علاقة السينما بالأدب والتاريخ:المغرب نموذجا

الملخص

■الملخص:

          تستمد السينما قوتها ووجودها من الأعمال الفنية، سواء أكانت رواية، أم مسرحا، أو شعرا، أم تشكيلا، أم موسيقى، أم غيرها من الفنون الأخرى. فبما أنها تعتلي هرم الفنون فلقد سميت بالفن السابع، لكونها تجمع كل الفنون الأخرى، فهي الفن الوحيد القادر على الاستجابة للاحتياجات الجماعية الكبرى، والمتمثلة في الفرجة والمعرفة انطلاقا من تمثل الواقع والظلال، وتنويع زوايا النظر، وتناول الإطارات والمونتاج، واللعب بالزمان والترحال، واعتماد المؤثرات السمعية البصرية. كل ذلك تمهيدا للإبهام بواقعية الحدث، وتجسيدا للحلم الجماعي ضمن طقوس الفرجة الجماعية. تكشف السينما الوجه الآخر للمجتمع وجوانبه المنسية، والتي ربما لا ينتبه المؤرخ إليها، بينما يمسك بها المخرج السينمائي، ويعيد التعامل مع الحدث التاريخي، بطريقة لا يمكن للمخيلة نسيانها، أكثر مما يمكن قراءته في مصادر تاريخية، تندثر غالبا من الذاكرة الفردية والجماعية كذلك. فللسينما سحر خاص يتسرب عبر العين إلى العقل، ومنه إلى الجسد، الذي يتفاعل معها بحسب قوّة الحبكة الدرامية التاريخية أو ضعفها. والتفاعل، الذي يترجمه الجسد، يستحضره العقل لحظة تذكر الحدث، ما يجعل الصورة أقوى من غيرها على حفظ التاريخ وتملكه، مقارنة باللغة التي، مهما تكن طبيعة خطابها، تظل قاصرة، وأقل حدة من التأثير الذي تمارسه الصورة، بالتقاطها ما لا نفكر به تاريخيا.

■ كلمات المفاتيح: السينما-الأدب-التاريخ-الصورة-السينما المغربية-الحبكة الدرامية.

■Abstract:

Cinema derives its strength and existence from works of art, whether it is a novel, theater, poetry, formation, music, or other historical events as well. Since it follows the pyramid of arts, it has been called the seventh art, because it combines all other arts. It is the only art capable of responding to the great collective needs, which are watching and knowledge based on the representation of All this is a prelude to the reality of the event, and to embody the collective dream within the ritual of collective vulva. My goal further by including the axis of cinema's relationship with literature and history is to try to give partial answers to the question raised by the subject of my article, which is how can cinematic techniques participate as a tool in dealing with the historical material of a country such as Morocco, where the raw material of such works is not available? Then why not study the cinematic arts and techniques, and remain to this day without specialized hands and minds in this field?

The cultural and critical arena has witnessed serious discussions about the nature of the possible relationship between literature and cinema and then history and cinema, regardless of the difference of opinions, and the overlap of views, between supporters and opponents on the transformation of literary and historical works into cinematic works. Questions in this context include: Where does this relationship lie? And where is its impact Is Moroccan cinema aware of the existence of Moroccan literature and history? If you see that how many Moroccan movies have you dealt with?

The Moroccan creative arena has witnessed important accumulations, whether in terms of travel literature, safari literature that has not yet reached the professional cinema or biographies, and historical novels, which appeared in the 1940s. These accumulations formed the basis for the entry of a number of Moroccan writers into the world of cinema, so the number of writers and playwrights dealing with Moroccan cinema reached eight, the first of which was the novelist writer Abdel Karim Ghalab by his contribution to writing the screenplay of the film "Sun of Spring" directed by Latif Lahlou in 1969.

This percentage raises the issue of the similarity of cinema in the Maghreb, in terms of its lack of dealings with its literature and literature, while in terms of creativity and artistic level, Moroccan cinema remains behind all of them. Khaled Al-Khodari provides statistical data on this, as he found that the number of films embodying the relationship between Moroccan literature and cinema is: three out of fifty-one films, and this is related to "the barber of the path of the poor", "Pamu" and "Al-Zaffet". That’s 6% of literature in general. As for the novel, the number is: one in fifty-one "pamo", a percentage not exceeding 2%. It was this percentage that led Khaled Al-Khodari to deny the relationship between the two cinematic films and Moroccan literature.

The next director to choose a subject for a film or television work from our history boasting record will stand bewildered by the sheer amount of epics and tournaments that each deserves so many works of art. If some pages are known, cinema does not address them professionally and to their status - such as the resistance of Chaoui and its heroes such as: Al-Bawiya and Al-Ahmar bin Mansour, and the resistance of the Middle Atlas with his men: Mohi and Hamo Al-Zayani, Moha and Saeed Al-Wirawi, Saeed Ali Am If these glorious pages are known to some extent, there are other pages of jihad, sacrifice for the sake of God, the freedom of the homeland, and the dignity of Moroccans, rarely seen by the recipient. Those working in history and cinematic art should join forces to publicize them beautifully through cinematic works, hoping that Moroccan filmmakers will be tempted to work on them.

■Key words: Cinema,Morocco,The Moroccan creative ,Moroccan cinema ,The cinema in the Maghreb,cinematic films and Moroccan literature,Moroccan filmmakers