﻓﻴﻪ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﻜﻔﺎﻴﺔ ‪..‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻷﻴﻭﺏ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪190‬‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺃﻴﻭﺏ ‪ :‬ﻤﺭﺍﺩ ﻝﻡ ﻴﺄﺘﻰ ﺒﻌﺩ ‪...‬ﻫل‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ‬
‫ﺭﺤل ‪ ...‬؟‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﺤﻴﺙ ﻴﻘﻑ ﺍﻝﻤﺴﺎﻋﺩ‬
‫ﻤﺴﺎﻋﺩ ﺃﻴﻭﺏ ‪ :‬ﻻ ﻴﺎﺴﻴﺩﻯ ‪..‬‬
‫ﺒﺠﻭﺍﺭ ﺍﻝﻤﺭﻜﺏ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‬
‫ﺃﻴﻭﺏ ‪ :‬ﺍﻵﻥ ﺃﺼﺒﺢ ﻴﺴﺘﻁﻴﻊ ﺃﻥ‬
‫‪ Zoom In‬ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻴﺘﻌﺎﻤل ﺒﻤﺎﺌﺔ ﻭﺠﻪ ‪ ..‬ﻫﺫﺍ ﺍﻝﻜﻠﺏ‬
‫ﻤﺘﻭﺴﻁﺔ ‪ , .M .S‬ﺜﻡ ﻴﺩﺨل ﺭﺠﻼﻥ ﺍﻝﻜﺎﺩﺭ ﺍﻝﺤﻘﻴﺭ ‪...‬‬
‫ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ﻋﺎﺒﺭﹰﺍ ﺃﻴﻭﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻴﺩﺨل ﻤﻥ ﺃﻴﻭﺏ ‪ :‬ﻗﺩ ﺃﺤﺯﻨﻨﻰ ﻤﻭﺕ ﻭﺍﻝﺩﻙ‬ ‫‪191‬‬
‫ﻼ ﺍﻝﺘﻤﺜﺎل ﺍﻝﺼﻐﻴﺭ ﻤﺜﻠﻤﺎ ﺃﺤﺯﻨﻙ ‪ ..‬ﻝﻡ ﻴﻤﻨﻌﻨﻰ ﻋﻥ‬ ‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻘﻑ ﺤﺎﻤ ﹰ‬
‫ﻭﻴﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﻴﺩﺨل ﺃﻴﻭﺏ ﺍﻝﻜﺎﺩﺭ ﺍﻝﺤﻀﻭﺭ ﺇﻻ ﺍﻝﻤﺨﺎﻁﺭ ﺍﻝﺘﻰ‬
‫ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻹﺜﻨﻴﻥ ﺘﻌﺭﻓﻬﺎ ‪...‬‬
‫‪ M .S. 2‬ﻭﻴﻨﻅﺭ ﺍﻴﻭﺏ ﺇﻝﻰ ﺍﻝﺘﻤﺜﺎل ﻭﻴﺤﺎﻭل ﻭﻨﻴﺱ ‪ :‬ﺤﻀﻭﺭﻙ ﻝﻡ ﻴﻌﺩ ﻤﺭﻏﻭﺒﺎ‬
‫ﺃﺨﺫﻩ ﻤﻥ ﻭﻨﻴﺱ ﺍﻝﺫﻯ ﻴﻤﻨﻌﻪ ﻤﻥ ﺃﺨﺫﻩ ‪ ,‬ﺜﻡ ﻓﻴﻪ ﺒﻌﺩ ﺍﻝﻴﻭﻡ ‪.‬‬
‫ﺼﻭﺕ ﺍﻝﺨﻁﻭﺍﺕ‬
‫ﻴﺨﺭﺝ ﺃﻴﻭﺏ ﺍﻝﻌﻴﻥ ﺍﻝﺫﻫﺒﻴﺔ " ﺍﻝﺩﻓﻴﻨﺔ " ﺃﻴﻭﺏ ‪ :‬ﻤﻨﺫ ﻤﺘﻰ ﺘﺠﺭﺅ ﻤﺨﺎﻁﺒﺘﻰ‬
‫ﻓﻴﺨﻁﻔﻬﺎ ﻭﻨﻴﺱ ﻤﻥ ﻴﺩﻩ ﻭﻴﺘﺭﺍﺠﻊ ﻝﻠﺨﻠﻑ ﻫﻜﺫﺍ ﺃﻴﻬﺎ ﺍﻝﻐﻼﻡ ‪ ...‬ﺃﺠﻌﻠﻙ ﻤﻴﺭﺍﺜﻙ‬
‫ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻤﺘﻐﻁﺭﺴﹰﺎ ﺍﻝﻰ ﻫﺫﺍ ﺍﻝﺤﺩ ‪ ..‬ﺒﻠﺴﺎﻥ‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ Pan Right‬ﻤﻥ ﺘﺘﻜﻠﻡ ‪..‬؟‬
‫ﻭﻨﻴﺱ ‪ :‬ﺒﻠﺴﺎﻨﻰ ﻭﻝﺴﺎﻥ ﺃﺨﻰ ‪...‬‬
‫ﻫﺫﻩ ﺍﻝﺘﺠﺎﺭﺓ ﻝﻥ ﺘﺴﺘﻤﺭ ﺒﻌﺩ‬

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‫ﺍﻝﻴﻭﻡ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬

‫ﺃﻴﻭﺏ ‪ :‬ﺃﻯ ﺘﺠﺎﺭﺓ ﺃﺨﺭﻯ ﺘﻌﺭﻑ‬
‫ﺇﺫﻥ ‪ ..‬ﺇﻨﻙ ﻻ ﺘﻌﺭﻑ ﺤﺘﻰ ﻫﺫﻩ ‪..‬‬
‫ﺃﻴﻭﺏ ‪ :‬ﺃﻋﺩﻫﺎ ﺇﻝﻰ ﻴﺎﻭﻝﺩﻯ ‪..‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﻻ ﺘﻨﺎﺩﻨﻰ ﺒﻭﻝﺩﻙ ‪..‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻷﻴﻭﺏ ﻴﻨﻅﺭ ﻴﻤﻴﻥ‬ ‫‪192‬‬
‫ﺃﻴﻭﺏ ‪ :‬ﻨﻌﻡ ﻴﺎﻭﻝﺩﻯ ‪ ..‬ﻜﺎﻥ ﺃﺒﻭﻙ‬
‫ﻜﺎﺩﺭ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﻴﺘﺤﺭﻙ ﻝﻸﻤﺎﻡ‬
‫ﺃﻜﺜﺭ ﻤﻥ ﺃﺥ ﻝﻰ ‪ ..‬ﺃﻋﺩﻫﺎ ‪.‬‬
‫ﻭﻴﺼل ﺇﻝﻰ ﻭﻨﻴﺱ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻭﻨﻴﺱ ‪ :‬ﺘﻭﻗﻑ ﻴﺎﺃﻓﻌﻰ ‪.‬‬
‫ﻤﺘﻭﺴﻁﺔ ﻷﺜﻨﻴﻥ ‪ M .S. 2‬ﻭﻴﺼﺒﺢ ﻭﻨﻴﺱ‬
‫ﺃﻴﻭﺏ ‪ :‬ﺃﻋﺩﻫﺎ ﺇﻝﻰ ‪ ..‬ﻝﻘﺩ ﺩﻓﻌﺕ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺃﻴﻭﺏ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺭﺍﺠﻊ‬
‫ﺜﻤﻨﻬﺎ ﻜﻤﺎ ﺩﻓﻌﺕ ﻤﻥ ﻤﺎﻝﻰ ﻜل‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﻠﻑ ‪Track out‬‬
‫ﺜﺭﻭﺓ ﻗﺒﻴﻠﺘﻙ ﺍﻝﺠﺎﺌﻌﺔ ‪..‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻤﻥ ﻓﻭﻕ ﻜﺘﻑ‬ ‫‪193‬‬
‫ﻭﻨﻴﺱ ﺍﻝﺫﻯ ﻴﻘﻑ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻤﺴﻙ ﻭﻨﻴﺱ ‪ :‬ﺃﻨﺕ ﺴﺒﺏ ﻜل ﻫﺫﺍ‬
‫ﺒﺠﻠﺒﺎﺏ ﺃﻴﻭﺏ ﺍﻝﻭﺍﻗﻑ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﻴﺘﺭﺍﺠﻊ ﺍﻝﺸﻘﺎﺀ ‪.‬‬
‫ﺃﻴﻭﺏ ﻝﻠﺨﻠﻑ ﻭﻴﺨﺭﺝ ﺒﻅﻬﺭﻩ ﻤﻥ ﻴﺴﺎﺭ ﺃﻴﻭﺏ ‪ :‬ﺘﺭﻴﺩ ﺃﻥ ﺘﺘﻌﺎﻤل ﻤﻊ‬
‫ﺍﻝﻜﺎﺩﺭ ﻭﻴﺼﺒﺢ ﻭﻨﻴﺱ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺭﺍﺩ ‪..‬؟‬
‫ﻤﺘﻭﺴﻁﺔ ‪.M. S‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪Medium Close‬‬ ‫‪194‬‬
‫ﺃﻴﻭﺏ ‪ :‬ﻫﻴﺎ ‪ ..‬ﺨﺫﻭﻫﺎ ﻤﻨﻪ ﻭﻝﻭ‬
‫‪ up‬ﻷﻴﻭﺏ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﻴﺩﺨل‬
‫ﻜﺎﻨﺕ ﺘﻌﻨﻰ ﺤﻴﺎﺘﻪ ‪.‬‬
‫ﻼ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬ ‫ﺭﺠ ﹰ‬
‫ﺼﻭﺕ ﺃﻴﻭﺏ ‪ :‬ﻝﻥ ﺘﻜﻭﻥ ﻫﻨﺎﻙ‬
‫‪ Right‬ﺤﺘﻰ ﻭﻨﻴﺱ ﺍﻝﺫﻯ ﻴﺘﺭﺍﺠﻊ ﻝﻠﺨﻠﻑ‬
‫ﺘﺠﺎﺭﺓ ﺒﻌﺩ ﺍﻵﻥ ‪ ..‬ﻓﻠﻴﺘﻀﻭﺭ‬
‫ﻤﻤﺴﻜ ﹰﺎ ﺒﺎﻝﻘﻁﻌﺘﻴﻥ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ‬
‫ﺭﺠﺎﻝﻙ ﺠﻭﻋﹰﺎ ﻭﻝﺘﺤﻤل ﻨﺴﺎﺅﻜﻡ‬
‫‪ Tilt up‬ﻨﺎﺤﻴﻪ ﻴﺩﻴﻪ ﺍﻝﻼﺘﺎﻥ ﺘﺭﺘﻔﻌﺎﻥ‬
‫ﺍﻝﺤﻁﺏ ‪......‬ﻝﻘﺩ ﺤﻜﻤﺕ ﻋﻠﻰ‬
‫ﺒﺎﻝﻘﻁﻌﺘﻴﻥ ﺒﻴﻨﻤﺎ ﻴ‪‬ﻤﺴﻙ ﺍﻝﺭﺠل ﺒﻴﺩﻴﻪ‬
‫ﻗﺒﻴﻠﺘﻙ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻷﻴﻭﺏ ﻴﻨﻅﺭ ﻷﻋﻠﻰ‬ ‫‪195‬‬
‫ﻭﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ﺠﺯﺀ ﻤﻥ ﺠﺴﺩﻯ‬
‫ﺼﻭﺕ ﺍﻝﻀﺭﺏ‬ ‫ﺍﻝﺭﺠﻼﻥ ﻴﻤﻴﻨ ﹰﺎ ﻭﻴﺴﺎﺭﺍ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﺍﻝﺨﺒﻁﺔ‬ ‫ﻷﻋﻠﻰ‪ Tilt Up‬ﻝﺘﺘﺎﺒﻊ ﺍﻝﻌﺼﺎ ﻭﻫﻰ ﺘﻨﺯل‬
‫ﻷﺴﻔل ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺇﻅﻼﻡ ﺴﺭﻴﻊ ‪Black‬‬
‫ﻤﺸﻬﺩ ) ‪( 19‬‬
‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﻁﻰﺀ ﺍﻝﻨﻬﺭ‬
‫ﻅﻬﻭﺭ ﺘﺩﺭﻴﺠﻰ ‪Fade- in‬‬ ‫‪196‬‬
‫ﻝﻭﻥ ﺃﺭﺠﻭﺍﻨﻰ ﺤﺯﻴﻥ ﻴﻐﻁﻰ ﻝﻜﺎﺩﺭ ﻝﻘﻁﺔ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻜﺒﻴﺭﺓ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ ‪High‬‬
‫ﺼﻭﺕ ﺍﻝﻤﺎﺀ‬
‫) ‪( 13‬‬ ‫‪ Angle‬ﻝﻭﻨﻴﺱ ﺭﺍﻗﺩﹰﺍ ﻋﻠﻰ ﻭﺠﻬﻪ ﻓﻭﻕ‬
‫ﺸﺎﻁﻰﺀ ﺍﻝﻨﻬﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 197‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪Medium Close‬‬
‫‪ up‬ﻝﻭﻨﻴﺱ ﻋﻠﻰ ﺍﻷﺭﺽ ﻴﻔﻴﻕ ﻤﻥ‬
‫ﺍﻝﻐﻴﺒﻭﺒﺔ ‪ ,‬ﻴﺭﻓﻊ ﺭﺃﺴﻪ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭ‬
‫ﻷﻋﻠﻰ ‪ Tilt Up‬ﻭﻴﻘﻑ ﻝﻴﻨﻅﺭ ﻝﻠﻤﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻤﺎﺀ ‪.L. S‬‬ ‫‪198‬‬
‫ﻗﻁﻊ ‪Cut‬‬

‫ﻤﺸﻬﺩ ) ‪( 20‬‬

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‫ﻨﻬﺎﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﺍﻝﻭﺍﺩﻯ‬

‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻴﺘﺤﺭﻙ ﻓﻰ‬ ‫‪199‬‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺨﺎﺭﺝ‬
‫‪ Zoom -out‬ﻭﻴﻘﻑ ﻓﺠﺄﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻤﺭﻜﺏ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬ ‫‪200‬‬
‫ﺭﺍﺴﻴﺔ ﻭﻴﻅﻬﺭ ﺭﺴﻡ ﺍﻝﻜﻔﺎﻥ ﺍﻝﺯﺭﻗﺎﻭﺍﻥ‬
‫ﻭﺘﻘﺘﺭﺏ ﻤﻨﻬﻤﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Track -In‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪201‬‬
‫ﻤﻨﺨﻔﻀﺔ ‪ Low Angle‬ﻓﻭﻕ ﻤﺭﺘﻔﻊ ﻤﻥ‬
‫ﺍﻝﺼﺨﻭﺭ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﻨﻔﻌﺔ‬ ‫‪202‬‬
‫‪ High Angle‬ﻝﺭﺠﻼﻥ ﻓﻰ ﻤﻼﺒﺱ ﺩﺍﻜﻨﺔ‬
‫ﻴﺠﻠﺴﺎﻥ ﻋﻠﻰ ﺍﻝﺭﻤﺎل ﻴﻌﺩﺍﻥ ﺒﻌﺽ ﺍﻝﻨﻘﻭﺩ‬
‫ﺜﻡ ﻴﺘﻭﻗﻔﺎ ﻋﻥ ﺍﻝﻌﺩ ﻭﻴﻨﻅﺭﺍ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﻘﻔﺎ ﺒﻔﺯﻉ ﻭﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻋﻨﻬﻤﺎ ‪ Zoom -Out‬ﻭﻴﻌﺩﻭﻥ ﻓﻰ ﻋﻜﺱ‬
‫ﺍﺴﺘﻤﺭﺍﺭ ﻤﻭﺴﻴﻘﻰ‬
‫ﺼﻭﺕ ﺇﺭﺘﻁﺎﻡ ﻗﺩﻤﻴﻪ‬ ‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻘﻔﺯ ﻭﻨﻴﺱ ﺍﻝﻰ ﺍﻜﺎﺩﺭ ﻤﻥ‬
‫)‪( 13‬‬
‫ﺃﻋﻠﻰ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﻴﻘﻑ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻴﺘﺎﺒﻌﻬﻤﺎ ﻝﻠﻴﻤﻴﻥ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻌﻪ‬
‫ﻤﻊ ﺤﺭﻜﺔ ‪ , Zoom In‬ﺜﻡ ﻴﻘﻑ ﻭﻴﻠﺘﻔﺕ‬
‫ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻅﻬﺭ ﻭﺠﻬﻪ ﻤﻠﻭﺜﹰﺎ‬
‫ﺒﺎﻝﺩﻤﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻤﺭﻜﺏ ‪.L .S‬‬ ‫‪203‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L. S‬ﻝﻠﺭﺠﻼﻥ ﻴﻨﺯﻻﻥ ﻓﻰ ﻤﻤﺭ‬ ‫‪204‬‬
‫ﻭﻴﻨﻅﺭﺍ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﺨﺭﺠﺎ ﻤﻥ‬
‫ﺍﻝﻴﺴﺎﺭ ﺨﻠﻑ ﺃﺤﺩ ﺍﻝﻤﻘﺎﺒﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻴﺘﺤﺭﻙ ﻨﺤﻭ ﺃﺤﺩ‬ ‫‪205‬‬
‫ﻤﻤﺭﺍﺕ ﺍﻝﻤﻘﺒﺭﺓ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ‪,‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫ﻭﻴﺼﻌﺩ ﺃﺤﺩ ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ ﻓﻰ ﻨﻬﺎﻴﺔ‬
‫) ‪( 13‬‬
‫ﺍﻝﻤﻤﺭ ﻭﻴﺨﺘﻔﻰ ﺨﻠﻔﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 21‬‬
‫ﻨﻬﺎﺭ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻌﺒﺩ ﺍﻝﺭﻤﺴﻴﻭﻡ‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪206‬‬
‫‪ High Angle‬ﻝﻭﻨﻴﺱ ﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﻤﻥ‬
‫ﺍﻝﻴﺴﺎﺭ ﻨﺤﻭ ﺘﻤﺜﺎل ﺭﻤﺴﻴﺱ ﺍﻝﺜﺎﻨﻰ ﺜﻡ ﻴﻨﻅﺭ‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨﹰﺎ‬
‫‪ Tracking‬ﻤﻊ ﺤﺭﻜﺔ ﻭﻨﻴﺱ ﻭﻴﻠﺘﻔﺕ ﺜﻡ‬
‫ﻴﻨﻅﺭ ﻷﺴﻔل ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪207‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M . s‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬
‫‪ High Angle‬ﻝﻠﻐﺭﻴﺏ ﻤﺨﺘﺒﻰﺀ ﻭﻤﻼﺒﺴﻪ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﻤﺯﻗﺔ ﻴﺘﺄﻝﻡ ‪ ,‬ﻭﻴﺩﺨل ﻭﻨﻴﺱ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﻭﻨﻴﺱ ‪ :‬ﺇﻨﺘﻅﺭ ‪.‬‬

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‫‪welcome to the school of cinema on line‬‬ ‫‪Page 32 of 43‬‬

‫)‪( 14‬‬ ‫ﺍﻝﻴﻤﻴﻥ ﻭﻴﻘﻑ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪,‬‬

‫ﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﻐﺭﻴﺏ ﻝﻠﻴﻤﻴﻥ ﻭﻴﺩﺨل ﺒﻴﻥ ﺃﺤﺩ‬
‫ﺍﻷﻋﻤﺩﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 208‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺢ‪ Hand‬ﺍﻝﻐﺭﻴﺏ ‪ :‬ﺍﻝﺭﺤﻤﺔ ﻴﺎﺇﺒﻥ ﺴﻠﻴﻡ‬
‫‪ Camera‬ﻤﺤﻤﻭﻝﺔ ﻝﻭﻨﻴﺱ ﻴﺩﺨل ﻤﻥ ﻭﻨﻴﺱ ‪ :‬ﺃﻋﺭﻓﺕ ﺍﻵﻥ ﺇﺴﻤﻰ ‪...‬؟‬
‫ﺍﻝﻴﺴﺎﺭ ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻭﻴﻌﺒﺭ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻴﻅﻬﺭ‬
‫ﻭﻨﻴﺱ ‪ :‬ﻫل ﻜﺎﻨﻭﺍ ﺜﻼﺜﺔ ‪..‬؟‬
‫ﺍﻝﻐﺭﻴﺏ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻤﺴﺘﻨﺩﹰﺍ ﻋﻠﻰ ﺤﺎﺌﻁ‬
‫ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻻ ﺘﻅﻥ ﺒﻰ ﺸﺭﹰﺍ ﺇﻨﻰ‬
‫ﺍﻝﻤﻌﺒﺩ ‪ ,‬ﺜﻡ ﻴﻘﻔﺎ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺒﻌﻀﻬﻤﺎ‬
‫ﺭﺍﺤل ‪ ...‬ﻫﺩﺩﻭﻨﻰ ﺒﺎﻝﻘﺘل ﺇﺫﺍ ﻝﻡ‬
‫ﺍﻝﺒﻌﺽ ‪ ,‬ﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻅل‬
‫ﺃﺭﺤل ﻗﺒل ﻫﺫﺍ ﺍﻝﻤﺴﺎﺀ ‪.‬‬
‫ﺒﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪,‬ﺒﻴﻨﻤﺎ ﻴﺘﺭﺍﺠﻊ ﺍﻝﻐﺭﻴﺏ‬
‫ﻭﻨﻴﺱ ‪ :‬ﺇﻨﺘﻅﺭ ‪ ...‬ﻤﺎﺫﺍ ﻴﻔﻌل‬
‫ﻝﻠﺨﻠﻑ ﻭﻫﻭ ﻴﻌﺭﺝ ﻋﻠﻰ ﺇﺤﺩﻯ ﺴﺎﻗﻴﻪ ‪ ,.‬ﺜﻡ‬
‫ﻫﺅﻻﺀ ﺍﻷﻓﻨﺩﻴﺔ ﻋﻨﺩ ﺴﻔﺢ ﺍﻝﺠﺒل ؟‬
‫ﻴﺴﻘﻁ ﻭﻨﻴﺱ ﻋﻠﻰ ﺭﻜﺒﺘﻴﻪ ﺭﺍﻜﻌﹰﺎ ﻋﻠﻰ ﻗﺩﻤﻴﻪ‬
‫ﻝﻘﺩ ﻋﻤﻠﺕ ﻤﻌﻬﻡ ‪.‬‬
‫ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻻ ﺃﻋﺭﻑ ‪ ..‬ﻗﻠﺕ ﻝﻬﻡ ﻻ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺃﻋﺭﻑ ‪.‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﻻ ﺘﺨﺸﺎﻨﻰ ﺇﻨﻰ ﺠﺭﻴﺢ‬
‫ﻤﺜﻠﻙ ‪...‬‬
‫ﺍﻝﻐﺭﻴﺏ ‪ :‬ﺁﻻﻤﻰ ﺘﻜﻔﻴﻨﻰ ﻴﺎﺇﺒﻥ‬
‫ﺴﻠﻴﻡ ‪.‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﺃﻴﻬﺎ ﺍﻝﻐﺭﻴﺏ ‪...‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻓﻰ ﻭﻨﻴﺱ ‪ .. :‬ﺁﻻﻤﻰ ﻫﻰ ﻜل ﺍﻝﻌﻤﺭ‬ ‫‪209‬‬
‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ ﺍﻝﺫﻯ ﻋﺸﺘﻪ ‪ ..‬ﺁﻻﻡ ﺃﻋﺠﺯ ﻋﻥ‬
‫‪ Reverse Angle‬ﺭﺍﻜﻌ ﹰﺎ ﻭﻴﻨﻅﺭ ﻓﻰ ﻓﻬﻤﻬﺎ ‪ ..‬ﺇﻓﺼﺢ ﻓﺈﻥ ﺍﻝﻅﻨﻭﻥ‬
‫ﺃﺨﺭﺠﺘﻨﻰ ﻤﻥ ﺩﺍﺭﻯ ‪ ,‬ﻭﺸﻭﻫﺕ ﻓﻰ‬ ‫ﺍﺘﺠﺎﻫﻬﺎ ‪ ,‬ﺜﻡ ﻴﺨﻔﺽ ﺭﺃﺴﻪ‬
‫ﺭﺃﺴﻰ ﺫﻜﺭﺍﻩ ‪ ....‬ﺃﻗﻑ ﺃﻤﺎﻡ ﻫﺫﺍ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻝﺠﺒل ﻋﺎﺠﺯﹰﺍ ﻴﻤﻠﺅﻨﻰ ﺼﻭﺘﻪ‬
‫ﺒﺎﻝﻐﻀﺏ ﻭﺃﻨﺎ ﻝﻰ ﻨﺼﻴﺏ ﻓﻴﻪ ‪...‬‬
‫ﺃﺠﺏ ! ﻋﻥ ﻤﺎﺫﺍ ﻴﺒﺤﺜﻭﻥ ﻓﻴﻪ ‪..‬؟‬
‫ﻋﻨﺩﻫﻡ ﻜل ﻤﺎﻴﻭﺍﺯﻯ ﻜل ﻤﺎ ﻓﻰ‬
‫ﺠﻭﻓﻪ ‪!...‬‬
‫‪ 210‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L .S‬ﻤﻥ ﻭﺭﺍﺀ ﻜﺘﻑ ﻭﻨﻴﺱ‬
‫ﺍﻝﺭﺍﻜﻊ ﻋﻠﻰ ﻗﺩﻤﻴﻪ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ‬
‫ﺍﻝﻐﺭﻴﺏ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻴﺴﺎﺭﹰﺍ ﻤﺴﺘﻨﺩﹰﺍ ﻋﻠﻰ‬
‫ﺍﻝﺤﺎﺌﻁ‪ ,‬ﺜﻡ ﻴﻘﻑ ﻭﻨﻴﺱ ﻓﺠﺄﺓ ﻭﻴﺘﺤﺭﻙ‬
‫ﻴﺴﺎﺭﹰﺍ ﻨﺎﺤﻴﺔ ﺍﻝﺤﺎﺌﻁ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺍﻝﻐﺭﻴﺏ ‪ :‬ﻴﻘﻭﻝﻭﻥ ﺃﻨﻬﻡ ﻴﺒﺤﺜﻭﻥ‬
‫ﻋﻥ ﻗﻭﻡ ﻨﻌﻴﺵ ﺍﻝﻴﻭﻡ ﻋﻠﻰ‬
‫‪ Zoom in‬ﺴﺭﻴﻊ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﺃﻁﻼﻝﻬﻡ ‪ ..‬ﻴﺴﻤﻭﻨﻬﻡ ﺍﻝﺠﺩﻭﺩ‬
‫ﻤﺘﻭﺴﻁﺔ ‪ , <M. S‬ﻭﻴﺴﻨﺩ ﺭﺃﺴﻪ ﻋﻠﻰ‬
‫ﻭﻴﻘﺭﺀﻭﻥ ﻋﻠﻰ ﺍﻝﺤﺠﺭ ﻜﺘﺎﺒﺎﺘﻬﻡ‬
‫ﺍﻝﺤﺎﺌﻁ ﺜﻡ ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﺘﺒﺘﻌﺩ‬
‫ﻭﺃﺴﻤﺎﺀﻫﻡ ‪ ..‬ﻭﻴﻬﺘﻤﻭﻥ ﺒﻬﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺴﺭﻴﻌ ﹰﺎ‬
‫ﻭﻴﺤﺎﻓﻅﻭﻥ ﻋﻠﻰ ‪...‬‬
‫‪ Zoom out‬ﻝﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻭﻨﻴﺱ ‪ :‬ﻜﻔﻰ ‪ ..‬ﺇﻨﻬﻡ ﻤﻭﺘﻰ ‪..‬‬
‫ﺍﻝﻌﻤﻕ‬ ‫ﻜﺒﻴﺭﺓ‪ .L .S‬ﻭﻴﺘﺤﺭﻙ ﺴﺭﻴﻌﺎ ﻨﺎﺤﻴﺔ‬
‫ﻤﻭﺘﻰ ‪..‬ﻻ ﺃﺤﺩ ﻴﻌﺭﻑ ﻝﻬﻡ ﺃﺒﺎﺀ ﺃﻭ‬
‫ﻭﻴﺒﺤﺙ ﻋﻥ ﺍﻝﻐﺭﻴﺏ ﺍﻝﺫﻯ ﺍﺨﺘﻔﻰ ﻤﻥ ﺍﻝﻜﺎﺩﺭ‬
‫ﺃﺒﻨﺎﺀ ‪ .‬ﻜﻔﻰ ﻤﺎﻗﻠﺕ ﺠﻌﻠﺕ ﺍﻷﺤﺠﺎﺭ‬
‫ﻭ ﻭﻴﺨﺭﺝ ﻭﻨﻴﺱ ﻤﻥ ﺒﻴﻥ ﺍﻷﻋﻤﺩﺓ ﻴﻤﻴﻨﹰﺎ ﺘﺒﺩﻭ ﺤﻴﺔ ﺃﻤﺎﻤﻰ ‪...‬‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻌﻪ ﻴﻤﻴﻨ ﹰﺎ ﻭﻫﻭ ﻴﺘﺤﺭﻙ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻓﻰ ﺍﻝﺒﻬﻭ ﺍﻝﻭﺍﺴﻊ ‪ ,‬ﺜﻡ ﻴﺄﺘﻰ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫) ‪( 14‬‬ ‫ﻭﻴﻘﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪211‬‬
‫) ‪( 15‬‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﺤﺎﺌﻁ ﺍﻝﻤﻌﺒﺩ ‪ .L. S‬ﻤﻥ ﻭﺠﻬﺔ‬
‫ﻨﻅﺭ ﻭﻨﻴﺱ ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ‪Tilt up‬‬
‫ﻝﺘﻅﻬﺭ ﺍﻝﻜﺘﺎﺒﺎﺕ ﺍﻝﻬﻴﺭﻭﻏﻠﻴﻔﻴﺔ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪212‬‬
‫ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﺍﻝﻜﺎﻤﻴﺭﺍ ﺃﻋﻠﻰ‬
‫ﺼﺩﻯ ﺨﻁﻭﺍﺕ ﻭﻨﻴﺱ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺍﻝﺤﺎﺌﻁ ‪ ,‬ﻭﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ﻨﺎﺤﻴﺔ ﺍﻝﺤﺎﺌﻁ ‪.‬‬
‫)‪( 15‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 22‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻘﺎﺒﺭ ﺍﻝﻘﺒﻴﻠﺔ‬
‫‪ 213‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﺭﺍﻜﻌ ﹰﺎ ﺃﻤﺎﻡ ﻤﺭﺍﺩ ‪ :‬ﻴﺎﺴﻴﺩ ﻭﻨﻴﺱ ‪ ...‬ﻴﺎﺴﻴﺩ‬
‫ﺸﺎﻫﺩ ﻗﺒﺭ ﺃﺒﻴﻪ ﻭﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻭﺘﺒﺘﻌﺩ ﻭﻨﻴﺱ ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Track -out‬ﻝﻠﺨﺎﺭﺝ ﻭﻴﺩﺨل ﻭﻨﻴﺱ ‪ :‬ﻝﻤﺎ ﺠﺌﺕ ﻭﺭﺍﺌﻰ ﻫﻨﺎ‪!...‬‬
‫ﻤﺭﺍﺩ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﻴﺭﻜﻊ ﻋﻠﻰ ﺍﻷﺭﺽ ﻤﺭﺍﺩ ‪ :‬ﻤﻠﻌﻭﻥ ﺍﻝﻴﻭﻡ ﺍﻝﺫﻯ ﺠﻌﻠﻨﻰ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻘﻑ ﻭﻨﻴﺱ ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺃﺤﻤل ﻝﻙ ﻓﻴﻪ ﺃﺨﺒﺎﺭ ﺍﻝﺸﺅﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺘﻘﺩﻡ ﻭﻨﻴﺱ ﺴﺭﻴﻌﹰﺎ ) ﻴﺒﻜﻰ ( ﻭﻤﻠﻌﻭﻥ ﺍﻝﻴﻭﻡ ﺍﻷﺴﻭﺩ‬
‫ﻨﺎﺤﻴﺔ ﻤﺭﺍﺩ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺴﺭﻴﻌ ﹰﺎ ﻝﻠﺩﺍﺨل ﺍﻝﺫﻯ ﺴﻴﺅﺫﻭﻨﻙ ﻓﻴﻪ ﺃﻨﺕ ﺍﻵﺨﺭ ‪.‬‬
‫‪ Track -in‬ﻝﺘﺘﺎﺒﻌﻪ ﻭﻫﻭ ﻴﺠﺫﺏ ﻤﺭﺍﺩ ﻭﻨﻴﺱ ‪ :‬ﻤﻥ ﺍﻝﺫﻯ ﺴﻴﺅﺫﻴﻨﻰ ‪..‬؟‬
‫ﺍﻝﺫﻯ ﻴﻘﻑ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻤﺭﺍﺩ ‪ :‬ﻤﻠﻌﻭﻥ ﺍﻝﻴﻭﻡ ﺍﻝﺫﻯ ﺨﺭﺠﺕ‬
‫ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺜﻡ ﻴﻠﻘﻴﻪ ﻓﻴﻪ ﻝﻠﺤﻴﺎﺓ ‪.‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﻗل ﻤﺎﻋﻨﺩﻙ ﺃﻭ ﺇﺫﻫﺏ ﻤﻥ‬ ‫ﺒﻌﻴﺩﹰﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻴﻤﻴﻨ ﹰﺎ ‪ Pan Right‬ﻭﻴﻘﻊ ﻤﺭﺍﺩ ﻋﻠﻰ ﻫﻨﺎ ‪.‬ﻤﺭﺍﺩ ‪ :‬ﻗﺒﻴﻠﺘﻙ‪ ...‬ﻝﺤﻤﻙ‪...‬‬
‫ﺩﻤﻙ ‪ ..‬ﺇﻀﺭﺒﻨﻰ ﺃﻗﺘﻠﻨﻰ ‪ ..‬ﻻ‬ ‫ﺍﻷﺭﺽ ﻭﻴﺼﺒﺢ ﻓىﺤﺠﻡ ﻝﻘﻁﺔ‬
‫ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﺜﻡ ﻴﻘﻑ ﺜﻡ ﻴﻠﻘﻴﻪ ﻭﻨﻴﺱ ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﻗﻭل ﻝﻙ ‪ ..‬ﺃﻴﻬﺎ ﺍﻝﻴﻭﻡ‬
‫ﺜﺎﻨﻴﺔ ﻭﻴﺼﺒﺢ ﻭﻨﻴﺱ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﺍﻹﺴﻭﺩ ‪.‬‬
‫ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ , .M .L. S‬ﻭﻫﻭ ﻴﻨﺤﻨﻰ ﻭﻨﻴﺱ ‪ :‬ﺘﻜﻠﻡ ﻴﺎﻤﺭﺍﺩ ‪ ..‬ﻻ‬
‫ﺒﺠﻭﺍﺭ ﻤﺭﺍﺩ ﺍﻝﺭﺍﻗﺩ ﻋﻠﻰ ﺍﻷﺭﺽ ‪ ,‬ﻭﻴﺠﺫﺒﻪ ﺘﺘﻼﻋﺏ ﺒﺎﻝﻜﻠﻤﺎﺕ ‪...‬‬
‫ﺜﺎﻨﻴﺔ ﻷﻋﻠﻰ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺭﺍﺩ ‪ :‬ﺍﺨﻭﻙ ﺭﺤﻤﻪ ﺍﷲ )ﻴﺒﻜﻰ ﻓﻰ‬
‫ﻤﺘﻭﺴﻁﺔ ﻹﺜﻨﻴﻥ ‪ M .S. 2‬ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﻌﻭﻤﺔ( ﻗﺘﻠﻭﻩ ‪.‬‬
‫ﻤﻥ ﻭﻨﻴﺱ ﻋﻨﺩﻤﺎ ﻴﺘﺭﻙ ﻤﺭﺍﺩ ﻭﻴﺼﺒﺢ ﻓﻰ ﻭﻨﻴﺱ ‪ :‬ﻜﺎﺫﺏ )ﺜﺎﺌﺭﹰﺍ ( ﻜﻴﻑ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪ Medium‬ﺘﺠﺭﺅ ﻋﻠﻰ ﺇﺨﺘﻼﻕ ﻜﻼﻤﻙ ﻫﺫﺍ ‪..‬؟‬
‫‪ Close up‬ﻭﻴﻠﺘﻔﺕ ﺒﺩﻫﺸﺔ ﻭﻓﺯﻉ ‪ ,‬ﺜﻡ ﻤﺭﺍﺩ ‪ ) :‬ﻓﻰ ﻓﺯﻉ (ﺇﻨﻬﺎ ﺍﻝﺤﻘﻴﻘﺔ‬
‫ﻴﻀﻊ ﻴﺩﻴﻪ ﻋﻠﻰ ﻭﺠﻬﻪ ﻭﻴﻨﻅﺭ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ؟؟ ﺃﻗﺴﻡ ل ‪..‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﻻ ﺘﻠﻤﺴﻪ ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺭﺍﺩ ‪ :‬ﺍﻨﺎ ﺍﻝﺤﻘﻴﺭ ‪ ..‬ﺍﻝﻜل‬
‫ﻴﻜﺭﻫﻨﻰ ‪.‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﻓﻠﺘﺜﺒﺕ ﻜﻼﻤﻙ ‪ ...‬ﻤﻥ‬
‫ﻗﺘﻠﻪ ‪..‬؟ ﺘﻜﻠﻡ ‪.‬‬
‫ﻤﺭﺍﺩ ‪ :‬ﺍﻝﻘﺎﺭﺏ ﺍﻝﺫﻯ ﺭﺤل ﺒﻪ‬
‫ﺃﺨﻭﻙ ‪ ..‬ﻗﺎﺭﺏ ﻋﻠﻴﻪ ﺭﺴﻡ ﻜﻔﻴﻥ‬
‫ﻜﺎﻝﻔﺭﺍﺸﺔ ﻴﺭﺴﻭ ﺨﺎﺭﺝ ﺍﻝﻘﺭﻴﺔ ‪...‬‬
‫ﺼﺎﺤﺒﺎﻩ ﻴﻨﺘﻅﺭﺍﻥ ﺃﺠﺭ ﻓﻌﻠﺘﻬﻤﺎ‬
‫ﺍﻝﺸﻨﻴﻌﺔ ‪.‬‬

‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬
‫) ‪( 16‬‬
‫‪ 214‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻤﺭﺍﺩ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺍﺩ ‪ :‬ﻋﻤﻙ ﺍﺨﺘﻔﻰ ﺍﻝﻴﻭﻡ ‪,‬‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻴﻨﻅﺭ ﻴﺴﺎﺭﹰﺍ ﺃﻋﻠﻰ ﻴﻘﻭﻝﻭﻥ ﺇﻨﻪ ﻴﺒﺤﺙ ﻋﻨﻙ ‪ ..‬ﻫﻭ ﻻ‬
‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻘﻑ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ ﻴﺄﻤﻥ ﻋﻠﻰ ﺍﻝﺴﺭ ﻤﻌﻙ ‪ ..‬ﻝﻴﺱ‬
‫‪ , Tilt up‬ﻭﻴﺘﺤﺭﻙ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭ ﻜﺄﺒﻴﻙ ﺭﺤﻤﻪ ﺍﷲ ‪......‬ﻭﻨﻴﺱ ‪..‬‬
‫‪ Pan Left‬ﻜﺎﺩﺭ ﻭﻴﻘﻑ ﺨﻠﻑ ﻭﻨﻴﺱ ‪ ,‬ﺜﻡ ﻴﺎﺴﻴﺩ ﻭﻨﻴﺱ ‪ ..‬ﺃﻨﺎ ﻭﺍﻨﺕ ﻨﻌﺭﻑ‬
‫ﻴﻠﺘﻔﺕ ﻭﻨﻴﺱ ﻝﻠﺨﻠﻑ ﻭﻴﺘﺒﻌﻪ ﻤﺭﺍﺩ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺎﻨﻘﺼﺩ ‪ ..‬ﻝﻘﺩ ﺃﺭﺴل ﻓﻰ ﻁﻠﺏ‬
‫ﺘﺒﺘﻌﺩ ﻝﻠﺨﺎﺭﺝ ‪ Track -out‬ﻝﻴﺼﺒﺤﺎ ﻓﻰ ﺃﻴﻭﺏ ‪ ..‬ﻭﺴﻴﺄﺨﺫ ﻜل ﺸﻰﺀ ‪ ..‬ﻜل‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ , .L. S‬ﺜﻡ ﻴﺩﻓﻌﻪ ﺸﻰﺀ ‪ ..‬ﻨﻌﻡ ﺃﻴﻭﺏ ﺴﻴﺄﺨﺫ ﻜل‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 34 of 43‬‬

