‫أ‬

‫ﻜﻠﻴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻌﻠﻴﺎ‬

‫ﺒﺭﻨﺎﻤﺞ ﺍﻝﻤﺎﺠﺴﺘﻴﺭ‪-‬ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﺩﻭﻝﻴﺔ‬

‫ﺍﻝﻌﺭﺏ ﻓﻲ ﺴﻴﻨﻤﺎ ﻫﻭﻝﻴﻭﻭﺩ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪2001‬‬

‫‪The Arabs in Hollywood Cinema Post 11th of‬‬

‫‪September2001‬‬

‫ﺇﻋﺩﺍﺩ‬
‫ﻨ ‪‬ﻭﺍﺭ ﻋﺒﺩ ﺍﻝﻐﻨﻲ ﻤﺤﻤﺩ ﺜﺎﺒﺕ‬

‫ﺇﺸﺭﺍﻑ‬
‫ﺩ‪ .‬ﻭﻝﻴﺩ ﺍﻝﺸﺭﻓﺎ‬

‫‪2010‬‬
‫ب‬

‫ﺍﻝﻌﺭﺏ ﻓﻲ ﺴﻴﻨﻤﺎ ﻫﻭﻝﻴﻭﻭﺩ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪2001‬‬

‫‪The Arabs in Hollywood Cinema post 11th of September‬‬

‫‪2001‬‬

‫ﻨ ‪‬ﻭﺍﺭ ﻋﺒﺩ ﺍﻝﻐﻨﻲ ﻤﺤﻤﺩ ﺜﺎﺒﺕ‬

‫ﻝﺠﻨﺔ ﺍﻹﺸﺭﺍﻑ ﻭﺍﻝﻤﻨﺎﻗﺸﺔ‬

‫ﺩ‪.‬ﻭﻝﻴﺩ ﺍﻝﺸﺭﻓﺎ )ﺭﺌﻴﺴﺎ(‬
‫ﺩ‪.‬ﺴﻤﻴﺭ ﻋﻭﺽ)ﻋﻀﻭﺍ(‬
‫ﺩ‪.‬ﻭﺩﺍﺩ ﺍﻝﺒﺭﻏﻭﺜﻲ)ﻋﻀﻭﺍ(‬

‫ﻗﺩﻤﺕ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﺍﺴﺘﻜﻤﺎﻻ ﻝﻤﺘﻁﻠﺒﺎﺕ ﺩﺭﺠﺔ ﺍﻝﻤﺎﺠﺴﺘﻴﺭ ﻓﻲ ﺍﻝﺩﺭﺍﺴﺎﺕ‬

‫ﺍﻝﺩﻭﻝﻴﺔ‪ ،‬ﻤﻥ ﻜﻠﻴﺔ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻌﻠﻴﺎ ﻓﻲ ﺠﺎﻤﻌﺔ ﺒﻴﺭﺯﻴﺕ‪ ،‬ﻓﻠﺴﻁﻴﻥ‬

‫‪2010‬‬
‫ج‬

‫ﺍﻝﻌﺭﺏ ﻓﻲ ﺴﻴﻨﻤﺎ ﻫﻭﻝﻴﻭﻭﺩ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪2001‬‬

‫‪The Arabs in Hollywood Cinema post 11th of September‬‬

‫‪2001‬‬

‫ﻨ ‪‬ﻭﺍﺭ ﻋﺒﺩ ﺍﻝﻐﻨﻲ ﻤﺤﻤﺩ ﺜﺎﺒﺕ‬

‫ﺸﺒﺎﻁ ‪2010‬‬

‫ﻝﺠﻨﺔ ﺍﻹﺸﺭﺍﻑ ﻭﺍﻝﻤﻨﺎﻗﺸﺔ‬

‫ﺍﻝﺘﻭﻗﻴﻊ ‪.................‬‬ ‫ﺩ‪.‬ﻭﻝﻴﺩ ﺍﻝﺸﺭﻓﺎ )ﺭﺌﻴﺴﺎ(‬

‫ﺍﻝﺘﻭﻗﻴﻊ ‪.................‬‬ ‫ﺩ‪.‬ﺴﻤﻴﺭ ﻋﻭﺽ )ﻋﻀﻭﺍ(‬
‫ﺍﻝﺘﻭﻗﻴﻊ ‪.................‬‬ ‫ﺩ‪.‬ﻭﺩﺍﺩ ﺍﻝﺒﺭﻏﻭﺜﻲ )ﻋﻀﻭﺍ(‬
‫د‬

‫ﺇﻫﺩﺍﺀ‪....‬‬

‫ﺇﻝﻰ ﺃﺒﻲ ﺍﻝﻐﺎﻝﻲ‪ ،‬ﺭﻭﺡ ﺃﻤﻲ ﺍﻝﻁﺎﻫﺭﺓ‪...‬‬

‫ﺇﻝﻰ ﺍﻝﺫﻴﻥ ﺃﺤﺒﻬﻡ‪....‬‬
‫ﻷﻥ ﻤﺜﻠﻬﻡ ﻻ ﻴﺴﺘﺤﻕ ﺴﻭﻯ ﺍﻝﺤﺏ‬
‫ﻭﻻ ﻨﻤﻠﻙ ﺃﻤﺎﻤﻬﻡ ﺴﻭﻯ ﺃﻥ ﻨﺤﺏ‬
‫ﻓﻨﺘﻌﻠﻡ ﻤﻨﻬﻡ ﺃﺸﻴﺎﺀ ﺠﻤﻴﻠﻪ‬
‫ﻭﻨﺭﻤﻡ ﻤﻌﻬﻡ ﺃﺸﻴﺎﺀ ﻜﺜﻴﺭﺓ‬
‫ﻭﻨﻌﻴﺩ ﻁﻼﺀ ﺍﻝﺤﻴﺎﺓ ﻤﻥ ﺠﺩﻴﺩ‬
‫ﻭﻨﺴﻌﻰ ﺼﺎﺩﻗﻴﻥ ﻜﻲ ﻨﻤﻨﺤﻬﻡ ﺒﻌﺽ ﺍﻝﺴﻌﺎﺩﺓ‬
‫ ‬

‫ﺸﻜﺭ ﻭﺘﻘﺩﻴﺭ‪:‬‬

‫ﺃﺴﺘﺎﺫﻱ ﺍﻝﻔﺎﻀل ﻭﻝﻴﺩ‪ :‬ﺃﺸﻜﺭﻙ ﺠﺯﻴل ﺍﻝﺸﻜﺭ ﻋﻠﻰ ﺍﻀﺎﺀﺍﺘﻙ‪.‬‬

‫ﺍﻝﺩﻜﺘﻭﺭ ﻋﺒﺩ ﺍﻝﺭﺤﻴﻡ ﺍﻝﺸﻴﺦ‪ ،‬ﺍﻴﺭﺍﻡ ﺸﻴﺦ ﺃﺸﻜﺭﻜﻤﺎ ﻋﻠﻰ ﻤﺎ ﺃﻓﺩﺘﻤﺎﻨﻲ ﺒﻪ‪.‬‬

‫ﺃﺨﻲ ﻤﺤﻤﺩ‪ :‬ﻤﺯﻴﺩ ﻤﻥ ﺍﻻﻤﺘﻨﺎﻥ‪.‬‬

‫ﺍﻝﺩﻜﺘﻭﺭ ﺴﻤﻴﺭ ﻋﻭﺽ ﻭﺍﻝﺩﻜﺘﻭﺭﺓ ﻭﺩﺍﺩ ﺍﻝﺒﺭﻏﻭﺜﻲ ﺍﺯﺩﺩﺕ ﺸﺭﻓﺎ ﺒﻜﻤﺎ ‪.‬‬
 ‫و‬

‫ﻓﻬﺭﺱ ﺍﻝﻤﺤﺘﻭﻴﺎﺕ‬

‫ﺇﻫﺩﺍﺀ‪ ............................................................................................................................ ....‬د‬

‫ﺸﻜﺭ ﻭﺘﻘﺩﻴﺭ ‪ .........................................................................................................................‬‬
‫ﻓﻬﺭﺱ ﺍﻝﻤﺤﺘﻭﻴﺎﺕ ‪ ..................................................................................................................‬و‬
‫ﻤﻠﺨﺹ ﺒﺎﻝﻠﻐﺔ ﺍﻝﻌﺭﺒﻴﺔ ‪ ............................................................................................................‬ح‬
‫ﻤﻠﺨﺹ ﺍﻝﻠﻐﺔ ﺍﻹﻨﺠﻠﻴﺯﻴﺔ ‪ .........................................................................................................‬ي‬

‫ﺍﻝﻔﺼل ﺍﻷﻭل ‪1 .......................................................................................................................‬‬

‫‪.1‬ﺩﺭﺍﺴﺔ ﻓﻲ ﺍﻝﻤﻨﻬﺞ ﻭﺍﻝﻬﺩﻑ ‪1 .................................................................................................‬‬
‫‪ 1.1‬ﺘﻤﻬﻴـــﺩ ‪1 ..................................................................................................................‬‬
‫‪ 2.1‬ﻤﻨﻬﺠﻴﺔ ﺍﻝﺩﺭﺍﺴﺔ ‪5 .............................................................................................................‬‬
‫‪ 3.1‬ﻤﺭﺍﺠﻌﺔ ﺍﻷﺩﺒﻴﺎﺕ ‪12 ..........................................................................................................‬‬

‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ ‪16 ....................................................................................................................‬‬

‫‪ .2‬ﻤﺩﺍﺨل ﻨﻅﺭﻴﺔ ﻋﺎﻤﺔ ﻓﻲ ﺍﻝﺩﺭﺍﺴﺔ ‪16 .........................................................................................‬‬
‫‪ 1.2‬ﻤﺩﺨل ﻝﺩﺭﺍﺴﺔ ﺍﻝﺼﻭﺭﺓ‪ :‬ﻜﻴﻑ ﻨﺩﺭﻙ ﺍﻝﻌﺎﻝﻡ ﻤﻥ ﺨﻼل ﺃﺸﻴﺎﺌﻪ ‪16 ....................................................‬‬
‫‪ 2.2‬ﺘﺸﻜﻼﺕ ﺍﻝﺼﻭﺭﺓ‪17 ..........................................................................................................‬‬
‫‪ 3.2‬ﻤﺩﺨل ﻝﺩﺭﺍﺴﺔ ﺍﻝﺴﻴﻨﻤﺎ ‪20 ....................................................................................................‬‬
‫‪ 4.2‬ﺍﻝﺘﻭﺍﺼل ﻓﻲ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ‪22 .......................................................................................‬‬
‫‪ 5.2‬ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺍﻝﺼﻨﺎﻋﺔ ﺍﻝﺘﻘﻨﻴﺔ ‪23 ...................................................................................................‬‬
‫‪ 6.2‬ﻗﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ‪27 ....................................................................................................‬‬
‫‪ 7.2‬ﺍﻝﺴﻴﻨﻤﺎ‪ :‬ﺍﻝﺘﺎﺭﻴﺦ ﻭﺍﻝﺒﺩﺍﻴﺎﺕ ‪28 ...............................................................................................‬‬

‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ ‪36 ....................................................................................................................‬‬

‫‪ .3‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ‪36 .............................................................................................................‬‬
‫‪ 1.3‬ﺘﺄﺜﻴﺭ ﺍﻝﻨﻅﺭﺓ ﺍﻻﺴﺘﺸﺭﺍﻗﻴﺔ ﻋﻠﻰ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﺴﻴﻨﻤﺎﺌﻴﺎ ‪40 ...........................................................‬‬
‫‪ 2.3‬ﺠﺩﻝﻴﺔ ﺍﻝﺸﺭ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ‪ :‬ﺤﺎﻝﺔ ﺍﻝﺤﺭﺏ ﺍﻝﺩﺍﺌﻤﺔ ‪47 ......................................................................‬‬
‫‪ 3.3‬ﻫﻭﻝﻴﻭﻭﺩ ﻭﺴﻴﻨﻤﺎ ﺍﻹﺸﻬﺎﺭ ‪54 ................................................................................................‬‬
‫‪ 4.3‬ﺍﻝﻘﻀﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪ :‬ﺼﻭﺭﺓ ﺃﻋﻤﻕ ﻝﻠﻌﺭﺒﻲ ﺍﻝﺸﺭﻴﺭ ‪56 ..................................................................‬‬

‫ﺍﻝﻔﺼل ﺍﻝﺭﺍﺒﻊ ‪64 ....................................................................................................................‬‬

‫‪ 1.4‬ﺍﻝﺘﺴﻠﻴﻊ ﺍﻻﻴﺩﻭﻝﻭﺠﻲ ﺒﺎﻝﺴﻴﻨﻤﺎ ﺼﻨﺎﻋﺔ )ﻫﻭﻝﻴﻭﻭﺩ ﻨﻤﻭﺫﺠﺎ( ‪64 ..........................................................‬‬
 ‫ز‬

‫‪ 2.4‬ﺼﻨﺎﻋﺔ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ‪70 .......................................................................................................‬‬

‫‪ 3.4‬ﺍﻝﻘﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻤﻴﺔ ﻓﻲ ﺍﻹﺨﺭﺍﺝ ﻭﺍﻝﺴﻴﻨﺎﺭﻴﻭ‪) ،‬ﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ ( ‪71 ...................................................‬‬
‫‪ 4.4‬ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ :‬ﺒﻁﺎﻗﺘﻪ‪ ،‬ﺤﻘﻴﻘﺘﻪ ‪74 .......................................................................................‬‬
‫‪ 5.4‬ﺍﻹﻝﻜﺘﺭﻭﻨﻴﻙ‪ ،‬ﺍﻷﺩﺭﻤﺔ‪ :‬ﻁﺭﻴﻘﺔ ﻓﻬﻡ ﺍﻝﺘﺸﻜﻼﺕ ﻭﺘﺤﺩﻴﺩ ﺍﻝﻭﺴﺎﺌل ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ‪77 ...........................‬‬
‫‪ 6.4‬ﻨﻤﺎﺫﺝ ﺩﺭﺍﺴﺔ ﻨﻅﺭﻴﺔ ﻝﻘﺭﺍﺀﺍﺕ ﺘﺄﻭﻴﻠﻴﺔ‪ ،‬ﻷﻓﻼﻡ ﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ ‪85 ..............................‬‬
‫‪ 1.6.4‬ﻓﻴﻠﻡ )‪( The Kingdom‬ﺍﻝﻤﻤﻠﻜﺔ ‪86 ..................................................................................‬‬
‫‪ ( Body of Lies) 2.6.4‬ﺠﺴﺩ ﺍﻷﻜﺎﺫﻴﺏ ‪95 ................................................................................‬‬
‫‪ 3.6.4‬ﻓﻴﻠﻡ ) ‪ (Rendition‬ﺍﻝﺘﺴﻠﻴﻡ ‪108 ........................................................................................‬‬
‫‪ 5.6.4‬ﻓﻴﻠﻡ )ﺴﻴﺭﻴﺎﻨﺎ‪116 ........................................................................................... (Syriana‬‬
‫‪ 6.6.4‬ﺭﺅﻴﺔ ﻨﻘﺩﻴﺔ ﻝﻸﻓﻼﻡ ‪123 ...................................................................................................‬‬
‫‪ 6.4‬ﺍﻝﺨﺎﺘﻤﺔ ‪133 ....................................................................................................................‬‬

‫‪ .5‬ﺍﻝﻤﺭﺠﻌﻴﺔ ‪136..................................................................................................................‬‬
‫‪ 1.5‬ﺍﻝﻤﺼﺎﺩﺭ ﺒﺎﻝﻠﻐﺔ ﺍﻝﻌﺭﺒﻴﺔ ‪136 ................................................................................................‬‬
‫‪ 2.5‬ﺍﻝﻤﺼﺎﺩﺭ ﺒﺎﻝﻠﻐﺔ ﺍﻻﻨﺠﻠﻴﺯﻴﺔ ‪140 ............................................................................................‬‬
‫‪ 3.5‬ﺍﻷﻗﺭﺍﺹ ﺍﻝﻤﻀﻐﻭﻁﺔ ‪141 ..................................................................................................‬‬
‫‪ 4.5‬ﺍﻝﻤﻭﺍﻗﻊ ﺍﻻﻝﻜﺘﺭﻭﻨﻴﺔ ‪142 .....................................................................................................‬‬
‫ح‬

‫ﻤﻠﺨﺹ ﺍﻝﻠﻐﺔ ﺍﻝﻌﺭﺒﻴﺔ ‪:‬‬

‫ﻴﺤﺘﻭﻱ ﻤﺘﻥ ﺍﻝﺩﺭﺍﺴﺔ ﻋﻠﻰ ﺜﻼﺜﺔ ﻓﺼﻭل‪ ،‬ﺘﹲﻌﻨﻰ ﺒﺩﺭﺍﺴﺔ ﺘﺸﻜﻴﻼﺕ ﺍﻝﺼﻭﺭﺓ ﺍﻝﻤﺭﺌﻴﺔ ﻤﻥ‬

‫ﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ )ﻫﻭﻝﻴﻭﺩ( ﻭﻁﺭﻴﻘﺔ ﺘﺸﻜﻴﻠﻬﺎ ﻝﺼﻭﺭﺓ ﺍﻝﻌﺭﺒـﻲ ﺒﻌـﺩ‬

‫ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪.2001‬‬

‫ﻴﻁﺭﺡ ﺍﻝﻔﺼل ﺍﻷﻭل ﺍﻝﻤﺴﺘﻭﻴﺎﺕ ﺍﻝﻨﻅﺭﻴﺔ‪ ،‬ﻭﺍﻷﻁﺭ ﺍﻝﻤﻔﺎﻫﻴﻤﻴﺔ ﺍﻝﺘﻲ ﺘﻌﻴﻥ ﻋﻠـﻰ ﻓﻬـﻡ‬

‫ﺘﺸﻜﻼﺕ ﺍﻝﺼﻭﺭﺓ ﻭﺘﻘﻨﻴﺎﺕ ﻗﺭﺍﺀﺘﻬﺎ‪ ،‬ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺎﺕ‪ ،‬ﺍﻝﺨﻁﺎﺏ‪ ،‬ﻭﻤﺎ ﻴﺨﺹ ﺍﻝﺴﻤﻌﻲ ﻭﺍﻝﺒﺼﺭﻱ‬

‫ﻜﻤﺤﺩﺩﺍﺕ ﻝﻤﺠﺎل ﺍﻝﺒﺤﺙ‪ .‬ﻴﻠﻲ ﺫﻝﻙ ﻤﺩﺨل ﻝﺩﺭﺍﺴﺔ ﺍﻝﺼﻭﺭﺓ‪ :‬ﻤﻥ ﺤﻴﺙ ﺘﻌﺭﻴﻔﺎﺘﻬﺎ‪ ،‬ﺒـﺩﻴﺎﺘﻬﺎ‪،‬‬

‫ﺘﻘﻨﻴﺎﺕ ﺍﻝﺘﻌﺒﻴﺭ ﻤﻥ ﺨﻼﻝﻬﺎ ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﺘﻁﺒﻴﻘﺎﺘﻬﺎ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ‪ ،‬ﺤﻴﺙ ﺍﻝﺘﺎﺭﻴﺦ ﻭﺍﻝﺒﺩﺍﻴﺎﺕ‪ ،‬ﺜـﻡ‬

‫ﺍﻝﺘﻭﺍﺼل ﻤﻥ ﺨﻼل ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ .‬ﺍﻝﻔﻴﻠﻡ ﻭﺼﻨﺎﻋﺘﻪ ﺍﻝﺘﻘﻨﻴﺔ‪ ،‬ﻤﺩﺍﺨل ﺘﻌﻴﻥ ﻋﻠﻰ ﻗـﺭﺍﺀﺓ‬

‫ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻓﻲ ﺩﺭﺍﺴﺔ ﻝﻠﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ‪.‬‬

‫ﺘﻨﺎﻭل ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ ،‬ﺃﺼﻠﻬﺎ‪ ،‬ﻭﻨﺸﺄﺘﻬﺎ‪ ،‬ﻭﺘﺄﺜﻴﺭﺍﺕ ﺍﻝﻨﻅﺭﺓ ﺍﻻﺴﺘﺸﺭﺍﻗﻴﺔ‬

‫ﻋﻠﻰ ﺘﺠﻠﻴﺎﺕ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻓﻲ ﺴﻴﻨﻤﺎ ﻫﻭﻝﻴﻭﺩ‪ .‬ﻭﻫﻨﺎﻙ ﻁﺭﺡ ﻝﺠﺩﻝﻴﺔ ﺍﻝﺜﻨﺎﺌﻴـﺔ ﺒـﻴﻥ ﺍﻷﻨـﺎ‬

‫ﻭﺍﻵﺨﺭ ﻝﻌﺩﺩ ﻤﻥ ﺍﻝﻨﻘﺎﺩ ﻭﺍﻝﺒﺎﺤﺜﻴﻥ‪ .‬ﺃﻤﺎ ﺍﻝﻘﺴﻡ ﺍﻝﺜﺎﻨﻲ ﻓﻲ ﺍﻝﻔﺼل ﻓﻜﺎﻥ ﺘﺤﻘﻴﻘﹰﺎ ﻓﻲ ﺃﺴﺒﺎﺏ ﺘﻜﻭﻴﻥ‬

‫ﺍﻝﻌﺭﺒﻲ ﺍﻝﺸﺭﻴﺭ ﻓﻲ ﻫﻭﻝﻴﻭﺩ‪ ،‬ﻭﺍﺜﺭ ﺘﺴﻠل ﺍﻝﺼﻭﺭ ﺍﻻﺸﻬﺎﺭﻴﺔ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ‪ .‬ﺍﻝﻘﺴﻡ ﺍﻝﺜﺎﻝﺙ ﻴﻁﺭﺡ‬

‫ﺩﻭﺭ ﺍﻝﺴﻴﻨﻤﺎ "ﺍﻝﻤﺼﻬﻴﻨﺔ" ﻓﻲ ﺘﻜﺭﻴﺱ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﺍﻝﺴﻴﺊ ﻤﺘﻤﺜﻼ ﻓـﻲ ﺍﻝﻔﻠـﺴﻁﻴﻨﻲ ﻭﻓﻴـﻪ‬

‫ﺍﺴﺘﻌﺭﺍﺽ ﺘﺎﺭﻴﺨﻲ ﻝﻌﺩﺩ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﻬﻭﻭﻝﻴﻭﺩﻴﺔ ﻭﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﻓﻲ ﺫﺍﺕ ﺍﻝﺴﻴﺎﻕ‪.‬‬

‫ﻴﻁﺭﺡ ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ ﺍﻝﺘﺴﻠﻴﻊ ﺍﻻﺴﺘﺭﺍﺘﻴﺠﻲ ﻝﻼﻴﺩﻝﻭﺠﻴﺎ ﻤﻥ ﺨﻼل ﻫﻭﻝﻴـﻭﻭﺩ‪ ،‬ﻤﺘـﻀﻤﻨﹰﺎ‬

‫ﺩﻭﺭ ﺍﻹﻋﻼﻡ ﺍﻷﻤﺭﻴﻜﻲ ﻓﻲ ﺼﻨﺎﻋﺔ ﺍﻝﻘﻭﺍﻝﺏ ﺍﻝﺘﻲ ﺘـﺩﻋﻡ ﺍﻝـﺴﻴﺎﺴﺔ ﺍﻝﺨﺎﺭﺠﻴـﺔ ﺍﻷﻤﺭﻴﻜﻴـﺔ‬
‫ط‬

‫ﻭﺘﻭﺠﻴﻬﻬﺎ ﻨﺤﻭ ﺼﻨﺎﻋﺔ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ‪ ،‬ﺃﻤﺎ ﺘﻁﺒﻴﻘﺎﺕ ﺫﻝﻙ ﻓﺘﺘﻡ ﻋﺒﺭ ﺍﻝﺼﻨﺎﻋﺔ ﺍﻝﻔﻴﻠﻤﻴﺔ ﺍﻝﻤﺤﻜﻤﺔ‬

‫ﻓﻲ ﺇﺩﺭﺍﻙ ﻝﻤﻔﻬﻭﻡ ﺍﻷﺩﺭﻤﺔ ﻭﺍﺴﺘﺜﻤﺎﺭ ﺍﻝﺘﻘﺎﻨﺔ ﻓﻲ ﺍﻝﺼﻨﺎﻋﺔ ﺍﻝﻔﻴﻠﻤﻴﺔ‪ .‬ﺃﻤـﺎ ﺍﻝﻤﻁﻠـﺏ ﺍﻷﺨﻴـﺭ‬

‫ﻓﻴﺘﻨﺎﻭل ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ ﺒﻘﺭﺍﺀﺓ ﺘﺄﻭﻴﻠﻴﺔ ﻓﻲ ﺍﻝـﺴﻤﻌﻲ ﻭﺍﻝﺒـﺼﺭﻱ ﺒﺤـﺩﻭﺩ‬

‫ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ ﻝﻠﺨﻠﻭﺹ ﺇﻝﻰ ﻨﺘﺎﺌﺞ ﺘﻤﻜﻥ ﻤﻥ ﺍﻹﺠﺎﺒﺔ ﻋﻠﻰ ﺍﻝﺘﺴﺎﺅﻻﺕ ﺍﻝﺘﻲ ﻁﺭﺤﺕ ﻓﻲ‬

‫ﺍﻹﺸﻜﺎﻝﻴﺔ ﻤﻥ ﺨﻼل ﻨﻅﺭﺍﺕ ﺘﺤﻠﻴﻠﻴﺔ ﻭﻤﻘﺎﺭﻨﺔ‪.‬‬

‫ي‬

Abstract:

The Body of the study contains three chapters dealing with the
formations of the visual image of audiovisual Hollywood, and method
of shaping the model of the Arabs after the 11th of September 2001.

Coming the first quarter levels, the first theory and conceptual
frameworks that help in understanding image formation, and
techniques to read: Seismology, discourse, and for audio-visual
delimiters for research. This is followed by an entrance examination
for the picture: their definitions, the history, techniques of expression
through which access to their applications in the cinema, where
history and the beginnings and then communicate through the motion
picture. The film industry and technology, the entrances had to read
the film in a study of the screenplay and directing.

