Examining the functions of absence in dealing with the character of Masoomin (PBUH) for script writing

Dissertation, to receive M.A. degree

Drama literature

Abstract

Script writing is one of the most important stages of film formation and production as the main platform and the axis of connecting cinematic elements. Since the use of "absence" in the screenplay is effective, this essay tries to investigate the limitations and harms of the direct depiction of Masoomin (PBUH) with documentary and library methods, and further talks about "Absence" as a solution proposed to deal with the character of Masoomin (PBUH) and its functions in cinema and television, which include the audience's empathy and companionship with the story, which causes believability, attraction and impact. will be In the end, it comes to the conclusion that according to the limitations of the language of cinema and television, using this technique to represent the different aspects of the life of the innocent (PBUH) and holy characters is appropriate and should be given special attention.

Key words: absence, characterization, innocents, screenplay

Statement of the problem

Drama art is an arena where concepts and effects of life can be displayed in cinema and television. If these manifestations of life are from the lives of the saints and holy personalities, their real manifestations will be more and will lead to more recognition of them. Manifestations of purity, piety, love and compassion for the poor, fighting against oppressors, sacrifice and martyrdom for the immortality of the divine religion are at their peak. But unfortunately, these effects have not been completely shown.

Due to the linguistic limitations of cinema and television in portraying the lives of the innocents (PBUH), challenges and difficulties are faced by our religious filmmakers in dealing with their characters. Therefore, it is necessary to be more accurate in portraying the innocents (PBUH) and holy characters, and to review the ways of scriptwriting and presenting their characters in screenwriting, which by presenting a new perspective to the phenomena and examples, can be matched as much as possible with the structure of cinema and television. Therefore, at the beginning, let's point out the limitations and capacities of the direct portrayal of the Holy Prophet (PBUH) in cinema and television. Then, we will examine some of the elements of the screenplay, and then, while examining this technique to represent the different aspects of the lives of the innocent people, we will discuss its functions and special advantages. Dealing with the lives of the innocents (pbuh) to the audience to benefit more from these truly divine role models. However, every artist who steps into this sacred valley faces the problem of portraying the innocents (pbuh), due to the importance of the lives of the innocents (pbuh) in writing the screenplay and on the other hand, the language limitations of cinema and television in portraying the innocents (pbuh), it is expected that we will be more sensitive to these issues and find different preparations and solutions in entering Let's examine the field of opinion; Hoping that the use of these sacred spaces that lead to worldly and otherworldly happiness will be increased and the audience's communication with the artwork will increase. 13 Research Objectives 1 Helping to present new methods in religious script writing patterns.

3- Expanding the theoretical boundaries regarding religious cinema and spiritual cinema.

14 research questions

141 main questions

How can the functions of absence be used in dealing with the character of the innocents (PBUH) to write a screenplay?

142 Sub-questions

What is meant by the absence of character in the screenplay?

What are the capacities and limitations of cinema and television in portraying the lives of the innocents?

Which examples and experiences among writers have used the absence of characters in the portrayal of the lives of the innocents?

15 Research Hypotheses

This research is capacity measurement and exploratory research that has hypotheses.

16 research methods

The research method in this treatise is in the stage of library collection and in the stage of analysis it is based on narrative analysis.. In other words, all available data and information have been collected and then analyzed in a library method. In this process, by referring to the most reliable domestic and foreign sources, including articles, books and sometimes university theses, with the use of numerous notes and notes, the necessary information has been extracted and finally analyzed and interpreted. According to reason and transmission, the Prophet and the Imam must be absolutely free from sin, whether actual sin or mental sin, and since they are the link between humans and God, they must also be immune from forgetfulness. The infallible that is meant in this research is both the prophets and the fourteen infallibles (pbuh) and includes people who are infallible in action such as Hazrat Abul Fazl al-Abbas (pbuh) and Hazrat Zainab Kabri (pbuh).

Character: Aristotle He defines the character as follows: "Tragedy is not essentially the imitation of people, but the imitation of actions." It is an imitation of life, it is an imitation of happiness and misfortune. In fact, all the happiness and misfortunes of a person take the form of action, and the end of life itself is a kind of action and activity, not a quality" (Aristotle, 1353: 47). From Aristotle's point of view, personality refers to those special characteristics by which we recognize people during action, and he emphasizes on action. Aristotle clearly states the inseparability of action and personality.

There are different divisions for personality, the simplest form of which is: main character and minor character. The main character is the person on whom the main plot of the story moves forward. In fact, it is the main conflict of the story and is considered the most important person in the story. The story is the story of his life. The element of "imbalance" has appeared in his life and the story often ends with the solution of his problem. Usually, every story has a central character. Of course, in the stories based on a kind of two-sided conflict, it seems that the two people who are on both sides of the case are both the main characters. In fact, these two people have more influence on the story than others, but among these two, the effect of one is more than the other and he is considered the main character. Other people who are in the story, but their importance is far less than the main character, are called secondary characters, and they should be considered as auxiliary forces. Absence: In the first step, it is necessary to reach an initial agreement between the author and the reader of this research on the concept in question, that is, "absence"[1]. Therefore, during a preliminary discussion, we will try to clarify what the semantic limits of "absence" are.

At first glance, the phrase "functions of absence in dealing with the lives of innocents" may seem vague and vague. Aren't cinema and television art in person? Isn't being in cinema and television an inviolable principle? So how is absence likely to play a role in cinema and television? How can the principle of presence in cinema and television be damaged and still remain cinema and television, cinema and television? Isn't absence in the art of presence a paradox and is this paradox possible?

It should be said that if we abandon the thinking that identifies each bipolarity only in a state of conflict and do not get the ways of signifying the words "presence" [2] and "absence" on the status of "presence" or "absence" caught in the positivist nature of reference and exemplification, we can easily find the primary knot of the phrase "functions of absence in Dealing with the personality of the innocents" will be opened. We will come back to this topic to show that absence is a state of presence and we will try to prove that not only in the language system of the two mentioned words are semantically dependent, but also in cinema and television, presence and absence can act as the fabric of many actions. The first part, that is, lexical dependence, will rely on the basic assumptions of linguistic knowledge. The second part, if it can examine the actions and theatrical elements in the dependent state of absence and presence, it can be explained in many other fields and for example, it can be examined in many collective actions, of which we will examine only one of them that is directly related to cinema and television in the final chapter. However, what is likely to be the primary point of contention in this phrase and it is necessary to clarify its limits for further discussions without Doubt is just the word for absence.

Absence is not "absence". A certain culture has written "absence, non-existence, non-existence" in front of the word "absence".