‫ﻭﻨﻴﺱ ﺒﻌﻴﺩﹰﺍ ﻋﻨﻪ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ﺸﻰﺀ ‪ ..‬ﺴﻴﺨﺩﻋﻙ ﻭﻴﺨﺩﻉ ﻗﺒﻴﻠﺘﻙ‬
‫‪ , Pan Right‬ﻭﻴﺩﺨل ﻤﺭﺍﺩ ﺍﻝﻜﺎﺩﺭ ﺜﺎﻨﻴﺔ ﻤﺭﺓ ﺃﺨﺭﻯ ‪ ..‬ﻝﻘﺩ ﻓﻌل ﻫﺫﺍ‬
‫ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل ﺩﺍﺌﻤ ﹰﺎ ‪ ...‬ﺠﺎﺀ ﺒﻰ ﺇﻝﻰ ﻫﻨﺎ ﻭﺤﻴﺩﹰﺍ‬
‫‪ , Track -in‬ﻭﻴﺩﻓﻌﻪ ﻭﻨﻴﺱ ﺜﺎﻨﻴﺔ ﻭﺘﺘﺎﺒﻊ ﻭ ﻏﺭﻴﺒ ﹰﺎ ﻜﺎﻝﻜﻠﺏ ‪ .....‬ﺃﻨﺕ ﺸﺎﺏ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﺭﺍﺩ ﻝﻠﻴﻤﻴﻥ ‪ Pan Right‬ﻗﻭﻯ ‪ ..‬ﻭﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﺘﺴﻠﻕ‬
‫ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﺍﻝﺠﺒل ﺃﺴﺭﻉ ﻤﻥ ﻋﻤﻙ ﻭﺍﺴﺭﻉ ﻤﻥ‬
‫ﻭﻫﻭ ﻴﻘﻑ ﺒﺠﻭﺍﺭ ﺸﺎﻫﺩ ﻗﺒﺭ ﻭﻴﻠﻑ ﻤﺭﺍﺩ ﺃﻴﻭﺏ ‪ ..‬ﺨﺫﻨﻰ ﻤﻌﻙ ‪..‬‬
‫ﺨﻠﻑ ﺍﻝﺸﺎﻫﺩ ﻭﻴﺘﺤﺭﻙ ﻤﻥ ﻭﺭﺍﺀﻩ ﻝﻴﺼل ﺍﻝﻰ ﺇﺤﺴﻡ ﺃﻤﺭﻙ ﺍﻵﻥ ‪ .‬ﺇﺫﺍ ﻝﻡ ﺘﻔﻌل‬
‫ﻴﻤﻴﻥ ﺍﻝﻜﺎﺩﺭ ﻭﻴﺩﺥ ﻝﻭﻨﻴﺱ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺴﻴﺄﺨﺫ ﻋﻤﻙ ﻜل ﺸﻰﺀ ‪ ..‬ﻭﺇﺫﺍ ﻝﻡ‬
‫ﺍﻝﻴﺴﺎﺭ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻴﻔﻌل ﺴﻴﺼل ﺍﻷﻓﻨﺩﻴﺔ ﺇﻝﻴﻪ‬
‫ﻗﺭﻴﺒﺔ ‪ , Medium Close up‬ﺜﻡ ﺘﺘﺎﺒﻊ ﺴﺭﻴﻌ ﹰﺎ ‪ ..‬ﻭﻤﺎﺫﺍ ﻴﺒﻘﻰ ﻝﻨﺎ ‪.‬ﺯ ﻨﺤﻥ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻨﻴﺱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‪ Pan Left‬ﻝﺴﻨﺎ ﻜﺄﻫل ﺍﻝﻭﺍﺩﻯ ‪ ..‬ﺼﺩﻗﻨﻰ ﺃﻨﺎ‬
‫ﻭﻴﻌﻁﻰ ﻅﻬﺭﻩ ﻝﻠﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﺩﺨل ﻤﺭﺍﺩ ﺍﻋﺭﻑ ﻜﻴﻑ ﻭﺃﻴﻥ ﻴﺘﻌﺎﻤل ﺃﻴﻭﺏ ‪..‬‬
‫ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻴﻠﺘﻔﺕ ﻭﻨﻴﺱ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻜل ﺍﻝﺫﻫﺏ ﺴﻴﻜﻭﻥ ﻝﻨﺎ ﺴﻨﺒﻴﻌﻪ ﻓﻰ‬
‫ﻭﻴﺘﺭﺍﺠﻊ ﻤﺭﺍﺩ ﻝﻠﻴﻤﻴﻥ ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ﺍﻝﻘﺎﻫﺭﺓ ‪...‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﻫل ﺭﺃﻴﺕ ﺍﻝﻤﻭﺘﻰ ﻴﺎﻤﺭﺍﺩ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫؟‬
‫)‪( 16‬‬ ‫ﻤﺭﺍﺩ ‪ :‬ﻤﺎﺫﺍ ؟؟‬
‫ﻤﺸﻬﺩ ) ‪( 23‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺸﺎﻁﻰﺀ ﺍﻝﻨﻴل ﺴﻔﻴﻨﺔ‬
‫ﺭﺠﺎل ﺍﻵﺜﺎﺭ‬
‫‪ 215‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺴﻔﻴﻨﺔ ﺭﺍﺴﻴﺔ ﺃﻤﺎ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﺸﺎﻁﻰﺀ ﺍﻝﻨﻴل ﺘﻅﻬﺭ ﻤﻀﺎﺀﺓ ﻓﻰ ﻜل‬
‫) ‪( 17‬‬ ‫ﺠﻭﺍﻨﺒﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺭﺍﺩ ‪ :‬ﻗﻑ ﻴﺎﺴﻴﺩﻯ ‪ ..‬ﺘﻭﻗﻑ ﻻﺒﺩ‬ ‫ﻴﺄﺘﻴﺎﻥ‬ ‫ﻭﻤﺭﺍﺩ‬ ‫ﻝﻭﻨﻴﺱ‬ ‫‪ 216‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪.L. S‬‬
‫ﻤﻥ ﺨﻠﻑ ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺃﻥ ﻫﻨﺎﻙ ﻁﺭﻴﻕ ﺁﺨﺭ ﺍﻝﻰ ﺍﻝﺠﺒل ‪..‬‬
‫ﻭﺘﺭﺘﻔﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﻋﻠﻰ‪ Tilt up‬ﺜﻡ ﺘﺒﺘﻌﺩ ﻗﻑ ﻴﺎﺴﻴﺩﻯ‬
‫ﻝﻠﺨﺎﺭﺝ ‪ , Track -out‬ﻭﻴﺒﺩﺀﺍ ﻓﻰ ﻭﻨﻴﺱ ‪ :‬ﺇﺒﺘﻌﺩ ‪.‬‬
‫ﺍﻝﻌﺭﺍﻙ ﻭﻴﻘﻌﺎ ﻋﻠﻰ ﺍﻝﺭﻤﺎل ﺍﻝﻨﺎﻋﻤﺔ‬
‫ﻤﺭﺍﺩ ‪ :‬ﻝﻥ ﻴﺩﻓﻌﻭﺍ ﻝﻙ ﺸﻴﺌ ﹰﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻴﺎﺴﻴﺩﻯ ﺴﻨﺘﻌﺎﻤل ﻜﻴﻔﻤﺎ ﺸﺌﺕ ‪..‬‬
‫ﺴﺄﻜﻭﻥ ﺃﺨ ﹰﺎ ﻝﻙ‬
‫ﻭﻨﻴﺱ ‪ :‬ﺃﻏﺭﺏ ﻋﻨﻰ ﻴﺎﺘﻌﺱ ‪.‬‬
‫ﻤﺭﺍﺩ ‪ :‬ﻝﻥ ﺘﺼل ﺇﻝﻴﻬﻡ ﻴﺎﺒﻥ‬
‫ﺴﻠﻴﻡ ‪ ..‬ﻝﻥ ﺘﺨﻁﻭ ﺨﻁﻭﺓ‬
‫ﻭﺍﺤﺩﺓ ‪ ..‬ﻝﻥ ﺘﺨﻁﻭ ﺨﻁﻭﺓ‬
‫ﻭﺍﺤﺩﺓ ‪ ..‬ﻝﻥ ﺘﺼل ﺇﻝﻴﻬﻡ‬
‫‪ 217‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ﻝﻺﺜﻨﻴﻥ ‪Close up‬‬
‫‪ Medium‬ﻋﻠﻰ ﺍﻷﺭﺽ ﻴﺘﻌﺎﺭﻜﺎﻥ ‪ ,‬ﻤﺭﺍﺩ‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻭﻴﺤﺎﻭل ﻤﻨﻊ ﻭﻨﻴﺱ ﺍﻝﺫﻯ ﻴﺭﻗﺩ ﻋﻠﻰ ﺍﻝﺭﻤﺎل‬
‫) ‪( 17‬‬ ‫ﻭﻴﺤﺎﻭل ﻭﻨﻴﺱ ﺍﻝﺯﺤﻑ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻴﻤﻴﻨﹰﺎ ‪Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﺭﺠﺎل ﺍﻝﺸﺭﻁﺔ‬ ‫‪218‬‬
‫ﻴﺄﺘﻭﻥ ﻤﻥ ﺍﻝﻌﻤﻕ ﻭﻓﻰ ﺍﻝﻌﻤﻕ ﺘﻅﺭﻩ‬
‫ﺍﻝﺴﻔﻴﻨﺔ ﻭﻤﺭﺍﺩ ﻭﻭﻨﻴﺱ ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﺼﻭﺕ ﻁﻠﻕ ﻨﺎﺭﻯ‬ ‫ﻴﺯﺤﻔﺎﻥ ﻭﺭﺍﺀ ﺒﻌﻀﻬﻤﺎ ‪ ,‬ﻴﺯﺤﻑ ﻤﺭﺍﺩ ﺼﻭﺕ ‪ :‬ﻤﻥ ﻫﻨﺎﻙ ؟‬
‫ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺨﺭﺝ ﻤﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺃﺤﺩ ﺍﻝﺠﻨﻭﺩ ﻋﻠﻰ ﺠﻭﺍﺩﻩ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ Pan Right‬ﺜﻡ ﻴﻌﻭﺩ ﻭﺘﺘﺎﺒﻌﻪ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
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‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎ ‪‬ﺭ‪ Pan Left‬ﻭﻴﻤﺴﻙ ﺒﺠﻠﺒﺎﺏ‬

‫ﻭﻨﻴﺱ ﺍﻝﻭﺍﻗﻑ ‪ ,‬ﻭﻴﻘﻭﻡ ﻭﻨﻴﺱ ﺒﺠﺫﺏ‬
‫ﺍﻝﺠﻨﺩﻯ ﻝﻴﺴﻘﻁ ﻤﻥ ﻓﻭﻕ ﺠﻭﺍﺩﻩ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 219‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻷﺤﻤﺩ ﻜﻤﺎل ﺨﻠﻑ ﻤﻜﺘﺒﻪ‬
‫ﻋﻠﻰ ﺍﻝﺴﻔﻴﻨﺔ ﻋﻠﻰ ﺴﻁﺤﻬﺎ ‪ ,‬ﻴﻘﻑ ﻭﻴﻘﺘﺭﺏ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ ﺃﺤﻤﺩ‬ ‫ﻤﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﺘﻰ ﺘﻘﺘﺭﺏ ﻤﻨﻪ ﺤﺘﻰ ﻴﺼﺒﺢ‬
‫ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 220‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﺒﺩﻭﻯ ﻴﺄﺘﻰ ﻤﻥ ﺍﻝﻌﻤﻕ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻝﻠﻴﺴﺎﺭ ﻭﻴﻨﻅﺭ ﻷﺴﻔل ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻤﺴﻜ ﹰﺎ ﺒﻤﺴﺩﺴﻪ ﻭﻴﻘﻑ ﺒﺠﻭﺍﺭ‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ﺍﻝﺫﻯ ﻴﻘﻑ ﻤﺴﺘﻨﺩﹰﺍ ﻋﻠﻰ ﺴﻭﺭ‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻻ ﺘﻁﻠﻕ ﺍﻝﻨﺎﺭ‬
‫ﺍﻝﺒﺎﺨﺭﺓ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻨﺯل ﺍﻝﺒﺩﻭﻯ ﻓﻰ‬
‫ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻗﻑ ﻻ ﺘﻁﻠﻕ ﺍﻝﻨﺎﺭ ‪..‬‬
‫ﺍﻝﻴﻤﻴﻥ ﺴﻠﻡ ﺍﻝﺴﻔﻴﻨﺔ ‪ ,‬ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ ﺍﻝﺒﺩﻭﻯ‬ ‫ﻤﻥ ﻫﻨﺎﻙ ؟‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪ Pan Right‬ﻭﺘﺼﺒﺢ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺒﻙ‬ ‫ﺼﻭﺕ ﺒﻌﻴﺩ ‪ :‬ﺭﺠل ﻓﻰ ﺜﻴﺎﺏ‬
‫ﻓﻰ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪ High angle‬ﻭﻴﻘﻑ‬
‫ﻤﻬﻠﻬﻠﺔ ﻴﺎﺴﻴﺩﻯ ‪.‬‬
‫ﺒﺠﻭﺍﺭ ﺍﻝﻤﺭﺴﺎﺓ ﻭﻴﻨﻅﺭ ﻓﻰ ﻋﻜﺱ ﺍﺘﺠﺎﻩ‬
‫ﺼﻭﺕ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺩﻋﻪ ﻴﻘﺘﺭﺏ ‪.‬‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﻴﻌﻭﺩ ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻓﻰ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬

‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪221‬‬
‫ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﻴﻅﻬﺭ ﻓﻰ ﺒﻘﻌﻪ‬
‫ﺍﻝﻀﻭﺀ ﺍﻝﻤﻭﺠﻬﺔ ﻋﻠﻴﻪ ﻭﻫﻭ ﻴﻘﺘﺭﺏ ﻤﻥ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻭﺒﺠﻭﺍﺭﻩ ﺤﺎﺭﺱ ﻋﻠﻰ ﺠﻭﺍﺩﻩ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﻘﻑ ﻭﻨﻴﺱ ﻭﻴﻀﻊ ﻴﺩﻩ‬
‫ﻋﻠﻰ ﻭﺠﻬﻪ ﻝﻴﺒﻌﺩ ﺍﻝﻀﻭﺀ ﺍﻝﻤﺼﻠﻁ ﻋﻠﻴﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L. S‬ﻷﺤﻤﺩ ﻭﺍﻝﻤﺴﺎﻋﺩ ﻓﻭﻕ‬ ‫‪222‬‬
‫ﺍﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺃﻁﻔﻰﺀ ﻫﺫﺍ‬ ‫ﺍﻝﺴﻔﻴﻨﺔ ﻭﺍﻝﺒﺩﻭﻯ ﺒﻙ ﻴﻘﻑ ﺃﺴﻔﻠﻬﺎ ﺒﺠﻭﺍﺭ‬
‫ﺍﻝﻜﺸﺎﻑ ‪.‬‬ ‫ﺍﻝﻤﺭﺴﺎﺓ ﻭﺍﻝﺜﻼﺜﺔ ﻓﻰ ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪223‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪high angle‬ﻝﻭﻨﻴﺱ ﻴﻘﺘﺭﺏ ﻓﻰ ﺍﺘﺠﺎﻩ‬
‫) ‪( 18‬‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺘﻡ ﺍﻁﻔﺎﺀ ﺍﻝﻤﺼﺒﺎﺡ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ M .S‬ﻝﻠﺒﺩﻭﻯ ﻴﻨﻅﺭ ﻓﻰ‬ ‫‪224‬‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﺘﺭﻗﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ L .S‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪225‬‬
‫ﻤﺭﺘﻔﻌﺔ ‪ High Angle‬ﻴﻘﺘﺭﺏ ﺤﺘﻰ ﻴﺼل‬
‫ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻤﺎﺫﺍ ﺘﺭﻴﺩ ؟‬ ‫ﺍﻝﻰ ﺍﻝﻠﻭﺡ ﺍﻝﺨﺸﺒﻰ ﺍﻝﻤﻭﻀﻭﻉ ﻝﻌﺒﻭﺭ‬
‫ﻭﻧﻴﺲ ‪ :‬ﻫل ﺃﻨﺕ ﺭﺌﻴﺱ ﻫﺅﻻﺀ‬ ‫ﺍﻝﺸﺎﻁﻰﺀ ﺍﻝﻰ ﺍﻝﺴﻔﻴﻨﺔ ﻭﻴﻘﻑ ﻭﻴﺩﺨل‬
‫ﺍﻷﻓﻨﺩﻴﺔ ؟‬ ‫ﺍﻝﺒﺩﻭﻯ ﺒﻙ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﻴﻘﻑ ﻓﻰ‬
‫ﻤﻭﺍﺠﻬﺔ ﻭﻨﻴﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪226‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ M. L. S‬ﻷﺤﻤﺩ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺩﻋﻪ ﻴﻘﺘﺭﺏ ‪.‬‬
‫) ‪( 18‬‬ ‫ﻜﻤﺎل ﻴﻨﻅﺭ ﻷﺴﻔل‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻜﻤﺎ ﻝﻘﻁﺔ ) ‪(225‬‬ ‫‪227‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻭﻴﻨﻅﺭ ﺍﻝﺒﺩﻭﻯ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺘﺭﻙ‬
‫) ‪( 19‬‬ ‫ﻨﺎﺤﻴﺘﻬﺎ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪ Tilt‬ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻫل ﺘﻌﺭﻓﻪ ‪..‬؟‬
‫‪ down‬ﻭﻴﻌﻭﺩ ﺃﻝﻰ ﻤﻜﺎﻨﻪ ﺍﻝﺴﺎﺒﻕ ﻝﻴﻨﻅﺭ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻻ ‪.‬‬
‫ﻝﻭﻨﻴﺱ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﻴﺘﺤﺭﻙ ﻭﻨﻴﺱ ‪ :‬ﻝﻤﺎﺫﺍ ﺠﺌﺕ ﺍﻝﻰ ﺍﻝﺠﺒل ﺒﻜل‬
‫ﻭﻨﻴﺱ ﻭﻴﻌﺒﺭ ﻭﻨﻴﺱ ﺍﻝﻠﻭﺡ ﺍﻝﺨﺸﺒﻰ ﺜﻡ ﻴﻘﻑ‬
‫ﻫﺫﻩ ﺍﻝﻌﺩﺓ ﻭﺍﻝﻌﺘﺎﺩ ‪ ..‬ﺇﻨﻙ ﺘﻤﻠﻙ‬
‫ﻭﻨﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﺼﺒﺢ ﻓﻰ ﺤﺠﻡ ﺃﻜﺜﺭ ﻤﻥ ﺫﻫﺏ ﺍﻝﻤﻭﺘﻰ ‪.‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻫﻭ ﻭ‬
‫)‪( 19‬‬ ‫ﺍﻝﺒﺩﻭﻯ ﺒﻙ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪M .Close up‬‬ ‫‪228‬‬
‫ﻷﺤﻤﺩ ﻜﻤﺎل ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‪ Low‬ﺃﺤﻤﺩ آل ‪ :‬ﻤﺎﺫﺍ ﺘﻌﺭﻑ ﻋﻥ ﺫﻫﺏ‬
‫ﺍﻝﻤﻭﺘﻰ ‪ ..‬ﻤﻥ ﺍﻨﺕ ‪..‬؟‬ ‫‪ angle‬ﻴﻨﻅﺭ ﻷﺴﻔل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ‪M .Close up‬‬ ‫‪229‬‬
‫ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‪High angle‬‬
‫ﻭﻨﻴﺱ ‪ :‬ﺇﺒﻥ ﺍﻝﺸﻴﺦ ﺴﻠﻴﻡ ﻭﻭﺭﻴﺜﻪ‬
‫ﻴﻨﻅﺭ ﻷﻋﻠﻰ ‪ ,‬ﺜﻡ ﻴﺩﺨل ﺍﻝﺒﺩﻭﻯ ﺍﻝﻜﺎﺩﺭ ﻤﻥ‬
‫ﺍﻝﻴﺴﺎﺭ ﻭﻴﻨﻅﺭ ﻝﻭﻨﻴﺱ ﺜﻡ ﻷﻋﻠﻰ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻭﺤﻴﺩ ‪.‬‬
‫‪ ..‬ﺍﻷ ﺘﺭﺤﺏ ﺒﻰ ﻓﻰ ﺩﺭﺍﻙ ؟‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M. L. S‬ﻷﺤﻤﺩ‬ ‫‪230‬‬
‫ﻜﻤﺎل ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ﻭﺘﺒﺘﻌﺩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻝﻠﺨﺎﺭﺝ ﻝﻴﺩﺨل ﻭﻨﻴﺱ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﺠﺯﺀ‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻤﺭﺤﺒ ﹰﺎ ﺒﻙ ‪.‬‬
‫ﻤﻥ ﻜﺘﻑ ﻭﻨﻴﺱ ﻝﺘﺼﺒﺢ ﻝﻘﻁﺔ ﻤﻥ ﻓﻭﻕ‬
‫ﻜﺘﻑ ﻭﻨﻴﺱ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪231‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻭﻨﻴﺱ ﻤﻥ ﺯﺍﻭﻴﺔ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻤﺭﺘﻔﻌﺔ‪ High Angle‬ﻴﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫) ‪( 20‬‬ ‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Tracking‬ﻭﻫﻭ ﻴﺼﻌﺩ‬
‫ﺴﻠﻡ ﺍﻝﺴﻔﻴﻨﺔ ﻴﺴﺎﺭﹰﺍ ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﺃﺤﻤﺩ‬
‫ﻜﻤﺎل ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪M.‬‬
‫‪ .S‬ﺃﺤﻤﺩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻭﻨﻴﺱ ﺴﺎﺭ ﻜﺎﺩﺭ ‪ ,‬ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻻ ﻴﺠﺏ ﺃﻥ ﺘﺒﻘﻰ ﻭﺤﺩﻙ‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ‪ Tracking‬ﻤﻊ ﻫﺫﺍ ﺍﻝﺭﺠل ‪ ..‬ﻝﻥ ﺃﺘﺭﻜﻙ ‪.‬‬
‫ﻋﻨﺩﻤﺎ ﻴﺠﺫﺏ ﺍﻝﺒﺩﻭﻯ ﺃﺤﻤﺩ ﻜﻤﺎل ﻤﻥ ﻴﺩﻩ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺴﺄﺴﺘﻤﻊ ﺇﻝﻰ ﻤﺎ ﻴﺭﻴﺩ‬
‫ﻭﻴﻨﺘﺤﻰ ﺒﻪ ﺠﺎﻨﺒﹰﺎ ﺒﻌﻴﺩﹰﺍ ﻋﻥ ﻭﻨﻴﺱ ﻭﻴﻘﺘﺭﺒﺎ ﺃﻥ ﻴﻘﻭﻝﻪ ‪.‬‬
‫ﻤﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻅل ﻭﻨﻴﺱ ﻓﻰ ﺨﻠﻔﻴﺔ‬
‫ﺼﻭﺕ ﺨﻁﻭﺕ ﻭﻨﻴﺱ‬ ‫ﺍﻝﺒﺩﻭﻯ ‪ :‬ﺴﺄﻗﺒﺽ ﻋﻠﻴﻪ ‪.‬‬
‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﺃﺤﻤﺩ ﻨﺎﺤﻴﺔ ﻭﻨﻴﺱ ‪,‬‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ ﺃﺤﻤﺩ‬ ‫ﻭﻴﺨﺭﺝ ﺍﻝﺒﺩﻭﻯ ﻤﻥ ﻴﺴﺎﺭ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﻴﺘﺤﺭﻙ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻝﻴﺱ ﻝﺩﻴﻙ ﻤﺎ ﻴﺩﻴﻨﻪ‬
‫ﻭﺍﻝﺒﺩﻭﻯ ﺒﻙ‬ ‫ﻭﻨﻴﺱ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﺴﺎﺭﹰﺍ ﻫﻭ ﺃﻭ ﻗﺒﻴﻠﺘﻪ ‪.‬‬
‫‪ , Pan Left‬ﺜﻡ ﻴﻘﻑ ﻭﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪ ,‬ﻭﻨﻴﺱ ‪ :‬ﺴﺄﺘﻜﻠﻡ ﻤﻌﻙ ﺃﻨﺕ ﻭﺤﺩﻙ ‪.‬‬
‫ﺍﻝﻤﻭﺴﻴﻘﻰ ﺘﻌﻠﻭ‬
‫ﻭﻴﺩﺨل ﺃﺤﻤﺩ ﻜﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﻴﺸﻴﺭ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻭﺍﻨﺎ ﺴﺎﺘﻜﻠﻡ ﻤﻊ ﺇﺒﻥ‬
‫ﻝﻭﻨﻴﺱ ﺍﻝﻰ ﺍﻝﺴﻠﻡ ﺍﻝﺩﺍﺨﻠﻰ ﻝﻤﻜﺘﺒﻪ ‪,‬ﺜﻡ‬
‫ﺴﻠﻴﻡ ‪.‬‬
‫ﻼ ﻤﺭﺤﺒﹰﺎ ﺒﻙ ﻓﻰ ﺩﺍﺭﻯ ‪.‬‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ‪ Tracking‬ﻗﻠﻴ ﹰ‬
‫ﻭﻴﻨﺯل ﺃﺤﻤﺩ ﻜﻤﺎل ﺍﻝﺴﻠﻡ ﻭﻴﻠﻘﻰ ﻭﻨﻴﺱ‬
‫ﻨﻅﺭﺓ ﺴﺭﻴﻌﺔ ﺍﻝﻰ ﺍﻝﺠﺒل ﻭﻴﻨﺯل ﺍﻝﺴﻠﻡ ‪ ,‬ﺜﻡ‬
‫ﻴﺩﺨل ﺍﻝﺒﺩﻭﻯ ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﺘﺭﺘﻔﻊ‬
‫ﻼ ﻷﻋﻠﻰ‪ Tilt up‬ﻭﺘﺘﺎﺒﻌﻪ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫‪ Pan Left‬ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺜﻡ‬
‫ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻨﺼﻑ ﺩﺍﺌﺭﺓ ﻝﺘﺘﺎﺒﻌﻪ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 37 of 43‬‬

‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫‪ Tracking‬ﻭﻫﻭ ﻴﻘﻑ ﺍﻤﺎﻡ ﺍﻝﺴﻭﺭ‬

‫)‪( 20‬‬ ‫ﻭﻴﺼﺒﺢ ﺒﺭﻭﻓﻴل ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ L. S‬ﻝﻠﺠﺒل ﺼﺎﻤﺘﹰﺎ ﻭﻤﻅﻠﻤﹰﺎ‬ ‫‪232‬‬
‫)‪( 21‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ )‪( 23‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬
‫)‪( 21‬‬
‫ﻝﻴل ‪ /‬ﺩﺍﺨﻠﻰ‬
‫ﺍﻝﺠﺒل ‪ ,‬ﻤﻐﺎﺭﺓ ﺍﻝﺩﻓﻴﻨﺔ‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻷﺤﻤﺩ ﻜﻤﺎل ﻴﻨﺯل ﻤﻥ‬ ‫‪233‬‬
‫ﻓﺘﺤﺔ ﺍﻝﻤﻐﺎﺭﺓ ﻤﻤﺴﻜﹰﺎ ﻤﺼﺒﺎﺤ ﹰﺎ ﻤﺘﺩل ﻤﻥ‬
‫ﺍﻝﺤﺒل‬
‫ﻭﻴﻨﻅﺭ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ‬
‫ﺼﻭﺕ ﻨﺯﻭل ﺃﺤﻤﺩ ﻜﻤﺎل‬ ‫ﻭﻴﺭﻓﻊ ﺍﻝﻤﺼﺒﺎﺡ ﻨﺎﺤﻴﺔ ﺍﻝﺤﺎﺌﻁ ﻭﻴﺼﺒﺢ ﻓﻰ‬
‫ﻓﻰ ﺍﻝﻤﻐﺎﺭﺓ‬ ‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪.M. L. S‬‬
‫ﺼﻭﺕ ﻨﺯﻭل ﺍﻝﻤﺴﺎﻋﺩ‬ ‫ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ﻝﺘﺘﺎﺒﻌﻪ ‪Tilt down‬‬
‫ﻭﻫﻭ ﻴﻨﺤﻨﻰ ﺒﺎﻝﻤﺼﺒﺎﺡ ﻋﻠﻰ ﺘﻭﺍﺒﻴﺕ‬
‫ﺍﻝﻤﻭﻤﻴﺎﻭﺍﺕ ﻭﻴﺨﺭﺝ ﺍﻝﻨﻅﺎﺭﺓ ﻭﻴﺭﺘﺩﻴﻬﺎ ‪ ,‬ﺜﻡ‬
‫ﻴﻬﻡ ﺜﺎﻨﻴﺔ ﺒﺎﻝﻭﻗﻭﻑ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻝﻭﺠﻪ ﺍﻝﺘﺎﺒﻭﺕ ‪,‬‬ ‫‪234‬‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬
‫ﺜﻡ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫)‪( 22‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﺴﺎﻗﻰ ﺃﺤﻤﺩ ﻜﻤﺎل‬ ‫‪235‬‬
‫ﺘﺘﺤﺭﻙ ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﺩﺍﺨل‪Track -‬‬
‫‪ In‬ﺒﻴﻥ ﺍﻝﺘﻭﺍﺒﻴﺕ ﺍﻝﻤﻭﻀﻭﻋﺔ ﻓﻰ ﺍﺭﻀﻴﺔ‬
‫ﺍﻝﻤﻘﺒﺭﺓ ﺤﺘﻰ ﻴﺼل ﺍﻝﻰ ﺃﺤﺩ ﺍﻝﺘﻭﺍﺒﻴﺕ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺩﺍﺌﺭﻴﹰﺎ‪Tracking‬‬
‫ﻝﻴﻅﻬﺭ ﺃﺤﻤﺩ ﺭﺍﻜﻌﺎ ﺒﺠﻭﺍﺭ ﺍﻝﺘﺎﺒﻭﺕ ﻴﻤﻴﻥ‬
‫ﻜﺎﺩﺭ ﻭﻴﺤﺎﻭل ﻗﺭﺍﺀﺓ ﺍﻝﻜﺘﺎﺒﺎﺕ ﻋﻠﻴﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ‪ Close up‬ﻷﺤﻤﺩ ﻓﻰ‬ ‫‪236‬‬
‫ﻤﻭﺍﺠﻬﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ ﻴﻨﻅﺭ ﻷﺴﻔل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻤﻊ ﺤﺭﻜﺔ ﻜﺎﻤﻴﺭﺍ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻨﺤﻥ ﻜﺒﺎﺭ ﻜﻬﻨﺔ‬ ‫‪237‬‬
‫ﻷﺴﻔل ‪ Tilt down‬ﻝﻠﻜﺘﺎﺒﺎﺕ ﻋﻠﻰ ﺍﻝﺘﺎﺒﻭﺕ ﺁﻤﻭﻥ ‪ ..‬ﻓﻰ ﺍﻝﻌﺎﻡ ﺍﻝﻌﺎﺸﺭ ﻝﺒﻨﺠﻡ‬
‫ﺍﻝﻜﺎﻫﻥ ﺍﻷﻋﻅﻡ ‪ ..‬ﻭﺠﺩﻨﺎ ﺭﻓﺎﺕ‬
‫ﺍﻹﻝﻪ ﺍﻝﺭﻓﻌﻭﻥ ﺴﺘﻰ ﺍﻷﻭل ﻭﻗﺩ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﺍﻨﺘﻬﻜﺕ ﻓﻰ ﻤﺜﻭﺍﻫﺎ ﺍﻵﻤﻥ ﻭﺴﺭﻕ‬
‫ﺘﺎﺒﻭﺘﻬﺎ ﺍﻝﺫﻫﺒﻰ ‪ ..‬ﻭﻫﻨﺎﻙ ﻋﻤﻠﻨﺎ‬
‫ﻋﻠﻰ ﻨﻘل ﺠﺜﺔ ﻫﺫﺍ ﺍﻹﻝﻪ ﺴﺭﹰﺍ ﺇﻝﻰ‬
‫ﻤﺨﺒﺄ ﺃﻤﻴﻥ ‪.‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻠﻤﺴﺎﻋﺩﺍﻥ ﻓﻰ‬
‫ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺭﺍﻜﻌﺎﻥ ﺍﻤﺎﻡ ﺃﺤﺩ ﺍﻝﺘﻭﺍﺒﻴﺕ‬
‫ﻭﻴﻤﺴﻙ ﺃﺤﺩﻫﻤﺎ ﺍﻝﻤﺼﺒﺎﺡ ﻓﻰ ﻴﺩﻩ ‪ ,‬ﺜﻡ ﺃﺤﺩ ﺍﻝﻤﺴﺎﻋﺩﻴﻥ ‪ :‬ﺃﻗﺭﺃ ﺇﺴﻡ‬
‫ﺘﻘﺘﺭﺏ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Track in‬ﻭﺘﻌﻠﻭ ﻗﻠﻴﻼ ﺍﻝﻔﺭﻋﻭﻥ ﺃﺤﻤﺱ ‪ ..‬ﺍﻷﺴﺭﺓ ﺍﻝﺜﺎﻤﻨﺔ‬
‫‪ Tilt up‬ﺘﺼﺒﺢ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻰ ﺯﺍﻭﻴﺔ ﻋﺸﺭﺓ‪.‬‬
‫ﻤﺭﺘﻔﻌﺔ ‪ , High Angle‬ﺜﻡ ﺘﺘﺎﺒﻊ ﺍﺤﺩ ﻤﺴﺎﻋﺩ ﺜﺎﻥ ‪ :‬ﺍﻝﻔﺭﻋﻭﻥ ﺃﻤﻨﺤﺘﺏ ‪.‬‬
‫ﺍﻝﻤﺴﺎﻋﺩﺍﻥ ﻝﻠﻴﻤﻴﻥ‪ Pan Right‬ﻭﻴﺩﺨل‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ﺍﻝﻜﺎﺩﺭ ﻭﻴﺭﻜﻊ ﺒﺠﻭﺍﺭ ﺃﺤﺩ‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 38 of 43‬‬