The political cinema, its origin, its genesis in the second quarter
input for the interpretation of the effects of Orientalist view of the
manifestations of the image of Arabs in Hollywood cinema. A
proposal for bilateral dialectic between the self and the other for a
number of critics and researchers. The second requirement in Chapter
realization of the fact that the causes of the Arab bad guy in
Hollywood and the impact of infiltration celebrity photos to the
cinema. The third requirement arises cinemas devote the form of
Zionism in the Arab poor are represented in the Palestinian historical
review of a number of films Hollywood and Zionism in the same
context.
‫ك‬

Chapter III Studying strategic ideology through Hollywood

including the role of American media in influencing industry
templates that support U.S. foreign policy and its ability to
manufacture public opinion. The applications of that film industry are
up across the court to recognize the concept of Acting and investment
in the electronics industry film. In the latter requirement studying a
series of films in Hollywood read the interpretive audio-visual limits
of the script and output to draw conclusions allow us to answer the
questions raised in the problem through analytical and comparative
insights.
 ‫ﺍﻝﻔﺼل ﺍﻷﻭل‬

‫‪ .1‬ﺩﺭﺍﺴﺔ ﻓﻲ ﺍﻝﻤﻨﻬﺞ ﻭﺍﻝﻬﺩﻑ‬

‫‪ 1.1‬ﺘﻤﻬﻴﺩ‬
‫ﻼ ﺩﻭﻥ ﺼﻭﺭ" ﻜﻤﺎ ﻴﻘﻭل ﺃﺭﺴﻁﻭ‪ ،‬ﻓﺈﻥ ﺍﻝﺤﻴـﺎﺓ ﺍﻝﻤﻌﺎﺼـﺭﺓ ﺘﻔـﻴﺽ‬
‫ﺇﺫﺍ ﻜﺎﻥ "ﺍﻝﺘﻔﻜﻴﺭ ﻤﺴﺘﺤﻴ ﹰ‬

‫ﺒﺎﻝﺼﻭﺭ‪ ،‬ﻓﻬﻲ ﻤﻭﺠﻭﺩﺓ ﻓﻲ ﻜل ﻤﻜﺎﻥ‪ ،‬ﺇﻨﻬﺎ ﻻ ﺘﻜﻑ ﻋﻥ ﺍﻝﺘﺩﻓﻕ ﻭﺍﻝﺤﻀﻭﺭ ﻓﻲ ﻜل ﻝﺤﻅﺔ ﻤـﻥ‬

‫ﻝﺤﻅﺎﺕ ﺤﻴﺎﺘﻨﺎ‪ .‬ﺇﻨﻨﺎ ﻨﻌﻴﺵ ﺒﺎﻝﻔﻌل ﻓﻲ "ﻋﺼﺭ ﺍﻝﺼﻭﺭﺓ " ﻜﻤﺎ ﻗﺎل ﺃﺒل ﺠـﺎﻨﺱ‪ ،‬ﺃﻭ ﻫـﻲ ﺤﻴـﺎﺓ‬

‫‪1‬‬
‫"ﺤﻀﺎﺭﺓ ﺍﻝﺼﻭﺭﺓ" ﻜﻤﺎ ﻗﺎل ﺍﻝﻨﺎﻗﺩ ﺍﻝﻔﺭﻨﺴﻲ ﺭﻭﻻﻥ ﺒﺎﺭﺕ‪.‬‬

‫ﻫﺫﻩ ﺃﻁﺭﻭﺤﺔ ﺘﺴﺘﺩﻋﻲ ﺍﻹﺤﺴﺎﺱ ﻭﺍﻹﺒﺼﺎﺭ ﺒﺘﻤﺎﺯﺝ ﻤﻌﺭﻓﻲ ﻗﺒل ﺃﻥ ﻴ‪‬ﻔﻜﺭ ﻓﻴﻪ‪ ،‬ﻀﻤﻥ ﺴﻴﺎﻗﺎﺘﻪ‬

‫ﺍﻝﻨﺼﻴﺔ ﻭﻗﺒل ﺃﻥ ﻴﻁﺭﺡ ﻜﺘﺤﻠﻴل ﻤﺤﺎﻴﺙ ﺃﻭ ﺘﻁﻭﺭ ﺩﻻﻝﻲ‪ ،‬ﻭﺘﻘﺩﻡ ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ ﺍﻗﺘﺭﺍﺤﹰﺎ ﻓﻲ ﻜﻨﻪ‬

‫ﺍﻝﺼﻭﺭﺓ ﻋﺒﺭ ﺍﻝﺭﻤﺯ‪ ،‬ﻭﺍﻷﻴﻘﻭﻨﺔ‪ ،‬ﻭﺍﻝﺤﻘل ﺍﻝﺩﻻﻝﻲ‪ ،‬ﻓﻲ ﺍﻝﻨﺼﻭﺹ ﻭﺍﻝﺼﻭﺭ ﺃﻴـﹰﺎ ﻜـﺎﻥ ﺸـﻜﻠﻬﺎ‪،‬‬

‫ﻭﺍﻝﻨﺼﻭﺹ ﻓﻲ ﺘﺸﻜﻼﺘﻬﺎ ﻭﺴﻴﺎﻗﺎﺘﻬﺎ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ :‬ﻤﺸﺎﻫﺩﺓ ﻭﺜﺎﺌﻘﻴﺔ ﺃﻭ ﺭﻭﺍﺌﻴﺔ ﺴﻴﻨﻤﺎﺌﻴﺔ‪ .‬ﻓـﻲ ﻫـﺫﻩ‬

‫ﺍﻷﻁﺭﻭﺤﺔ ﻤﺤﺎﻭﻻﺕ ﻝﺭﺅﻴﺔ ﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻝﺼﻭﺭ‪ ،‬ﻭﺍﻝﺼﻭﺭ ﺍﻹﺸﻬﺎﺭﻴﺔ‪ ،‬ﺍﻝﺠﺎﻤﺩ ﺍﻝﻤﺴﻤﻭﻉ‪ ،‬ﺍﻝﻤﻌﻨﻰ‬

‫ﻭﻤﻌﻨﻰ ﺍﻝﻤﻌﻨﻰ‪ ،‬ﺍﻝﻼﻤﺭﺌﻲ ﻤﻥ ﺨﻼل ﻤﺎ ﻨﻌﺘﻘﺩ ﺃﻨﻨﺎ ﻨﺭﺍﻩ‪ ،‬ﺇﻨﻪ ﺘﻭﻅﻴﻑ ﻝﻠﺴﻤﻴﺎﺌﻴﺎﺕ ﻭﺇﺤﺎﻝﺘﻬﺎ ﻋﻠـﻰ‬

‫ﺁﻝﻴﺎﺕ ﺨﺎﺼﺔ ﺒﺈﻨﺘﺎﺝ ﺍﻝﻤﻌﻨﻰ ﺜﻡ ﺍﻝﺘﺩﺍﻭل ﻭﺍﻻﺴﺘﻬﻼﻙ‪ ،‬ﺜﻡ ﺇﻨﻨﺎ ﻨﺒﺤﺙ ﻋﻥ ﺍﻝﻘﺼﺩﻴﺔ ﻜﺄﺴﺎﺱ ﻝﻠﻘﻀﻴﺔ‬

‫ﺍﻝﻤﻌﺭﻓﻴﺔ ﺇﺫﺍ ﺍﻓﺘﺭﻀﻨﺎ ﺃﻨﻬﺎ ﺃﺴﺎﺱ ﻝﻠﻭﺠﻭﺩ ﺍﻹﻨﺴﺎﻨﻲ "ﺒﺎﻋﺘﺒﺎﺭﻩ ﻭﺠﻭﺩﺍ ﻝﻠﻤﻌﻨﻰ ﻭﻓﻲ ﺍﻝﻤﻌﻨﻰ"‪ ..2‬ﺇﻨﻪ‬

‫ﻤﻭﻀﻭﻉ ﻴﻁﺭﺡ "ﺍﻝﺘﺴﺎﺅﻻﺕ ﺤﻭل ﺍﻝﻤﻌﻨﻰ ‪ ،3"...‬ﻭﺘﺤﺩﻴﺩﹰﺍ ﺁﻝﻴﺎﺕ ﻭﻗﻭﺍﻨﻴﻥ ﺍﻹﺩﺭﺍﻙ ﻤـﻥ ﺨـﻼل‬

‫ﺍﻝﺼﻭﺭﺓ ﻭﻁﺎﻗﺘﻬﺎ ﻀﻤﻥ ﻤﻨﺴﻭﺠﻬﺎ ﺍﻝﺜﻘﺎﻓﻲ ﻓﻲ ﻤﺭﺤﻠﺔ ﻤﺎ‪ ،‬ﺇﻨﻬﺎ ﻋﻤﻠﻴﺔ ﻻ ﺘﺨﻠﻭ ﻤﻥ ﺍﻝﺘﻌﻘﻴﺩ ﻋﻨﺩﻤﺎ‬

‫ﻋﺒﺩ ﺍﻝﺤﻤﻴﺩ‪ ،‬ﺸﺎﻜﺭ‪ .(2005) .‬ﻋﺼﺭ ﺍﻝﺼﻭﺭﺓ ﺍﻻﻴﺠﺎﺒﻴﺎﺕ ﻭﺍﻝﺴﻠﺒﻴﺎﺕ‪ ،‬ﺍﻝﻜﻭﻴﺕ‪ :‬ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ‪.36 ،‬‬ ‫‪1‬‬

‫ﺍﻝﻌﻤﺭﺍﻨﻲ‪ ،‬ﺤﺴﻥ‪"" .( 2002) .‬ﺍﻝﻔﻠﺴﻔﺔ ﻭﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﻓﻜﺭ ﻭﻨﻘﺩ‪ ،‬ﻉ‪.117 :50-49‬‬ ‫‪2‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪.50 ،‬‬ ‫‪3‬‬

‫‪1‬‬
‫ﺘﻨﻘل ﺍﻝﻌﻭﺍﻝﻡ ﺍﻝﺤﺴﻴﺔ ﻤﻥ ﻤﻭﺍﻗﻊ ﻓﻲ ﺍﻝﻁﺒﻴﻌﺔ ﻹﺩﺭﺍﺠﻬﺎ ﻀﻤﻥ ﺍﻝﻌﺎﻝﻡ‪ ،‬ﺍﻝﻤﻬﻤﺔ ﻫﻨﺎ ﺘﻜﻤﻥ ﻓﻲ ﺘﺤﻠﻴل‬

‫ﻭﺇﺩﺭﺍﻙ ﺍﻝﺩﻻﻻﺕ ﺍﻝﺘﻲ ﺘﺜﻴﺭﻫﺎ ﺍﻝﺼﻭﺭﺓ ﻤﻥ ﺨﻼل ﺒﻌﺩﻫﺎ ﺍﻷﻴﻘﻭﻨﻲ ﻭﺍﻝﺘﺸﻜﻴﻠﻲ‪.‬‬

‫ﺘﺘﻨﺎﻭل ﺍﻷﻁﺭﻭﺤﺔ ﺍﻝﺼﻭﺭﺓ ﺒﺘﺤﺩﻴﺩ ﺃﻜﺒﺭ ﻓﻲ ﺘﺸﻜﻼﺘﻬﺎ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺒﻭﺼﻔﻬﺎ ﻜﺘﺎﺒﺔ ﺒﺎﻝـﺼﻭﺭﺓ‪،‬‬

‫ﺤﻴﺙ ﺍﻝﺴﻴﻨﻤﺎ ﺘﻔﻜﻴﺭ‪ ،‬ﻤﺴﺘﻌﻴﻨﺎ ﺒﺎﻝﺼﻭﺕ ﻭﺍﻝﺨﻴﺎل ﻝﻠﺘﻌﺒﻴﺭ ﻋﻥ ﻤﻀﺎﻤﻴﻥ ﻓﻜﺭﻴﺔ ﻭﺃﺸـﻜﺎل ﺠﻤﺎﻝﻴـﺔ‬

‫ﻕ ﻝﻠﺘﻔﻜﻴﺭ ﺍﻝﻔﻠـﺴﻔﻲ‪ ،‬ﺍﻝـﺴﻴﻨﻤﺎ‬

‫ﺃﺨﺭﻯ‪ ،‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺘﻲ ﺘﻜﻭﻥ ﺍﻝﺼﻭﺭﺓ ﻓﻴﻬﺎ ﻭﻋﻴﺎ ﻝﻌﻭﺍﻝﻡ ﺫﻫﻨﻴﺔ ﻭﺁﻓﺎ ٍ‬

‫ﻜﺂﻝﻴﺎﺕ ﺍﻹﺩﺭﺍﻙ‪ ،‬ﻋﻨﺩﻤﺎ ﺘﺸﻜل ﺤﺎﻝﺔ ﺼﺩﻤﺔ ﻋﻠﻰ ﻤﺴﺘﻭﻯ ﺍﻝﻔﻜـﺭ‪ ،‬ﺍﻝـﺼﻭﺭﺓ ﻭﺍﻝﺤﺭﻜـﺔ ﻓﻴﻬـﺎ‪،‬‬

‫ﻭﺩﻴﻤﻭﻤﺔ ﺍﻝﺸﻌﻭﺭ‪ ،‬ﺍﻝﺴﻴﻨﻤﺎ ﻋﻨﺩﻤﺎ ﺘﻌﻜﺱ ﺍﻝﻭﺍﻗﻊ ﻭﺍﻝﺤﻘﻴﻘﺔ ﺃﻭ ﺇﻋﺎﺩﺓ ﺘﺸﻜﻴﻠﻬﻤﺎ ﺃﻭ ﻤﺴﺎﺀﻝﺘﻬﻤﺎ‪ ،‬ﻋﻠﻰ‬

‫ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﺃﻁﺭﻫﺎ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ﻭﻤﻨﻅﻭﻤﺘﻬﺎ ﺍﻝﺜﻘﺎﻓﻴﺔ‪ ،‬ﻫـﻲ ﺘﻌﺒﻴـﺭ ﺠﻤـﺎﻝﻲ ﺍﺸـﻬﺎﺭﻱ‬

‫ﺇﺒﺼﺎﺭﻱ‪.‬‬

‫ﺘﺤﺎﻭل ﺍﻷﻁﺭﻭﺤﺔ ﻓﺘﺢ ﺁﻓﺎﻕ ﺠﺩﻴﺩﺓ‪ ،‬ﺘﺘﻨﺎﻭل ﺍﻝﻤﻨﺘﺞ ﺍﻹﻨﺴﺎﻨﻲ ﻓﻲ ﻗﻭﺍﻝﺒﻬﺎ ﺍﻝﻤﺴﺘﺤﺩﺜﺔ‪ ،‬ﻜﻤﺎ ﺘﺜﻴﺭ‬

‫ﺘﺴﺎﺅﻻﺕ ﺤﻭل ﺇﻨﺘﺎﺝ ﻭﺴﻠﻭﻜﻴﺎﺕ ﺍﻹﻨﺴﺎﻥ ﻭﻤﻌﺎﻨﻴﺔ‪ ،‬ﺜﻡ ﺍﻝﺘﺴﺎﺅل ﻋﻥ ﻜﻴﻔﻴﺔ ﺍﺴﺘﻬﻼﻙ ﻫﺫﻩ ﺍﻝﻤﻌﺎﻨﻲ‪.‬‬

‫ﻜﻤﺎ ﺃﻨﻬﺎ ﺒﺤﺙ ﻓﻲ ﺍﻻﺭﺘﺒﺎﻁ ﺍﻝﻭﺜﻴﻕ ﺒﻴﻥ ﺴﻴﻤﻴﺎﺌﻴﺔ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺒﻤﺎ ﺘﺤﻭﻴﻪ ﻤـﻥ ﺴـﻴﻤﻴﺎﺌﻴﺔ‬

‫ﺍﻝﻨﺴﻴﺞ ﺍﻻﺠﺘﻤﺎﻋﻲ‪ ،‬ﻭﺍﻝﺨﻁﺎﺏ ﺍﻝﺴﻴﺎﺴﻲ‪ ،‬ﻭﺍﻷﺩﺒﻲ ﻭﺍﻝﻤﻌﺭﻓﻲ‪ .‬ﺇﻨﻬﺎ ﺘﻘﻭﻡ ﺒﺎﺨﺘﺼﺎﺭ ﻋﻠﻰ ﺍﺴﺘﻜﺸﺎﻑ‬

‫ﻋﻼﻗﺎﺕ ﺩﻻﻝﻴﺔ ﻏﻴﺭ ﻤﺭﺌﻴﺔ ﻤﻥ ﺨﻼل ﺍﻝﻭﺍﻗﻊ ﻓﻲ ﺍﻝﺘﻘﺎﻁ ﺍﻝﻀﻤﻨﻲ ﻭﺍﻝﻤﺘﻭﺍﺭﻱ ﻭﺍﻝﻤﻤﺘﻨﻊ‪.‬‬

‫ﻴﺴﺘﺄﺜﺭ ﺍﻝﻔﻥ ﺍﻝﺴﺎﺒﻊ ﺒﺠل ﺍﻻﻫﺘﻤﺎﻡ‪ ،‬ﺤﻴﺙ ﻋﺎﻝﻡ ﻓﺭﺠﺔ ﻴﺘﻤﻴـﺯ ﺒـﺎﻝﻘﻭﺓ ﻭﺍﻝـﺼﻭﺕ ﻭﺍﻝﺤﺭﻜـﺔ‬

‫ﻤﺴﺘﺩﻋﻴﹰﺎ ﺍﻝﺘﺎﺭﻴﺦ ﻭﺍﻷﺤﺩﺍﺙ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ‪ ،‬ﻜﻤﺎ ﺘﻌﺘﺒﺭ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺜﻴﻘﺔ ﺘﺎﺭﻴﺨﻴـﺔ‬

‫ﺘﻌﻴﻥ ﻋﻠﻰ ﻓﻬﻡ ﺇﺸﻜﺎﻻﺕ ﺍﻝﻔﺭﺩ ﻭﺍﻝﻤﺠﺘﻤﻊ ﻭﺘﺭﺒﻁﻬﻤﺎ ﺒﻤﻨﻅﻭﻤﺔ ﺍﻝﺨﻁﺎﺏ‪ ،‬ﻤـﻥ ﺨـﻼل ﺘﺄﺴـﻴﺱ‬

‫ﻝﻠﻌﻼﻗﺔ ﺍﻝﺒﺼﺭﻴﺔ ﺍﻝﻤﺘﻘﺩﻤﺔ ﻤﻊ ﺍﻝﻭﺍﻗﻊ ﺒﺨﻁﺎﺒﻪ ﺍﻝﺠﺩﻴﺩ‪.‬‬

‫ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ‪ ،‬ﻤﻊ ﻨﺩﺭﺓ ﺍﻷﺩﺒﻴﺎﺕ ﺍﻝﺘﻲ ﺘﺴﻌﻴﻥ ﺒﻬﺎ‪ ،‬ﺘﺴﻠﻁ ﺍﻝﻀﻭﺀ ﺴﻴﻤﻴﺎﺌﻴﹰﺎ ﻋﻠـﻰ ﺍﻝـﺴﻴﻨﻤﺎ‬

‫ﻼ ﻝﻠـﺩﻻﻻﺕ ﺍﻝﻨـﺼﻴﺔ‬
‫ﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ‪ .‬ﻭﺍﻝﺸﻜل ﺍﻝﺫﻱ ﺘﻘﺩﻡ ﺒﻪ ﺍﻝﻌﺭﺒﻲ‪ ،‬ﺍﺴﺘﺤﻀﺎﺭﹰﺍ ﻝﻠﻤﺸﺎﻫﺩ ﻭﺘﺤﻠـﻴ ﹰ‬

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‫ﻭﺍﻝﺼﻭﺭﻴﺔ‪ ،‬ﻭﻜﺸﻑ ﻝﻠﻤﺘﻭﺍﺭﻱ ﻤﻥ ﺍﻝﻌﻼﻗﺎﺕ‪ ،‬ﻭﺒﺤﺙ ﻋﻥ ﺍﻝﻘﺼﺩﻴﺔ ﻓﻲ ﺘﻘﻨﻴـﺎﺕ ﺍﻝﻔـﻥ ﺍﻝـﺴﺎﺒﻊ‪:‬‬

‫ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ ﻓﻲ ﺍﻝﺴﻤﻌﻲ ﻭﺍﻝﺒﺼﺭﻱ‪ ،‬ﻓﻲ ﺍﻝﻔﺘﺭﺓ ﺍﻝﺯﻤﻨﻴﺔ ﺍﻝﺘﻲ ﺘﻠﺕ ﺍﻝﺤﺎﺩﻱ ﻋـﺸﺭ ﻤـﻥ‬

‫ﺃﻴﻠﻭل ‪ ،2001‬ﻭﺍﺴﺘﻌﺭﺍﻀﹰﺎ ﻝﻠﺴﻴﻨﻤﺎ ﻗﺒل ﺫﻝﻙ ﻭﺍﺴﺘﺩﻋﺎﺀ ﻝﻤﺎ ﻗﺩﻤﺘﻪ ﻫﻭﻝﻴﻭﺩ ﺴﺎﺒﻘﹰﺎ ﻓﻲ ﺘـﺼﻭﻴﺭﻫﺎ‬

‫ﻝﻠﻌﺭﺒﻲ ‪...‬ﺍﺴﺘﻌﺎﻨﺔ ﺒﺎﻝﺴﻴﻤﻭﻝﻭﺠﻴﺎ ﻨﻅﺭﻴﹰﺎ‪.‬‬

‫ﻴﺴﺘﻌﺭﺽ ﺍﻝﺒﺤﺙ ﻤﻔﻬﻭﻡ ﺍﻝﺼﻭﺭﺓ ﻭﺍﻹﺸﻬﺎﺭ ﻭﺍﻝﺩﻻﻻﺕ ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺔ ﻓﻲ ﻤﺤﺎﻭﻝﺔ ﻝﻼﺴﺘﻌﺎﻨﺔ ﺒﻌﻠﻡ‬

‫ﺍﻝﻌﻼﻤﺎﺕ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻝﺘﺤﻠﻴل ﺍﻝﺴﻴﻤﻴﺎﺌﻲ ﻝﻠﻤﺸﺎﻫﺩ ﺍﻝﺒﺼﺭﻴﺔ ﻭﻤﺎ ﻴﺭﺍﻓﻘﻬﺎ ﻤـﻥ ﺘـﺄﺜﻴﺭﺍﺕ ﺴـﻤﻌﻴﺔ‬

‫ﻭﺇﻀﺎﻓﺎﺕ ﺘﻘﻨﻴﺔ ﻋﻥ ﻁﺭﻴﻕ ﺍﺴﺘﻌﺭﺍﺽ ﻋﺩﺩ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﻬﻴﻭﻝﻭﺩﻴﺔ ﻭﺘﻨﺎﻭﻝﻬـﺎ ﺒﺎﻝﺘﺤﻠﻴـل‪ .‬ﺇﺫ ﺃﻥ‬

‫ﺘﺼﻭﺭﺍﺕ ﺍﻝﻌﺎﻝﻡ ﺃﻀﺤﺕ ﺘﺴﺘﻘﻰ ﻤﻥ ﻋﺎﻝﻡ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻓﺄﺼﺒﺤﺕ ﺍﻝﺼﻭﺭﺓ ﻫﻲ ﺍﻝﻤﻬﻴﻤﻨﺔ ﻭﺍﻝﻭﺍﻗﻊ ﻓﻲ‬

‫ﺨﻠﻔﻴﺘﻬﺎ‪ ،‬ﺃﻀﻑ ﺇﻝﻰ ﺫﻝﻙ " ﺜﻘﺎﻓﺔ ﻤﺠﺘﻤﻊ ﺍﻝﺘﺭﻓﻴﻪ ﺍﻝﻌﺎﻝﻤﻲ" ﻫﻲ ﺍﻝﺴﺎﺌﺩﺓ ﻭﺍﻝﻘﺎﺌﺩﺓ‪ ،‬ﺇﺫ ﺃﺼﺒﺢ ﻝﻠﻌﺩﻴـﺩ‬

‫ﻤﻥ ﺃﻨﺸﻁﺔ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻭﻨﻅﻡ ﺍﻻﺘﺼﺎﻻﺕ ﺩﻭﺭﹰﺍ ﻜﺒﻴﺭﹰﺍ ﻓﻲ ﺘﻨﻅﻴﻡ ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﻤﻌﺎﺼﺭﺓ‪ .‬ﻭﺃﺼﺒﺢ‬

‫"ﺍﻝﺨﻭﻑ ﻤﻥ ﺍﻝﻤﻌﺭﻓﺔ ﺸﺄﻨﹰﺎ ﺴﺎﺌﺩﹰﺍ‪ ،‬ﺇﺫ ﺃﻥ ﺤﻭﺍﺴﻨﺎ ﻗﺩ ﺍﻨﺨﻔﻀﺕ ﻭﺤﺏ ﺍﺴﺘﻁﻼﻋﻨﺎ ﻗﺩ ﺍﻨﻁﻔﺄ‪ .‬ﻓﺒﻌـﺩ‬

‫ﺍﻝﺘﻌﺭﺽ ﻴﺠﻲﺀ ﺍﻻﻋﺘﻴﺎﺩ ﺃﻭ ﺍﻝﺘﻌﻭﺩ ﻭﺒﻌﺩ ﺍﻻﻋﺘﻴﺎﺩ ﻗﺩ ﻴﺠﻲﺀ ﺍﻝﻨﻔﻭﺭ‪ ،‬ﻭﻫﺫﺍ ﺴـﺭ ﻤـﻥ ﺍﻷﺴـﺭﺍﺭ‬

‫ﺍﻝﻐﺭﻴﺒﺔ ﻭﺍﻝﺴﻠﺒﻴﺔ ﻝﻌﺼﺭ ﺍﻝﺼﻭﺭﺓ" ﺤﺘﻰ ﺒﺘﻌﺩﺩ ﺍﻹﻴﺠﺎﺒﻴﺎﺕ ﺍﻝﺘﻲ ﺘﺘﻭﺍﺭﻱ ﺨﻠﻔﻬﺎ"‪.1‬‬

‫ﻓﻜﻴﻑ ﻤﻥ ﺍﻝﻤﻤﻜﻥ ﺃﻥ ﺘﻌﻴﺵ ﻭﺍﻗﻌﹰﺎ ﻤﻥ ﺨﻼل ﻓﻴﻠﻡ‪ ،‬ﻭﻤﻥ ﺨﻼل ﺨﻁﺎﺏ ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺘﻘﻨﻴـﺎﺕ‬

‫ﺍﻝﺠﺩﻴﺩﺓ‪ .‬ﻭﺇﺫﺍ ﻜﺎﻥ ﺍﻝﻭﺍﻗﻊ ﻴﻨﺘﺞ ﻓﻨﹰﺎ ﺴﻴﻨﻤﺎﺌﻴﹰﺎ‪ ،‬ﻓﻬل ﺍﻵﻥ ﻫﺫﻩ ﺍﻝﻘﻴﻤﺔ ﺘﻨﺘﺞ ﺍﻝﺜﻘﺎﻓـﺔ ﺒﻜـل ﺃﻁﺭﻫـﺎ‬

‫ﻭﻤﻀﺎﻤﻴﻨﻬﺎ‪ ،‬ﺼﻨﺎﻋﻪ ﻝﻠﻘﻴﻡ ﻭﺍﻝﻤﻔﺎﻫﻴﻡ ﻭﺍﻷﻓﻜﺎﺭ ﻭﺍﻝﻌﺎﺩﺍﺕ ﻤﻥ ﺨﻼل ﺍﻝﺘﻘﺎﻨﺔ ﺍﻝﻔﻴﻠﻤﻴﺔ ﺍﻝﺠﺩﻴﺩﺓ ﺒﻜـل‬

‫ﻭﺴﺎﺌﻠﻬﺎ‪ .‬ﻫل ﺘﺠﺎﻭﺯﺕ ﺘﺄﺜﻴﺭﺍﺕ ﺍﻝﺭﺴﺎﻝﺔ ﺍﻝﺒﺼﺭﻴﺔ ﻭﺍﺘﺴﻌﺕ ﻤﻥ ﺘﺄﺜﻴﺭﺍﺕ ﻓﻲ ﺍﻝﻌﺎﺩﺍﺕ ﺍﻻﺴﺘﻬﻼﻜﻴﺔ‬

‫ﺇﻝﻰ ﺘﻐﻴﺭﺍﺕ ﻓﻲ ﺍﻝﺒﻨﻴﺔ ﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻝﻔﻜﺭﻴﺔ ﺍﻻﻴﺩﻭﻝﻭﺠﻴﺔ ؟ ﺘﻜﻤﻥ ﺍﻹﺸﻜﺎﻝﻴﺔ ﻓﻲ ﻋﺩﺩ ﻤﻥ ﺍﻝﺘـﺴﺎﺅﻻﺕ‬

‫ﺤﻭل ﻨﺘﺎﺝ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺫﻱ ﻤﻥ ﺍﻝﻤﻤﻜﻥ ﺃﻥ ﻴﺼﻨﻊ ﻨﻤﻭﺫﺠﺎ ﻝﻶﺨﺭ‪.‬‬

‫ﻋﺒﺩ ﺍﻝﺤﻤﻴﺩ‪ ،‬ﺸﺎﻜﺭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪75 ،‬‬ ‫‪1‬‬

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‫ﺍﻝﺴﻴﻨﻤﺎ‪ ،‬ﻫﺫﺍ ﺍﻝﺸﻜل ﺍﻹﺒﺩﺍﻋﻲ‪ ،‬ﻫل ﺘﺴﻠﻠﺕ ﻝﻪ ﺍﻝﺨﻁﺎﺒﺎﺕ ﺍﻹﺸﻬﺎﺭﻴﺔ ﻭﺃﺒـﺩﻋﺕ ﻓﻨـﺎ ﺨﻁﺎﺒﻴـﺎ‬

‫ﻤﺘﺴﻠﻼ ﺴﻴﻜﻭﻝﻭﺠﻴﺎ ﻝﻴﺸﻜل ﺃﺴﺎﺴﺎ ﻝﺒﻨﻴﺔ ﺍﻝﻼﻭﻋﻲ‪ ،‬ﻤﺴﻴﻁﺭﺍ ﻋﻠﻰ ﺍﻝﻤ‪‬ﺴﺘﻬﻠﹶﻙ ﻭﺍﻝﻤﺴﺘﻬﻠِﻙ‪ ،‬ﻤﻤـﺎ ﺃﺩﻯ‬

‫ﺇﻝﻰ ﺘﻐﻴﻴﺭ ﺍﻻﺘﺠﺎﻫﺎﺕ ﺍﻝﻤ‪‬ﺩ ‪‬ﺭ ﹶﻜﺔ ﻝﻠﻤﻌﺭﻓﺔ ﻝ ‪‬ﻴ ﹼﻜﻭﻥ ﻭﺍﻗﻌﹰﺎ ﺠﺩﻴﺩﹰﺍ ﺒﻜل ﺃﺒﻌﺎﺩﻩ‪ ،‬ﻁﺭﺡ ﻝﺘﺴﺎﺅل ﺍﻹﺸـﻬﺎﺭ‬

‫ﺍﻝﻀﻤﻨﻲ ﻭﺍﻝﻤﻌﻠﻥ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻻﻤﺭﻴﻜﻴﺔ ﺒﺎﺘﺠﺎﻩ ﺨﻠﻕ ﻨﻤﻭﺫﺝ ﺍﻝﻌﺭﺒﻲ ﻤﻥ ﺨﻼل ﺍﻝـﺼﻭﺭﺓ ﺒﻜﺎﻓـﺔ‬

‫ﺘﻘﻨﻴﺎﺘﻬﺎ‪ :‬ﺍﻷﺩﺭﻤﺔ‪ ،‬ﺍﻝﺘﻘﺎﻨﺔ ﺍﻻﻝﻜﻜﺘﺭﻭﻨﻴﺔ‪ ،‬ﻭﻭﺴﺎﺌل ﺍﻝﺼﻨﺎﻋﺔ ﺍﻝﻔﻠﻤﻴﺔ ﺍﻝﺤﺩﻴﺜﺔ‪ .‬ﻓﻬل ﺸﻭﻫﺕ ﻫﻭﻝﻴﻭﺩ‬

‫ﺃﻤﺔ؟! ﻭﻤﺎ ﺍﻝﺫﻱ ﺘﻐﻴﺭ ﻋﻠﻰ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻓﻲ ﺍﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﻤﻨﺘﺢ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋـﺸﺭ ﻤـﻥ‬

‫ﺃﻴﻠﻭل ‪2001‬؟‬

‫ﺘﻔﺘﺭﺽ ﺍﻝﺩﺭﺍﺴﺔ‪ ،‬ﺍﺘﺴﺎﻉ ﻤﺠﺎل ﺘﺄﺜﻴﺭ ﺍﻝﺼﻭﺭﺓ ﺍﻝﻤﺼﻨﻭﻋﺔ ﺇﻝﻰ ﺤﺩ ﻴﻭﺍﺯﻱ ﺍﻝﻭﺍﻗﻊ‪ ،‬ﺤﻴـﺙ ﺃﻥ‬

‫ﻓﻌﺎﻝﻴﺘﻬﺎ ﺘﺭﺘﺒﻁ ﺒﻨﻤﺫﺠﺘﻪ ﻭﺘﺴﻠﻴﻌﻪ‪ .‬ﻝﻘﺩ ﺘﻡ ﺍﻻﻋﺘﻤﺎﺩ ﻋﻠﻰ ﺍﻹﺸﻬﺎﺭ ﻝﺘﻤﻭﻴل ﺇﻨﺘﺎﺝ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻭﺍﻝﺭﺃﻱ‬

‫ﺍﻝﻌﺎﻡ‪ ،‬ﻭﺍﻝﺴﻴﺎﺴﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ‪ ،‬ﻭﺍﻝﻭﺍﺠﻬﺔ ﺍﻝﺤﻀﺎﺭﻴﺔ ﻤﻘﺎﺒل‪)...‬ﺁﺨﺭ( ﺘﻡ ﺘﻌﻴﻴﻨﻪ ﻓﻲ ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤـﺔ‬

‫ﻭﻫﻭ ﺍﻝﻌﺭﺒﻲ‪ .‬ﺤﻴﺙ ﺃﺴﻬﻤﺕ ﺼﻨﺎﻋﺔ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻲ ﻫﻭﻝﻴﻭﺩ ﺒﺘﺤﻘﻴﻕ ﺍﻝﺤﻠﻡ ﺍﻝﻜﺒﻴﺭ‪ ،‬ﻤـﻥ‬