‫ﺍﻝﺘﻭﺍﺒﻴﺕ ‪ ,‬ﻭﻴﻨﻅﺭ ﻝﻠﻜﺘﺎﺒﺎﺕ ﻭﻓﻰ ﻝﻘﻁﺔ‬

‫ﻗﺭﻴﺒﺔ ‪Close up‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‪ .M .L. S‬ﻷﺤﺩ‬ ‫‪239‬‬
‫ﺍﻝﺘﻭﺍﺒﻴﺕ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ‬
‫ﺼﻭﺕ ﺒﻌﻴﺩ ‪ :‬ﺠﺌﺕ ﺃﻋﻨﻰ ﺒﻙ‬
‫‪ Tracking‬ﻭﺘﺴﺘﻌﺭﺽ ﺍﻝﺘﻭﺍﺒﻴﺕ‬
‫ﻭﺃﺤﻤﻴﻙ ﻤﻥ ﺫﻝﻙ ﺍﻝﺫﻯ ﺃﺼﺎﺒﻙ‬
‫ﺍﻝﻤﻨﺘﺸﺭﺓ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﺍﻝﻤﺴﺎﻋﺩﻭﻥ‬
‫ﺒﺎﻷﺫﻯ ‪ ..‬ﻫﺎﻫﻰ ﻋﻅﺎﻤﻙ ﺘﺘﺠﻤﻊ ‪..‬‬
‫ﺠﺎﻝﺴﻭﻥ ﺤﻭل ﺍﻝﺘﻭﺍﺒﻴﺕ ﻴﺘﻔﺤﺼﻭﻨﻬﺎ ﻓﻰ‬
‫ﻭﻗﻠﺒﻙ ﻴﻌﻭﺩ ﺇﻝﻴﻙ ‪ ..‬ﻭﺃﻋﺩﺍﺅﻙ‬
‫ﺤﺠﻡ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻭﻴﻅﻬﺭ ﺃﺤﻤﺩ ﻜﻤﺎل‬
‫ﺘﺤﺕ ﺍﻗﺩﺍﻤﻙ ﻴﺴﺤﻘﻭﻥ ‪ ..‬ﻫﺄﻨﺕ‬
‫ﻭﺍﻗﻔﹰﺎ ﻓﻰ ﺍﻝﻌﻤﻕ ﺤﻭل ﻤﺠﻤﻭﻋﺔ ﺃﺨﺭﻯ ﻤﻥ‬
‫ﻓﻰ ﺼﻭﺭﺘﻙ ﺍﻝﺠﻤﻴﻠﺔ ‪ .‬ﺘﺤﻴﺎ ﻭﺘﺒﻌﺙ‬
‫ﺍﻝﺘﻭﺍﺒﻴﺕ ﺜﻡ ﻴﺭﻜﻊ ﺒﺠﻭﺍﺭﻫﻡ ﻭﺤﻭﻝﻪ ﻫﺎﻝﺔ‬
‫ﻜل ﺼﺒﺎﺡ ‪ ..‬ﺸﺒﺎﺒﹰﺎ ﻤﻥ ﺠﺩﻴﺩ ‪.‬‬
‫ﻤﻥ ﺍﻝﻀﻭﺀ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﺒﺩﻭﻯ ﺒﻙ ﻴﻘﻑ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻜﻨﺕ ﺁﻤل ﻓﻰ‬ ‫‪240‬‬
‫ﺒﺠﻭﺍﺭ ﺍﻝﺘﻭﺍﺒﻴﺕ ‪ ,‬ﺜﻡ ﻴﻠﻑ ﺤﻭل ﺍﺤﺩ ﻏﻜﺘﺸﺎﻑ ﻤﻘﺒﺭﺓ ﻤﻥ ﺍﻷﺴﺭﺓ‬
‫ﺍﻝﺘﻭﺍﺒﻴﺕ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﺍﻝﺤﺎﺩﻴﺔ ﻭﺍﻝﻌﺸﺭﻴﻥ ‪ ..‬ﻭﻝﻜﻨﻨﻰ‬
‫ﻴﺴﺎﺭﹰﺍ ‪ .Pan Left‬ﺜﻡ ﻴﻘﻑ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺠﺩﺕ ﻤﺎ ﻴﺒﺩﻭ ﻝﻰ ﻤﺨﺒﺄ ﻝﻔﺭﺍﻋﻨﺔ‬
‫ﻭﻴﻅﻬﺭ ﺃﺤﻤﺩ ﻜﻤﺎل ﺭﺍﻜﻌ ﹰﺎ ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﻤﻥ ﺨﻤﺱ ﺃﺴﺭﺍﺕ ؟؟ ﻤﻥ ﺍﻝﺴﺭﺓ‬
‫ﺍﻝﺒﺩﻭﻯ ﻭﻴﺼﺒﺤﺎ ﻓﻰ ﺤﺠﻡ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﺍﻝﺴﺎﺒﻌﺔ ﻋﺸﺭﺓ ﺇﻝﻰ ﺍﻝﺴﺭﺓ ﺍﻝﺤﺎﺩﻴﺔ‬
‫ﻜﺒﻴﺭﺓ ‪ , .M .L. S‬ﺜﻡ ﻴﻠﻑ ﺍﻝﺒﺩﻭﻯ ﺜﺎﻨﻴﺔ ﻭﺍﻝﻌﺸﺭﻴﻥ ‪.‬‬
‫ﻭﻴﻨﻅﺭ ﺤﻭﻝﻪ ﺜﻡ ﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ ﺃﺤﻤﺩ ﻜﻤﺎل ﺍﻝﺒﺩﻭﻯ ﺒﻙ ‪ :‬ﻭﻜﻴﻑ ﻨﻘﻠﻭﺍ ﺇﻝﻰ ﻫﻨﺎ‬
‫ﻼ ؟‬ ‫ﻭﻴﺭﻜﻊ ﺒﺠﻭﺍﺭﻩ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺍﻝﻜﺘﺎﺒﺔ ﻋﻠﻰ ﺒﻌﺽ‬ ‫ﻝﺘﺘﺎﺒﻌﻪ ﻭﻫﻭ ﻴﺭﻜﻊ ‪.‬‬
‫ﺍﻝﺘﻭﺍﺒﻴﺕ ﺘﺩل ﻋﻠﻰ ﺃﻨﻬﻡ ﻨﻘﻠﻭﺍ ﺇﻝﻰ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻫﻨﺎ ﺒﻴﺩ ﻤﻥ ﺘﺒﻘﻰ ﻤﻥ ﻜﻬﻨﺔ ﺁﻤﻭﻥ‬
‫ﻤﻨﺫ ﺜﻼﺜﺔ ﺁﻻﻑ ﺴﻨﺔ ‪ ..‬ﻋﻨﺩﻤﺎ‬
‫ﺍﻨﺘﻬﻜﺕ ﻤﻘﺎﺒﺭ ﺒﻴﺒﺎﻥ ﺍﻝﻤﻠﻭﻙ ‪..‬‬
‫ﻭﻀﻊ ﺍﻝﻜﻬﻨﺔ ﻤﻭﻤﻴﺎﻭﺍﺕ ﺍﻝﻔﺭﺍﻋﻨﺔ‬
‫ﺩﺍﺨل ﻫﺫﻩ ﺍﻝﺘﻭﺍﺒﻴﺕ ﺍﻝﻤﺘﻭﺍﻀﻌﺔ‬
‫ﺒﻌﺩ ﺃﻥ ﺴﺭﻗﺕ ﺘﻭﺍﺒﻴﺘﻬﻡ ﺍﻝﺫﻫﺒﻴﺔ ‪.‬‬
‫ﺍﻝﺒﺩﻭﻯ ﺒﻙ ‪ :‬ﻜﻡ ﻋﻨﺩﻙ ﻤﻥ ﺭﺠﺎل‬
‫ﻋﻠﻰ ﻅﻬﺭ ﺍﻝﺴﻔﻴﻨﺔ ؟‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻷﺤﻤﺩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻋﺸﺭﻭﻥ ﻓﻘﻁ ‪..‬‬ ‫‪241‬‬
‫ﻭﺍﻝﺒﺩﻭﻯ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﺄﺘﻰ ﺃﺤﺩ ﺍﻝﻤﺴﺎﻋﺩﻴﻥ ﻭﻤﻌﻰ ﻫﻨﺎ ﺃﺭﺒﻌﺔ ﻤﺴﺎﻋﺩﻭﻥ ‪...‬‬
‫ﺍﻝﺒﺩﻭﻯ ‪ :‬ﻤﺎﺫﺍ ﻨﻔﻌل ﺍﻵﻥ ؟ ﻗﺩ‬ ‫ﻤﻥ ﺍﻝﻌﻤﻕ‬
‫ﻨﻬﺎﺠﻡ ﻤﻥ ﻗﺒﻴﻠﺔ ﺍﻝﺤﺭﺒﺎﺕ ﻓﻰ ﺃﻴﻪ‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﺤﻅﺔ ‪ ,‬ﻭﻫﻡ ﻴﻔﻭﻗﻭﻥ ﻋﺩﺩ ﺭﺠﺎﻝﻨﺎ‬
‫ﻤﻌ ﹰﺎ !‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻷﺤﻤﺩ ﻜﻤﺎل ﻭﺍﻝﺒﺩﻭﻯ ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻜﻡ ﻋﺩﺩ ﺍﻝﺘﻭﺍﺒﻴﺕ ؟‬ ‫‪242‬‬
‫ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﺤﻭﺍﻝﻰ ﺍﻷﺭﺒﻌﻴﻥ ‪.‬‬ ‫ﻭﺍﻝﻤﺴﺎﻋﺩ ﻭﺍﻗﻔﹰﺎ ﻓﻰ ﻋﻜﺱ ﺍﺘﺠﺎﻩ‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﺍﺴﺘﻌﺩﻭﺍ ﻝﻨﻘﻠﻬﻡ ﺇﻝﻰ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﻘﻑ ﺍﻝﺒﺩﻭﻯ ﺍﻝﻜﺎﺩﺭ‬
‫ﻅﻬﺭ ﺍﻝﺴﻔﻴﻨﺔ ‪ ..‬ﺃﻁﻔﻰﺀ ﺍﻝﻤﺸﺎﻋل‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫ﻨﻬﺎﻴﺔ ﻤﻭﺴﻴﻘﻰ‬ ‫ﺤﺘﻰ ﻻ ﻴﺒﺩﻭ ﺃﻯ ﺃﺜﺭ ﻝﻠﻌﻤل ‪..‬‬
‫) ‪( 22‬‬ ‫ﺍﻝﺒﺩﻭﻯ ﺒﻙ ‪ :‬ﺴﺄﺠﻤﻊ ﻓﻭﺭﹰﺍ ﻜل‬
‫ﺍﻝﻤﻭﺜﻭﻕ ﺒﻬﻡ ﻤﻥ ﺍﻫل ﺍﻝﻭﺍﺩﻯ ‪.‬‬
‫ﺃﺤﻤﺩ ﻜﻤﺎل ‪ :‬ﻻ ﺘﺩﻉ ﺃﺤﺩﹰﺍ ﻴﺴﺎﻭﺭﻩ‬
‫ﺍﻝﺸﻙ ﻓﻴﻤﺎ ﻨﺤﻥ ﻤﻘﺩﻤﻭﻥ ﻋﻠﻴﻪ ‪.‬‬
‫ﻤﺸﻬﺩ ) ‪( 24‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺃﻤﺎﻡ ﻓﻭﻫﺔ ﺍﻝﺒﺌﺭ ﺒﺎﻝﺠﺒل‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﺤﺭﺍﺱ ﻭﺤﺎﻤﻠﻭﻥ‬ ‫‪242‬‬

‫‪http://www.arabfilmtvschool.edu.eg/Classics/76.htm‬‬ ‫‪9/22/2011‬‬
‫‪welcome to the school of cinema on line‬‬ ‫‪Page 39 of 43‬‬

‫ﺍﻝﻤﺸﺎﻋل‬
‫ﺼﻭﺕ ﺤﻭﺍﻓﺭ ﺍﻝﺨﻴل‬ ‫ﺼﻭﺕ ‪ :‬ﺃﻁﻔﺌﻭﺍ ﺍﻝﻤﺸﺎﻋل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 243‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M. L. S‬ﻝﻠﺤﺭﺍﺱ ﺼﻭﺕ ﺤﺎﺭﺱ ﺁﺨﺭ ‪ :‬ﺃﻁﻔﺌﻭﺍ‬
‫ﻤﻠﺘﻔﻭﻥ ﻭﺍﻝﺭﺠﺎل ﻴﻨﺯﻝﻭﻥ ﺍﻝﻤﺸﺎﻋل ﻓﻰ‬
‫ﺍﻝﻤﺸﺎﻋل ﺃﻁﻔﺌﻭﺍ ﺍﻝﻤﺸﺎﻋل ‪.‬‬
‫ﺍﻷﺭﺽ‬
‫ﺼﻭﺕ ﺜﺎﻝﺙ ‪ :‬ﺍﻁﻔﺌﻭﺍ ﺍﻝﻤﺸﺎﻋل ‪.‬‬ ‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 244‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close‬ﻝﺸﻌﻠﺔ ﺘﻨﺯل ﻷﺴﻔل‬
‫ﻭﺘﺘﺎﺒﻌﻬﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪Tilt Down‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 245‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻗﺭﻴﺒﺔ ‪Medium Close‬‬
‫‪ up‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ ‪Low Angle‬‬
‫ﻝﻤﺠﻤﻭﻋﺔ ﺤﺭﺍﺱ ﻤﻠﺘﻔﻭﻥ ﻓﻰ ﺩﺍﺌﺭﺓ‬
‫ﻴﻨﺯﻝﻭﻥ ﺍﻝﻤﺸﺎﻋل ﻭﻴﻁﻔﺌﻭﻨﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 25‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﻓﻭﻫﺔ ﺍﻝﺒﺌﺭ ﺒﺎﻝﺠﺒل‬
‫‪ 246‬ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﺭﺠل ً‬
‫ﻋﻨﺩ ﻓﻭﻫﺔ ﺍﻝﺒﺌﺭ ‪ ,‬ﻭﻴﺠﺫﺏ ﺃﺤﺩ ﺍﻝﺘﻭﺍﺒﻴﺕ‬
‫ﻼ ﻷﻋﻠﻰ ‪ Tilt up‬ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﺭﻤﺴﻴﺱ ﺍﻝﺜﺎﻨﻰ‬ ‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫ﻝﺘﺘﺎﺒﻊ ﺍﻝﺘﺎﺒﻭﺕ ﻤﺭﺒﻭﻁ ﺒﺤﺒﺎل ﻭﻴﺭﻓﻊ ﺒﺒﻁﺀ‬
‫ﻤﺴﺎﻋﺩ ﺁﺨﺭ ‪ :‬ﺭﻗﻡ ‪7‬‬
‫ﻭﻴﻅﻬﺭ ﺃﺤﺩ ﺍﻝﻤﺴﺎﻋﺩﻴﻥ ﺠﺎﻝﺴﺎ ﻴﺩﻭﻥ ﻓﻰ‬
‫ﺍﻝﻭﺭﻕ ﻭﻴﻨﻅﺭ ﺍﻝﻰ ﻓﻭﻫﺔ ﺍﻝﺒﺌﺭ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﺍﻝﻤﺴﺎﻋﺩ ‪ :‬ﺘﺤﺘﻤﺱ ﺍﻝﺜﺎﻨﻰ ‪.‬‬
‫ﻷﻋﻠﻰ ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ )‪( 26‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ﺴﻔﺢ ﺍﻝﺠﺒل‬
‫‪ 247‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬
‫‪ low Angle‬ﻝﺭﺠﺎل ﻴﺴﻘﻁﻭﻥ ﺍﻝﺤﺒﺎل‬
‫ﺃﺴﻔل ﺍﻝﺠﺒل ﻭﺘﻨﺯل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻷﺴﻔل ‪Tilt‬‬
‫‪ Down‬ﺘﺘﺎﺒﻊ ﺴﻘﻭﻁ ﺍﻝﺤﺒﺎل ﺤﻴﺙ ﺴﻔﺢ‬
‫ﺍﻝﺠﺒل ﻭﻴﻘﻑ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺭﺠﺎل ﺍﻝﻭﺍﺩﻯ‬
‫ﺼﻭﺕ ﺴﻘﻭﻁ ﺍﻝﺤﺒﺎل‬
‫ﻭﻤﻌﻬﻡ ﺃﺤﺩ ﺍﻝﻤﺴﺎﻋﺩﻴﻥ ﻴﺘﺎﺒﻊ ﺒﺠﻭﺍﺭ‬
‫ﺍﻝﺘﻭﺍﺒﻴﺕ ﺍﻝﻤﻭﻀﻭﻋﺔ ﻋﻠﻰ ﺍﻷﺭﺽ ﻭﻴﻘﻭﻡ‬
‫ﺍﻝﺭﺠﺎل ﺒﺘﻐﻁﻴﺔ ﺃﺤﺩ ﺍﻝﺘﻭﺍﺒﻴﺕ ﺒﻤﻼﺀﺓ‬
‫ﺒﻴﻀﺎﺀ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 27‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ )ﻗﺒل ﺍﻝﻔﺠﺭ ﺒﻘﻠﻴل ( ﻓﻭﻕ‬
‫ﺍﻝﺠﺒل‬
‫‪ 248‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻷﺭﺒﻌﺔ ﺭﺠﺎل ﺤﺎﻤﻠﻴﻥ‬
‫ﺃﺤﺩ ﺍﻝﺘﻭﺍﺒﻴﺕ ﺍﻝﻤﻐﻁﺎﺓ ﺒﺒﻤﻼﺀﺓ ﻭﻴﻘﻑ ﺃﺤﻤﺩ‬
‫ﺼﻭﺕ ﺨﻁﻭﺍﺕ‬ ‫ﻜﻤﺎل ﻴﺘﺎﺒﻌﻬﻡ ﻭﻫﻡ ﻴﻨﺯﻝﻭﻥ ﺍﻝﺘﺎﺒﻭﺕ ﻋﻠﻰ‬
‫ﺍﻷﺭﺽ ‪ ,‬ﻴﻘﻑ ﺍﻝﺠﻨﻭﺩ ﻓﻰ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪ 249‬ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ‪ Close up‬ﻝﻠﺒﺩﻭﻯ ﺒﻙ ﻴﻨﻅﺭ‬
‫ﺼﻭﺕ ﺭﻴﺎﺡ‬ ‫ﻷﻋﻠﻰ ﻓﻰ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 28‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ )ﻗﺒل ﺍﻝﻔﺠﺭ ﺒﻘﻠﻴل( ﺍﻝﺠﺒل‬

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‫ﻭﺍﻝﺴﻔﺢ‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪250‬‬
‫‪ High Angle‬ﻝﻠﺭﺠﺎل ﺤﺎﻤﻠﻴﻥ ﺍﻝﺘﻭﺍﺒﻴﺕ‬
‫ﺍﻝﻤﻐﻁﺎﺓ ﺒﺎﻝﻤﻼﺀﺍﺕ ﻭﻴﺘﺤﺭﻜﻭﻥ ﻋﻜﺱ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺭﺍﺀ ﺒﻌﻀﻬﻡ ﺍﻝﺒﻌﺽ ﻭﺘﺭﺘﻔﻊ‬
‫ﻼ ‪ Tilt Up‬ﻷﻋﻠﻰ ﻝﻴﻅﻬﺭ‬ ‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫ﺍﻝﺒﺩﻭﻯ ﺒﻙ ﻋﻠﻰ ﺠﻭﺍﺩﻩ ﻓﻰ ﺍﻝﻌﻤﻕ ﻴﺘﺤﺭﻙ‬
‫ﺨﻠﻑ ﻤﻭﻜﺏ ﺍﻝﺘﻭﺍﺒﻴﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L .S‬ﻝﻠﺒﺩﻭﻯ ﻴﻨﺯل ﺒﺤﺼﺎﻨﻪ‬ ‫‪251‬‬
‫ﻓﻰ ﻤﻘﺩﻤﺔ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﻓﻭﻕ ﻗﻤﺔ‬
‫ﺍﻝﺠﺒل ﺼﻑ ﺍﻝﺭﺠﺎل ﺤﺎﻤﻠﻴﻥ ﺍﻝﺘﻭﺍﺒﻴﺕ ‪,‬‬
‫ﺼﻭﺕ ﺤﻭﺍﻓﺭ ﺍﻝﺠﻭﺍﺩ‬
‫ﻴﺘﺤﺭﻙ ﺍﻝﺒﺩﻭﻯ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺜﻡ ﻴﺨﺭﺝ ﻤﻥ‬
‫ﺍﻝﻴﻤﻴﻥ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﺴﻔﺢ ﺍﻝﺠﺒل ﻭﻴﺨﺭﺝ‬ ‫‪252‬‬
‫ﺍﻝﺒﺩﻭﻯ ﻤﻥ ﺨﻠﻑ ﺍﻝﺠﺒل ﻭﻴﺘﺤﺭﻙ ﻨﺎﺤﻴﺔ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﺘﻰ ﺘﺘﺤﺭﻙ ﻴﻤﻴﻨﹰﺎ ‪Tracking‬‬
‫ﺍﻝﺒﺩﻭﻯ ﺒﻙ ‪ :‬ﺇﺤﺘﺭﺱ ‪ ,‬ﻨﺤﻥ ﻨﻤﺭ‬
‫ﺼﻭﺕ ﺤﻭﺍﻓﺭ ﺍﻝﺨﻴل‬ ‫ﻭﻴﻅﻬﺭ ﺃﺤﻤﺩ ﻜﻤﺎل ﻓﻭﻕ ﺠﻭﺍﺩ ﻭﻴﺼﺒﺢ ﻓﻰ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﻴﺄﺘﻰ ﺍﻝﺒﺩﻭﻯ ﻨﺎﺤﻴﺘﻪ ﻭﻴﺨﺭﺝ ﺒﻤﻨﻁﻘﺔ ﺍﻝﺤﺭﺒﺎﺕ ‪.‬‬
‫ﻤﻥ ﺍﻝﻴﻤﻴﻥ ﻭﺨﻠﻔﻪ ﺃﺤﻤﺩ ﻜﻤﺎل‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‬ ‫‪253‬‬
‫‪ Low Angle‬ﻝﻤﻭﻜﺏ ﺍﻝﺘﻭﺍﺒﻴﺕ ﻭﻴﻅﻬﺭ‬
‫ﺍﻝﻤﻭﻜﺏ ﺴﻠﻭﻴﺕ ﻤﻊ ﺒﺩﺍﻴﺔ ﺍﻝﻀﻭﺀ ﺍﻝﺨﺎﻓﺕ‬
‫ﻭﻴﺘﺤﺭﻜﻭﻥ ﺒﺒﻁﺀ ﻭﻫﻡ ﺤﺎﻤﻠﻴﻥ ﺍﻝﺘﻭﺍﺒﻴﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 29‬‬
‫ﻝﻴل ‪ /‬ﺨﺎﺭﺠﻰ ) ﻗﺒل ﺍﻝﻔﺠﺭ ﺒﻘﻠﻴل (‬
‫ﻤﻨﻁﻘﺔ ﻗﺒﻴﻠﺔ ﺍﻝﺤﺭﺒﺎﺕ "ﺍﻝﻤﺼﺎﻁﺏ "‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻤﻤﺭ ﺒﻴﻥ ﺠﺩﺭﺍﻥ‬ ‫‪254‬‬
‫ﺍﻝﻤﺼﻁﺒﺔ ﻴﻅﻬﺭ ﻓﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﺭﺠﻼﻥ‬
‫ﻴﺄﺘﻴﺎﻥ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﺍﻝﺭﻴﺎﺡ ﻋﺎﻝﻰ‬ ‫ﻼ ‪ Track‬ﻝﻴﻅﻬﺭ ﺍﻝﻌﻡ ﻭﺍﻝﻘﺭﻴﺏ‬ ‫ﻝﻠﻴﻤﻴﻥ ﻗﻠﻴ ﹰ‬
‫ﻴﻨﻅﺭﺍ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺨﻠﻔﻬﻤﺎ ﻤﺠﻤﻭﻋﺔ ﻤﻥ‬
‫ﺭﺠﺎل ﺍﻝﻘﺒﻴﻠﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻤﻭﻜﺏ ﺍﻝﺘﻭﺍﺒﻴﺕ‬ ‫‪255‬‬
‫ﻭﺍﻝﺭﺠﺎل ﻴﺘﺤﺭﻜﻭﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻬﻤﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ‪ Pan Right‬ﻝﻴﻅﻬﺭ ﺼﻑ‬
‫ﺍﻝﺘﻭﺍﺒﻴﺕ ﺍﻝﻤﺤﻤﻭﻝﺔ ﻭﻫﻡ ﻴﻤﺭﻭﻥ ﺒﺠﻭﺍﺭ‬
‫ﻤﻌﺒﺩ ﻫﺎﺒﻭ ﺍﻝﺫﻯ ﻴﻅﻬﺭ ﻓﻰ ﺨﻠﻔﻴﺔ ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M .L. S‬ﻝﻠﻌﻡ‬ ‫‪256‬‬
‫ﻭﻤﺭﺍﺩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﺨﻠﻑ ﺍﻝﻤﺼﻁﺒﺔ ﻴﻨﻅﺭﻭﻥ‬
‫ﻓﻰ ﺍﺘﺠﺎﻩ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ ﻭﻴﻅﻬﺭ ﻓﻰ ﺍﻝﻌﻤﻕ‬
‫ﺼﻭﺕ ﺨﺒﻁﺔ‬
‫ﻤﻭﻜﺏ ﺍﻝﺘﻭﺍﺒﻴﺕ ﻭﻴﺘﺤﺭﻙ ﺍﻝﺭﺠﺎل ﻴﻤﻴﻨ ﹰﺎ ﺜﻡ‬
‫ﻴﻠﺘﻔﺕ ﺍﻝﻌﻡ ﺨﻠﻔﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M. S‬ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪257‬‬

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‫ﻤﻨﺨﻘﻀﺔ‪ Low Angle‬ﻝﻠﻘﺭﻴﺏ ﻭﺤﻭﻝﻪ‬

‫ﺭﺠﺎل ﺍﻝﻘﺒﻴﻠﺔ ﻤﺨﺘﺒﺌﻴﻥ ﻭﻴﺘﺭﺍﺠﻌﻭﻥ ﻝﻠﻴﻤﻴﻥ‬
‫ﺼﻭﺕ ﺍﻝﺨﻁﻭﺍﺕ‬
‫ﺒﻴﻨﻤﺎ ﺍﻝﻘﺭﻴﺏ ﻴﻨﻅﺭ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M .S‬ﻝﻠﺒﺩﻭﻯ ﻋﻠﻰ ﺠﻭﺍﺩﻩ‬ ‫‪258‬‬
‫ﻴﺩﺨل ﺍﻝﻜﺎﺩﺭ ﻤﻥ ﺍﻝﻴﺴﺎﺭ ﻭﻴﻨﻅﺭ ﺨﻠﻔﻪ‬
‫ﻼ ﻝﻴﻅﻬﺭ ﻤﻤﺭ‬ ‫ﻭﺘﺭﺍﺠﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻗﻠﻴ ﹰ‬
‫ﺍﻝﻤﺼﺎﻁﺏ ﻭﻴﺘﺤﺭﻙ ﻝﻠﻴﻤﻴﻥ ﻭﻴﺘﺒﻌﻪ ﺒﺎﻗﻰ‬
‫ﺍﻝﺭﺠﺎل ﺤﺎﻤﻠﻴﻥ ﺍﻝﺘﻭﺍﺒﻴﺕ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ‪ .M .L. S‬ﻝﻠﻌﻡ‬ ‫‪259‬‬
‫ﻭﺨﻠﻔﻪ ﺒﻌﺽ ﺭﺠﺎل ﺍﻝﻘﺒﻴﻠﺔ ﻴﺎﺘﻭﻥ ﻤﻥ ﺨﻠﻑ‬
‫ﺃﺤﺩ ﺍﻝﻤﻤﺭﺍﺕ ﻭﺘﺘﺎﺒﻊ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﻌﻡ ‪Pan‬‬
‫‪ Left‬ﻭﻫﻭ ﻴﺘﺤﺭﻙ ﻴﺴﺎﺭﹰﺍ ﺜﻡ ﻴﻌﺒﺭﻫﺎ ﻭﻴﻨﻅﺭ‬
‫ﻝﻠﻌﻤﻕ ﺤﻴﺙ ﻴﻤﺭ ﺍﻝﺭﺠﺎل ﺍﻝﺫﻴﻥ ﻴﺤﻤﻠﻭﻥ‬
‫ﺍﻝﺘﻭﺍﺒﻴﺕ ‪ ,‬ﻭﻴﻨﺤﻨﻰ ﺒﺠﻭﺍﺭﻩ ﻤﺭﺍﺩ ﺜﻡ ﻴﺸﻴﺭ‬
‫ﺍﻝﻌﻡ ﺒﻴﺩﻩ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﻴﺘﺭﺤﻙ ﻴﻤﻴﻨﺎ ﻭﻴﻨﻅﺭ‬
‫ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ ,L . S‬ﻝﻠﻘﺭﻴﺏ ﻴﺘﺤﺭﻙ ﺨﻠﻑ‬ ‫‪260‬‬
‫ﺍﻝﻤﺼﻁﺒﺔ ﻴﺴﺎﺭﹰﺍ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪Pan‬‬
‫‪ Left‬ﻭﻴﻅﻬﺭ ﻓﻰ ﺍﻝﻌﻤﻕ ﺍﻝﻤﻭﻜﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻷﺒﻨﺎﺀ ﺍﻝﻌﻡ ﺍﻝﺜﻼﺜﺔ‬ ‫‪261‬‬
‫ﻴﻨﻅﺭﻭﻥ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﺒﻐﻀﺏ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ‪ .M .S‬ﻝﻠﻌﻡ ﻴﻨﻅﺭ ﻴﻤﻴﻥ‬ ‫‪262‬‬
‫ﻜﺎﺩﺭ ﺜﻡ ﻴﺘﺤﺭﻙ ﻝﻠﻴﻤﻴﻥ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Pan Right‬ﻝﻴﻅﻬﺭ ﺃﺒﻨﺎﺀ ﺍﻝﻌﻡ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﻴﻘﻔﻭﺍ ﻓﻰ ﻤﻭﺍﺠﻬﺘﻪ ‪ ,‬ﺜﻡ ﻴﻌﻭﺩ ﺍﻝﻰ ﺍﻝﺨﻠﻑ ﺍﻝﻌﻡ ‪ :‬ﻫﺎﺠﻤﻭﻫﻡ ‪ ..‬ﻫﺫﻩ ﻓﺭﺼﺘﻨﺎ‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﺴﺎﺭ ‪ Pan Left‬ﺍﻷﺨﻴﺭﺓ‬
‫ﻭﻴﻨﺤﻨﻰ ﺒﺠﻭﺍﺭ ﻤﺭﺍﺩ ﻭﻴﻅﻬﺭ ﻓﻰ ﻋﻤﻕ ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﺍﻝﻤﻭﺘﻰ !! ﻫل ﻫﺫﺍ‬
‫ﺍﻝﻜﺎﺩﺭ ﺍﻝﺤﺭﺍﺱ ﻋﻠﻰ ﺍﻝﺨﻴل ﻴﺠﺭﻭﻥ ﻤﻥ ﻋﻴﺸﻨﺎ ؟‬
‫ﺼﻭﺕ ﺤﻭﺍﻓﺭ ﺍﻝﺨﻴل‬
‫ﺍﻝﻴﺴﺎﺭ ﺍﻝﻰ ﺍﻝﻴﻤﻴﻥ ﻭﻴﺨﺭﺠﻭﻥ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻤﺭﺍﺩ ‪ :‬ﻴﺠﺏ ﺃﻻ ﻴﺭﺍﻨﻰ ﺃﺤﺩ ﻤﻌﻜﻡ ‪.‬‬
‫ﺜﻡ ﻴﻘﻑ ﻤﺭﺍﺩ ﻭﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺇﺒﻥ ﺍﻝﻌﻡ ‪ :‬ﺇﺫﻫﺏ ﻝﻸﻓﻨﺩﻴﺔ ﺃﻴﻬﺎ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ Pan Right‬ﻝﻴﺼل ﺍﻝﻰ ﺍﺒﻨﺎﺀ ﺍﻝﻌﻡ ﺍﻝﺩﻨﺱ ‪.‬‬
‫ﻭﺒﺎﻗﻰ ﺭﺠﺎل ﺍﻝﻘﺒﻴﻠﺔ ‪ ,‬ﺜﻡ ﻴﺘﺤﺭﻙ ﺍﻝﻘﺭﻴﺏ‬
‫ﺍﻝﻘﺭﻴﺏ ‪ :‬ﺩﻋﻭﻩ ‪.‬‬
‫ﻝﻠﻴﺴﺎﺭ ﻭﻴﺨﺭﺝ ﻤﻥ ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﻴﻬﺭﺏ ﻤﺭﺍﺩ‬
‫ﻝﻠﻌﻤﻕ ﻤﻥ ﺨﻠﻑ ﺭﺠﺎل ﺍﻝﻘﺒﻴﻠﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L .S‬ﻝﻠﻌﻡ ﺭﺍﻜﻌ ﹰﺎ ﻭﻴﻘﺘﺭﺏ ﻤﻨﻪ‬ ‫‪263‬‬
‫ﺍﻝﻘﺭﻴﺏ ﻭﻴﻘﻑ ﺒﺠﻭﺍﺭﻩ ﻋﻜﺱ ﺍﺘﺠﺎﻩ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ ,‬ﺜﻡ ﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻝﻌﻡ ﻭﻴﺼﺒﺢ ﺍﻝﻘﺭﻴﺏ ‪ :‬ﻝﻘﺩ ﻭﺼﻠﻭﺍ ﺇﻝﻰ ﺍﻝﻭﺍﺩﻯ ‪.‬‬
‫ﺒﺭﻭﻓﻴل ‪.‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻤﺸﻬﺩ ) ‪( 30‬‬
‫ﻓﺠﺭ ‪ /‬ﺨﺎﺭﺠﻰ ﻤﻌﺒﺩ ﻤﺩﻴﻨﺔ ﻫﺎﺒﻭ‬
‫ﺩﺨﻭل ﻤﻭﺴﻴﻘﻰ‬ ‫‪ 264‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﻠﻤﻭﻜﺏ ﻴﺘﺤﺭﻙ ﻭ ﻓﻰ‬
‫ﺼﻭﺕ ﺍﻝﺨﻴل‬ ‫ﺍﻝﺨﻠﻔﻴﺔ ﻴﻅﻬﺭ ﺍﻝﻤﻌﺒﺩ ‪ .‬ﻴﺘﺤﺭﻙ ﺍﻝﻤﻭﻜﺏ‬
‫) ‪( 23‬‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺒﺠﻭﺍﺭﻫﻡ ﺒﺴﻴﺭ ﺍﻝﺠﻨﻭﺩ‬