‫ﺨﻼل ﺘﻘﻨﻴﺔ ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺼﻭﺕ ﻭﺍﻝﺤﺭﻜﺔ‪ ،‬ﻝﺘﺼﺒﺢ ﺍﺤﺩ ﺍﻝﻤﻜﻭﻨﺎﺕ ﺍﻝﻤﺤﺭﻜﺔ ﻝﻠـﺼﺭﺍﻉ ﻭﺫﺍﻜـﺭﺓ‬

‫ﺍﻝﺘﺎﺭﻴﺦ‪ ،‬ﺤﺎﻤﻴﺔ ﺍﻝﻘﻁﺏ ﺍﻝﻭﺍﺤﺩ ﻭﺼﺎﻨﻌﺔ ﺍﻝﺒﻁل ﺍﻷﺴﻁﻭﺭﻱ ﺍﻝﺫﻱ ﻻ ﻴﻘﻬﺭ‪..‬ﺍﻝﺤﻀﺎﺭﻱ ﺍﻝﻤﺘﻤـﺩﻥ‪،‬‬

‫ﺇﻀﻔﺎﺀ ﺍﻝﺸﺭﻋﻴﺔ ﻋﻠﻰ ﺴﻴﺎﺴﺘﻪ ﺍﻝﺨﺎﺭﺠﻴﺔ‪.‬‬

‫ﻴﺤﺎﻭل ﺍﻝﺒﺤﺙ ﺍﻝﺘﻭﺼل ﺇﻝﻰ ﺭﺅﻴﺔ ﺍﻷﺒﻌﺎﺩ ﺍﻻﺸﻬﺎﺭﻴﺔ ﺴﻴﺎﺴﻴﺎ ﻭﺜﻘﺎﻓﻴﹰﺎ‪ ،‬ﻤﻥ ﺨﻼل ﺘﺤﻠﻴل ﺒﻨﻴـﺔ‬

‫ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺩﻻﻝﻴﺔ ﻓﻲ ﺴﻴﺎﻗﺎﺘﻬﺎ ﺍﻝﻤﺨﺘﻠﻔﺔ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋـﺸﺭ ﻤـﻥ ﺃﻴﻠـﻭل ‪ ،2001‬ﻭﺩﻭﺭ ﺍﻝﻔـﻥ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻓﻲ ﺘﺴﻭﻴﻕ ﺍﻝﺴﻴﺎﺴﺎﺕ ﺍﻝﺨﺎﺭﺠﻴﺔ ﺒﺼﻭﺭﺓ ﻤﻘﺒﻭﻝﺔ‪ .‬ﻭﺘﺄﺜﻴﺭ ﺫﻝﻙ ﻋﻠﻰ ﺍﻵﺨﺭ ﺍﻝﻌﺭﺒﻲ ﺍﻝﺫﻱ‬

‫ﺼﻭِﺭ ﻜﺄﺤﺩ ﺍﻷﺨﻁﺎﺭ ﺍﻝﻤﻬﺩﺩﺓ ﺒﺼﻭﺭﺘﻪ ﺍﻷﻜﺜﺭ ﺒﺸﺎﻋﺔ ﻭﻋﺩﺍﻭﺓ ﻝﻠﺤﻀﺎﺭﺓ‬

‫ﺘﻔﺘﺭﺽ ﺍﻷﻁﺭﻭﺤﺔ ﺃﻨﻪ ‪‬‬

‫ﻭﺍﻝﺘﻘﺩﻡ‪ ،‬ﻤﺭﺍﺩﻑ ﺍﻝﺠﻬل ﻭﺍﻝﺘﺒﻌﻴﺔ ﻭﺍﻝﺘﺨﻠﻑ‪ .‬ﻭﺒﻤﺎ ﺃﻥ ﻫﻭﻝﻴﻭﻭﺩ ﺘﻌﺘﺒﺭ ﺃﻫﻡ ﻤﺼﺩﺭ ﻝﻠﺘﺭﻓﻴـﻪ ﻓـﻲ‬

‫ﺍﻝﻌﺎﻝﻡ‪ ،‬ﻭﺘﺼل ﺇﻝﻰ ﺃﻜﺜﺭ ﻤﻥ ﻤﺎﺌﺔ ﻭﺨﻤﺴﻴﻥ ﺩﻭﻝﺔ‪ ،‬ﻭﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﺘﺸﻭﻩ ﻜل ﻤﺎ ﻝﻪ ﻋﻼﻗﺔ ﺒﺎﻝﻌﺭﺏ‬

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‫ﻭﺘﺠﻌل ﻤﻨﻪ ﺸﺭﻴﺭﹰﺍ ﻤﻨﺫ ﺃﻜﺜﺭ ﻤﻥ ﻤﺎﺌﺔ ﻋﺎﻡ‪ ،‬ﻭﻝﻬﺫﺍ ﻓﺈﻨﻬﺎ ﺘﺅﺜﺭ ﻓﻲ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ﻭﺘﺅﺜﺭ ﻓﻲ ﺘﺒﻨـﻲ‬

‫ﺴﻴﺎﺴﺎﺘﻪ‪ ،‬ﻭﺘﺅﺜﺭ ﻓﻲ ﺍﻝﻌﺭﺒﻲ ﻭﺨﺎﺼﺔ ﻤﻥ ﻨﺎﺤﻴﺔ ﺃﻨﻬﺎ ﺘﺠﻌﻠﻪ ﻴﺨﺠل ﻤﻥ ﺇﺭﺜﻪ ﻭﺘﺎﺭﻴﺨﻪ‪ .‬ﺍﻝﻔﺭﻀﻴﺔ‬

‫ﻗﺎﺌﻤﺔ ﻋﻠﻰ "ﺃﻨﻙ" ﻤﺎ ﺘﺼﻨﻊ ﻤﻥ ﺼﻭﺭ ﻷﻨﻬﺎ ﺴﺘﺘﺤﻭل ﺇﻝﻰ ﻭﺍﻗﻊ‪...‬ﻓﺈﺫﺍ ﺘﻭﻗﻔﺕ "ﻓﺄﻨﺕ" ﺒـﻼ ﺸـﻙ‬

‫ﻤﻬﺩﺩ ﺒﺎﻻﻨﺩﺜﺎﺭ‪ ،‬ﻋﻠﻰ ﺃﺴﺎﺱ ﺃﻥ ﻤﻥ ﻴﻔﻘﺩ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺇﻨﺘﺎﺝ ﺍﻝﺼﻭﺭﺓ ﻤﻬﺩﺩ ﺒﺎﻹﻨﻘﺭﺍﺽ‪ ،‬ﻤﻤﺎ ﻴﺸﻜل‬

‫ﺨﻁﺭﹰﺍ ﻋﻠﻰ ﻭﺍﺠﻬﺘﻪ ﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻝﺤﻀﺎﺭﻴﺔ‪.‬‬

‫‪ 2.1‬ﻤﻨﻬﺠﻴﺔ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺘﻌﺘﻤﺩ ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ ﻓﻲ ﺘﻨﺎﻭل ﻤﻭﻀﻭﻋﻬﺎ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﻝﺘﻲ ﺘﻌﻴﻥ ﻋﻠﻰ ﻗﺭﺍﺀﺓ ﺍﻝﺼﻭﺭﺓ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻲ ﺍﻻﺨﺭﺍﺝ ﻭﺍﻝﺴﻴﻨﺎﺭﻴﻭ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﻤﻨﻬﺞ ﺍﻝﺘﺤﻠﻴل ﺍﻝﺴﻴﻤﻴﻭﻝﻭﺠﻲ‪ .‬ﻭﻫـﻭ‬

‫ﺍﻝﺘﺤﻠﻴل ﺍﻝﻤﺤﺎﻴﺙ ﻓﻲ ﻋﻠﻡ ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺎﺕ ﺍﻝﺫﻱ ﻴﺭﺘﻜﺯ ﻋﻠﻰ ﻤﺒﺎﺩﺉ ﺃﺴﺎﺴـﻴﺔ‪ ،‬ﻭﻨﻘـﺼﺩ ﺒﺎﻝﺘﺤﻠﻴـل‬

‫ﺍﻝﻤﺤﺎﻴﺙ‪ :‬ﺍﻝﺒﺤﺙ ﻋﻥ ﺍﻝﺸﺭﻭﻁ ﺍﻝﺩﺍﺨﻠﻴﺔ ﺍﻝﻤﺘﺤﻜﻤﺔ ﻓﻲ ﺘﻜـﻭﻴﻥ ﺍﻝﺩﻻﻝـﺔ ﺩﻭﻥ ﺇﻗـﺼﺎﺀ ﺍﻝﻤﺤﻴـل‬

‫ﺍﻝﺨﺎﺭﺠﻲ‪ ،‬ﻓﺎﻝﻤﻌﻨﻰ ﻴﺠﺏ ﺃﻥ ﻴﻨﻅﺭ ﺇﻝﻴﻪ ﻋﻠﻰ ﺃﻨﻪ ﺃﺜﺭ ﻨﺎﺘﺞ ﻋﻥ ﺸﺒﻜﺔ ﻤﻥ ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺭﺍﺒﻁﺔ ﺒـﻴﻥ‬

‫ﺍﻝﻌﻨﺎﺼﺭ‪ .‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻤﺒﺎﺩﺉ ﺘﺤﻠﻴل ﺍﻝﺨﻁﺎﺏ ﺍﻝﺫﻱ ﻴﻘﺎﺭﺏ ﺍﻝﻤﻌﻨﻰ ﻭﻴﻔﺘﺭﺽ ﻭﺠﻭﺩ ﻨﻅـﺎﻡ ﻤـﻥ‬

‫ﺍﻝﻌﻼﻗﺎﺕ‪ .‬ﻭﻫﺫﺍ ﺒﺩﻭﺭﻩ ﻴﺅﺩﻱ ﺇﻝﻰ ﺃﻥ ﻋﻨﺎﺼﺭ ﺍﻝﺘﺸﻜﻴل ﻻ ﺩﻻﻝﺔ ﻝﻬﺎ ﺇﻻ ﻋﺒﺭ ﺸﺒﻜﺔ ﻤﻥ ﺍﻝﻌﻼﻗﺎﺕ‬

‫ﺍﻝﻘﺎﺌﻤﺔ ﺒﻴﻨﻬﺎ‪ .‬ﻭﻫﻨﺎﻙ ﺘﺤﻠﻴل ﺍﻝﺨﻁﺎﺏ ﺍﻝﺫﻱ ﻴﻬﺘﻡ ﺒﺒﻨﺎﺀ ﻨﻅﺎﻡ ﻹﻨﺘﺎﺝ ﺍﻷﻗﻭﺍل ﻭﺍﻝﻨﺼﻭﺹ ﻭﻫﻭ ﻤـﺎ‬

‫ﻴﺴﻤﻰ ﺒﺎﻝﻘﺩﺭﺓ ﺍﻝﺨﻁﺎﺒﻴﺔ ‪.1‬‬

‫ﺃﻤﺎ ﻋﻥ ﺘﻌﺭﻴﻑ ﻤﻨﻬﺞ ﺍﻝﺴﻴﻤﻴﻭﻝﻭﺠﻴﺎ ﻓﺈﻥ ﺍﻻﺨﺘﻼﻓﺎﺕ ﺍﻝﻤﺩﺭﺴﻴﺔ ﻝﻬﺫﺍ ﺍﻝﻌﻠﻡ ﻗﺩ ﺘﺠﺘﻤﻊ ﻋﻠﻰ‬

‫ﺘﻌﺭﻴﻑ ﻋﺎﻡ ﻝﻬﺎ ﻭﻫﻲ ﺃﻨﻬﺎ ﻋﻠﻡ ﺍﻝﻌﻼﻤﺎﺕ )ﺍﻷﻴﻘﻭﻨﺔ‪ -‬ﺍﻝﺭﻤﺯ ‪-‬ﺍﻹﺸﺎﺭﺓ(‪ .‬ﻭﻤﻥ ﺍﻝﺼﻌﺏ ﺇﻴﺠﺎﺩ‬

‫ﺘﻌﺭﻴﻑ ﺩﻗﻴﻕ ﻝﻠﻌﻼﻤﺔ ﻻﺨﺘﻼﻑ ﻤﺩﻝﻭﻝﻪ ﻤﻥ ﺒﺎﺤﺙ ﻵﺨﺭ‪ .‬ﻓﻌﻨﺩ ﻓﺭﺩﻴﻨﺎﻨﺩ ﺩﻭﺴﻭﺴﻴﺭ ﺘﺘﻜﻭﻥ ﺍﻝﻌﻼﻤﺔ‬

‫ﻤﻥ ﺍﻝﺩﺍل ﻭﺍﻝﻤﺩﻝﻭل ﻭﺍﻝﻤﺭﺠﻊ‪ .‬ﻜﻤﺎ ﺍﻋﺘﺒﺭ ﺍﻝﺴﻴﻤﻴﻭﻝﻭﺠﻴﺎ ﻋﻠﻤﺎ ﻝﻠﻌﻼﻤﺎﺕ ﺍﻝﺘﻲ ﺘﺩﺭﺱ ﻓﻲ ﺤﻀﻥ‬

‫ﺘﻭﺴﺎﻥ‪ ،‬ﺒﺭﻨﺎﺭ‪ .(2000).‬ﻤﺎ ﻫﻲ ﺍﻝﺴﻴﻤﻴﻭﻝﻭﺠﻴﺎ"‪ ،‬ﻤﺤﻤﺩ ﻨﻁﻴﻑ‪ .‬ﺍﻝﻤﻐﺭﺏ‪ :‬ﺇﻓﺭﻴﻘﻴﺎ ﺍﻝﺸﺭﻕ‪32 ،‬‬ ‫‪1‬‬

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‫ﺍﻝﻤﺠﺘﻤﻊ‪ .‬ﻭﻫﺫﺍ ﻴﺅﻜﺩ ﺍﺭﺘﻜﺎﺯ ﺍﻝﻌﻼﻤﺔ ﻋﻠﻰ ﻤﺎ ﻫﻭ ﻝﻐﻭﻱ ﻭﻨﻔﺴﻲ ﻭﺍﺠﺘﻤﺎﻋﻲ ‪ .1‬ﻭﺘﺒﺩﻭ ﺍﻝﻌﻼﻤﺔ ﻓﻲ‬

‫ﺘﻌﺭﻴﻑ ﺍﻝﺴﻴﻤﻴﺎﺌﻴﻴﻥ ﻜﻴﺎﻨﺎ ﻭﺍﺴﻌﺎ ﻭﻤﻔﻬﻭﻤﺎ ﻗﺎﻋﺩﻴﺎ ﻭﺃﺴﺎﺴﻴﺎ ﻓﻲ ﺠﻤﻴﻊ ﺍﻝﻌﻠﻭﻡ ﺍﻝﻠﻐﻭﻴﺔ‪ .‬ﻭﺍﻝﻌﻼﻤﺎﺕ ﻗﺩ‬

‫ﺘﻜﻭﻥ ﻝﻔﻅﻴﺔ ﻜﺎﻝﻠﻐﺔ ﻭﺍﻝﺸﻌﺭ‪ ..‬ﺃﻭ ﻏﻴﺭ ﻝﻔﻅﻴﺔ‪ ،‬ﻜﺎﻝﺯﻱ ﻭﺍﻝﺤﺭﻜﺎﺕ ﺒﺼﺭﻴﺔ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﻤﺴﺭﺡ‬

‫ﻭﻏﻴﺭﻫﺎ‪ ،‬ﻭﻓﻲ ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ ﺴﻴﺘﻡ ﺍﻻﻋﺘﻤﺎﺩ ﻤﻥ ﺨﻼل ﺍﻝﺘﺤﻠﻴل ﺍﻝﺴﻴﻤﻴﺎﺌﻲ ﻝﺨﻁﺎﺏ ﺍﻝﺴﻴﻨﻤﺎ‬

‫ﺍﻷﻤﺭﻴﻜﻴﺔ ﺍﻋﺘﻤﺎﺩﹰﺍ ﻋﻠﻰ ﺍﺭﺘﺒﺎﻁ ﺍﻹﻴﺩﻴﻭﻝﻭﺠﻴﺎﺕ ﺒﺎﻝﻭﺍﻗﻊ ﺍﻝﻤﺎﺩﻱ ﻝﻺﻋﻼﻡ‪ ،‬ﻭﻜﺫﻝﻙ ﻋﺩﻡ ﻋﺯل‬

‫ﺍﻝﻌﻼﻤﺔ ﻋﻥ ﺍﻷﺸﻜﺎل ﺍﻝﻤﺤﺴﻭﺴﺔ ﻝﻠﺘﻭﺍﺼل ﺍﻻﺠﺘﻤﺎﻋﻲ‪.‬‬

‫ﻝﻔﻬﻡ ﺍﻷﻁﺭ ﺍﻝﻨﻅﺭﻴﺔ ﻭﺍﻷﺩﻭﺍﺕ ﻭﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻻﺼﻁﻼﺤﻴﺔ‪ :‬ﺍﻹﺠﺭﺍﺌﻴﺔ‪ ،‬ﻭﺍﻝﻭﻅﻴﻔﻴﺔ ﻀﻤﻥ ﻫﺫﻩ‬

‫ﺍﻷﻁﺭﻭﺤﺔ‪ ،‬ﻻ ﺒﺩ ﻤﻥ ﺘﺄﺴﻴﺱ ﻋﺎﻡ ‪‬ﻴﻌﺘﻤﺩ ﻋﻠﻴﻪ ﻓﻲ ﺍﻝﺘﺤﻠﻴل ﻭﺍﻝﺩﺭﺍﺴﺔ ﺤﺘﻰ ﻻ ﺘﺸﻜل ﻋﻠﻴﻨﺎ ﻤﻔﺎﻫﻴﻡ‬

‫ﺍﻝﺒﺤﺙ‪ ،‬ﻭﻝﺘﻜﻭﻥ ﻋﺘﺒﺔ ﺍﻝﻨﺹ ﻤﻁﺭﻭﺤﺔ ﻤﺘﻴﺴﺭﺓ ﺍﻝﻔﻬﻡ ﻭﺍﻹﺩﺭﺍﻙ‪ .‬ﻭﻋﺘﺒﺘﻨﺎ ﺍﻷﻭﻝﻰ ﻫﻲ ﻋﻠﻡ‬

‫ﺍﻝﻌﻼﻤﺎﺕ "ﺍﻝﺴﻴﻤﻴﻭﻝﻭﺠﻴﺎ" ﺍﻝﺫﻱ ﻴﻌﺘﺒﺭ ﺍﻝﻌﺎﻝﻡ ﺴﻭﺴﻴﺭ ﻤﻥ ﺃﻭﺍﺌل ﺍﻝﺫﻴﻥ ﺒﺸﺭﻭﺍ ﺒﻌﻠﻡ ﻴﺨﺘﺹ ﺒﺩﺭﺍﺴﺔ‬

‫ﺍﻝﻌﻼﻤﺎﺕ ﺩﺍﺨل ﺍﻝﺤﻴﺎﺓ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻓﻲ ﺇﻁﺎﺭ ﺘﺤﻠﻴﻠﻲ ﺩﺍﺨل "ﺍﻹﻨﺴﺎﻨﻲ ﻭﺍﻻﺠﺘﻤﺎﻋﻲ" ﻤﻥ ﺨﻼل‬

‫ﺩﺍﺌﺭﺓ ﺍﻷﻨﺴﺎﻕ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﻝﺘﻲ ﺘﺘﺠﺎﻭﺯ ﺤﺩﻭﺩ ﺍﻝﻠﺴﺎﻥ‪ ،‬ﺇﻝﻰ ﺍﻹﺸﺎﺭﺍﺕ ﻭﺍﻝﻁﻘﻭﺱ ﻭﺍﻝﺭﻤﻭﺯ‬

‫‪2‬‬
‫ﻤﺎﺩﺓ ﺘﻘﺎﺭﺏ ﺍﻷﻨﺴﺎﻕ ﺍﻝﺘﻲ ﺘﻜﻭﻥ ﺍﻝﺘﺠﺭﺒﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﺴﺘﻌﺎﻨﺔ‬ ‫ﻭﺍﻝﺩﻻﻻﺕ ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺔ‪.‬‬

‫ﺒﺎﻝﻔﻴﻨﻭﻤﻴﻨﻭﻝﻭﺠﻴﺎ‪ 3.‬ﻭﺍﻝﺴﻴﻤﻴﺎﺌﻴﺔ ﻋﻠﻡ ﻴﻌﻨﻲ ﺒﺩﺭﺍﺴﺔ ﺍﻨﺴﺎﻕ ﺍﻝﻌﻼﻤﺎﺕ ﻓﻲ ﺍﻝﺤﻴﺎﺓ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ‪.4‬‬

‫ﺤﻤﺩﺍﻭﻱ‪ ،‬ﺠﻤﻴل‪" ،(2007) .‬ﻤﺩﺨل ﻝﻠﻤﻨﻬﺞ ﺍﻝﺴﻴﻤﻴﺎﺌﻲ"‪ ،‬ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻷﺩﺒﻴﺔ‪ .‬ﻨﺴﺨﺔ ﺍﻝﻜﺘﺭﻭﻨﻴﺔ ﺍﺴﺘﺭﺠﻌﺕ ‪15.3.2009‬‬ ‫‪1‬‬

‫‪.http://azzduzlahcen.com/‬‬
‫‪ 2‬ﺒﻨﻜﺭﺍﺩ‪ ،‬ﺴﻌﻴﺩ‪ .(2003) .‬ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺎ‪ :‬ﻤﻔﺎﻫﻴﻤﻬﺎ‪ ،‬ﺘﻁﺒﻴﻘﺎﺘﻬﺎ ‪ .‬ﺍﻝﺭﺒﺎﻁ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﺍﻝﺯﻤﺎﻥ ‪/16 ،‬ﻨﺴﺨﺔ ﺍﻝﻜﺘﺭﻭﻨﻴﺔ‬
‫"‬ ‫"‬
‫‪ http://saidbengrad.free.fr/ouv/sca/index.htm‬ﺍﺴﺘﺭﺠﻌﺕ ﺒﺘﺎﺭﻴﺦ ‪15.3.2009‬‬

‫‪ 3‬ا ‪ Phenomenology‬ه *)( درا&‪ %‬ا‪"#$‬ء )ا‪.‬دات( آ‪1‬اه‪ Phenomena 0‬و‪"3045 6 "78"9‬‬
‫اا*‪ 07J .%‬ه‪I‬ا ا‪@< 6 G)DH.‬ا>‪ %‬ا‪0F‬ن ا‪< A>0E9‬ا&‪ %D‬إد‪ @8‬ه&‪0‬ل و"ر‪ A3‬ه@?‪ 0‬ور>= ‪ ;8< 0‬و"ن‬
‫<ل &"ر‪ .03‬ا*;‪ 04‬ه‪I‬ا ا;"ر أ&"&ً" ‪"F %K)) "Q‬ر‪ %K)6 P %8‬ا‪N5O‬ق وا‪ "F>L6";.‬و‪ %K)6‬ا‪ .%609.‬وا"‬
‫‪@3‬رس آ"‪ %6‬ا‪8‬اع ا‪04T‬ة ا‪ A %>"K8O‬ا;‪H‬رات‪ ،‬ا‪ ،0Q‬ا‪I‬اآ‪0‬ة‪ ،‬ا;‪ ،ZT‬ا‪9E‬ر‪ ،‬ا‪ ،%4?0‬ا‪";5O‬ر إ‪ X‬ا* ا‪8".KW‬‬
‫وا‪ Z9‬ا‪L0‬ي )ا;‪ ()[.‬وا‪"E‬ط ا‪ *".;O‬وا‪"E‬ط ا)\ي‪.‬‬

‫ﺒﺭﻨﺎﺭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪13 ،‬‬ ‫‪4‬‬

‫‪6‬‬
‫ﻭﺤﻴﺙ ﺃﻥ ﺩﻱ ﺴﻭﺴﻴﺭ ﻗﺎﻡ ﺒﺘﺼﻨﻴﻑ ﺍﻝﻌﻼﻤﺎﺕ ﻭﻅﻴﻔﻴﺎ ﻤﻥ ﺍﻝﺘﻤﺜﻴﻼﺕ ﺍﻝﺨﻁﻴﺔ ﻝﻠﻐﺔ ﺇﻝﻰ ﻤﺎ ﻴﺼﻠﺢ‬

‫ﻹﺒﻼﻍ ﺍﻝﺘﻭﺠﻴﻬﺎﺕ‪ ،‬ﻭﻭﻅﻴﻔﺔ ﺃﺨﺭﻯ ﻫﻲ ﻤﻭﻀﻭﻉ ﺩﺭﺍﺴﺘﻨﺎ ﻓﻲ ﺍﺤﺩ ﺃﺸﻜﺎل ﺃﻨﻅﻤﺔ ﺍﻝﻌﻼﻤﺎﺕ ﻏﻴﺭ‬

‫ﺍﻝﻠﻐﻭﻴﺔ ﺍﻝﺘﻲ ﺘﻅﻬﺭ ﺘﺠﻠﻴﺎﺘﻬﺎ ﺩﺍﺨل ﺍﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺃﻨﻬﺎ ﻭﻅﻴﻔﺔ ﺍﻝﻌﻼﻤﺔ‪ .‬ﻤﺎ ﻴﺼﻠﺢ ﺴﻨﺔ ﺍﺠﺘﻤﺎﻋﻴﺔ‬

‫ﺘﺤﺩﺩ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻷﻓﺭﺍﺩ ﻭﺍﻝﺠﻤﺎﻋﺎﺕ ﻤﻥ ﺭﻤﻭﺯ ﻭﺇﺸﺎﺭﺍﺕ ﻭﺇﻤﺎﺭﺍﺕ ﻭﻏﻴﺭﻫﺎ‪.1‬‬

‫ﺇﻥ ﺍﻝﺴﻴﻤﻭﻝﻭﺠﻴﺎ‪ :‬ﻫﻲ ﺩﺭﺍﺴﺔ ﻋﻠﻡ ﺍﻝﻌﻼﻤﺎﺕ ﺩﺍﺨل ﺍﻝﺤﻴﺎﺓ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‪ ،‬ﺘﺯﻭﺩﻨﺎ ﺒﻤﻌﺭﻓﺔ ﺠﺩﻴـﺩﺓ‬

‫ﺘﺴﺎﻋﺩ ﻋﻠﻰ ﻓﻬﻡ ﺃﻓﻀل ﻝﻌﻼﻗﺎﺕ ﻭﻤﻨﺎﻁﻕ ﻫﺎﻤﺔ ﻓﻲ ﺍﻹﻨﺴﺎﻨﻲ ﻭﺍﻻﺠﺘﻤﺎﻋﻲ‪ ،‬ﺇﻥ ﺃﻫﻤﻴﺘﻪ ﻝﺩﻴﻨﺎ ﻓـﻲ‬

‫ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﻫﻭ ﺃﻨﻪ ﺃﻤﺴﻰ ﺘﻴﺎﺭﺍ ﻓﻜﺭﻴﺎ ﺃﺜﺭﻯ ﺍﻝﻤﻤﺎﺭﺴﺔ ﺍﻝﻨﻘﺩﻴﺔ ﺍﻝﻤﻌﺎﺼـﺭﺓ‪ ،‬ﻭﺃﻤـﺩﻫﺎ ﺒﺄﺸـﻜﺎل‬

‫ﺠﺩﻴﺩﺓ ﻝﺘﺼﻨﻴﻑ ﺍﻝﻭﻗﺎﺌﻊ ﻭﺍﻷﺸﻜﺎل‪ ،‬ﻭﻓﻬﻤﻬﺎ‪ ،‬ﻭﺘﺄﻭﻴﻠﻬﺎ ‪ .2‬ﻝﻘﺩ ﻓﺘﺢ ﺁﻓﺎﻗﺎ ﺠﺩﻴﺩﺓ ﻝﺘﻨـﺎﻭل ﺍﻝﻤﻨﺘـﻭﺝ‬

‫ﺍﻹﻨﺴﺎﻨﻲ ﻓﻲ ﺯﻭﺍﻴﺎ ﻭﺍﻁﺭ ﺠﺩﻴﺩﺓ‪ .‬ﺇﻨﻪ ﺒﺤﺙ ﻤﺘﺠﺩﺩ ﻓـﻲ ﻁـﺭﻕ ﺍﻝﺘﻌـﺎﻁﻲ ﻤـﻊ ﺍﻝﻤﻌﻨـﻰ‪ .‬ﺇﻥ‬

‫ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺎﺕ ﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻝﻤﻁﺎﻑ ﺘﺴﺎﺅﻻﺕ ﺤﻭل ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻴﻨﺘﺞ ﺒﻬﺎ ﺍﻹﻨﺴﺎﻥ ﺍﻝﻤﻌﻨﻰ ﻭﺍﻝﺴﻠﻭﻙ‪،‬‬

‫ﻭﻫﻲ ﺃﻴﻀﹰﺎ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﺘﹸﺴﺘﻬﻠﻙ ﺒﻬﺎ ﻫﺫﻩ ﺍﻝﻤﻌﺎﻨﻲ ﻋﺒﺭ ﺍﻝﺘﺸﻜﻴﻼﺕ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻓﻬﻨـﺎﻙ ﺴـﻴﻤﻴﺎﺀ‬

‫ﻝﻠﻤﺴﺭﺡ ﻭﺍﻝﺼﻭﺭﺓ ﺍﻝﻔﻭﺘﻔﺭﺍﻓﻴﺔ ﻭﺃﺸﻜﺎل ﻋﺩﺓ ﻭﺘﺨﺼﺼﻨﺎ ﻫﻨﺎ ﻫﻭ ﺴﻴﻤﻴﺎﺀ ﺍﻝﺴﻴﻨﻤﺎ‪ .‬ﻜﻴﻔﻴﺔ ﺘـﺸﻜﻴل‬

‫ﺍﻝﻤﻌﻨﻰ ﻋﺒﺭ ﺍﻝﺴﻴﻨﻤﺎ؟ ﺘﺸﻜﻴل ﺍﻝﺴﻠﻭﻙ؟ ﻭﻜﻴﻑ ﺍﺴﺘﻬﻠﻜﺕ ﻫﺫﻩ ﺍﻝﻤﻌﺎﻨﻲ؟ ﺍﻝﺴﻴﻤﻴﺎﺀ ﻋﻨﺩﻤﺎ ﺘﻜﻭﻥ ﻜﺸﻔﺎ‬