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‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻝﺘﻤﺜﺎﻝﻰ ﺃﺠﺎ ﻤﻤﻨﻭﻥ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ‬ ‫‪265‬‬
‫ﻴﺘﺤﺭﻙ ﺍﻝﻤﻭﻜﺏ ﺃﻤﺎﻡ ﺍﻝﺘﻤﺜﺎﻝﻴﻥ ﻭﺘﺘﺎﺒﻌﻬﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ﻭﺘﺘﺤﺭﻙ‪Tracking -pan‬‬
‫ﺼﻭﺕ ﺍﻝﺭﻴﺎﺡ ﻴﻌﻠﻭ‬
‫‪ Right‬ﻭﻫﻡ ﻴﻤﺭﻭﻥ ﺒﻴﻥ ﺭﺠﺎل ﻭﻨﺴﺎﺀ‬
‫ﺍﻝﻭﺍﺩﻯ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﻠﻨﺴﺎﺀ ﻤﺘﺸﺤﺎﺕ‬ ‫‪266‬‬
‫ﺒﺎﻝﺴﻭﺍﺩ ﺘﻘﻔﻥ ﻭﺘﻨﻅﺭﻥ ﻴﻤﻴﻥ ﻜﺎﺩﺭ ﻭﺘﻅﻬﺭ‬
‫ﺴﺎﻋﺎﺕ ﺍﻝﺸﻔﻕ ﻓﻰ ﺍﻝﺴﻤﺎﺀ ﺍﻝﻠﻭﻥ ﺍﻷﺤﻤﺭ‬
‫ﻴﻤﻼﺀ ﺍﻝﺴﻤﺎﺀ ﻭﺒﻭﺍﺩﺭ ﺍﻝﻔﺠﺭ ﺘﻅﻬﺭ ﻓﻰ‬
‫ﺍﻝﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﺭﺠﺎل ﺍﻝﻭﺍﺩﻯ ﻴﻘﻔﻭﻥ‬ ‫‪267‬‬
‫ﻓﻰ ﺼﻑ ﻁﻭﻴل ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﺼﻭﺕ ﺍﻝﺨﻴل‬ ‫ﻭﻴﺘﺤﺭﻙ ﻤﻭﻜﺏ ﺍﻝﻤﻭﻤﻴﺎﻭﺍﺕ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺘﺎﺒﻌﻬﻡ ‪Pan Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﻭﺍﺩﻯ ﻭﺍﻝﻨﺴﺎﺀ ﺘﺘﻘﺩﻤﻥ‬ ‫‪268‬‬
‫ﻤﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻭﻕ ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻝﻠﻤﻭﻜﺏ ﻤﻥ ﺯﺍﻭﻴﺔ‬ ‫‪269‬‬
‫ﻤﻨﺨﻔﻀﺔ‪ Low Angle‬ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻭﻋﻠﻰ ﺍﻤﺘﺩﺍﺩ ﺍﻝﻜﺎﺩﺭ ﺍﻝﺭﺠﺎل ﻭﺍﻝﻨﺴﺎﺀ‬
‫ﺼﻭﺕ ﺍﻝﺴﻔﻴﻨﺔ ﻴﻌﻠﻭ‬ ‫ﻴﻨﺘﺸﺭﻭﻥ ﻭﻴﺴﻴﺭﻭﻥ ﻤﻊ ﺍﻝﻤﻭﻜﺏ ﻭﺘﺘﺎﺒﻌﻬﻡ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻤﻴﻨ ﹰﺎ ‪ ,‬ﻭﺘﻅﻬﺭ ﺴﻔﻴﻨﺔ ﺍﻵﺜﺎﺭ ﻓﻰ‬
‫ﺍﻝﺨﻠﻔﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﻜﺒﻴﺭﺓ ‪ .M. L. S‬ﻝﻭﻨﻴﺱ‬ ‫‪270‬‬
‫ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﻨﺨﻔﻀﺔ‪ Low Angle‬ﻴﺎﺘﻰ‬
‫ﻤﻥ ﺒﻴﻥ ﺍﻝﺠﻤﻭﻉ ﺍﻝﻰ ﻨﺎﺤﻴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻭﺘﺘﺎﺒﻌﻪ ﻴﻤﻴﻨ ﹰﺎ‪ Pan Right‬ﻭﻫﻭ ﻴﻀﻊ ﻴﺩﻩ‬
‫ﻋﻠﻰ ﻭﺠﻬﻪ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻷﺤﻤﺩ ﻜﻤﺎل ﻓﻭﻕ‬ ‫‪271‬‬
‫ﺍﻝﺴﻔﻴﻨﺔ ﻴﺘﺤﺭﻙ ﻴﻤﻴﻥ ﻭﺘﺘﺤﺭﻙ ﻝﺘﺘﺎﺒﻌﻪ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ‪ , tracking‬ﻭﻴﻠﺘﻔﺕ ﻝﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ‬
‫ﺼﻭﺕ ﻗﺩﻤﻰ ﺃﺤﻤﺩ ﻜﻤﺎل‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻅﻬﺭ ﺍﻝﺘﻭﺍﺒﻴﺕ ﻋﻠﻰ ﺃﺭﻀﻴﺔ‬
‫ﺍﻝﺴﻔﻴﻨﺔ ﻓﻰ ﺍﻝﺩﻭﺭ ﺍﻝﻌﻠﻭﻯ ﻤﻨﻬﺎ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ‪ .L. S‬ﻤﻥ ﺯﺍﻭﻴﺔ ﻤﺭﺘﻔﻌﺔ‬ ‫‪272‬‬
‫‪ High Angle‬ﻝﻠﺸﺎﻁﻰﺀ ﻭﻴﻘﻑ ﺍﻝﺭﺠﺎل‬
‫ﻭﺍﻝﻨﺴﺎﺀ ﻴﺭﺍﻗﺒﻭﻥ ﺍﻝﺴﻔﻴﻨﺔ ﻭﻴﻨﻅﺭﻭﻥ ﻓﻰ‬
‫ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻴﻘﻔﻭﻥ ﻓﻰ ﻤﺠﻤﻭﻋﺎﺕ ﻓﻰ‬
‫ﺍﻝﻜﺎﺩﺭ ‪ ,‬ﻭﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻠﻴﻤﻴﻥ ﻝﺘﺘﺎﺒﻌﻪ‬
‫‪ Tracking‬ﺍﻝﺒﺩﻭﻯ ﺒﻙ ﻋﻠﻰ ﺠﻭﺍﺩﻩ ﺜﻡ‬
‫ﻴﺴﺘﺩﻴﺭ ﻭﻴﻨﻅﺭ ﻨﺎﺤﻴﺔ ﺍﻻﻜﻤﻴﺭﺍ ﻭﻴﻠﻘﻰ ﺍﻝﺘﺤﻴﺔ‬
‫ﺍﻝﻌﺴﻜﺭﻴﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫‪273‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻤﻥ ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻌﻜﺴﻴﺔ‬

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‫‪ Reverse Angle‬ﻝﻠﺒﺎﺨﺭﺓ ﻓﻰ ﺍﻝﻌﻤﻕ‬

‫ﺘﺘﺤﺭﻙ ﻴﺴﺎﺭﹰﺍ ﻭﺍﻝﺭﺠﺎل ﻭﺍﻝﻨﺴﺎﺀ ﻓﻰ‬
‫ﻤﺠﻤﻭﻋﺎﺕ ﻭﺍﻗﻔﻴﻥ ﻋﻜﺱ ﺍﺘﺠﺎﻩ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻭﻴﺘﺤﺭﻜﻭﻥ ﻨﺎﺤﻴﺔ ﺍﻝﺴﻔﻴﻨﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﻭﻨﻴﺱ ﻴﺘﺤﺭﻙ ﻤﻥ‬ ‫‪274‬‬
‫ﺍﻝﻴﻤﻴﻥ ﻝﻠﻴﺴﺎﺭ ﻭﻴﻨﻅﺭ ﻴﺴﺎﺭﹰﺍ ‪ ,‬ﺜﻡ ﻴﻘﻑ‬
‫ﺒﺠﻭﺍﺭ ﺸﺎﻁﻰﺀ ﺍﻝﻨﻬﺭ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫ﻴﺴﺎﺭﹰﺍ ‪Pan Left‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme Long Shot‬‬ ‫‪275‬‬
‫ﻝﻠﺒﺎﺨﺭﺓ ﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ ﻭﺍﻝﻨﺴﺎﺀ ﻋﻠﻰ‬
‫ﺸﺎﻁﻰﺀ ﺍﻝﻨﻬﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪ .M. S‬ﻝﻭﻨﻴﺱ ﻴﻨﻅﺭ ﻴﺴﺎﺭ‬ ‫‪276‬‬
‫ﻜﺎﺩﺭ ﻭﻴﻀﻊ ﻴﺩﻩ ﻋﻠﻰ ﺼﺩﺭﻩ ﻭﻴﻀﻤﻬﻤﺎ ‪,‬‬
‫ﺜﻡ ﻴﻠﺘﻔﺕ ﻝﻠﺨﻠﻑ ﻭﻴﺴﻴﺭ ﻨﺎﺤﻴﻰ ﻋﻤﻕ ﺍﻝﻜﺎﺩﺭ‬
‫ﻤﺘﺭﻨﺤﹰﺎ ﻭﺘﺘﺎﺒﻌﻪ ﺍﻝﻜﺎﺩﻴﺭﺍ ﻴﻤﻴﻥ ﻜﺎﺩﺭ‪Pan‬‬
‫‪. Right‬‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ‪extreme Long Shot‬‬ ‫‪277‬‬
‫ﻝﻠﺴﻔﻴﻨﺔ ﻓﻰ ﺍﻝﻌﻤﻕ ﺘﺘﺤﺭﻙ ﻴﺴﺎﺭ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ .L. S‬ﻝﺸﺎﻁﻰﺀ ﺍﻝﻨﻬﺭ ﻤﻥ‬ ‫‪278‬‬
‫ﻭﺠﻬﺔ ﻨﻅﺭ ﺍﻝﺴﻔﻴﻨﺔ ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ‬
‫‪ Tracking‬ﻝﺘﺘﺎﺒﻊ ﺍﻝﺠﻨﻭﺩ ﻓﻭﻕ ﺨﻴﻭﻝﻬﻡ‬
‫ﻭﻫﻡ ﻴﺴﻴﺭﻭﻥ ﺒﺠﻭﺍﺭ ﺍﻝﺸﺎﻁﻰﺀ ﻴﺘﺤﺭﻜﻭﻥ‬
‫ﻴﻤﻴﻥ ﻜﺎﺩﺭ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ ,.L. S‬ﻝﻭﻨﻴﺱ ﻓﻰ ﺨﻠﻔﻴﺔ‬ ‫‪279‬‬
‫ﺍﻝﻜﺎﺩﺭ ﻴﺠﺭﻯ ﻤﺒﺘﻌﺩﹰﺍ ﻋﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﺒﺩﻭ‬
‫ﺼﻔﺤﺔ ﺍﻝﻤﺎﺀ ﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ‬
‫ﻗﻁﻊ ‪Cut‬‬
‫ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺠﺩﹰﺍ ‪Extreme Long shot‬‬ ‫‪280‬‬
‫ﻝﻠﺴﻔﻴﻨﺔ ﺘﺘﺤﺭﻙ ﻓﻰ ﺍﻝﺨﻠﻔﻴﺔ ﻭﻓﻰ ﺍﻝﻤﻘﺩﻤﺔ‬
‫ﺍﻝﻜﺜﺒﺎﻥ ﺍﻝﺭﻤﻠﻴﺔ ﻋﻠﻰ ﺍﻝﺸﺎﻁﻰﺀ ﻭﺘﺜﺒﺕ‬
‫ﻨﻬﺎﻴﺔ ﺍﻝﻤﻭﺴﻴﻘﻰ‬
‫ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﺘﻅﻬﺭ ﻝﻭﺤﺔ‬
‫) ‪( 23‬‬
‫" ﺇﻨﻬﺽ ﻓﻠﻥ ﺘﻔﻨﻰ‬
‫ﻝﻘﺩ ﻨﻭﺩﻴﺕ ﺒﺈﺴﻤﻙ‬
‫ﻝﻘﺩ ﺒﻌﺜﺕ ‪"..‬‬

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