‫ﻝﻌﻼﻗﺔ ﺩﻻﻝﻴﺔ ﻏﻴﺭ ﻤﺭﺌﻴﺔ‪ .‬ﺇﺫ ﺘﺼﺒﺢ ﺘﺩﺭﻴﺒﺎ ﻝﻠﻌﻴﻥ ﻋﻠﻰ ﺍﻝﺘﻘﺎﻁ ﺍﻝﻀﻤﻨﻲ ﻭﺍﻝﻤﺘﻭﺍﺭﻱ ﻭﺍﻝﻤﻤﺘﻨﻊ ‪.3‬‬

‫ﺃﻤﺎ ﺍﻝﺨﻁﺎﺏ‪ :‬ﻓﻬﻭ ﺍﻝﻜﻼﻡ ﺍﻝﻤﻭﻅﻑ ﺤﺭﻜﻴﺎ‪ ،‬ﻭﻓﻲ ﺍﻝﺨﻁﺎﺏ ﻨﺒﺤﺙ ﻋﻥ ﺍﻷﺒﻌﺎﺩ ﺍﻝﺘﺄﻭﻴﻠﻴﺔ ﺍﻝﺘـﻲ‬

‫ﻴﻤﻜﻥ ﺃﻥ ﺘﻤﺘﺩ ﺇﻝﻰ ﺃﻥ ﺘﺼﺒﺢ ﻨﻅﺎﻤﺎ ﻤﺭﺘﺒﻁﺎ ﺒﻨﺴﻕ ﺜﻘﺎﻓﻲ ﻗﺎﺩﺭ ﻋﻠﻰ ﺘﻐﻴﻴﺭ ﺍﻝﻜـﻭﻥ‪ ،‬ﺃﻨـﻪ ﻫـﺫﺍ‬

‫ﺍﻝﺨﻁﺎﺏ ﺍﻝﻤﺸﺤﻭﻥ ﺭﻏﺒﺔ ﻓﻲ ﺍﻝﻔﻌل ﻭﻓﻲ ﺘﻐﻴﻴﺭ ﺍﻝﻜﻭﻥ‪ .4‬ﺇﻥ ﺍﻝﺒﺤﺙ ﻓﻲ ﻜﻨﻪ ﺍﻝﺨﻁﺎﺏ ﻜﻤﻥ ﻴﺄﺨـﺫ‬

‫ﻁﺭﻴﻘﺔ ﺇﻝﻰ ﺍﻷﺩﻏﺎل ﻭﻗﺩ ﺘﻠﺘﺒﺱ ﻋﻠﻴﻪ ﻁﺭﻴﻕ ﺍﻝﺨﺭﻭﺝ ﻤﻨﻬﺎ‪ .‬ﺇﻨﻬﺎ ﺭﺤﻠﺔ ﻓﻲ ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﻤـﺒﻬﻡ‬

‫‪ 1‬ﺒﻨﻜﺭﺍﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪18 ،‬‬

‫ﺒﻨﻜﺭﺍﺩ‪ " .(2003) .‬ﺴﻴﻤﻴﻭﻝﻭﺠﻴﺎ ﺍﻷﻨﺴﺎﻕ ﺍﻝﺒﺼﺭﻴﺔ‪ :‬ﺍﻝﺼﻭﺭﺓ ﻨﻤﻭﺫﺠﺎً"‪ .‬ﺍﻝﺭﺒﺎﻁ ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﺍﻝﺯﻤﺎﻥ‪45 .‬‬ ‫‪2‬‬

‫‪ 3‬ﺒﻨﻜﺭﺍﺩ‪ ،‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪5-3 ،‬‬

‫ﻓﻭﻜﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪7 ،‬‬ ‫‪4‬‬

‫‪7‬‬
‫ﻭﺍﻝﻤﻀﻤﺭ ﻭﺍﻝﻤﺴﻜﻭﺕ ﻋﻨﻪ‪ ،‬ﻭﻫﻲ ﺃﻴﻀﺎ ﻀﺭﻭﺭﺍﺕ ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﺫﺍﺕ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺴﺒﺒﹰﺎ ﻓﻲ ﻫـﺫﺍ‬

‫ﺍﻝﺒﻨﺎﺀ ﺍﻝﺫﻱ ﻴﺤﺘﻭﻱ ﺤﻘﻴﻘﺔ ﻭﻭﻫﻤﹰﺎ ﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗﺕ ﻭﺘﺤﺩﻴﺩ ﻫﺫﻩ ﺍﻝﺫﺍﺕ ﺩﺍﺨل ﺍﻝﺨﻁﺎﺏ ‪.1‬‬

‫ﺇﻥ ﻋﻤﻴﻠﺔ ﺘﺤﻠﻴل ﺍﻝﺨﻁﺎﺏ ﻓﻲ ﺘﻌﺩﺩ ﺃﺸﻜﺎﻝﻪ ﻫﻲ ﻋﻤﻠﻴﺔ ﻻ ﺤﺼﺭ ﻝﻬﺎ ﻓﻲ ﺍﺴﺘﻘﺼﺎﺀ ﻝﻤﻤﻜﻨـﺎﺕ‬

‫ﺍﻝﻭﺠﻭﺩ ﺍﻹﻨﺴﺎﻨﻲ‪ .‬ﺇﻨﻪ ﺤﺩﻴﺙ ﻋﻥ ﻜﻭﻥ ﻻ ﻴﺘﻡ ﺍﻗﺘﻁﺎﻋﻪ ﻤﻥ ﻨﺴﻕ ﺜﻘﺎﻓﻲ ﻭﺍﺠﺘﻤﺎﻋﻲ ﻜﺎﻤل‪ .‬ﻜﻤـﺎ‬

‫ﻴﻨﺴﺏ ﺍﻝﺨﻁﺎﺏ ﺇﻝﻰ ﺴﻴﺎﻗﺎﺕ ﺘﺎﺭﻴﺨﻴﺔ ﻤﻌﻴﻨﺔ‪ ،‬ﺤﻴﺙ ﻤﻌﻨﻰ ﺍﻝﺨﻁﺎﺏ ﻴﺒﻨﻰ ﺍﻨﻁﻼﻗـﹰﺎ ﻤـﻥ ﺘﺠﻤﻴـﻊ‬

‫ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺩﻻﻝﻴﺔ ﻭﺍﻝﻜﺸﻑ ﻋﻥ ﺴﻴﺎﻗﺎﺘﻬﺎ ﻭﺘﻔﺎﻋﻼﺘﻬﺎ ﻤﻊ ﺍﻝﺫﺍﺕ ﺍﻝﻘﺎﺭﺌﺔ ‪ ،2‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻝﻘﺭﺍﺀﺓ‬

‫ﺍﻝﺫﻫﻨﻴﺔ ﻝﺩﻯ ﺍﻝﻘﺎﺭﺉ ﺍﻝﺘﻲ ﻻ ﺘﻜﻭﻥ ﺒﺭﻴﺌﺔ ﺨﺎﻝﻴﺔ ﺍﻝﺫﻫﻥ‪ ،‬ﻭﺇﻨﻤﺎ ﺘﺒﺤﺙ ﻋﻥ ﺍﻝﺘﻨﺎﺹ ﻤﻌﻪ‪ ،‬ﻭﻗﺩ ﺘﻜﻭﻥ‬

‫ﻫﻲ ﺒﺩﺍﻴﺎﺕ ﺘﺄﺜﻴﺭ ﻋﻠﻰ ﺍﻝﻌﻘل ﺍﻝﻼﻭﺍﻋﻲ ﻤﻤﺎ ﻴﺸﻜل ﺇﻁﺎﺭﹰﺍ ﻤﺭﺠﻌﻴﹰﺎ ﺠﺩﻴﺩﹰﺍ ﻝﻪ‪ ،‬ﺇﻨﻬﺎ ﻋﻤﻠﻴﺔ ﺘﺒﺎﺩﻝﻴـﺔ‬

‫ﺒﻴﻥ ﺍﻝﻤﺅﻝﻑ ﻭﺍﻝﻘﺎﺭﺉ‪ ،‬ﻜل ﻴﺭﻴﺩ ﺘﺜﺒﻴﺕ ﻓﻬﻡ ﻤﺎ‪ ،‬ﺒﻤﺎ ﻝﺩﻴﻪ ﻤﻥ ﺒﻭﺍﻋﺙ ﺃﻴﺩﻭﻝﻭﺠﻴﺔ ﻭﺜﻘﺎﻓﻴـﺔ‪ .‬ﺃﻤـﺎ‬

‫ﻤﺴﺘﻭﻴﺎﺕ ﺍﻝﻨﻅﺭ ﺇﻝﻰ ﺍﻝﺨﻁﺎﺏ ﻓﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻌﻼﻤﺎﺕ ﺘﺨﻀﻊ ﻝﻠﺘﺤﻠﻴل ﺍﻝﺴﻴﻤﻴﺎﺌﻲ‪ .‬ﻭﺇﻨﻨﺎ ﻨﺒﺤـﺙ‬

‫ﻓﻲ ﻜﻴﻔﻴﺔ ﺘﺤﻭل ﺍﻝﻌﻼﻤﺔ ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺔ ﺇﻝﻰ ﺨﻁﺎﺏ ﻨﺎﻓﺫ ﻭﻓﻌﺎل ﻓﻲ ﺍﻝﺨﻁﺎﺏ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ .‬ﺇﻨﻬﺎ ﺍﻝﻌﻼﻤﺔ‬

‫ﻓﻲ ﺒﻌﺩﻫﺎ ﻏﻴﺭ ﺍﻝﻠﻐﻭﻱ ﺒل ﺘﺘﺠﺎﻭﺯ ﺇﻝﻰ ﺍﻷﻨﺴﺎﻕ ﺍﻝﺘﻭﺍﺼﻠﻴﺔ ﺒﺄﺸﻜﺎﻝﻬﺎ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻭﻫﻨﺎ ﺍﻝﻤﺭﺌﻲ ﻤﻨﻬﺎ‬

‫ﻭﺍﻝﻼﻤﺭﺌﻲ ‪.3‬‬

‫ﺇﻥ ﺍﺭﺘﺒﺎﻁ ﺩﻻﻝﺔ ﺍﻝﺨﻁﺎﺏ ﺒﺎﻝﻨﺴﻕ ﺍﻝﺜﻘﺎﻓﻲ ﺤﻴﺙ ﺃﻥ ﺇﺩﺭﺍﻙ ﺍﻝﻤﻌﻨﻰ ﻴﺤﺘـﺎﺝ ﺇﺩﺭﺍﻙ ﺼـﻴﺭﻭﺭﺓ‬

‫ﻻ ﻋﻥ ﺼﻴﺭﻭﺭﺓ ﺍﻝﻭﻗﺎﺌﻊ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺍﻝﻜﺸﻑ ﻋـﻥ‬

‫ﺘﻜﻭﻴﻨﺎﺘﻪ‪ ،‬ﻓﻴﺘﻌﺫﺭ ﺍﻝﻭﺼﻭل ﺇﻝﻴﻪ ﻤﻨﻌﺯ ﹰ‬

‫ﻤﻌﺎﻨﻲ ﺍﻝﺨﻁﺎﺏ ﻭﺘﺤﻠﻴﻠﻪ ﻝﻴﺴﺕ ﺘﻘﻨﻴﺔ ﺘﻤﻜﻥ ﺍﻝﺘﻌﺭﻑ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﻤﻌﻨﻰ ﻭﺇﻨﻤﺎ ﻫﻲ ﺍﻝﻘـﺩﺭﺓ ﻋﻠـﻰ‬

‫ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﺭﻭﺍﺒﻁ ﺍﻝﻤﻤﻜﻨﺔ ﺒﻴﻥ ﻤﺎ ﻫﻭ ﻤﺘﺤﻘﻕ‪ ،‬ﻭﺒﻴﻥ ﻤﺎ ﻫﻭ ﻤﻭﺠﻭﺩ ﻀﻤﻥ ﻋﻼﻗﺎﺕ ﻤﺴﺘﺘﺭﺓ ﻻ‬

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‫ﻋﻴﺎﺩ‪ ،‬ﻤﺤﻤﺩ‪" .(1997) .‬ﺴﻴﻤﻴﺎﺌﻴﺔ ﺍﻝﺨﻁﺎﺏ ﻭﺨﻁﺎﺏ ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺔ"‪ ،‬ﻋﻼﻤﺎﺕ‪ ،‬ﻉ ‪40 ،29‬‬
‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪42 ،‬‬ ‫‪2‬‬

‫‪ 3‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪45 ،‬‬

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‫ﺘﻌﻤل ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﻅﺎﻫﺭﺓ ﻤﻨﻬﺎ ﺇﻻ ﻋﻠﻰ ﺤﺠﺒﻬﺎ ﻭﺘﻀﻠﻴل ﻤﻥ ﻴﻘﺘﺭﺏ ﻤﻨﻬﺎ ‪ .1‬ﺃﻤﺎ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺄﻭﻴـل‬

‫ﻓﻬﻲ ﻝﺤﻅﺔ ﺩﻴﻨﺎﻤﻴﻜﻴﺔ ﺘﻘﻭﻡ ﺒﺎﺴﺘﺤﻀﺎﺭ ﺴﻴﺎﻗﺎﺕ ﻗﺩﻴﻤﺔ ﺍﺴﺘﻨﺎﺩﹰﺍ ﺇﻝﻰ ﻋﻼﻗﺎﺕ ﻤﻤﻜﻨﺔ ﺒﻴﻥ ﻭﺤـﺩﺍﺕ‬

‫ﺍﻝﻭﺍﻗﻌﺔ ‪. 2‬‬

‫ﺇﻥ ﻝﺴﻤﻴﻠﻭﺠﻴﺎ ﺍﻝﺘﻔﺎﻋﻼﺕ ﻀﻤﻥ ﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺤﻘﻭل‪ ،‬ﻭﺍﻝﻤﻌﺎﺭﻑ ﺍﺭﺘﺒﺎﻁﺎ ﻭﺜﻴﻘﺎ ﺒﺎﻝﻔﻠﺴﻔﺔ‪ ،‬ﻭﻋﻠـﻡ‬

‫ﺍﻝﻨﻔﺱ‪ ،‬ﻭﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‪ ،‬ﻜﻤﺎ ﺘﺭﺘﺒﻁ ﺍﻝﺴﻴﻤﻴﻭﻝﻭﺠﻴﺎ ﻤﻨﻬﺠﻴـﺎ ﺒﺩﺭﺍﺴـﺔ ﺍﻷﺩﺏ‪ ،‬ﻭﺍﻝﻔﻨـﻭﻥ‬

‫ﺍﻝﻠﻔﻅﻴﺔ‪ ،‬ﻭﺍﻝﺒﺼﺭﻴﺔ‪ ،‬ﻜﺎﻝﻤﻭﺴﻴﻘﻰ ﻭﺍﻝﺘﺸﻜﻴل ﻭﺍﻝﻤﺴﺭﺡ ﻭﺍﻝﺴﻴﻨﻤﺎ‪ .‬ﻭﺘﺭﺘﺒﻁ ﻜـﺫﻝﻙ ﺒﺎﻝﻬﺭﻤﻭﻨﻴﻁﻴﻘـﺎ‬

‫ﻭﺩﺭﺍﺴﺔ ﺍﻝﻜﺘﺏ ﺍﻝﺩﻴﻨﻴﺔ ﺍﻝﻤﻘﺩﺴﺔ‪ .‬ﻭﺍﺭﺘﺒﻁﺕ ﻜﺫﻝﻙ ﺒﺎﻝﺸﻌﺭﻴﺔ ﻭﺍﻝﻨﺤﻭ ﻭﺍﻝﺒﻼﻏﺔ ﻭﺒـﺎﻗﻲ ﺍﻝﻤﻌـﺎﺭﻑ‬

‫ﺍﻷﺨﺭﻯ‪ .‬ﻝﻘﺩ ﺼﺎﺭ ﺍﻝﺘﺤﻠﻴل ﺍﻝﺴﻴﻤﻴﺎﺌﻲ ﺘﻁﻭﺭﹰﺍ ﻨﻅﺭﻴﹰﺎ ﻭﻤﻨﻬﺠﹰﺎ ﺘﻁﺒﻴﻘﻴـﹰﺎ ﻓـﻲ ﺸـﺘﻰ ﺍﻝﻤﻌـﺎﺭﻑ‬

‫ﻭﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻹﻨﺴﺎﻨﻴﺔ‪ ،‬ﻭﺍﻝﻔﻜﺭﻴﺔ‪ ،‬ﻭﺍﻝﻌﻠﻤﻴﺔ‪ ،‬ﻭﺃﺩﺍﺓ ﻓﻲ ﻤﻘﺎﺭﺒﺔ ﺍﻷﻨﺴﺎﻕ ﺍﻝﻠﻐﻭﻴﺔ ﻭﻏﻴﺭ ﺍﻝﻠﻐﻭﻴﺔ‪ .‬ﻝﺫﻝﻙ‬

‫ﻜﺎﻥ ﻻ ﺒﺩ ﻤﻥ ﺍﻻﻝﺘﺠﺎﺀ ﺇﻝﻴﻬﺎ ﻗﺼﺩ ﻋﺼﺭﻨﻪ ﺍﻝﻔﻬﻡ ﻭﺁﻝﻴﺎﺕ ﺍﻝﺘﺄﻭﻴل ﻭﺍﻝﻘﺭﺍﺀﺓ‪ .‬ﻭﻴﻤﻜﻥ ﺍﻵﻥ ﺃﻥ ﻨﺫﻜﺭ‬

‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺤﻘﻭل ﺍﻝﺘﻲ ﺍﺴﺘﻌﻤﻠﺕ ﻓﻴﻬﺎ ﺍﻝﺘﻘﻨﻴـﺔ ﻝﻠﺘﺤﻠﻴـل ﻜﺎﻝـﺸﻌﺭ‪ ،‬ﻭﺍﻝﺭﻭﺍﻴـﺔ‪ ،‬ﻭﺍﻝﻘـﺼﺔ‪،‬‬

‫ﻭﺍﻷﺴﻁﻭﺭﺓ‪ ،‬ﻭﺍﻹﺸﻬﺎﺭ‪ ،‬ﻭﺍﻝﺯﻱ ﻭﺍﻝﺘﻭﺍﺼل‪ ،‬ﻭﺍﻝﺜﻘﺎﻓﺔ‪ .‬ﻭﻤﺎ ﻴﻬﻡ ﻤﻥ ﻫﺫﻩ ﺍﻝﺘﻁﺒﻴﻘﺎﺕ ﻫﻭ ﺍﻝـﺴﻴﻨﻤﺎ‬

‫ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺫﻱ ﻴﺘﻡ ﺘﻨﺎﻭﻝﻪ ﺒﺎﻝﺘﺤﻠﻴل ﻭﻤﺤﺎﻭﻝﺔ ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺒﻨﻴﻭﻴﺔ ﺍﻝﻤﺸ ﹼﻜﻠﺔ ﻝﻠﻤﻀﺎﻤﻴﻥ‬

‫ﻭﻤﻨﺘﺠﺔ ﻝﻠﻤﻌﻨﻰ‪ .‬ﻭﻻ ﻴﻤﻜﻥ ﺘﻌﺭﻴﻑ ﺍﻝـﺴﻤﻌﻲ ﺍﻝﺒـﺼﺭﻱ ﺇﻻ ﺒﺈﻨﺘﺎﺠﺎﺘـﻪ ﺍﻻﺠﺘﻤﺎﻋﻴـﺔ ﻝﻠﻤﺘﻠﻔـﺯ‬

‫ﻭﺍﻝﺘﺴﺠﻴﻠﻲ‪ .‬ﻭﺍﻝﺴﻴﻤﻭﻝﻭﺠﻴﺎ ﺘﺤﺎﻭل ﺍﻝﻜﺸﻑ ﻋﻥ ﺍﻝﺼﻭﺭﺓ ﻤﻥ ﺨﻼل ﻭﻀﻊ ﺃﻨﺤﺎﺀ ﺍﻴﻘﻭﻨﻴﺔ ﻭﺘﺤﺩﻴـﺩ‬

‫ﻤﺩﻝﻭﻻﺕ ﺒﻌﺽ ﺍﻝﺼﻭﺭ ﺍﻻﺸﻬﺎﺭﻴﺔ‪ ،‬ﻭﺍﻝﻔﻨﻴﺔ‪ ،‬ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭﺍﻷﻴﺩﻝﻭﺠﻴﺔ‪ ،‬ﺤﻴﺙ ﺃﻥ ﺩﻻﻝﺔ ﺍﻝﺼﻭﺭﺓ‬

‫ﺘﻔﻭﻕ ﺸﻜﻠﻬﺎ ﺍﻝﺘﻌﺒﻴﺭﻱ‪ .‬ﺃﻤﺎ ﺍﻝﺴﻴﻤﻭﻁﻴﻘﻴﺎ ﻭﻫﻲ ﻋﺒﺎﺭﺓ ﻋﻥ ﻗﺭﺍﺀﺓ ﻭﻜﺘﺎﺒﺔ ﻤﺩﻤﺠﺘﺎﻥ ﺒﺎﻝﻔﻠﺴﻔﺔ ﻭﻓـﻥ‬

‫ﺍﻝﺘﻔﻜﻴﺭ ﻭﻫﻲ ﺩﺭﺍﺴﺔ ﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﻤﺘﺨﺼﺼﺔ‪ .‬ﺇﻥ ﺃﻭل ﺨﻁﻰ ﺍﻝﺩﺭﺍﺴﺔ ﺍﻝﺴﻴﻤﻴﻭﻝﻭﺠﻴﺔ ﺍﻝﺘﻲ ﻨﻘـﻭﻡ‬

‫ﺒﻬﺎ ﹸﺘ َﺅﺴ‪‬ﺱ ﻋﻠﻰ ﺩﺭﺍﺴﺔ ﺍﻝﻤﺘﻥ‪ :‬ﺃﻱ ﺘﺤﺩﻴﺩ ﺃﺭﻀﻴﺔ ﺍﻝﺘﺤﻠﻴل‪ ،‬ﻭﺍﻝﻤﺠﺎل ﺍﻝﺫﻱ ﻴﺤﺩﺩﻩ ﺍﻝﺒﺎﺤﺙ ﺒﺤﺴﺏ‬

‫ﺒﻨﻜﺭﺍﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪9 ،‬‬ ‫‪1‬‬

‫ﺒﻨﻜﺭﺍﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪13 ،‬‬ ‫‪2‬‬

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 ‫ﻤﻌﺎﻴﻴﺭﻩ ﻓﻲ ﺍﻝﺒﺤﺙ ‪ ،1‬ﻓﻲ ﺩﺭﺍﺴﺔ ﺃﻨﻅﻤﺔ ﺍﻝﻌﻼﻤﺎﺕ ﺍﻝـﺴﻤﻌﻴﺔ ﺍﻝﺒـﺼﺭﻴﺔ ﻭﺍﻝﻌﻼﻗـﺎﺕ ﺍﻝـﺸﻜﻠﻴﺔ‬

‫ﻭﺍﻝﺩﻻﻝﻴﺔ ﻓﻲ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ .‬ﻜﻤﺎ ﻴﻠﻲ‪:‬‬

‫ﺍﻝﺴﻴﻤﻭﻝﻭﺠﻴﺎ‬

‫ﻋﻼﻗﺔ ﻏﻴﺭ ﻝﺴﺎﻨﻴﺔ‬ ‫ﻋﻼﻗﺔ ﻝﺴﺎﻨﻴﺔ‬

‫ﺸﻤﻴﺔ‪ ،‬ﻝﻤﺴﻴﺔ‪ ،‬ﺫﻭﻗﻴﺔ‪ ،‬ﺇﺸﺎﺭﻴﺔ‪ ،‬ﺴﻤﻌﻴﺔ‪ ،‬ﺒﺼﺭﻴﺔ‪ ،‬ﺇﻴﻤﺎﺌﻴﺔ‬ ‫ﺼﻭﺘﻴﺎﺕ‪ ،‬ﺘﺭﻜﻴﺒﺎﺕ‪ ،‬ﺘﺼﺭﻴﻑ‪ ،‬ﺩﻻﻝﺔ‬

‫ﺘﻁﺒﻴﻘﺎﺘﻬﺎ‪:‬‬
‫ﺍﻝﺭﺴﻡ‪ ،‬ﺍﻝﻨﺤﺕ‪ ،‬ﺍﻝﺘﺼﻭﻴﺭ‪ ،‬ﺍﻝﻤﺴﺭﺡ‪،‬‬

‫ﺇﻥ ﺍﻝﺴﻴﻤﻭﻝﻭﺠﻴﺎ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺠﺩﻴﺩﺓ‪ ،‬ﺘﻀﻁﻠﻊ ﺒﻌﺩﺓ ﺘﻁﺒﻴﻘﺎﺕ‪ .‬ﺠﺯﺀ ﺒﺭﻨﺎﻤﺠﻬﺎ ﻴ‪‬ﻌﻨﻰ ﺒﺒﻠﻭﺭﺓ ﻨﻅﺎﻡ‬

‫ﺍﻝﻤﻜﻭﻨﺎﺕ ﺍﻝﻌﻠﻤﻴﺔ ﺍﻝﻜﺒﺭﻯ‪ .2‬ﻭﻴﺒﺩﻭ ﺃﻨﻪ ﻭﻗﺩ ﺍﻜﺘﻤل ﺭﺴﻡ ﺤﺩﻭﺩ ﻤﺘﻥ ﺍﻝﺩﺭﺍﺴﺔ ﻝﻜـﻲ ﻨـﺘﻤﻜﻥ ﻤـﻥ‬

‫ﻋﺭﺽ ﺘﻁﺒﻴﻘﻪ ﻋﻠﻰ ﺍﻝﺸﺭﻴﻁ ﺍﻝﻤﺼﻭﺭ ﻝﻔﻴﻠﻡ ﺒﻜﺎﻤﻠﻪ ‪ .3‬ﻤﻥ ﺨﻼل ﺍﻹﺨـﺭﺍﺝ ﻭﺍﻝـﺴﻴﻨﺎﺭﻴﻭ ﺒﻜـل‬

‫ﻋﻨﺎﺼﺭﻩ‪ :‬ﺍﻝﺘﻘﺎﻁ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﺍﻝﺘﻤﺜﻴل )ﺍﻝﻤﺸﻬﺩ( ﺘﺭﻜﻴﺏ ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺍﻝﺨﺩﻉ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ ،‬ﺍﻷﻫﻤﻴﺔ ﺍﻝﻨﻔـﺴﻴﺔ‬

‫ﻻﻝﺘﻘﺎﻁ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺩﻻﻝﻴﺔ ﻓﻲ ﺍﻝﻔﻴﻠﻡ‪ .‬ﺇﺩﺭﺍﻙ ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺘﻤﺜﻴل ﺍﻝﻔﻌﻠﻲ ﺍﻝﺫﻱ ﻴﻘﺘﻀﻴﻪ ﻓﻬﻡ‬

‫ﺍﻝﻔﻴﻠﻡ ﺒﻤﺴﺘﻭﻴﺎﺘﻪ ﺍﻝﻤﺨﺘﻠﻔﺔ‪ ،‬ﻤﻥ ﺨﻼل ﺃﺩﻭﺍﺕ ﺍﻝﺘﺤﻠﻴل ﻓﻲ ﺍﻷﺩﺭﻤـﺔ ﻭﻫـﻲ ﺘﻌﺒﻴـﺭ ﺍﻻﻨﻔﻌـﺎﻻﺕ‬

‫ﻭﺍﻝﺤﺭﻜﺔ ﺍﻝﺘﻲ ﺘﻅﻬﺭ ﻓﻲ ﻋﻼﻗﺎﺘﻬﺎ ﻤﻌﺘﻤﺩﺓ ﻋﻠﻰ ﻋﻤﻠﺘﻲ ﺍﻹﺨﺭﺍﺝ ﻭﺍﻝﺒﻨﺎﺀ ﺍﻝﻤﻭﻨﺘـﺎﺝ ﻓـﻲ ﺍﻝﻔـﻴﻠﻡ‬

‫‪ 1‬ﺒﺭﻨﺎﺭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪52 ،‬‬

‫‪2‬‬
‫‪Buckland. Warren. (2007)."The Cognitive Turn in Film Theory" The Cognitive Semiotics of Film.‬‬
‫‪Cambridge university press.p9‬‬
‫‪ 3‬ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪54 ،‬‬

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‫ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻬﺎﻝﺔ ﺍﻝﺭﻭﺤﻴﺔ ﻭﺘﻤﺜل ﺍﻷﺸﻴﺎﺀ ﺍﻝﻤﻭﺤﻴﺔ ﻭﺨﻠﻔﻴـﺔ ﺍﻝﻤﻭﻀـﻭﻉ ﺇﺫ ﺘﺨﻠـﻕ‬

‫ﺍﻝﺭﻭﺍﺒﻁ ﻤﻊ ﺫﺍﺕ ﺍﻝﺼﻭﺭﺓ ﻤﻥ ﺨﻼل ﺍﻝﻔﻀﺎﺀ ﺍﻝﺠﻐﺭﺍﻓﻲ ﻭﺍﻻﺘﺠﺎﻩ ﻭﺍﻝﺒﻨﻴـﺔ‪ ،‬ﻭﻋﻨﺎﺼـﺭ ﺃﺨـﺭﻯ‬

‫ﻜﺎﻹﻀﺎﺀﺓ ﻭﺍﻷﻝﻭﺍﻥ‪ ،‬ﻭﺍﻷﺸﻜﺎل ﻭﺍﻝﺨﻁﻭﻁ ﻭﺍﻹﻁﺎﺭﺍﺕ ﺍﻝﻤﺸﻜﻠﺔ ﻝﻠﻘﻁﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻭﻜﺎﻓﺔ ﻋﻨﺎﺼـﺭ‬

‫ﺍﻝﻔﻴﻠﻡ ﺍﻷﺨﺭﻯ‪ -‬ﻭﺍﻝﺘﻲ ﺴﻨﺘﻨﺎﻭﻝﻬﺎ ﺒﺎﻝﺩﺭﺍﺴﺔ ﺘﺒﺎﻋﹰﺎ‪ .-‬ﺃﻀﻑ ﺇﻝﻰ ﺫﻝﻙ ﻋﻨﺼﺭ ﺍﻹﻝﻜﺘﺭﻭﻨﻴﻙ ﺍﻝـﺫﻱ‬

‫ﻴﻤﺜل ﺍﻤﺘﺩﺍﺩ ﺍﻝﺤﻭﺍﺱ ﻭﺘﻀﺨﻴﻡ ﻝﻠﺭﺅﻴﺔ ﻓﻲ ﺍﻝﻤﺸﻬﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪.1‬‬

‫ﺃﻤﺎ ﻋﻴﻨﺔ ﺍﻷﻁﺭﻭﺤﺔ ﺍﻝﺘﻁﺒﻴﻘﻴﺔ‪ ،‬ﻓﻬﻲ ﻋﺒﺎﺭﺓ ﻋﻥ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ ﺤﻴﺙ ﺴـﻴﺘﻡ‬

‫ﺘﻨﺎﻭﻝﻬﺎ ﺒﺎﻝﺘﺤﻠﻴل ﺴﻴﻤﻴﺎﺌﻴﹰﺎ‪ ،‬ﻤﻥ ﺤﻴﺙ ﺍﻝﺩﻻﻻﺕ ﺍﻝﻨﺼﻴﺔ‪ ،‬ﻭﺍﻝﺼﻭﺭﺓ ﺍﻝﺒﺼﺭﻴﺔ‪ ،‬ﻭﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﻷﺨـﺭﻯ‬

‫ﺍﻝﻤﺭﺍﻓﻘﺔ ﻭﻴﻁﻠﻕ ﻋﻠﻴﻬﺎ ﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺩﻭﺭ ﻜـل ﻤـﻥ‬

‫ﺍﻷﺩﺭﻤﺔ ﻭﺍﻝﻬﺎﻝﺔ ﺍﻝﺭﻭﺤﻴﺔ ﻭﺍﻹﻝﻜﺘﺭﻭﻨﻴﻙ‪ ،‬ﺍﻝﺘﻲ ﺘﻌﻴﻥ ﻋﻠﻰ ﺇﺩﺭﺍﻙ ﺍﻝﺭﻤﻭﺯ ﻭﺍﻝﺩﻻﻻﺕ ﻭﻋﻼﻤـﺎﺕ‬

‫ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ .‬ﻋﻴﻨﺔ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﻡ ﺘﻨﺎﻭﻝﻬﺎ ﺒﺎﻝﻘﺭﺍﺀﺓ ﻭﺍﻝﺘﺄﻭﻴل ﻫﻲ ﺃﻓﻼﻡ ﻭﻗﻌﺕ ﻓﻲ ﺍﻝﻔﺘﺭﺓ ﺍﻝﺘﻲ‬

‫ﺘﻠﺕ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪ ،2001‬ﺍﺸﺘﺭﻜﺕ ﺍﻷﻓﻼﻡ ﻜﻭﻨﻬﺎ ﺃﻓﻼﻤﹰﺎ ﻫﻭﻝﻴﻭﺩﻴﺔ ﻤﻥ ﺇﻨﺘﺎﺝ ﺸﺭﻜﺎﺕ‬

‫ﺃﻤﺭﻴﻜﻴﺔ‪ ،‬ﻜﻤﺎ ﺘﻨﺎﻭﻝﺕ ﺍﻷﻓﻼﻡ ﻓﻲ ﻤﺠﻤﻠﻬﺎ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ﻓﻲ ﻜﺜﻴﺭ ﻤﻥ ﺘﻔﺎﺼـﻴﻠﻬﺎ‪ :‬ﺍﻝـﺼﻨﺎﻋﺔ‬

‫ﺍﻝﻨﻔﻁﻴﺔ‪ ،‬ﺍﻝﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ‪ ،‬ﺍﻝﻘﺎﻋﺩﺓ‪ ،‬ﺘﻬﺭﻴﺏ ﺍﻷﺴﻠﺤﺔ‪ ،‬ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل‪ ،‬ﻜﻤـﺎ ﺍﺴـﺘﺨﺩﻤﺕ‬

‫ﺍﻷﻓﻼﻡ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺠﻐﺭﺍﻓﻲ ﻓﻲ ﺒﻌﺽ ﻤﺸﺎﻫﺩﻫﺎ ﻓﻲ ﺒﻌﺽ ﺍﻝﺩﻭل ﺍﻝﻌﺭﺒﻴﺔ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝـﻰ ﺍﺤﺘﻭﺍﺌﻬـﺎ‬

‫ﻋﻠﻰ ﻋﻨﺎﺼﺭ ﺘﺭﺘﺒﻁ ﺒﺎﻝﻠﻐﺔ‪ ،‬ﺍﻝﺸﺨﺼﻴﺔ ﺍﻝﻌﺭﺒﻴﺔ‪ ،‬ﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﻘﺎﻝﻴﺩ ﻭﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻌﺭﺒﻴﺔ‪ .‬ﻜﻤﺎ ﺃﻥ ﺜﻤـﺔ‬

‫ﺴﺒﺒﺎ ﺁﺨﺭ ﻓﻲ ﺍﺨﺘﻴﺎﺭ ﺍﻝﻌﻴﻨﺔ ﻭﻫﻭ ﺍﺤﺘﻭﺍﺅﻫﺎ ﻋﻠﻰ ﺍﻝﺫﺭﻭﺓ ﺍﻝﺨﻁﺎﺒﻴﺔ ﺍﻝﺘﻲ ﺘﻌـﻴﻥ ﻋﻠـﻰ ﻤﻌﺭﻓـﺔ‬

‫ﻭﺍﺴﺘﻜﺸﺎﻑ ﺤﻘﻴﻘﺔ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻓﻲ ﻫﻭﻝﻴﻭﺩ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪.2001‬‬

‫‪1‬‬
‫‪Barry, MS.( 2000). Visual Intelligence, perception, image and manipulation in visual communication.‬‬
‫‪NY: Univ of NY. 42‬‬

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 ‫ﻤﻭﻗﻊ ﺍﻝﺒﺎﺤﺜﺔ ﻤﻥ ﺍﻝﺩﺭﺍﺴﺔ‬

‫ﺇﻥ ﻤﻭﻗﻊ ﺍﻝﺒﺎﺤﺜﺔ ﻤﻥ ﻫﺫﻩ ﺍﻝﺩﺭﺍﺴﺔ ﻫﻲ ﺃﻗﺭﺏ ﺇﻝﻰ ﺃﻥ ﺘﻜﻭﻥ ﻤﺨﺘﻠﻔﺔ ﻨﺴﺒﺔ ﺇﻝﻰ ﻤﺘﻥ ﺍﻝﺩﺭﺍﺴـﺔ‪،‬‬

‫ﻭﺒﻴﺌﺘﻬﺎ‪ ،‬ﻭﺤﺩﻭﺩ ﺍﻝﺒﺤﺙ ﻭﻋﻨﺎﺼﺭﻩ‪ ،‬ﺤﻴﺙ ﺃﻥ ﻓﻀﺎﺀ ﺍﻝﺒﺤﺙ ﻴﺘﻨﺎﻭل ﻫﻭﻝﻴﻭﺩ ﻭﻨﻅﺭﺓ ﺍﻝﻐﺭﺒﻲ ﺇﻝـﻰ‬

‫ﺍﻝﻌﺭﺒﻲ "ﺍﻵﺨﺭ" ﻤﻥ ﺨﻼل ﺍﻝﻔﻥ ﺍﻝﺴﺎﺒﻊ –ﺍﻝﺴﻴﻨﻤﺎ‪ -‬ﻭﺘﻘﻨﻴﺎﺘﻪ‪ .‬ﺃﻤﺎ ﺍﻝﺒﺎﺤﺜﺔ ﻓﻬﻲ ﻤـﻥ ﺫﺍﺕ ﺍﻝﺒﻴﺌـﺔ‬

‫ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﻤﺴﻠﻤﺔ ﺍﻝﻤﻨﻅﻭﺭ ﺇﻝﻴﻬﺎ ﻤﻥ ﻗﺒل ﺍﻝﻐﺭﺒﻲ‪ .‬ﻜﻤﺎ ﺃﻨﻬﺎ ﺘﺨﺘﻠﻑ ﻋﻥ ﺒﻴﺌـﺔ ﺍﻝﺩﺭﺍﺴـﺔ ﺒﺎﻝﻠﻐـﺔ‬

‫ﻭﺍﻝﺜﻘﺎﻓﺔ ﻭﺍﻝﺩﻴﺎﻨﺔ‪ ،‬ﺤﺘﻰ ﺃﻥ ﺍﻝﻌﻨﺎﺼﺭ ﻜﺎﻝﻠﺒﺎﺱ ﻭﺍﻝﻌﺎﺩﺍﺕ ﻭﺍﻝﺘﻘﺎﻝﻴﺩ ﺘﻤﺜﻠﺕ ﻝﺩﻯ ﺍﻝﺒﺎﺤﺜﺔ ﻓﻲ ﻤﺠﻤﻠﻬﺎ‪.‬‬

‫ﻤﻤﺎ ﻴﺸﻜل ﺘﻌﺎﺭﻀﺎ ﺒﻴﻥ ﻜل ﻤﻥ ﺍﻝﺫﺍﺕ ﺍﻝﺩﺍﺭﺴﺔ ﻭﻤﻭﻀﻭﻉ ﺍﻝﺩﺭﺍﺴﺔ‪ ،‬ﻤﺸﻜﹼﻠﺔ ﺃﺴﻁﻭﺭﺓ ﺍﻝﺤﻴﺎﺩ ﻓﻲ‬

‫ﺒﻌﺽ ﺃﺸﻴﺎﺌﻬﺎ‪.‬‬

‫‪ 3.1‬ﻤﺭﺍﺠﻌﺔ ﺍﻷﺩﺒﻴﺎﺕ‬

‫ﺘﺴﺘﺨﺩﻡ ﺍﻷﻁﺭﻭﺤﺔ ﻋﺩﺩﹰﺍ ﻤﻥ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﺘﻲ ﺘﺴﻠﻁ ﺍﻝﻀﻭﺀ ﻋﻠـﻰ ﻤﻭﻀـﻭﻉ ﺍﻝـﺼﻭﺭﺓ‪،‬‬

‫ﻭﺍﻝﻘﺭﺍﺀﺍﺕ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻭﺃﻫﻤﻬﺎ ﻜﺘﺎﺏ ﺠﺎﻙ ﺸﺎﻫﻴﻥ )ﺍﻝﻌﺭﺏ ﺍﻷﺸﺭﺍﺭ‪..‬ﻜﻴﻑ ﺘﺸﻭﻩ ﻫﻭﻝﻴﻭﺩ ﺃﻤﺔ؟(‪،1‬‬

‫ﻫﺫﺍ ﺍﻝﻜﺘﺎﺏ ﻴﺘﻀﻤﻥ ﻨﻘﺩﺍ ﻷﻜﺜﺭ ﻤﻥ ﺘﺴﻌﻤﺎﺌﺔ ﻓﻴﻠﻡ ﺒﻴﻥ ﺍﻝﺘﺴﺠﻴﻠﻲ ﻭﺍﻝﻭﺜﺎﺌﻘﻲ ﻭﺍﻝﺭﺴﻭﻡ ﺍﻝﻤﺘﺤﺭﻜـﺔ‪،‬‬

‫ﺃﻨﺘﺠﺘﻬﺎ ﻫﻭﻝﻴﻭﻭﺩ ﻭﺍﺤﺘﻭﺕ ﻋﻠﻰ ﺼﻭﺭ ﻭﻤﺸﺎﻫﺩ ﺴﻠﺒﻴﺔ ﻋﻥ ﺍﻝﻌﺭﺏ ﻭﺍﻝﻤﺴﻠﻤﻴﻥ ﻜﻤﺎ ﻴﺤﺘﻭﻱ‪ ،‬ﻋﻠﻰ‬

‫ﻤﻘﺎﺭﺒﺔ ﻨﻅﺭﻴﺔ ﻷﻫﻡ ﺍﻝﻤﻭﻀﻭﻋﺎﺕ ﺫﺍﺕ ﺍﻝﺼﻠﺔ ﺒﺎﻝﻌﺭﺏ ﺍﻝﺘﻲ ﺘﻌﺭﻀﺕ ﻝﻬﺎ ﺘﻠﻙ ﺍﻷﻓﻼﻡ ﺒﻁﺭﻴﻘـﺔ‬

‫ﺴﻴﺌﺔ‪.‬‬

‫ﺠﺎﻙ ﺸﺎﻫﻴﻥ ﺃﺭﺍﺩ ﻤﻥ ﺨﻼل ﻫﺫﺍ ﺍﻝﻜﺘﺎﺏ ﺃﻥ ﻴﺜﺒﺕ ﺃﻨﻪ ﻋﻠﻰ ﻤﺩﺍﺭ ﺃﻜﺜﺭ ﻤـﻥ ﻗـﺭﻥ ﺤﺎﻭﻝـﺕ‬

‫ﻫﻭﻝﻴﻭﺩ ﺘﻘﺩﻴﻡ ﺃﻤﺔ ﻋﻠﻰ ﺃﺴﺎﺱ ﺃﻨﻬﺎ ﺸﺭﻴﺭﺓ! ﻭﻴﻁﺭﺡ ﺍﻝﻤﺅﻝﻑ ﺴﺅﺍﻻ ﻤﻨﺫ ﺍﻝﺒﺩﺍﻴﺔ ﻝﻴﻨﺎﻗـﺸﻪ ﺨـﻼل‬

‫ﺃﻁﺭﻭﺤﺘﻪ ﻭﻫﻭ ﺴﺒﺏ ﺘﺸﻭﻴﻪ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺏ ﻓﻲ ﺃﻜﺜﺭ ﻤﻥ ﺃﻝﻑ ﻓﻴﻠﻡ ﺴﻴﻨﻤﺎﺌﻲ ﻋﻠﻰ ﻤـﺩﺍﺭ ﻗـﺭﻥ‬

‫‪1‬‬
‫‪Shaheen, jack, (2001) Reel Bad Arabs: How Hollywood Vilifies a People. Ny: olive branch press .‬‬

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‫ﻜﺎﻤل‪ .‬ﻭﻝﻤﺎﺫﺍ ﻫﺫﺍ ﺍﻝﺼﻤﺕ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ﺍﻝﻌﺭﺒﻲ‪ .‬ﻭﻝﻤﺎﺫﺍ ﻻ ﻴﻭﺠﺩ ﻝﺩﻴﻨﺎ ﻤﺠﻤﻭﻋﺔ ﻀﻐﻁ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ‬

‫ﻜﻤﺎ ﻫﻭ ﻤﻭﺠﻭﺩ ﻓﻲ ﻭﺍﺸﻨﻁﻥ ﻭﻝﻤﺎﺫﺍ ﻻ ﻴﻭﺠﺩ ﻋﻨﺩﻨﺎ ﻋﻘﻭل ﻤﻨﺨﺭﻁﺔ ﻓﻲ ﻫـﺫﻩ ﺍﻝﻤـﺴﺄﻝﺔ ‪..‬ﻜﻤـﺎ‬

‫ﻴﻁﺭﺡ ﺍﻝﻤﺅﻝﻑ ﺍﻝﻌﻼﻗﺔ ﺍﻝﺠﺩﻝﻴﺔ ﺒﻴﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻭﺍﻝﺴﻴﺎﺴﺔ ﻭﻴﺨﺼﺹ ﻓﺼﻼ ﻜﺎﻤﻼ ﻝﻠﻌﻼﻗﺔ‬

‫ﺒﻴﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺒﺘﺎﻏﻭﻥ‪ .‬ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺩﺭﺍﺴﺔ ﻻﺤﻘﺔ ﻗﺎﻡ ﺒﻬﺎ ﺸﺎﻫﻴﻥ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل‬

‫‪1‬‬
‫‪ 2001‬ﻤﺴﺘﻭﻓﻴﺎ ﺩﺭﺍﺴﺘﻪ ﺍﻷﻭﻝﻰ ﻓﻲ ﺃﻁﺭﻭﺤﺔ )ﻤﺫﻨﺒﻭﻥ(‪.‬‬

‫ﺃﻤﺎ ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﺎﻝﺠﻭﺍﻨﺏ ﺍﻝﻤﻔﺎﻫﻴﻤﻴﺔ ﻜﺎﻥ ﻜﺘﺎﺏ )ﺍﻝﻤﺭﺌﻲ ﻭﺍﻝﻼﻤﺭﺌﻲ(‪ ،2‬ﻝﻠﺒﺎﺤـﺙ ﺍﻝﻔﺭﻨـﺴﻲ‬

‫ﻤﻭﺭﻴﺱ ﻤﺭﻝﻭ‪-‬ﺒﻭﻨﺘﻲ‪ ،‬ﺤﻴﺙ ﻓﺘﺢ ﺍﻝﻜﺘﺎﺏ ﺁﻓﺎﻗﺎ ﻝﻌﺎﺩﺍﺕ ﺘﻔﻜﻴﺭ ﺠﺩﻴﺩﺓ‪ ،‬ﻭﺍﻝﺘﻤﻴﻴﺯ ﻓﻲ ﺍﻝﻤﻔﺎﻫﻴﻡ ﺒـﻴﻥ‬

‫ﺍﻝﺫﺍﺕ ﻭﺍﻝﻤﻭﻀﻭﻉ‪ ،‬ﺃﻭ ﺒﻴﻥ ﺍﻝﺠﻭﻫﺭ ﻭﺍﻝﺤﺩﺙ‪ ،‬ﺃﻭ ﺒﻴﻥ ﺍﻝﻭﺠﻭﺩ ﻭﺍﻝﻌﺩﻡ ﻭﻤﺜل ﺍﻝـﻭﻋﻲ ﻭﺍﻝـﺼﻭﺭﺓ‬

‫ﻭﺍﻝﺸﻲﺀ‪ ،‬ﺤﻴﺙ ﺃﻨﻬﺎ ﻤﻔﺎﻫﻴﻡ ﻜﺜﻴﺭﺓ ﺍﻻﺴﺘﻌﻤﺎل ﻭﻝﻜﻨﻬﺎ ﺘﺘﻁﻠﺏ ﺘﺠﺩﻴﺩ ﺍﻝﺠﻬﺩ ﻭﻗﺩﺡ ﺯﻨﺎﺩ ﺍﻝﻔﻜﺭ ﻓـﻲ‬

‫ﻼ ﺨﺎﺼﹰﺎ ﻋﻨﺩﻤﺎ ﻨﻭﺍﺠﻪ ﻤﻥ ﺨﻼﻝﻬﺎ ﺘﺠﺎﺭﺒﻨﺎ‪ ،‬ﺒﺤﺜﹰﺎ ﻓﻴﻬﺎ ﻋـﻥ‬

‫ﺘﺄﻭﻴل ﺍﻝﻌﺎﻝﻡ‪ ،‬ﻭﻝﻴﺱ ﻝﻬﺎ ﺃﻥ ﺘﺩ‪‬ﻋﻲ ﻨﹸﺒ ﹰ‬

‫ﺍﻝﻤﻌﻨﻰ ﺍﻭ ﺍﺴﺘﻜﺸﺎﻓﺎ ﻝﻠﺤﻘﻴﻘﺔ‪ .‬ﻝﻘﺩ ﺃﺼﺒﺢ ﻤﻥ ﺍﻝﻀﺭﻭﺭﺓ ﺇﻋﺎﺩﺓ ﺍﻝﻨﻅﺭ ﻓﻲ ﻤﺎ ﻴﺒـﺩﻭ ﻤـﺴﻠﻤﹰﺎ ﺒـﻪ‬

‫ﻕ ﺠﺩﻴﺩ ﻝﻠﺘﻔﻜﻴﺭ ﺍﻝﻔﻠﺴﻔﻲ ﺒﻤﺴﺎﺭﺍﺕ‬

‫ﻭﺍﻝﻤﻘﺩﺱ "ﺍﻝﺘﺎﺒﻭ" ﻓﻲ ﺃﻋﻴﻨﻨﺎ‪ ،‬ﻭﻫﻭ ﻤﺎ ﻻ ﻴﺘﺤﻘﻕ ﻤﻥ ﺩﻭﻥ ﺍﻨﻁﻼ ٍ‬

‫ﺠﺩﻴﺩﺓ ﻴﺭﺴﻤﻬﺎ‪ .‬ﻜﻤﺎ ﺘﺤﺩﺙ ﺒﻭﻨﺘﻲ ﻋﻥ ﺍﻝﺼﻠﺔ ﺍﻝﻭﺜﻴﻘﺔ ﺒﻴﻥ ﺍﻝﺭﺍﺌﻲ ﻭﺍﻝﻤﺭﺌﻲ‪ ،‬ﻓﻠﻡ ﻴﻌﺩ ﺍﻝﺠﺴﻡ ﺃﺩﺍﺓ‬

‫ﺃﻭ ﺁﻝﺔ ﺘﺴﺘﺨﺩﻤﻬﺎ ﺍﻝﻨﻔﺱ ﻝﻠﺭﺅﻴﺔ‪ ،‬ﻭﺇﻨﻤﺎ ﺃﺼﺒﺢ ﺍﻷﻨﺎ ﺍﻝﻤﺘﺠﺴﺩ ﻫﻭ ﺍﻝﺫﻱ ﻴﺭﻯ‪ .‬ﻭﻝﻡ ﺘﻌـﺩ ﺍﻝﺭﺅﻴـﺔ‬

‫ﻭﺍﺤﺩﺓ ﻤﻥ ﺃﻓﻌﺎل ﺍﻷﻨﺎ ﺍﻝﺘﻲ ﺘﺘﻡ ﻜﻠﻬﺎ ﺒﻐﻴﺭ ﺠﺴﺩ‪ ،‬ﻭﺇﻨﻤﺎ ﺃﺼﺒﺤﺕ ﻓﻌﻼ ﻴﺤﺩﺙ ﻓﻲ ﺍﻝﺠﺴﻡ ﺍﻝﻤﻨﻀﻭﻱ‬

‫ﻭ ﺍﻝﻤﻭﺠﻭﺩ ﻓﻲ ﻤﻜﺎﻥ‪.‬‬

‫ﻓﻲ ﻜﺘﺎﺒﻪ )ﻋﺼﺭ ﺍﻝﺼﻭﺭﺓ( ‪ 3‬ﺘﺘﺒﻊ ﺸﺎﻜﺭ ﻋﺒﺩ ﺍﻝﺤﻤﻴﺩ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻭﺘﻁﻭﺭﻫﺎ ﺍﻝﺘﺎﺭﻴﺨﻲ‪ ،‬ﻭﻨﻅﺭﺓ‬

‫ﺍﻝﻔﻼﺴﻔﺔ ﻝﻬﺎ ﻤﻨﺫ ﺃﺭﺴﻁﻭ ﺇﻝﻰ "ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﻋﺼﺭ ﺍﻝﻌﻭﻝﻤﺔ"‪ .‬ﻭﻴﺘﻨﺎﻭل ﺍﻝﻜﺘﺎﺏ ﻓﻲ ﺒﺩﺍﻴﺎﺘﻪ ﺘﺎﺭﻴﺦ‬

‫‪1‬‬
‫‪___________.(2008). Gulity Hollywood’s verdict on Arab after 11/9 .Ny: Olive branch press.‬‬
‫‪ 2‬ﻤﻴﺭﻝﻭ‪ ،‬ﺒﻭﻨﺘﻲ‪" .(2007) .‬ﺍﻝﻤﺭﺌﻲ ﻭﺍﻝﻼﻤﺭﺌﻲ"‪ .‬ﺘﺭﺠﻤﺔ ﻋﺒﺩ ﺍﻝﻌﺯﻴﺯ ﺍﻝﻌﻴﺎﺩﻱ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺭﻜﺯ ﺩﺭﺍﺴﺎﺕ ﺍﻝﻭﺤﺩﺓ ﺍﻝﻌﺭﺒﻴﺔ‬
‫‪ 3‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ ‪.‬‬

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‫ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﺍﻝﻔﻜﺭ ﺍﻝﻐﺭﺒﻲ‪ ،‬ﻓﻲ ﺍﻷﺩﺏ ﻭﺍﻝﺘﺸﻜﻴل ﻭﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﻤﺴﺭﺡ ﻭﺍﻝﺼﻭﺭﺓ ﺍﻝﻔﻭﺘﻭﻏﺭﺍﻓﻴﺔ ﻭﻤﺎ‬

‫ﺴﻭﺍﻫﺎ ﻓﻲ ﺍﻷﺩﺒﻴﺎﺕ ﻭﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﺴﺎﺒﻘﺔ‪ ،‬ﻭ ﻤﻜﺎﻨﺔ ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﺯﻤﻥ ﺍﻝﻌﻭﻝﻤﺔ ﻭﺘﺯﺍﻴـﺩ ﺘﻴـﺎﺭﺍﺕ‬

‫ﺘﺒﺎﺩل "ﺍﻝﺴﻠﻊ ﺍﻝﺭﻤﺯﻴﺔ"‪ ،‬ﻨﻅﺭﺓ ﻓﻲ ﺍﻻﻴﺠﺎﺒﻴﺎﺕ ﻭﺍﻝﺴﻠﺒﻴﺎﺕ ﺍﻝﺘﻲ ﺃﺘﺎﺤﺘﻬﺎ ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﻫﺫﺍ ﺍﻝﻌﺼﺭ‪.‬‬

‫ﻜﻤﺎ ﻴﻘﻑ ﺍﻝﻤﺅﻝﻑ ﻋﻨﺩ ﻨﻅﺭﺓ ﻓﻼﺴﻔﺔ ﺍﻝﻐﺭﺏ ﻤﻨﺫ ﺃﻓﻼﻁﻭﻥ ﺇﻝﻰ ﺍﻝﻤﺤﺩﺜﻴﻥ ‪..‬ﺼﻴﺭﻭﺭﺓ ﺍﻝـﺼﻭﺭﺓ‬

‫ﺒﺎﻋﺘﺒﺎﺭﻫﺎ ﺍﻝﻀﻭﺀ ﺍﻝﻁﺒﻴﻌﻲ ﻝﻠﻌﻘل‪.‬‬

‫ﺍﺴﺘﻌﺎﻨﺔ ﺍﻷﻁﺭﻭﺤﺔ ﻜﺫﻝﻙ ﺒﻜﺘﺎﺏ ﻤﻴﺸﻴل ﻓﻭﻜﻭ )ﻨﻅﺎﻡ ﺍﻝﺨﻁﺎﺏ(‪ .1‬ﺤﻴﺙ ﻜﺎﻥ ﻓﻭﻜـﻭ ﻤﻬﺘﻤـﹰﺎ‬

‫ﺒﺎﻝﻘﻀﺎﻴﺎ ﺍﻝﺒﺼﺭﻴﺔ ﻭﻗﻠﻴل ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻝﻘﻀﺎﻴﺎ ﺍﻝﺴﻤﻌﻴﺔ ﻓﻲ ﺃﻁﺭﻭﺤﺘﻪ‪ ،‬ﻝﻜﻨﻪ ﻗﺩﻡ ﺜﻼﺜﺔ ﻤﻔﺎﻫﻴﻡ ﺠـﺩ‬

‫ﻤﻔﻴﺩﺓ ﻓﻲ‪ :‬ﺴﻠﻁﺔ ﺍﻝﻤﻌﺭﻓﺔ "ﺃﻭ ﺍﻝﺴﻠﻁﺔ‪/‬ﺍﻝﻤﻌﺭﻓﺔ" ﻭﺴﻠﻁﺔ ﺍﻝﺠﺴﺩ ﻭﺃﻨﻅﻤﺔ ﺍﻝﻤﺭﺍﻗﺒﺔ ﻭﺍﻝﻌﻘﺎﺏ‪ .‬ﻜﻤـﺎ‬

‫ﻴﻔﺘﺭﺽ ﻓﻭﻜﻭ ﺃﻥ ﺇﻨﺘﺎﺝ ﺍﻝﺨﻁﺎﺏ ﻓﻲ ﻜل ﻤﺠﺘﻤﻊ ﻫﻭ ﻓﻲ ﻨﻔﺱ ﺍﻝﻭﻗﺕ ﺍﻨﺘـﺎﺝ ﻤﺭﺍﻗـﺏ ﻭﻤﻨﺘﻘـﻰ‬

‫ﻭﻤﻨﻅﻡ‪ ،‬ﻭﻤﻌﺎﺩ ﺘﻭﺯﻴﻌﻪ ﻤﻥ ﺨﻼل ﻋﺩﺩ ﻤﻥ ﺍﻻﺠﺭﺍﺀﺍﺕ ﺍﻝﺘﻲ ﻴﻜﻭﻥ ﺩﻭﺭﻫﺎ ﻫﻭ ﺍﻝﺤﺩ ﻤﻥ ﺴـﻠﻁﺎﺘﻪ‬

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‫ﻭﻤﺨﺎﻁﺭﻩ ﻭﺍﻝﺘﺤﻜﻡ ﻓﻲ ﺤﺩﻭﺜﻪ ﺍﻝﻤﺤﺘﻤل ﻭﺍﺨﻔﺎﺀ ﻤﺎﺩﻴﺘﻪ ﺍﻝﺜﻘﻴﻠﺔ ﻭﺍﻝﺭﻫﻴﺒﺔ‪.‬‬

‫ﻜﺘﺎﺏ ﺠﻲ ﺩﻭﺒﻭﺭ )ﻤﺠﺘﻤﻊ ﺍﻝﻔﺭﺠﺔ( ﺤﻴﺙ ﻴﻘﻭل‪" :‬ﻓﻲ ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﺘﻲ ﺘﺴﻭﺩ ﻓﻴﻬـﺎ ﺸـﺭﻭﻁ‬

‫ﺍﻹﻨﺘﺎﺝ ﺍﻝﺤﺩﻴﺜﺔ ﺘﻘﺩﻡ ﺍﻝﺤﻴﺎﺓ ﻨﻔﺴﻬﺎ ﺒﺭﻤﺘﻬﺎ ﻋﻠﻰ ﺃﻨﻬﺎ ﺘﺭﺍﻜﻡ ﻜﺜﻴﻑ ﻤﻥ ﺍﻻﺴﺘﻌﺭﺍﻀﺎﺕ ﻭﻜل ﻤﺎ ﻜﺎﻥ‬

‫ﻴﻌﺎﺵ ﻋﻠﻰ ﻨﺤﻭ ﻤﺒﺎﺸﺭ ﻴﺘﺒﺎﻋﺩ ﻤﺘﺤﻭﻻ ﺇﻝﻰ ﺘﻤﺜﻴل‪ .‬ﻭﻴﺘﻜﻭﻥ ﻫﺫﺍ ﺍﻝﺘﺭﺍﻜﻡ ﺍﻝﻜﺜﻴـﻑ ﻤـﻥ ﺨـﻼل‬

‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﻤﻨﻔﺼﻠﺔ ﺍﻝﻤﺒﻌﺩﺓ ﻋﻥ ﺍﻝﺤﻴﺎﺓ‪ ،‬ﺍﻝﻤﻌﺯﻭﻝﺔ ﻋﻥ ﻋﺎﻝﻡ ﻤﺴﺘﻘل ﺃﻭ ﻤﻨﻌﺯل ﻋـﻥ‬

‫ﺍﻝﺨﺒﺭﺓ ﺍﻝﻤﻌﻴﺸﺔ‪ ،‬ﺇﻥ ﻜل ﺍﻝﺴﻠﻊ ﺍﻝﻤﻨﺘﻘﺎﺓ ﻤﻥ ﺠﺎﻨﺏ ﻨﻅﺎﻡ ﺍﻻﺴﺘﻌﺭﺍﺽ ﻫﻲ ﺃﻴﻀﺎ ﺃﺴﻠﺤﺘﻪ ﻝﻠﺘـﺩﻋﻴﻡ‬

‫ﺍﻝﺩﺍﺌﻡ ﻝﺸﺭﻭﻁ ﻋﺯﻝﺔ ﺍﻝﺠﻤﺎﻫﻴﺭ ﺍﻝﻤﺴﺘﻭﺤﺩﺓ‪ .‬ﻭﻫﻲ ﺘﻌﺒﻴﺭ ﻋﻥ ﺍﺴﺘﻼﺏ ﺍﻝﻤﺘﻔﺭﺝ ﻝﻤﺼﻠﺤﺔ ﺍﻝـﺸﻲﺀ‬

‫ﻤﻭﻀﻭﻉ ﺍﻝﺘﺄﻤل"‪.3‬‬

‫ﻓﻭﻜﻭ‪ ،‬ﻤﻴﺸﻴل‪ " .(2007) .‬ﻨﻅﺎﻡ ﺍﻝﺨﻁﺎﺏ"‪ .‬ﻤﺤﻤﺩ ﺴﺒﻴﺭﻭ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻔﺎﺭﺍﺒﻲ‪.‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪8،‬‬ ‫‪2‬‬

‫‪3. Guy debord.(1977) Society of the Sepectacle. black & red.‬‬

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‫ﺃﻤﺎ ﺭﻴﺠﻴﺱ ﺩﻭﺒﺭﻱ ﻓﻲ ﻤﺅﻝﻔﻪ )ﺤﻴﺎﺓ ﺍﻝﺼﻭﺭﺓ ﻭﻤﻭﺘﻬﺎ(‪ 1‬ﻴﺴﺘﻌﺭﺽ ﻓـﻲ ﺘـﺎﺭﻴﺦ ﺍﻹﺒـﺼﺎﺭ‬

‫ﻜﺤﺎﺴﺔ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ﻋﺎﻤﺔ‪ ،‬ﻭﻓﻲ ﺍﻝﻐﺭﺏ ﻋﻠﻰ ﻭﺠﻪ ﺍﻝﺨﺼﻭﺹ‪ ،‬ﻤﺤﺎﻭﻻ ﺘﺘﺒﻊ ﺜﻘﺎﻓﺔ ﺍﻝـﺼﻭﺭﺓ ﻓـﻲ‬

‫ﺍﻝﻌﺼﻭﺭ ﻭﺭﺒﻁﻬﺎ ﺒﺎﻝﻌﻼﻗﺎﺕ ﻭﺍﻝﻤﺘﻐﻴﺭﺍﺕ ﺍﻝﺩﻴﻨﻴﺔ ﻭﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻝﺘﻜﻨﻭﻝﻭﺠﻴﺔ‪ ،‬ﻋﺒﺭ ﺘﻤﻴﻴﺯﻩ ﻝﺜﻼﺜـﺔ‬

‫ﻤﺭﺍﺤل ﻓﻲ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻜل ﻤﻨﻬﺎ ﻴﺭﺘﺒﻁ ﺒﺂﻝﺘﻬﺎ‪ ،‬ﻭﺘﻤﺘﺩ ﻤﻥ ﺍﺨﺘﺭﺍﻉ ﺍﻝﻜﺘﺎﺒﺔ ﺇﻝﻰ ﻅﻬﻭﺭ ﺍﻝﻤﻁﺒﻌﺔ ﻭﻫﻲ‬

‫ﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﺭﺴﻡ ﻭﺍﻷﺼﻨﺎﻡ‪ ،‬ﻭﻤﺭﺤﻠﺔ ﺃﺨﺭﻯ ﻭﺘﻤﺘﺩ ﻤﻥ ﻅﻬﻭﺭ ﺍﻝﻁﺒﺎﻋﺔ ﺇﻝﻰ ﺤﻴﻥ ﺍﻜﺘﺸﺎﻑ ﺍﻝﺘﻠﻔﺯﺓ‬

‫ﺍﻝﻤﻠﻭﻨﺔ )ﻤﺭﺤﻠﺔ ﺍﻝﻜﺘﺎﺒﺔ ﺃﻭ ﺍﻝﺘﺩﻭﻴﻥ(‪ ،‬ﻭﻤﺭﺤﻠﺔ ﺜﺎﻝﺜﺔ ﻭﺘﺅﺴﺱ ﻝﻌﺼﺭ ﺍﻝﻤﺭﺌﻴﺎﺕ ﺃﻭ ﺍﻝﺸﺎﺸﺔ ﺍﻝﺘـﻲ‬

‫ﻨﻌﻴﺸﻬﺎ ﻓﻲ ﻅﻠﻬﺎ ﻝﺤﺩ ﺍﻵﻥ‪ .‬ﻫﻲ ﺜﻼﺙ ﻤﺭﺍﺤل ﻻ ﺘﻨﻔﻲ ﺒﻌﻀﻬﺎ ﺍﻝﺒﻌﺽ‪ ،‬ﺒل ﺘﺘﻘﺎﻁﻊ ﻭﺘﺘﺩﺍﺨل ﻤﻊ‬

‫ﻫﻴﻤﻨﺔ ﺇﺤﺩﺍﻫﺎ ﻓﻲ ﺍﻝﻌﺼﺭ ﺍﻝﺫﻱ ﺘﺴﻭﺩ ﻓﻴﻪ‪.‬‬

‫ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻜﺘﺎﺏ )ﻤﺎﻜﻴﻨﺔ ﺍﻹﺒﺼﺎﺭ(‪ .2‬ﺤﻴﺙ ﻴﻘﻭﻡ ﺒﻭل ﻓﻴﺭﻴﻠﻴﻭ ﺒﺩﺭﺍﺴـﺔ ﺼـﻴﺭﻭﺭﺓ ﻋﻤﻠﻴـﺔ‬

‫ﺘﻐﻴﻴﺏ ﺩﻭﺭ ﺍﻝﻌﻴﻥ ﻓﻲ ﻋﻤﻠﻴﺔ ﺍﻹﺒﺼﺎﺭ ﻤﻥ ﺨﻼل ﻋﺭﺽ ﺫﻜﻲ‪ ،‬ﻤﺘﻌﺩﺩ ﺍﻻﺨﺘﺼﺎﺼﺎﺕ‪ ،‬ﻝﺘﻁـﻭﺭ‬

‫ﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﻹﺒﺼﺎﺭﻴﺔ ﻤﻥ ﺍﻝﻌﺩﺴﺎﺕ ﺍﻝﻤﻘﻭ‪‬ﻤﺔ ﺍﻝﻤﺴﺘﻌﻤﻠﺔ ﻓﻲ ﺍﻝﻨﻅﺎﺭﺍﺕ ﻭﺍﻝﻤﺭﺍﺼﺩ ﺍﻝﻔﻠﻜﻴﺔ‪ ،‬ﻭﺤﺘـﻰ‬

‫ﺫﻝﻙ ﺍﻻﺨﺘﺭﺍﻉ ﺍﻝﺫﻱ ﻴﻌﻁﻲ ﻝﻠﻜﺘﺎﺏ ﻋﻨﻭﺍﻨﻪ ﻭﺍﻝﻤﺘﻤﺜل ﺒﺈﻴﺠﺎﺩ ﺁﻝﺔ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﻹﺒﺼﺎﺭ ﺘﺤل ﻤﺤـل‬

‫ﺍﻝﻌﻴﻥ‪ .‬ﺤﻴﺙ ﺍﻹﻝﻜﺘﺭﻭﻨﻴﻙ ﺍﻝﺫﻱ ﻴﻀﺨﻡ ﺩﻭﺭ ﺍﻝﺤﻭﺍﺱ ﻓﻲ ﺍﻝﺭﺅﻴﺔ ﻭﺍﻹﺤﺴﺎﺱ‪.‬‬

‫ﺩﻭﺒﺭﻴﺔ‪ ،‬ﺭﻴﺠﻴﺱ‪" ،(2002) .‬ﺤﻴﺎﺓ ﺍﻝﺼﻭﺭﺓ ﻭﻤﻭﺘﻬﺎ"‪ .‬ﺍﻝﺩﺍﺭ ﺍﻝﺒﻴﻀﺎﺀ‪ :‬ﺇﻓﺭﻴﻘﻴﺎ ﺍﻝﺸﺭﻕ‪.‬‬ ‫‪1‬‬

‫ﻓﻴﺭﻝﻭ‪ ،‬ﺒﻭﻝﻭ‪ .(2001) .‬ﻤﺎﻜﻴﻨﺔ ﺍﻹﺒﺼﺎﺭ‪ .‬ﺇﺤﺴﺎﻥ ﻋﺒﺎﺱ‪ .‬ﺩﺍﺭ ﺍﻝﻤﺩﻯ‪ :‬ﺍﻝﻘﺎﻫﺭﺓ‪.‬‬ ‫‪2‬‬

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 ‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ‬

‫‪ .1‬ﻤﺩﺍﺨل ﻨﻅﺭﻴﺔ ﻋﺎﻤﺔ ﻓﻲ ﺍﻝﺩﺭﺍﺴﺔ‬

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‫‪ 1.1‬ﻤﺩﺨل ﻝﺩﺭﺍﺴﺔ ﺍﻝﺼﻭﺭﺓ‪ :‬ﻜﻴﻑ ﻨﺩﺭﻙ ﺍﻝﻌﺎﻝﻡ ﻤﻥ ﺨﻼل ﺃﺸﻴﺎﺌﻪ‬
‫"ﻁﻠﺏ ﺇﻤﺒﺭﺍﻁﻭﺭ ﺼﻴﻨﻲ ﻤﻥ ﻜﺒﻴﺭ ﺍﻝﺭﺴﺎﻤﻴﻥ ﻓﻲ ﺍﻝﻘﺼﺭ ﺃﻥ ﻴﻤﺤﻭ ﺼﻭﺭﺓ ﺍﻝﺸﻼل ﺍﻝﻤﺭﺴﻭﻤﺔ‬

‫ﻋﻠﻰ ﺍﻝﺠﺩﺍﺭ ﻷﻥ ﻫﺩﻴﺭ ﺍﻝﻤﺎﺀ ﻴﻤﻨﻌﻪ ﻤﻥ ﺍﻝﻨﻭﻡ"‪ .2‬ﻫﺫﺍ ﻤﺎ ﺍﺒﺘﺩﺃ ﺒﻪ ﺭﻴﺠﻴﺱ ﺩﻭﺒﺭﻴﺔ ﺤﺩﻴﺜـﻪ ﻋـﻥ‬

‫ﺍﻝﺼﻭﺭﺓ ﻭﺇﺩﺭﺍﻜﻬﺎ ﻓﻲ ﻜﺘﺎﺒﻪ )ﺤﻴﺎﺓ ﺍﻝﺼﻭﺭﺓ ﻭﻤﻭﺘﻬﺎ( ﻭﻝﻨﺎ ﻫﻨﺎ ﺃﻥ ﻨﻘﺩﻡ ﺨﻼل ﻫﺫﺍ ﺍﻝﻘﺴﻡ ﺍﻷﻁـﺭ‬

‫ﺍﻝﻨﻅﺭﻴﺔ ﻭﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻻﺼﻁﻼﺤﻴﺔ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﺎﻝﺼﻭﺭﺓ‪ ،‬ﻭﺃﺩﻭﺍﺘﻬﺎ‪ ،‬ﻭﻜﻴﻔﻴﺔ ﺘﺸﻜﻠﻬﺎ ﻭﺇﺩﺭﺍﻜﻬﺎ‪ ،‬ﺒﺤﻴـﺙ‬

‫ﺘﻜﻭﻥ ﺃﺴﺎﺴﺎ ﻴﻌﺘﻤﺩ ﻋﻠﻴﻪ ﻓﻲ ﺍﻝﺒﺤﺙ ﻨﺴﺘﻌﻴﻥ ﺒﻬﺎ ﻝﺘﺴﻬﻴل ﺍﻝﻔﻬﻡ ﻭﻝﺠﻌﻠﻬﺎ ﺃﺩﺍﺓ ﻤﻥ ﺃﺩﻭﺍﺕ ﺍﻝﺘﺤﻠﻴـل‪.‬‬

‫ﻨﻤﺭ ﻤﻥ ﺨﻼﻝﻬﺎ ﻋﻠﻰ ﺍﻝﺼﻭﺭﺓ ﻭﻤﺩﺍﺨل ﺩﺭﺍﺴﺘﻬﺎ‪ .‬ﻭﻜﻴﻑ ﻝﻬﺎ ﺃﻥ ﺘﻜﺜﻑ ﻤﻌﻨﻰ ﺍﻝﺨﻁـﺎﺏ‪ ،‬ﻭﻤـﺎ‬

‫ﻋﻼﻗﺘﻬﺎ ﺒﺎﻝﺫﺍﺕ ﺍﻝﻤﺸﺎﻫﺩﺓ‪ ،‬ﺒﺎﻋﺘﺒﺎﺭ ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﻤﺠﻤﻠﻬﺎ ﺇﻋﺎﺩﺓ ﺇﻨﺘﺎﺝ ﻁﺒﻕ ﺍﻷﺼل ﺃﻭ ﺘﻤﺜل ﻤﺸﺎﺒﻪ‬

‫ﻝﻜﺎﺌﻥ ﺃﻭ ﻝﺸﻲﺀ‪ ،‬ﺃﻭ ﺇﻋﺎﺩﺓ ﺇﻨﺘﺎﺝ ﺒﺎﻝﺘﻘﻠﻴﺩ‪ ،‬ﻭ ﻗﺩ ﺘﻜﻭﻥ ﺘﻜﺭﺍﺭﺍ ﻭﻗﻠﺒﺎ ﻝﻸﺸﻴﺎﺀ‪ .‬ﻭﻝﻜﻨﻬﺎ ﻝﻴﺴﺕ ﺍﻨﻌﻜﺎﺴﹰﺎ‬

‫ﻼ ﻋﺒﺭ ﻤﻌﺭﻓﺔ‬
‫ﻝﻠﻭﺍﻗﻊ‪ ،‬ﺃﻭ ﺃﻥ ﺜﻤﺔ ﺇﻤﻜﺎﻨﻴﺔ ﻝﻘﺭﺍﺀﺘﻬﺎ ﺒﺸﻜل ﻤﺒﺎﺸﺭ‪ ،‬ﺇﻨﻬﺎ ﺘﻔﺭﺽ ﺠﻬﺩﺍ ﺇﺩﺭﺍﻜﻴﹰﺎ ﻭﺘﺄﻭﻴ ﹰ‬

‫ﻓﻭﻕ ﻋﺎﺩﻴﺔ‪ .‬ﺇﻨﻬﺎ ﻭﺍﻗﻊ ﻤﺩﺭﻙ ﻤﺴﺘﻘل ﻋﻥ ﺃﻱ ﺘﺄﺜﻴﺭ ﺜﻘﺎﻓﻲ ﺒل ﺘﻔﺘﺭﺽ ﻭﺠﻭﺩ ﺭﺼﻴﺩ ﺍﺠﺘﻤـﺎﻋﻲ‬

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‫ﻭﺜﻘﺎﻓﻲ ﻭﻤﻜﺘﺴﺒﺎﺕ ﻓﻜﺭﻴﺔ‪ .‬ﻭﻤﻌﻨﻰ ﺫﻝﻙ ﺃﻥ ﺘﺩﺭﻙ‪ :‬ﺃﻱ ﺃﻥ ﺘﻜﺘﺴﺏ ﺍﻝﻜﻠﻴﺎﺕ ﻭﺍﻷﺸﻴﺎﺀ ﺒﺩﻗﺔ!‬

‫ﺇﻥ ﺍﺯﺩﻴﺎﺩ ﺭﻗﻌﺔ ﺍﻝﺼﻭﺭﺓ ﻭﺍﺯﺩﻴﺎﺩ ﺃﻫﻤﻴﺘﻬﺎ ﻋﻠﻰ ﻤﺴﺎﺤﺎﺕ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺘﻘﻑ ﻭﺭﺍﺀ ﻭﺼﻑ‬

‫ﻋﺼﺭﻨﺎ ﺒﺄﻨﻪ "ﻋﺼﺭ ﺍﻝﺼﻭﺭﺓ" ‪ ،4‬ﻜﻤﺎ ﺃﻥ ﻜﻼ ﻤﻥ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻻﺨﺘﺯﺍﻝﻴﺔ ﻝﻠﺼﻭﺭﺓ ﻭﺼﻔﺘﻬﺎ ﺍﻝﺭﻤﺯﻴﺔ‬

‫ﺠﻌﻠﺘﻨﺎ ﻨﻘﻭل ﺃﻴﻀﺎ ﺇﻥ ﺼﻭﺭﺓ ﻭﺍﺤﺩﺓ ﺘﺴﺎﻭﻱ ﺃﻝﻑ ﻜﻠﻤﺔ‪ ،‬ﻭﻜﻤﺎ ﺃﻥ ﺍﻝﺭﻭﺍﻴﺔ ﻗﺩ ﺘﻘﻭل ﻓـﻲ ﻤﺌـﺎﺕ‬

‫ﻋﻴﺎﺩ ﻤﺤﻤﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪.56-40 ،‬‬ ‫‪1‬‬

‫ﺩﻭﺒﺭﻱ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪9 ،‬‬ ‫‪2‬‬

‫ﻻﺯﺍﺭ‪ ،‬ﺠﻭﺩﻴﺕ‪"" .(1996) .‬ﺍﻝﺼﻭﺭﺓ"‪ ،‬ﺘﺭﺠﻤﺔ ﺤﻤﻴﺩ ﺴﻼﺴﻲ‪ ،‬ﻤﺠﻠﺔ ﻋﻼﻤﺎﺕ‪ ،‬ﻉ‪/ 5‬ﻨﺴﺨﺔ ﺍﻝﻜﺘﺭﻭﻨﻴﺔ ‪.‬ﺍﺴﺘﺭﺠﻌﺕ ‪05.02.2009‬‬ ‫‪3‬‬

‫‪http://saidbengrad.free.fr/al/n5/14.htm‬‬
‫ﻜﻤﺎل‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻴﻡ‪"" .(1996).‬ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺫﺍﺕ ﻭﺍﻝﻤﻌﻨﻰ ﻭﺍﻝﻌﻼﻤﺎﺕ"‪ ،‬ﻋﻼﻤﺎﺕ‪ ،‬ﻉ ‪3 ،5‬‬ ‫‪4‬‬

‫‪16‬‬
‫ﺍﻝﺼﻔﺤﺎﺕ ﻤﺎ ﻗﺩ ﺘﻘﻭﻝﻪ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻲ ﺼﻭﺭﺓ ﻭﺍﺤـﺩﺓ‪ ،‬ﻭﻝﻴـﺴﺕ ﺍﻝـﺼﻭﺭﺓ ﻤﺘـﻀﻤﻨﺔ‬

‫ﻹﺤﺴﺎﺴﻬﺎ ﻓﻘﻁ ﻭﻝﻴﺴﺕ ﻨﺘﺎﺠﺎ ﺠﻤﺎﻝﻴﺎ ﻝﺨﻴﺎل ﻤﻁﻠﻕ ﺃﻭ ﺤﻘﻴﻘﺔ ﻤﺠﺭﺩﺓ‪ ،‬ﺇﻥ ﺜﻤﺔ ﺸﻲﺀ ﺘﺒﻨﻴﻪ ﺍﻝﺼﻭﺭﺓ‬

‫ﺩﺍﺌﻤﺎ‪ ،‬ﺇﻨﻬﺎ ﺘﺤﻴل ﺇﻝﻰ ﻓﻜﺭﺓ ﻜﻤﺎ ﺘﺘﻁﻭﺭ ﺒﺎﻝﺘﻔﺎﻋل ﻭﺍﻝﺘﺄﻭﻴل‪ ،‬ﻤﻤﺎ ﻴﻌﺯﺯ ﺩﻭﺭﻫﺎ ﻓﻲ ﺒﻨﺎﺀ ﺜﻘﺎﻓﺔ ﻤـﺎ‬

‫ﻭﻤﺨﻴﺎﻻﺕ ﻜﺜﻴﺭﺓ ﻭﻭﺍﺴﻌﺔ‪ 1،‬ﺇﻥ ﻝﻠﺼﻭﺭﺓ ﻭﻅﺎﺌﻑ ﺘﺘﺠﺎﻭﺯ ﺍﻝﻭﻅﻴﻔﺔ ﺍﻝﻔﻨﻴﺔ ﺇﻝﻰ ﺩﻭﺭ ﺴـﻠﻁﻭﻱ ﺫﻭ‬

‫ﻁﺒﻴﻌﺔ ﺒﺭﻏﻤﺎﺘﻴﺔ ﻭ ﻴﻤﻜﻥ ﺃﻥ ﻨﺭﺍﻫﺎ ﺘﺘﻌﺩﺩ‪ ،‬ﻜﺘﺴﻠﺢ ﺍﻷﻨﻅﻤﺔ ﺍﻝﺴﻴﺎﺴﺔ ﺍﻝﺘﻲ ﺘﺴﺘﻌﻴﻥ ﺒﺎﺴـﺘﺭﺍﺘﻴﺠﻴﻪ‬

‫ﺍﻝﺼﻭﺭ ﻭﻝﻬﺫﻩ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻝﺼﻭﺭﻴﺔ ﺩﻭﺭ ﻤﻬﻡ ﻓﻲ ﺍﻝﺘﺄﺜﻴﺭ ﻭﻓﺭﺽ ﺍﻝﻬﻴﻤﻨﺔ ﻭﺫﻴﻭﻉ ﺍﻝﺨﻁﺎﺏ‪ ،‬ﺇﺫﺍ ﻗﻠﻨﺎ‬

‫"ﺃﻨﺎ ﺍﻝﺼﻭﺭﺓ ﻭﺃﻨﺕ ﺍﻝﻤﺸﺎﻫﺩ" ﺤﻴﺙ ﺘﺅﺩﻱ ﺍﻝﺼﻭﺭﺓ ﻫﻨﺎ ﻤﻌﻨﻰ ﺍﻹﺸﻬﺎﺭ ﺃﻴﻀﺎ ﻭ ﺍﻹﺸـﻬﺎﺭ ﺩﻋـﻭﺓ‬

‫ﻤﻌﻠﻨﺔ ﺇﻝﻰ ﺘﺒﻨﻲ ﺍﻝﻘﻴﻡ ﺍﻝﺘﻲ ﺘﻌﺭﻀﻪ ﺍﻝﺼﻭﺭﺓ‪ .‬ﻤﻥ ﺨﻼل ﺍﻝﺒﻌﺩ ﺍﻷﻴﻘﻭﻨﻲ ﻝﻠﺼﻭﺭﺓ ﻭﺍﻝﺒﻌﺩ ﺍﻝﺘﺸﻜﻴﻠﻲ‬

‫‪2‬‬
‫‪ ،‬ﺍﻷﻝﻭﺍﻥ ﻭﺍﻝﺨﻁﻭﻁ ﻭﺍﻝﺘﺭﻜﻴﺏ ﻭﺍﻝﺘﺄﻁﻴﺭ ﺍﻝﺘﻲ ﺘﺅﺩﻱ ﻜﻼ ﻤﻨﻬﺎ ﻭﻅﻴﻔﺘﻬﺎ‪.‬‬

‫‪ 2.1‬ﺘﺸﻜﻼﺕ ﺍﻝﺼﻭﺭﺓ‬
‫ﺍﻝﺼﻭﺭﺓ ﻝﺩﻯ ﺩﻭﺒﺭﻴﺔ ﻴﺤﺘﻤﻲ ﺒﻬﺎ ﻀﺩ ﻤﺠﻬﻭل‪ ،‬ﻭﻴﺭﻯ ﺃﻥ ﻫﺫﻩ ﺍﻝﺒﺩﺍﻴﺎﺕ ﺍﻷﻭﻝـﻰ ﻝﺘـﺸﻜﻼﺕ‬

‫ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﺍﻝﻭﻋﻲ ﺍﻹﻨﺴﺎﻨﻲ‪ ،‬ﻓﻤﺎ ﺩﺍﻤﺕ ﺍﻝﺤﻴﺎﺓ ﻤﺠﻤﻭﻋﺔ ﻗﻭﻯ ﻀﺩ ﺍﻝﻤﻭﺕ ﻓﺎﻝﺒﺤﺙ ﺍﻹﻨﺴﺎﻨﻲ ﻋﻥ‬

‫ﻏﻴﺭ ﺍﻝﻤﺭﺌﻲ ﻤﺴﺘﻤﺭ ﻓﻴﻤﺎ ﻫﻭ ﻤﺭﺌﻲ!‪ ..‬ﺇﻨﻬﺎ ﺒﺤﺙ ﻓﻲ ﺍﻝﺘﻤﺜﻼﺕ ﺍﻝﺫﻫﻨﻴﺔ ﻭﺍﻝﺭﻤـﻭﺯ ﻭﺍﻷﺴـﺎﻝﻴﺏ‬

‫ﺍﻝﺘﻲ ﺍﺴﺘﺨﺩﻤﺕ ﻓﻲ ﻗﺭﺍﺀﺓ ﺍﻝﺼﻭﺭ ﻓﻲ ﺴﻠﻁﺔ ﻜﻼﻡ ﺼﺎﻤﺕ‪ ،‬ﺇﺫ ﺃﻨﻬﺎ ﺴﻠﻁﺔ ﺭﻤﺯﻴﺔ ﻭﺃﺩﺍﺓ ﻝﻠـﺘﺤﻜﻡ‬

‫ﺇﻝﻰ ﺠﺎﻨﺏ ﺴﻠﻁﺔ ﺍﻝﻤﺎل ﻭﺍﻝﺠﻴﻭﺵ‪ .3‬ﻜﻤﺎ ﺃﻥ ﺍﻝﺼﻭﺭﺓ ﺃﻜﺜﺭ ﻗﺩﻤﺎ ﻤﻥ ﺍﻝﻜﺘﺎﺒﺔ ﻭﺴﺎﻜﻨﺔ ﻓﻲ ﺍﻝﻼﻭﻋﻲ‬

‫ﺍﻹﻨﺴﺎﻨﻲ‪ ،‬ﺍﻝﻔﺭﻋﻭﻨﻲ‪ ،‬ﺍﻝﺫﻱ ﻜﺎﻥ ﻝﻪ ﻭﻋﻲ ﺒﺎﻝﻤﻭﺕ‪ ،‬ﻓﺠﺴﺩ ﺼﻭﺭﺓ ﻝﻨﻔﺴﻪ ﻝﻴﺒﻘﻰ ﺨﺎﻝﺩﹰﺍ‪ ،‬ﻭﻫﺫﺍ ﺴـﺭ‬

‫ﺨﻠﻭﺩ ﺍﻝﺤﻀﺎﺭﺓ ﺍﻝﻔﺭﻋﻭﻨﻴﺔ ﻜﺎﻥ ﺴﺒﺒﻪ ﺤﻀﻭﺭ ﺍﻝﺴﻠﻁﺔ ﺍﻝﺭﻤﺯﻴﺔ ﻝﺩﻴﻬﺎ ﻝﺘﺴﺘﻭﻋﺒﻬﺎ ﻭﺘﻌﻴﻬﺎ ﻤﺤﺎﺭﺒـﺔ‬

‫‪1‬‬
‫‪Samuel M, (1975). Seeing with the mind's eyes. NY: Random House, 223‬‬
‫ﺒﻨﻜﺭﺍﺩ‪ ،‬ﺴﻌﻴﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪32 ،‬‬ ‫‪2‬‬

‫ﺩﻭﺒﺭﻴﻪ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪12 ،‬‬ ‫‪3‬‬

‫‪17‬‬
‫ﻝﻠﻤﻭﺕ "ﺇﻨﻬﺎ ﺤﻀﻭﺭ ﻴﺨﺘﺭﻕ ﺍﻝﺘﻤﺜل"‪ .1‬ﻭﻗﻭﺓ ﺘﻤﺜﻼﺕ ﺍﻝﺼﻭﺭﺓ ﺘﻜﻭﻥ ﺒﻘﻭﺓ ﺘﻘﻨﻴﺎﺘﻬﺎ ﻜﻤﺎ ﺘﺘﻘﻠﺹ ﻤﻊ‬

‫ﺘﻘﻠﺼﻬﺎ‪ .‬ﺃﻤﺎ ﻤﻅﺎﻫﺭ ﺍﺴﺘﻐﻼل ﺍﻝﺼﻭﺭﺓ ﻜﺴﻠﻁﺔ ﻓﻘﺩ ﻜﺎﻨﺕ ﻤﻥ ﺨﻼل ﺍﻝﺩﻴﻥ‪ ،‬ﻓﻬﻲ ﻋﻼﻗﺔ ﻤﺘﻭﺍﺯﻴﺔ‬

‫ﻭﻤﺘﻭﺍﺌﻤﺔ‪ ،‬ﺇﺫ ﻜﻴﻑ ﻴﻤﻜﻥ ﺃﻥ ﺘﺼﺩﻕ ﺭﺴﺎﻝﺔ ﻤﺎ ﺩﻭﻥ ﺃﻥ ﺘﻠﻤﺱ ﺘﻤﺜﻼﺘﻬﺎ ﺍﻝﺫﻫﻨﻴﺔ ﺒﺎﻝـﺼﻭﺭ ﻓﻘـﺩ‬

‫ﺭﺍﻓﻘﺕ ﺍﻝﺩﻴﺎﻨﺔ ﺍﻝﻤﺴﻴﺤﻴﺔ ﺘﻤﺜﻼﺘﻬﺎ ﻋﻥ ﻁﺭﻴﻕ ﺍﻝﻤﺴﺭﺡ‪ ،‬ﻭﺍﺴﺘﻁﺎﻋﺕ ﺃﻥ ﺘﻌـﺭﺽ ﻤـﻥ ﺨﻼﻝـﻪ‬

‫ﺸﺭﻭﻁﻬﺎ ﻭﻤﺯﻴﺎﻫﺎ‪.2‬‬

‫ﺇﻥ ﺍﻝﺘﻁﻭﺭ ﺍﻝﺘﻘﻨﻲ ﻝﻠﺼﻭﺭﺓ ﺍﻝﺫﻱ ﺍﺴﺘﻤﺭ ﻋﺒﺭ ﺘﺎﺭﻴﺦ ﺍﻝﺘﻘﻨﻴﺔ ﻗﺩ ﺼﻨﻊ ﻁﺭﻗﺎ ﺠﺩﻴﺩﺓ ﻝﻠﺤﻜﻡ ﺒﻌﻴﺩﹰﺍ‬

‫ﻋﻥ ﺍﻝﺤﻜﻡ ﺍﻝﻘﺴﺭﻱ ﻭﺍﻝﺠﺴﺩﻱ‪ ،‬ﻭﻗﺩ ﺃﺼﺒﺢ ﺠﻠﻴﺎ ﺃﻥ ﻤﻥ ﻴﺘﺤﻜﻡ ﺒﺎﻝﺼﻭﺭﺓ ﻫﻭ ﺍﻝﻤـﺘﺤﻜﻡ ﺒـﺎﻝﺭﺃﻱ‬

‫ﺍﻝﻌﺎﻡ‪ .‬ﻜﻤﺎ ﺃﻨﻪ ﺍﻝﺴﻼﺡ ﺍﻝﻤﺘﻁﻭﺭ ﺍﻝﺫﻱ ﺒﻪ ﻴﺘﻡ ﺍﻝﺘﺄﺜﻴﺭ ﻋﻠﻰ ﺍﻷﻓﺭﺍﺩ ﻭﺍﻝﺠﻤﺎﻋﺎﺕ ‪ ،3‬ﻭﻤﻥ ﺍﻝﻤﺅﺴـﻑ‬

‫ﺃﻥ ﻫﺫﻩ ﺍﻝﻔﻜﺭﺓ ﻅﻠﺕ ﺘﻔﻭﺕ ﻤﺭﺠﻌﻴﺎﺕ ﺍﻝﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺘﻲ ﻜﺎﻥ ﻤﻥ ﺍﻝﻤﻤﻜﻥ ﺃﻥ ﺘﺴﺘﺨﺩﻤﻬﺎ‪ ،‬ﻷﻥ‬

‫ﺍﻝﺼﻭﺭﺓ ﻫﻲ ﻭﺴﻴﻠﺔ ﺤﺭﺏ ﻤﻀﻤﺭﺓ ﻭﻤﻌﻠﻨﺔ ﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗﺕ ﻤﻥ ﺨﻼل ﺍﻝﻤﺸﻬﺩ ﺍﻝﻤﺭﺌﻲ ﺍﻝﻅﺎﻫﺭ ﺃﻭ‬

‫ﺍﻝﻤﺴﻜﻭﺕ ﻋﻨﻪ‪ ،‬ﻓﺒﻴﻥ ﺼﺎﻨﻊ ﺍﻝﺼﻭﺭﺓ ﻭﻤﺎﻝﻜﻬﺎ‪ ،‬ﻭﺒﻴﻥ ﻤـﺴﺘﻘﺒل ﺍﻝـﺼﻭﺭﺓ ﻭﻤـﺴﺘﻬﻠﻜﻬﺎ ﺤـﺭﺏ‬

‫ﺃﻴﻘﻭﻨﺎﺕ‪ 4‬ﺸﺎﺴﻊ ﺍﻝﻤﺴﺎﺤﺎﺕ ﻤﺘﻨﻭﻉ ﻓﻲ ﺘﺸﻜﻼﺘﻪ ﻭﺨﻴﺎﺭﺍﺘﻪ ‪ .5‬ﺇﺫ ﻴﻤﻜﻥ ﺍﻋﺘﺒﺎﺭ ﺩﻤﻘﺭﻁﺔ ﺍﻝـﺼﻭﺭﺓ‬

‫ﻫﻲ ﺤﺭﺏ ﻜﻭﻨﻴﺔ ﺒﺎﺭﺩﺓ‪ .‬ﻭﺃﻥ ﺇﻝﻐﺎﺀ ﺍﻝﺼﻭﺭﺓ ﺴﻴﻠﻐﻲ ﺍﻝﻭﺠﻭﺩ ﺒﺭﻤﺘﻪ ﻭﻫﻨﺎ ﻨﺴﺘﺫﻜﺭ ﻝﺩﻭﺒﺭﻴﻪ ﻗﻭﻝﻪ‪:‬‬

‫"ﺇﺫﺍ ﺃﻝﻐﻴﻨﺎ ﺍﻝﺼﻭﺭﺓ ﻓﻠﻥ ﻴﺨﺘﻔﻲ ﺍﻝﻤﺴﻴﺢ ﻓﻘﻁ ﺒل ﺴﻴﺨﺘﻔﻲ ﺍﻝﻌﺎﻝﻡ ﺒﺭﻤﺘﻪ" ‪ .6‬ﻜﻤﺎ ﺃﻥ ﻝﻠﺼﻭﺭﺓ ﻋﻼﻗﺔ‬

‫ﺒﺎﻝﺯﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ ﻭﺘﺤﻭﻻﺘﻬﺎ ﺘﺤﻭل ﻓﻲ ﺍﻝﺯﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ‪ .‬ﻫﻲ ﺇﺒﺩﺍﻉ ﻴﻨﺘﻤﻲ ﺇﻝﻰ ﺃﻜﺒﺭ ﺃﺸﻜﺎل ﺍﻝﻔﻜﺭ‬

‫ﻭﻝﺩﺭﺍﺴﺘﻬﺎ‪ ،‬ﻴﺠﺏ ﺍﻻﻨﺘﺒﺎﻩ ﺇﻝﻰ‪ :‬ﻓﺎﻋﻠﻴﺘﻬﺎ‪ ،‬ﻋﻼﻗﺘﻬﺎ ﺒﺎﻝﻭﺠﻭﺩ‪ ،‬ﺃﻨﻅﻤﺘﻬﺎ‪ ،‬ﺘﺤﻭﻻﺘﻬﺎ‪ ،‬ﻤﺼﺩﺭ ﺴﻠﻁﺘﻬﺎ‪،‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪13 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪36 ،‬‬

‫ﺍﻝﻌﺒﺩ‪ ،‬ﻤﺤﻤﺩ‪"".(1999) .‬ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺜﻘﺎﻓﺔ ﻭﺍﻻﺘﺼﺎل"‪ .‬ﻓﺼﻭل‪ .‬ﻉ‪133 ،62‬‬ ‫‪3‬‬

‫ﺘﻌﻨﻲ ﺍﻝﻌﻼﻤﺔ ﺍﻻﻴﻘﻭﻨﻴﺔ ﻓﻲ ﺍﻝﺒﺼﺭﻱ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺫﻫﻨﻴﺔ ﺍﻝﺘﻲ ﺘﺭﺒﻁ ﺒﻴﻥ ﺍﻝﻌﻼﻤﺔ ﻭﺍﻝﺒﻨﻴﺔ ﺍﻻﺩﺭﺍﻜﻴﺔ ﺍﻝﺘﻲ ﺘﻠﻌﺏ ﺩﻭﺭ ﺍﻝﻭﺴﻴﻁ ﺒﻴﻥ ﺍﻝﻌﻼﻤﺔ‬ ‫‪4‬‬

‫ﻭﺍﻝﺘﺠﺭﺒﺔ ﺍﻝﻭﺍﻗﻌﻴﺔ‪ .‬ﻭﺘﺘﻜﻭﻥ ﺍﻝﻌﻼﻤﺔ ﺍﻻﻴﻘﻭﻨﻴﺔ ﻤﻥ ﺜﺎﻝﻭﺙ‪ :‬ﺍﻝﻨﻭﺍﻉ ﻭﻴﻌﻨﻲ ﻤﺤﺩﺩﺍﺕ ﻤﻔﻬﻭﻤﻴﺔ ﻋﻥ ﺍﻝـﺸﻲﺀ ﻭﻫـﻭ ﺍﻝـﺼﻭﺭﺓ ﺍﻝﺫﻫﻨﻴـﺔ‬
‫ﻝﻸﺸﻴﺎﺀ‪ .‬ﺩﺍل ﺍﻴﻘﻭﻨﻲ )ﺍﻝﻤﺜﻴﺭ ﺍﻝﺒﺼﺭﻱ ﺍﻝﻤﻨﻤﺫﺝ(‪ ،‬ﺍﻀﺎﻓﺔ ﺍﻝﻰ ﺍﻝﻤﺭﺠﻊ ﻭﻫﻭ ﻤﺤﺩﺩﺍﺕ ﻗﻴﺯﻴﻘﻴﺔ‪.‬‬
‫ﺍﻝﻌﺒﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪149 ،‬‬ ‫‪5‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪52 ،‬‬ ‫‪6‬‬

‫‪18‬‬
‫ﺍﻨﺒﻌﺎﺜﺎﺘﻬﺎ‪ ،‬ﺴﻴﺎﻗﺎﺘﻬﺎ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ ‪ ،1‬ﺤﺘﻰ ﺃﻥ ﻗﻭﺓ ﺍﻝﺨﻁﺎﺏ ﺍﻝﺩﻴﻨﻲ ﻜﺎﻥ ﺒﺎﺼﻁﺤﺎﺏ ﺴـﻠﻁﺔ‬

‫ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻓﻭﺠﻭﺩ ﺍﻝﺼﻭﺭﺓ ﻭﺠﺩ ﻤﻊ ﻭﺠﻭﺩ ﺍﻹﻨﺴﺎﻥ ﻝﺫﺍ ﻜﺎﻥ ﺍﻻﺭﺘﺒﺎﻁ ﺍﻝﺼﻭﺭﺓ ﺒﺤﻴـﺎﺓ ﺍﻹﻨـﺴﺎﻥ‬

‫ﺍﻝﻁﺒﻴﻌﻴﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺤﺎﻻﺘﻪ ﺍﻝﻨﻔﺴﻴﺔ‪ ،‬ﻭﻝﻤﺎ ﻜﺎﻨﺕ ﺍﻝﺼﻭﺭﺓ ﻤﺤﺎﻜﺎﺓ ﻝﻠﻁﺒﻴﻌﺔ ﻓﻘﺩ ﺘﻡ ﺍﺴـﺘﺨﺩﻤﻬﺎ‬

‫ﺍﻹﻨﺴﺎﻥ ﻝﺩﺭﺀ ﺍﻝﻤﺨﺎﻭﻑ ﻤﻥ ﻋﻭﺍﻝﻡ ﺍﻝﻤﺎﻭﺭﺍﺀ ﻤﻥ ﻏﻴﺭ ﺍﻝﻤﺤـﺴﻭﺱ ﻝﺩﻴـﻪ )ﺍﻝـﺸﻴﺎﻁﻴﻥ‪ ،‬ﺍﻷﺭﻭﺍﺡ‬

‫ﻻ ﺩﺍﺌﻤﹰﺎ ﺒﻤﻘﺎﻭﻤﺔ ﺍﻝﻤﻭﺕ ﻤﻥ ﺨﻼل ﺭﺴﻡ ﺍﻹﻨﺴﺎﻥ ﺍﻝﺫﻱ ﻓـﺎﺭﻕ‬

‫ﺍﻝﺸﺭﻴﺭﺓ‪ ،‬ﺍﻝﻤﻭﺕ(‪ ،‬ﻝﻘﺩ ﻜﺎﻥ ﺍﺤﺘﻔﺎ ﹰ‬

‫ﺍﻝﺤﻴﺎﺓ‪ ،‬ﻭﺤﻔﻅ ﻝﻺﻨﺴﺎﻥ ﺍﻝﺫﻱ ﻻ ﺯﺍل ﺤﺎﻀﺭﹰﺍ ‪ .2‬ﺇﻥ ﻓﻜﺭﺓ ﺍﻝﻤﻭﺕ ﺃﻴﻘﻅﺕ ﺍﻹﻨﺴﺎﻥ ﻤﻥ ﺍﻝﻤﺭﺌﻲ ﺇﻝﻰ‬

‫ﺍﻝﻼﻤﺭﺌﻲ‪ ،‬ﻤﻥ ﺍﻝﻌﺎﺒﺭ ﺇﻝﻰ ﺍﻝﺨﺎﻝﺩ‪ ،‬ﻤﻥ ﺍﻹﻨﺴﺎﻨﻲ ﺇﻝﻰ ﺍﻹﻝﻬﻲ‪ ،‬ﺇﻥ ﺍﻝﺼﻭﺭﺓ ﺭﺩﺓ ﻓﻌل ﺩﻓﺎﻋﻲ ﺇﻗﺎﻤﺔ‬

‫ﺍﻹﻨﺴﺎﻥ ﻀﺩ ﺍﻝﻁﺒﻴﻌﺔ ﻝﺘﺼﺒﺢ ﻤﺠﻤﻭﻋﺔ ﻗﻭﻯ ﻀﺩ ﺍﻝﻤﻭﺕ‪ ،‬ﺃﻭ ﺭﺒﻤﺎ ﻀﺩ ﺍﻝﻬﺯﻴﻤﺔ‪ ،‬ﻀﺩ ﺍﻝﻤﺨﻴﻑ‪،‬‬

‫ﻤﻬﺩﺩ ﺍﻝﻭﺠﻭﺩ ﺍﻹﻨﺴﺎﻨﻲ‪ ،‬ﺃﻭ ﻤﻬﺩﺩ ﺍﻝﺴﻠﻁﺔ‪.‬‬

‫ﺇﻥ ﺍﻝﺘﺤﻭﻻﺕ ﺍﻝﺘﻲ ﺼﺎﺤﺒﺕ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻤﺎ ﻫﻲ ﺇﻻ ﺘﺤﻭﻻﺕ ﻓﻲ ﺍﻝﺘﻘﻨﻴﺎﺕ ﻤـﺭﻭﺭﹰﺍ ﺒﺎﻝﻤﻁﺒﻌـﺔ‬

‫ﻭﺍﻨﺘﺸﺎﺭ ﺍﻝﻘﺭﺍﺀﺓ ﻭﺤﻕ ﺍﻻﻁﻼﻉ‪ .‬ﻭﺍﻝﺜﻭﺭﺓ ﻀﺩ ﺍﻝﻤﺤﻅﻭﺭ ﻤﻥ ﺍﻝﺭﺅﻴﺔ ﻭﺘﺠﺴﻴﺩ ﺍﻝﺠﺴﻡ ﺍﻝﻌﺎﺭﻱ‪ ،‬ﻝﻘﺩ‬

‫ﻜﺎﻨﺕ ﺘﺤﻭﻻﺘﻬﺎ ﻜﺸﻔﺎ ﻋﻥ ﻗﻭﺓ ﺍﻹﻨﺴﺎﻥ ﻓﻲ ﺍﻝﻜﻭﻥ ﻭﺘﻌﺒﻴﺭﺍ ﻋﻥ ﻨﺯﻋﺎﺘﻪ ﺍﻝﺒﺸﺭﻴﺔ ‪. 3‬‬

‫ﺇﻥ ﺍﻝﺼﻭﺭﺓ ﺘﻔﺭﺽ ﻋﻠﻰ ﻤﺴﺘﻬﻠﻜﻬﺎ ﺤﻤﻭﻝﺘﻬﺎ ﻜﻴﻔﻤﺎ ﻜﺎﻨﺕ ﻭﺠﻬﺘﻬﺎ ﺘﺒﻌﺎ ﻝﺭﻏﺒﺘﻬﺎ‪ ،‬ﻭﺘﺄﺴﺭﻩ ﺒﻌﺎﻝﻡ‬

‫ﺍﻝﻔﺭﺠﺔ ﺍﻝﺘﻲ ﺘﺼﻨﻌﻪ‪ ،‬ﻭﺃﻤﺎ ﺨﺩﺍﻋﻬﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﺼﺒﺢ ﺃﺴﻴﺭﹰﺍ ﻝﻤﺎﻝﻙ ﺍﻝﺼﻭﺭﺓ ﻭﻤﻨﺘﺠﻬـﺎ ﻭﺼـﺎﻨﻊ‬

‫ﺍﻝﺘﻘﻨﻴﺎﺕ‪ ،‬ﻭﻤﻥ ﺘﺤﻭﻻﺕ ﺍﻝﺼﻭﺭﺓ ﻜﻭﻨﻬﺎ ﺸﺒﺤﺎ ﻭﻫﻭ ﺍﻝﺭﻭﺡ ﺍﻝﺘﻲ ﺘﺨﻠﻕ ﻤﻥ ﺍﻝﺠﺜﺔ ﻭﺘﺘﻤﺜـل ﻓـﻲ‬

‫ﺼﻭﺭﺓ ﺍﻝﺼﻨﻡ‪ ،‬ﻭﻜﺎﻨﺕ ﺍﻝﺼﻭﺭﺓ ﺃﻴﻀﺎ ﻨﻅﺭﺓ ﺘﺤﻴﻰ ﻤﻥ ﺨﻼﻝﻬﺎ ﻭﻫﺫﺍ ﻴﻌﻨﻲ ﺍﻨﻙ ﺤـﻲ ﻭﺍﻝـﻨﻔﺱ‬

‫ﺭﻭﺠﻭﻑ‪ ،‬ﺍﻴﺭﻴﺕ‪"" .(1999) .‬ﺩﺭﺍﺴﺔ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﺒﺼﺭﻴﺔ"‪ .‬ﻓﺼﻭل‪ .‬ﺘﺭﺠﻤﺔ ﺸﺎﻜﺭ ﻋﺒﺩ ﺍﻝﺤﻤﻴﺩ‪ .‬ﻉ ‪164 ،63‬‬ ‫‪1‬‬

‫ﺩﻭﺒﺭﻴﻪ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪35 ،‬‬ ‫‪2‬‬

‫ﺭﻭﺠﻭﻑ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪166 ،‬‬ ‫‪3‬‬

‫‪19‬‬
‫ﺍﻷﺨﻴﺭ ﻴﻌﻨﻲ ﺍﻝﻨﻅﺭﺓ ﺍﻷﺨﻴﺭﺓ‪ .‬ﻭﺍﻝﺼﻭﺭﺓ ﺍﻝﻴﻭﻡ ﺘﺘﺤﻭل ﺇﻝﻰ ﺍﻷﻴﻘﻭﻨﺔ ﻭﻫﻲ ﺘﻤﺜﻼﺕ ﺭﻤﺯﻴﺔ ﻭﺍﻝﺘﻤﺜل‬

‫ﻓﻲ ﺇﻋﻁﺎﺀ ﺼﻭﺭﺓ ﺫﻫﻨﻴﺔ ﻝﻤﺎ ﺘﺭﺍﻩ ‪.1‬‬

‫ﺇﻥ ﺴﻨﻥ ﺍﻝﺘﻌﺭﻑ ﺃﻭ ﺘﺸﻜﻴل ﺍﻝﻤﻌﺭﻓﺔ ﺍﻷﻭﻝﻴﺔ ﺍﻝﺘﻲ ﺘﺴﺎﻋﺩ ﺍﻝﺫﺍﺕ ﺍﻝﻤﺩﺭﻜﺔ ﻋﻠﻰ ﻓﻙ ﺭﻤﻭﺯ‬

‫ﻤﺠﻤل ﺍﻝﺼﻭﺭ ﺍﻝﺒﺼﺭﻴﺔ ﻭﺭﺒﻁﻬﺎ ﺒﺎﻝﻭﺍﻗﻌﺔ ﺍﻝﺘﻲ ﺘﺸﻴﺭ ﺇﻝﻴﻬﺎ‪ ،‬ﻭﻜل ﻤﺤﺎﻭﻝﺔ ﻹﺩﺭﺍﻙ ﻭﺘﺤﺩﻴﺩ ﻜﻨﻪ‬

‫ﻭﻤﻀﻤﻭﻥ ﺍﻝﻌﻼﻤﺔ ﺍﻷﻴﻘﻭﻨﻴﺔ ﻴﺴﺘﺩﻋﻲ ﺇﻝﻤﺎﻤﺎ ﺒﻤﻌﺭﻓﺔ ﺴﺎﺒﻘﺔ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﺴﺘﺤﻀﺎﺭ ﺍﻝﺘﺠﺭﺒﺔ‬

‫ﺍﻝﺜﻘﺎﻓﻴﺔ‪ ،‬ﺇﻥ ﺇﺩﺭﺍﻙ ﺍﻝﺼﻭﺭﺓ ﻫﻭ ﺇﺩﺭﺍﻙ ﻝﻠﻨﻅﺭ ‪".‬ﻭﺍﻝﺼﻭﺭﺓ ﺍﻝﻔﻘﻴﺭﺓ ﻫﻲ ﻤﻥ ﺘﺤﺘﺎﺝ ﺇﻝﻰ ﻝﻐﺔ"‪ .2‬ﻓﻲ‬

‫ﺍﻝﺤﻘﻴﻘﺔ ﺃﻥ ﺍﻹﻨﺴﺎﻥ ﻗﺩ ﻴﻘﺎﺘل ﻤﻥ ﺃﺠل ﺠﺯﺀ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺘﻲ ﻴﺘﻤﺜل ﻓﻲ ﺫﺍﺘﻪ ﻓﺎﻝﻤﺴﻠﻤﻭﻥ ﻤﺜﻼ ﻴﻘﺎﺘﻠﻭﻥ‬

‫ﻤﻥ ﺃﺠل ﺘﻤﺜﻼﺕ ﺼﻭﺭ ﺍﻝﺠﻨﺔ ﻭﺍﻝﻨﺎﺭ ﻓﻲ ﻭﻋﻴﻬﻡ‪ ،‬ﻓﻴﻘﺎﺘﻠﻭﻥ ﻤﺤﺒﺔ ﻓﻲ ﺍﻝﺠﻨﺔ ﻭﺨﻭﻓﺎ ﻤﻥ ﺍﻝﻨﺎﺭ‪،‬‬

‫ﻭﻫﺫﺍ ﻤﺎ ﻴﺴﻤﻰ ﺒﻤﺭﺤﻠﺔ ﺍﻝﺘﺄﻴﻘﻥ‪ ،‬ﺇﻥ ﺍﻷﻴﻘﻭﻥ ﻭﺼﻑ ﻝﻠﺼﻭﺭ‪ ،‬ﻭﺘﺭﺘﻴﺏ‪ ،‬ﻝﻬﺎ ﻭﺘﺄﻭﻴل ﻝﻤﺎﻫﻴﺘﻬﺎ ‪،3‬‬

‫ﻭﻓﻲ ﻋﺼﺭ ﺍﻝﺼﻭﺭﺓ ﻴﺘﺄﻴﻘﻥ ﺍﻝﻔﺭﺩ‪ ،‬ﻭﻴﺘﺄﻴﻘﻥ ﺍﻝﺩﻴﻥ‪ ،‬ﺤﻴﺙ ﺃﻥ ﺍﻝﺼﻭﺭﺓ ﻫﻨﺎ ﺘﺨﺘﺭﻕ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﻝﻡ‬

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‫ﻴﻌﺩ ﻓﻴﻪ ﺤﺎﺠﺔ ﻜﺒﻴﺭﺓ ﻝﻠﻜﻠﻤﺎﺕ‪.‬‬

‫‪ 3.1‬ﻤﺩﺨل ﻝﺩﺭﺍﺴﺔ ﺍﻝﺴﻴﻨﻤﺎ‬

‫ﻼ ﻓـﻲ ﺃﻨﺤـﺎﺀ‬
‫ﺍﻝﺴﻴﻨﻤﺎ ﺤﻘل ﺇﺒﺩﺍﻋﻲ ﻴﻤﺘﻠﻙ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺠﻌل ﺍﻹﻨﺴﺎﻥ ﻤﻔﻜﺭﹰﺍ‪ ،‬ﻭﻤﻨﺩﻫﺸﹰﺎ‪ ،‬ﻤﺘﺄﻤ ﹰ‬

‫ﺍﻝﻤﺸﻬﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ .‬ﺇﻨﻬﺎ ﺍﻜﺘﺸﺎﻑ ﻭﺍﺒﺘﻜﺎﺭ ﻹﻤﻜﺎﻨﺎﺕ ﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻝﺤﻴﺎﺓ‪ ،‬ﺇﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺘﻔﻜﻴﺭ ﻴﺘﻭﺴـل‬

‫ﺒﺎﻝﺼﻭﺭ ﻭﺍﻝﺼﻭﺕ ﻭﺍﻝﺨﻴﺎل‪ ،‬ﻝﻠﺘﻌﺒﻴﺭ ﻋﻥ ﻤﻀﺎﻤﻴﻥ ﻓﻜﺭﻴﺔ ﻭﺃﺸﻜﺎﻻ ﺠﻤﺎﻝﻴﺔ ﺃﻭ ﺭﺒﻤـﺎ ﺇﺸـﻬﺎﺭﻴﺔ‪،‬‬

‫ﻭﺍﻝﺼﻭﺭﺓ ﻫﻲ ﺍﻷﺩﺍﺓ ﺍﻝﻭﺴﻴﻁ ﺍﻷﺴﺎﺴﻴﺔ ﺩﺍﺨل ﺍﻝﻔﻴﻠﻡ ‪،‬ﺤﻴﺙ ﺘﺸﻜل ﺍﻝﻤﺎﺩﺓ ﺍﻝﻔﻴﻠﻤﻴﺔ ﺍﻷﻜﺜـﺭ ﺘﻌﻘﻴـﺩﺍ‬

‫‪،‬ﻜﻤﺎ ﺃﻨﻬﺎ ﻨﺸﺎﻁ ﻤﻴﻜﺎﻨﻴﺯﻤﻲ ﻵﻝﺔ ﺘﻘﻨﻴﺔ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺇﻋﺎﺩﺓ ﺇﻨﺘﺎﺝ ﺍﻝﻭﺍﻗﻊ ‪.5‬‬

‫‪1‬‬
‫ﺩﻭﺒﺭﻴﻪ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪39 ،‬‬
‫‪2‬‬
‫ﻤﻨﺼﻭﺭ‪ ،‬ﺍﺸﺭﻑ‪" .(1999) .‬ﺼﻨﻤﻴﺔ ﺍﻝﺼﻭﺭﺓ‪ :‬ﻨﻅﺭﻴﺔ ﺒﻭﺭﺩﻴﺎﺭ ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﺍﻝﻔﺎﺌﻕ"‪ .‬ﻓﺼﻭل‪ .‬ﻉ‪226 ،6‬‬
‫‪ 3‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪228 ،‬‬
‫‪4‬‬
‫‪Lester, PM. Visual communication, images and messages, London:Wadsworth.2000.48‬‬
‫‪ 5‬ﺍﻝﻌﻤﺭﺍﻨﻲ‪ ،‬ﺤﺴﻥ ‪" .(2002).‬ﺍﻝﻔﻠﺴﻔﺔ ﻭﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﻤﺠﻠﺔ ﻓﻜﺭ ﻭﻨﻘﺩ‪ .‬ﻉ‪115-111 ،50-49‬‬

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‫ﺇﻥ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻭﺜﻴﻘﺔ ﺍﺠﺘﻤﺎﻋﻴﺔ ﺘﺭﺴﻡ ﻗﻭﺍﻨﻴﻥ ﻭﺤﺭﻜﺔ ﺍﻝﻤﺠﺘﻤﻊ‪ ،‬ﻭﻁﺒﻴﻌﺔ ﺍﻝﻌﻼﻗﺔ ﺃﻴﻀﺎ ﺒﻴﻥ‬

‫ﺍﻹﻨﺴﺎﻥ ﻭﺍﻝﻤﺠﺘﻤﻊ‪ .‬ﻜﻤﺎ ﺃﻥ ﺍﻝﺼﻭﺭﺓ ﻨﻭﻉ ﻤﻥ ﺍﻝﺘﺄﺭﻴﺦ ﻝﺘﻁﻭﺭ ﺍﻝﻌﻼﻗﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‪ ،‬ﻭﺘﻌﺒﻴﺭ ﻋﻥ‬

‫ﻭﺠﻭﺩ ﺜﻘﺎﻓﺔ‪ ،‬ﻭﺤﻀﺎﺭﺓ ﻤﺎ‪ ،‬ﻓﻲ ﺍﻝﻭﻗﻊ ﺍﻝﻴﻭﻤﻲ ‪ .1‬ﺇﻨﻬﺎ ﻋﻼﻗﺔ ﺘﺒﺎﺩﻝﻴﺔ‪ ،‬ﺠﺩﻝﻴﺔ‪ ،‬ﺘﻜﺎﻤﻠﻴﺔ‪ ،‬ﻓﻲ ﻗﺎﻝـﺏ‬

‫ﺘﺄﺜﺭ ﻭﺘﺄﺜﻴﺭ‪ .‬ﻝﺫﻝﻙ ﻓﺈﻥ ﺍﻝﺸﻌﺏ ﺍﻝﺫﻱ ﻝﻡ ﻴﻌﺩ ﻴﺼﻨﻊ ﺼﻭﺭﺍ ﻤﻬﺩﺩ ﺒﺎﻻﻨﻘﺭﺍﺽ! ﻭﺍﻝﺴﻴﻨﻤﺎ ﺃﺩﺍﺓ ﺘﻌﺒﻴﺭ‬

‫ﺠﻤﺎﻫﻴﺭﻱ ﻨﺎﺒﻌﺔ ﻤﻥ ﺃﺴﺎﺱ ﺍﻝﻨﻅﻡ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻝﺴﻴﺎﺴﻴﺔ‪ ،‬ﻭﻤـﺅﺜﺭﺓ ﻋﻠـﻰ ﺫﻭﻗـﻪ‬

‫ﻭﻤﻔﺎﻫﻴﻤﻪ ﻭﻗﻴﻤﻪ‪ ،‬ﺇﻨﻬﺎ ﺘﺴﺎﻫﻡ ﻓﻲ ﺒﻨﺎﺀ ﺃﺴﺱ ﺍﻝﻤﺠﺘﻤﻊ ﺃﻭ ﺘﻘﻭﻴﻀﻪ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻻ ﻴﻤﻜـﻥ ﺃﻥ‬

‫ﺘﻜﻭﻥ ﺨﺎﺭﺝ ﺍﻝﺼﺭﺍﻉ ﺍﻻﺠﺘﻤﺎﻋﻲ ﺃﻭ ﺨﺎﺭﺝ ﺴﺎﺤﺔ ﺍﻝﻠﻌﺒﺔ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ ،‬ﺒل ﻫﻲ ﺇﻋﺎﺩﺓ ﺇﻨﺘﺎﺝ ﻝﻠﺤﻘﻴﻘﺔ‬

‫ﺒﻘﺎﻝﺏ ﻓﻜﺭﻱ ﻤﺅﺩﻝﺞ ﺒﻭﺴﺎﺌل ﺘﻘﻨﻴﺔ ﻭﻤﺎﻝﻴﺔ ﺨﻼل ﻝﺤﻅﺔ ﺘﺎﺭﻴﺨﻴﺔ ﻤﻌﻁـﺎﺓ‪ .2‬ﺇﻥ ﺫﻝـﻙ ﻜﻤـﺎ ﺭﺃﻯ‬

‫ﺍﻝﻤﺼﻭﺭ ﺍﻷﻝﻤﺎﻨﻲ ﻑ‪ .‬ﺯﺍﻨﺩﺭ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻝﻤﺎﻨﻴﺔ ﺒﺘﻠﻙ ﺍﻝﻤﻜﻭﻨﺎﺕ ﺍﻝﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﺍﻝﻘﻭﻤﻴﺔ ﻫﻲ ﺍﻝﺘﻲ‬

‫ﺴﺎﻋﺩﺕ ﻓﻲ ﻨﻤﻭ ﺍﻝﻔﺎﺸﻴﺔ‪ .3‬ﻭﻜﺭﺍﻜﺎﻭﺭ ﻓﻲ ﻜﺘﺎﺒﻪ "ﺍﻝﺘﺎﺭﻴﺦ ﺍﻝﺴﻴﻜﻭﻝﻭﺠﻲ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻷﻝﻤﺎﻨﻴﺔ" ﺤﻴـﺙ‬

‫ﻴﻘﻭل‪:‬‬

‫"ﺘﻅﻬﺭ ﺍﻝﺤﻴﺎﺓ ﺍﻝﺭﻭﺤﻴﺔ ﻓﻲ ﺍﻝﻌﻨﺎﺼﺭ ﻭﺍﻝﺘﻭﻝﻴﻔﺎﺕ ﺍﻝﻤﺨﺘﻠﻔﺔ ﻝﻠﻌﺎﻝﻡ ﺍﻝﺨﺎﺭﺠﻲ‪ ،‬ﻭﻋﻠﻰ ﺍﻷﺨﺹ ﻓﻲ ﺘﻠﻙ ﺍﻝﻅﻭﺍﻫﺭ‬

‫ﺍﻝﺴﺭﻴﻌﺔ ﻏﻴﺭ ﺍﻝﻤﻤﺘﺩﺓ ﺍﻝﺘﻲ ﺘﺸﻜل ﺠﻭﻫﺭ ﺃﻱ ﺍﻨﺠﺎﺯ ﺴﻴﻨﻤﺎﺌﻲ‪ .‬ﺇﻨﻬﺎ ﺘﺒﺩﻭ ﺤﻴﺙ ﺴﺭﻴﺎﻥ ﺍﻝﺤﻘﻴﻘﺔ ﺍﻝﺤﻴـﺔ ﺃﻭ ﺍﻝﻌـﺎﻝﻡ‬

‫ﺍﻷﺼﻐﺭ ﺍﻝﺘﺨﻴﻠﻲ‪ ،‬ﻓﻴﺼﺒﺢ ﺍﻝﻔﻴﻠﻡ ﻫﻭ ﺍﻝﻤﻔﺘﺎﺡ ﺍﻝﺫﻱ ﻴﺘﻴﺢ ﻓﻬﻡ ﺘﻠﻙ ﺍﻝﻌﻤﻠﻴﺎﺕ ﺍﻝﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﺍﻝﺨﻔﻴﺔ ﻋﻥ ﺍﻝﻌﻴﻥ"‪ .4‬ﻜﻤﺎ‬

‫ﻴﺒﺤﺙ ﺍﻝﻤﺨﺭﺝ ﺒﻥ ﻓﺎﺱ ﻓﻲ ﺍﻝﻤﻔﻬﻭﻡ ﺍﻝﺴﻴﺎﺴﻲ ﻭﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻜﺄﺴﺎﺱ ﻭﻤﻨﺒﻊ ﻭﻤﺴﺘﻭﻯ ﻤﻬﻡ‬

‫ﻓﻲ ﻋﻤﻠﻴﺔ ﺍﻻﺩﻝﺠﺔ ﺤﻴﺙ ﺘﺼﺩﺭ ﻋﻨﻬﺎ ﻗﺩﺭﺓ ﺍﻝﺴﻴﻨﻤﺎ ﻋﻠﻰ ﻨﺸﺭ ﻨﻤﺎﺫﺝ ﺍﺠﺘﻤﺎﻋﻴﺔ ﺜﻘﺎﻓﻴﺔ ‪.5‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪116 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﺍﺸﻭﻴﻜﺔ‪ ،‬ﻤﺤﻤﺩ‪" .(2002).‬ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺴﻴﺴﻴﻭﻝﻭﺠﻴﺎ ﺍﻱ ﻋﻼﻗﺔ ﻤﻤﻜﻨﺔ"‪ .‬ﻤﺠﻠﺔ ﻓﻜﺭ ﻭﻨﻘﺩ‪ .‬ﻉ ‪121-118 .50-49‬‬
‫ﻭﺠﺩﻱ‪ ،‬ﺼﺎﻝﺢ‪" .(2001) .‬ﺍﻝﻔﻭﺘﻐﺭﺍﻓﻴﺎ ﻭﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﻨﻅﺎﻡ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻤﻌﺎﺼﺭﺓ"‪ ،‬ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻌﺎﻝﻤﻴﺔ ‪.‬ﻉ ‪110 .109‬‬ ‫‪3‬‬

‫ﺍ ﻜﺭﺍﻜﺎﺭﻭ ‪ .(1977).‬ﺍﻝﺘﺎﺭﻴﺦ ﺍﻝﻨﻔﺴﻲ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻻﻝﻤﺎﻨﻴﺔ ‪،‬ﺩ ﻡ‪17 ،‬‬ ‫‪4‬‬

‫ﻭﺠﺩﻱ ﺼﺎﻝﺢ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪119 ،‬‬ ‫‪5‬‬

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‫ﺍﻝﺴﻴﻨﻤﺎ ﻫﻲ ﺼﻭﺭﺓ ﻴﻜﻭﻨﻬﺎ ﺍﻵﺨﺭ ﻜﺎﻝﺼﻭﺭﺓ ﻭﺍﻝﺨﻁﺎﺏ‪ ،‬ﺘﺒﺎﺩل ﺍﻷﻓﻜﺎﺭ ﻭﺍﻝﻘـﻴﻡ‪ .‬ﻭﺍﻝـﺼﻭﺭﺓ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﻴﻭﻡ ﻝﻬﺎ ﻭﺠﻭﺩ ﺤﺘﻤﻲ ﻓﻲ ﺩﻭﺍﺌﺭ ﺘﻔﻜﻴﺭﻨﺎ ﻷﻨﻬﺎ ﺘﻔﻴﺽ ﺒﺎﻝﺼﻭﺭ ﺍﻻﺸﻬﺎﺭﻴﺔ ﺇﺫ ﻴﺼﻌﺏ‬

‫ﻋﻠﻴﻨﺎ ﺘﺠﻨﺒﻬﺎ‪ ،‬ﻭﻝﻜﻨﻬﺎ ﺃﻴﻀﺎ ﻗﺎﺒﻠﻪ ﻝﻠﺩﺭﺍﺴﺔ ﻭﺍﻝﺘﺨﻴل ﻭﺍﻝﺘﺄﻭﻴل ﻀﻤﻥ ﺃﻨﻅﻤﺘﻬﺎ ﺍﻝﻤﺘﻌـﺩﺩﺓ‪ ،‬ﻭﺘﻌـﺩﺩ‬

‫ﺩﻻﻻﺕ ﺨﻁﺎﺒﻬﺎ ﻭﻜﺜﺭﺓ ﺭﻤﻭﺯﻫﺎ‪ ،‬ﻜﻤﺎ ﺘﺩﺨل ﺍﻝﺴﻴﻨﻤﺎ ﻀﻤﻥ ﻭﺴﺎﺌل ﺍﻝﻤﻌﺭﻓﺔ ﺤﻴﺙ ﻴﻤﻜﻥ ﺘـﺄﻝﻴﻑ‬

‫ﺍﻝﻤﻌﺭﻓﺔ ﺩﺍﺨﻠﻬﺎ ﻤﻥ ﺨﻼل ﺘﺭﻜﻴﺏ ﺍﻝﺼﻭﺕ ﻭﺍﻝﺼﻭﺭﺓ ﺒﺘﻤﺜﻼﺕ ﺍﻝﺼﻭﺭﺓ‪ .‬ﻭﻫﻲ ﻜﺫﻝﻙ ﺼـﻴﺭﻭﺭﺓ‬

‫ﻤﻨﻅﻭﺭﺓ ﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﻤﺠﺘﻤﻊ ﻭﺍﻵﺨﺭ ‪ .1‬ﻭﻴﻤﻜﻥ ﺍﻋﺘﺒﺎﺭ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺒﺩﺍﻴﺔ ﻝﻤـﻭﺕ ﺍﻝﻭﺍﻗـﻊ‬

‫ﺍﻝﻔﻌﻠﻲ‪ ،‬ﺇﺫ ﺘﺴﺠﻥ ﺍﻝﻨﺎﺱ ﺩﺍﺨل ﺼﻭﺭﻫﻡ ﻭ ﺒﺘﻘﻨﻴﺔ ﺘﺤﻭل ﺍﻝﺤﻀﻭﺭ ﺍﻝﻜﻠﻲ ﻤـﻀﺒﻭﻁﹰﺎ‪ ،‬ﻭﺍﻝﻤﻜـﺎﻥ‬

‫ﺍﻝﻤﻭﻀﻭﻉ ﺘﺤﺕ ﺍﻝﻀﻭﺀ ﻫﻭ ﺍﻷﻜﺜﺭ ﺤﻠﻜﺔ ﺒﺈﺭﺍﺩﺘﻬﺎ‪ .‬ﺤﻴﺙ ﻴﻘﻭل ﻫﻴﺩﻏﺭ‪" :‬ﺍﻝﺘﻘﻨﻴﺔ ﻭﺴﻴﻠﺔ ﻤﻥ ﺼﻨﻊ‬

‫ﺍﻹﻨﺴﺎﻥ ﻝﻐﺎﻴﺔ ﻤﻭﻀﻭﻋﺔ ﻤﻥ ﻁﺭﻑ ﺍﻹﻨﺴﺎﻥ"‪.2‬‬

‫‪ 4.1‬ﺍﻝﺘﻭﺍﺼل ﻓﻲ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‬

‫ﻴﻘﻭل ﺩﻭﻨﻴﺱ ﻭﺭﻴل‪" :‬ﺍﻝﺘﻭﺍﺼل ﺃﻥ ﺘﻘﻭل ﻭﻴﻘﻭل ﻝﻙ ﺍﻵﺨﺭ"‪ 3‬ﺇﻨﻬﺎ ﺍﻝﺘﺒﺎﺩل ﺒﻴﻥ ﺍﻷﻨﺎ ﻭﺍﻵﺨﺭ ﻤﻥ‬

‫ﺨﻼل ﺍﻹﻴﻤﺎﺀ ﻭﺤﺭﻜﺎﺕ ﺍﻝﺠﺴﻡ ﻭﺍﻹﺸﺎﺭﺍﺕ ﺃﻭ ﺍﻝـﺴﻜﻭﺕ – ﺍﻝﻤـﺴﻜﻭﺕ ﻋﻨـﻪ –‪.‬ﻜﻤـﺎ ﻴﻘـﻭل‬

‫ﻤﻴﺭﻝﻭﺒﻭﻨﺘﻲ‪" :‬ﺃﻥ ﺍﻝﺴﻜﻭﺕ ﻫﻭ ﺃﻴﻀﺎ ﻁﺭﻴﻘﺔ ﻝﻠﺘﻭﺍﺼل"‪ 4‬ﺇﺫ ﻴﺤﺩﺙ ﺍﻝﺘﻭﺍﺼل ﻓﻲ ﺍﻝـﺴﻴﻨﻤﺎ ﻋـﻥ‬

‫ﻁﺭﻴﻕ ﺘﻘﻨﻴﺎﺕ ﺍﻹﻨﺎﺭﺓ ﻭﺍﻝﺼﻭﺕ ﻭﺍﻝﺤﺭﻜﺔ ﻭﺍﻝﻤﻭﺴﻴﻘﻰ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻤﻤﺜﻠﻴﻥ ﻭﺍﻝﺘﻘﻨﻴﻴﻥ‪ ،‬ﺤﻴﺙ ﻴﺘﻡ‬

‫ﻤﻥ ﺨﻼل ﻫﺫﻩ ﺍﻝﻌﻨﺎﺼﺭ ﺘﻤﺭﻴﺭ ﺍﻝﺨﻁﺎﺏ ﺒﻁﺭﻴﻘﺔ ﻤﻨﻅﻤﺔ ﺒﺤﻴﺙ ﺘﻨﺠﺢ ﻋﻤﻠﻴﺔ ﺍﻝﺘﻭﺍﺼل‪.‬‬

‫ﺇﻥ ﺃﻫﻤﻴﺔ ﻓﻬﻡ ﻨﻅﺭﻴﺔ ﺍﻝﺘﻭﺍﺼل ﺘﺭﺠﻊ ﺇﻝﻰ ﻓﻬﻡ ﻤﻜﻭﻨﺎﺕ ﺍﻝﺨﻁﺎﺏ ﺍﻝﺒﺼﺭﻱ ﺩﺍﺨـل ﺍﻝـﺼﻭﺭﺓ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺒﺨﻁﺎﺒﺎﺘﻬﺎ ﺍﻝﺒﺼﺭﻴﺔ ﻭﺍﻝﺼﻭﺘﻴﺔ ﻭﺍﻝﺠﺴﺩﻴﺔ ﻜﺎﻓﺔ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺍﻝﻨﺎﻗﺩ ﻴﺠﺏ ﻋﻠﻴﺔ ﺒـﺫل ﻫـﺫﺍ‬

‫ﻋﺯﻤﻲ‪ ،‬ﻴﺤﻴﻰ‪"".(1999) .‬ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﺸﻜﺎﻝﻴﺔ ﺍﻝﻠﻐﺔ"‪ .‬ﻓﺼﻭل‪ ،‬ﻉ ‪145 ،62‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪149 ،‬‬ ‫‪2‬‬

‫ﺍﺸﻭﻴﻜﺔ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪122 ،‬‬ ‫‪3‬‬

‫ﻤﻴﺭﻝﻭﺒﻨﺘﻲ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪27 ،‬‬ ‫‪4‬‬

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‫ﺍﻝﺠﻬﺩ ﺍﻝﻌﻘﻠﻲ ﻭﺍﻝﺫﻫﻨﻲ ﻝﻼﺴﺘﺠﺎﺒﺔ ﻷﻫﺩﺍﻑ ﺍﻝﺭﺴﺎﻝﺔ ﺍﻝﻤﻘﺼﻭﺩﺓ ﻤـﻥ ﺨـﻼل ﻋﻤﻠﻴـﺎﺕ ﺇﺩﺭﺍﻜﻴـﺔ‬

‫ﻜﺎﻝﺘﺄﻭﻴل ﻭﺍﻝﺘﺤﻠﻴل‪ ،‬ﻭﺍﻝﺘﺩﺍﺭﻙ ﻭﺍﻻﻨﻔﻌﺎل‪1،‬ﻭﻝﺘﺴﻬﻴل ﻋﻤﻠﻴﺔ ﺍﻝﺘﻭﺍﺼل‪ ،‬ﻜﺎﻥ ﻝﻨﺎ ﺃﻥ ﻨـﺩﺨل ﻤـﺩﺨﻼ‬

‫ﺘﻘﻨﻴﺎ ﻨﻔﻬﻡ ﻤﻥ ﺨﻼﻝﻪ ﻜﻴﻔﻴﺔ ﺃﺩﺍﺀ ﻭﺘﻜﻭﻴﻥ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻭﻁﺭﻕ ﻗﺭﺍﺀﺘﻬﺎ ﻭﺘﺤﻠﻴﻠﻬﺎ‪.‬‬

‫‪ 5.1‬ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺍﻝﺼﻨﺎﻋﺔ ﺍﻝﺘﻘﻨﻴﺔ‬

‫ﺍﻝﻔﻴﻠﻡ ﻤﻨﺘﻭﺝ ﻀﻤﻥ ﻤﻨﻅﻭﻤﺔ ﻤﺒﻨﻴﺔ ﻋﻠﻰ ﺃﺴﺱ ﺘﻘﻨﻴﺔ ﻭﻓﻨﻴﺔ ﻭﺠﻤﺎﻝﻲ‪ ،‬ﺘﺤﺘﺎﺝ ﺇﻝـﻰ ﻤﺠﻬـﻭﺩ‬

‫ﻓﻜﺭﻱ ﻭﻋﻘﻠﻲ ﻤﺘﻤﻴﺯ‪ .‬ﺃﻤﺎ ﻋﻤﻠﻴﺔ ﺼﻨﺎﻋﺔ ﺍﻝﻔﻴﻠﻡ‪ :‬ﻓﺘﻤﺭ ﺒﻌﺩﺩ ﻤﻥ ﺍﻝﻤﺭﺍﺤل‪ ،‬ﻝﻜل ﻤﻨﻬﺎ ﺍﻷﺜـﺭ ﻓـﻲ‬

‫ﺼﻨﻊ ﺍﻝﻤﻌﻨﻰ ﻭﺇﻴﺼﺎل ﺍﻝﻬﺩﻑ ﺍﻝﻤﻁﻠﻭﺏ ﻤﻥ ﺨﻼﻝﻪ‪ .‬ﻭﺃﻫﻡ ﻫﺫﻩ ﺍﻝﻤﺭﺍﺤل ﻫﻲ‪:‬‬

‫ﺃ‪ -‬ﺍﻝﺘﺭﻜﻴﺏ‪ :‬ﻫﻭ ﻓﻥ ﺘﺭﻜﻴﺏ ﻤﻜﻭﻨﺎﺕ ﻤﻭﻀﻭﻉ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﺤﻴﺙ ﻴﺘﻡ ﻤﻥ ﺨﻼﻝﻪ ﺍﻝﺘﻌﺒﻴﺭ ﻋﻥ ﻓﻜﺭﺓ‬

‫ﻭﺍﺤﺩﺓ ﻝﻜل ﻝﻘﻁﺔ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﺍﻝﻤﺤﻭﺭ ﺍﻷﺴﺎﺴﻲ ﻭﺘﻬﻤﻴﺵ ﻏﻴﺭ ﺍﻝﻤﻬـﻡ ﻤﻨـﻪ‪،‬‬

‫ﺒﺎﺨﺘﻴﺎﺭ ﻭﺘﻭﺍﺯﻥ ﻭﺘﺭﺘﻴﺏ ﺍﻝﻌﻨﺎﺼﺭ ﻭﺍﻝﻤﻜﻭﻨﺎﺕ ﺒﺤﻴﺙ ﺘﺠﻌل ﺍﻝﺼﻭﺭﺓ ﻤﻔﻬﻭﻤﺔ ﻭﻴﺩﺨل ﻓـﻲ‬

‫ﻫﺫﻩ ﺍﻝﻤﻜﻭﻨﺎﺕ‪ ،‬ﻤﻜﺎﻥ ﺍﻝﺘﺼﻭﻴﺭ‪ ،‬ﻭﺍﻷﻝﻭﺍﻥ ﻭﺍﻝﺨﻁﻭﻁ‪ ،‬ﻭﺍﻻﺘﺠﺎﻩ‪ ،‬ﻭﺍﻝﺴﻤﻙ ﺤﻴﺙ ﻴﺘﻡ ﺍﻝﻠﻌﺏ ﻓﻲ‬

‫ﺍﻝﺘﻜﺭﺍﺭ ﻭﺍﻝﺘﻨﺎﻭﺏ ﻭﺍﻝﺘﺩﺍﺨل‪ ،‬ﺇﻨﻬﺎ ﻓﻲ ﺍﻝﻤﺠﻤل ﻋﻤﻠﻴﺔ ﺘﺴﻬل ﺍﻹﺩﺭﺍﻙ ﺍﻝﺒﺼﺭﻱ ﻝﻸﺸﻴﺎﺀ ﺍﻝﺘﻲ‬

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‫ﻨﺭﻴﺩ ﺇﺒﺭﺍﺯﻫﺎ ﻭﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻴﻬﺎ ﻓﻲ ﺍﻝﺼﻭﺭﺓ‬

‫ﺏ‪ -‬ﺍﻝﺘﺄﻁﻴﺭ‪ :‬ﻭﻫﻲ ﻋﻤﻠﻴﺔ ﻤﻭﻀﻌﺔ ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﻋﻼﻗﺘﻬﺎ ﻤﻊ ﻨﺎﻓﺫﺓ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ ،‬ﺃﻭ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻴﺘﻡ‬

‫ﻋﺒﺭﻫﺎ ﻭﻀﻊ ﻤﻭﻀﻭﻉ ﺍﻝﻤﺼﻭﺭ ﺩﺍﺨل ﺍﻷﻁﺭ ﺍﻝﺘﻲ ﻴﺭﻴﺩ ﺘﺼﻭﻴﺭﻫﺎ‪ ،‬ﺒﺤﻴﺙ ﻴﺘﻡ ﺘﺄﻁﻴﺭ ﺍﻝﻠﻘﻁﺔ‬

‫ﺒﺤﺩﻭﺩ ﻤﺠﺎل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻭﻫﻲ ﻋﻤﻠﻴﺔ ﺃﺴﺎﺴﻴﺔ ﻤﻬﻤﺔ ﺘﺘﻡ ﻓﻲ ﺍﻷﺼل ﺒﺤﺴﺏ ﺭﺅﻴـﺔ ﺍﻝﻤﺨـﺭﺝ‬

‫ﻝﻸﺸﻴﺎﺀ ﻭﺍﻷﺸﺨﺎﺹ ﺍﻝﺫﻴﻥ ﻴﺭﻴﺩ ﺇﻅﻬﺎﺭﻫﻡ ﻓﻲ ﺍﻝﺼﻭﺭﺓ ﻭﺒﻘﺩﺭ ﺃﻫﻤﻴﺔ ﻫﺫﻩ ﺍﻝﻌﻤﻠﻴﺔ ﺒﻘﺩﺭ ﻤـﺎ‬

‫ﻫﻲ ﻤﻜﻠﻔﺔ ﺤﻴﺙ ﻴﺠﺏ ﺘﻐﻴﺭ ﺍﻹﻁﺎﺭﺍﺕ ﺒﺸﻜل ﻤﺴﺘﻤﺭ ﻝﺘﺠﻨﺏ ﺍﻝﺘﻜﺭﺍﺭ‪ .‬ﻭﻴﺸﺭﻑ ﻋﻠﻰ ﻋﻤﻠﻴﺔ‬

‫ﺍﻝﻌﺒﺩ ﻤﺤﻤﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪134 ،‬‬ ‫‪1‬‬

‫ﺍﺸﻭﻴﻜﺔ‪ ،‬ﻤﺤﻤﺩ ‪" .(2005).‬ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ :‬ﺍﻝﻘﺭﺍﺀﺓ ﻭﺍﻝﺘﻘﻨﻴﺔ"‪ .‬ﺩﻤﺸﻕ‪ :‬ﺍﻝﺩﺍﻭﺩﻴﺎﺕ‪35 .‬‬ ‫‪2‬‬

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‫ﺍﻝﺘﺄﻁﻴﺭ ﺍﻝﺘﻘﻨﻲ ﺍﻝﻤﺨﺘﺹ ﻭﻴﺴﻤﻰ ﺍﻝﻤﺅﻁﺭ‪ ،‬ﻭﻫﻭ ﺍﻝﻤﺴﺎﻋﺩ ﺍﻝﺜﺎﻨﻲ ﻝﻤﺩﻴﺭ ﺍﻝﺘـﺼﻭﻴﺭ‪ ،‬ﻭﻴﻘـﻑ‬

‫ﺨﻠﻑ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﻤﺸﺎﻫﺩﺓ ﺍﻝﻤﺠﺎل ﺍﻝﻤﺭﺌﻲ ﻝﻬﺎ ﻭﻴﻼﺤﻅ ﺍﻷﺸﺨﺎﺹ ﻭﺍﻝﺩﻴﻜﻭﺭ ﻭﻜﺎﻓﺔ ﺍﻝﻌﻨﺎﺼـﺭ‬

‫ﺍﻝﺘﻲ ﺘﺸﻤﻠﻬﺎ ﺍﻝﻠﻘﻁﺔ ﻭﻫﻨﺎ ﻴﺘﻡ ﻀﺒﻁ ﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺒﺤﺴﺏ ﺍﻝﻤﻁﻠﻭﺏ ‪ ،1‬ﻭﻴﻘـﻭﻡ ﺒﺎﻝﺘـﺄﻁﻴﺭ‬

‫ﺒﺤﺴﺏ ﺘﻭﺠﻴﻬﺎﺕ ﺍﻝﻤﺨﺭﺝ ﻝﻪ ‪.2‬‬

‫ﺝ‪ -‬ﺍﻝﻠﻘﻁﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ :‬ﻭﻫﻲ ﺍﻝﻘﺎﻋﺩﺓ ﺍﻷﺴﺎﺱ ﻝﻤﻜﻭﻨﺎﺕ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ ،‬ﻭﻫـﻲ ﺍﻝﺘـﻲ ﺘﻜﹼـﻭﻥ‬

‫ﺍﻝﻤﺸﻬﺩ‪ .‬ﻭﺍﻝﻠﻘﻁﺔ ﻫﻲ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﻤﺴﺠﻠﺔ ﺨﻼل ﻋﻤﻠﻴﺔ ﺍﻝﺘﻘﺎﻁ ﻭﺍﺤﺩﺓ‪ ،‬ﻭﺘﺘﻜـﻭﻥ‬

‫ﺍﻝﻠﻘﻁﺔ ﻋﺒﺭ ﻤﺭﺍﺤل‪ ،‬ﺇﺫ ﻴﺘﻡ ﺘﺤﺩﻴﺩﻫﺎ‪ ،‬ﺜﻡ ﺘﻘﻁﹼﻊ ﻭﺘﺴﺠل ﻤﺭﺓ ﺃﺨﺭﻯ‪ ،‬ﻭﺘﺘﻡ ﻤﺭﺤﻠﺘﻬﺎ ﺍﻷﺨﻴﺭﺓ‬

‫ﻋﺒﺭ ﺍﻝﻤﻭﻨﺘﺎﺝ‪ .‬ﻭﺘﻌﺘﺒﺭ ﺒﺩﺍﻴﺔ ﺍﻝﻠﻘﻁﺔ ﻫﻲ ﺒﺩﺍﻴﺔ ﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺤﺘﻰ ﻝﺤﻅﺔ ﺘﻭﻗﻔﻬﺎ‪ .‬ﻭﻤﺠﻤﻭﻋﺔ‬

‫ﺍﻝﻠﻘﻁﺎﺕ ﺍﻝﺘﻲ ﺘﺸﻜل ﻭﺤﺩﺓ ﺴﺭﺩﻴﺔ ﻨﺴﻤﻴﻬﺎ ﺒﺎﻝﻤﺸﻬﺩ‪ ،‬ﻭﻫﻭ ﻋﺒﺎﺭﺓ ﻋﻥ ﻭﺤﺩﺍﺕ ﻤﺭﻜﺒـﺔ ﻤـﻥ‬

‫ﺍﻝﻠﻘﻁﺎﺕ ‪.3‬‬

‫ﺃﻤﺎ ﺃﻨﻭﺍﻉ ﺍﻝﻠﻘﻁﺎﺕ ﻓﻬﻲ‪ :‬ﺍﻝﻠﻘﻁﺔ ﺍﻝﻌﺎﻤﺔ‪ ،‬ﻭﻫﻲ ﻤﺎ ﺘﺤﺘﻭﻱ ﺍﻝﻤﺠﺎل ﺍﻝﻌﺎﻡ ﻤﻥ ﺍﻝﺩﻴﻜﻭﺭ ﻭﺍﻝﻤﻨﻅﺭ‬

‫ﺍﻝﻌﺎﻡ ﻭﻤﺠﻤﻭﻋﺔ ﺍﻷﺸﺨﺎﺹ ﻭﺤﺭﻜﺘﻬﻡ ﻜﻤﺎ ﺘﻜﺸﻑ ﻋﻥ ﻤﺠﺎل ﺃﻭﺴﻊ ﻭﻴﺼﻌﺏ ﻤﻌﺭﻓﺔ ﺍﻷﺸﺨﺎﺹ‬

‫ﺩﺍﺨﻠﻬﺎ‪ ،‬ﻭﻴﺘﻡ ﻤﻥ ﺨﻼﻝﻬﺎ ﺇﻅﻬﺎﺭ ﺍﻝﻤﻨﺎﻅﺭ ﻭﺍﻝﻌﻨﺎﺼﺭ ﺍﻷﺨﺭﻯ ﻤﻥ ﻤﺴﺎﻓﺎﺕ ﺒﻌﻴﺩﺓ ﻜﻤﺩﻴﻨﺔ ﺃﻭ ﺤﻘﻭل‬

‫ﺃﻭ ﺒﺤﺭ‪ ،‬ﺠﻴﻭﺵ ‪...‬ﺍﻝﺦ‪ .‬ﻭﺍﻝﻠﻘﻁﺔ ﺍﻝﻤﺘﻭﺴﻁﺔ‪ :‬ﻭﻫﻲ ﺍﻝﺘﻲ ﻴﺘﻡ ﻤﻥ ﺨﻼﻝﻬﺎ ﺇﻅﻬﺎﺭ ﺍﻝـﺸﺨﺹ ﻤـﻥ‬

‫ﺭﺃﺴﻪ ﺤﺘﻰ ﺃﺨﻤﺹ ﻗﺩﻤﻴﻪ‪ .‬ﻭﺍﻝﻠﻘﻁﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ :‬ﻭﻫﻲ ﻝﻘﻁﺔ ﺘﺅﻁﺭ ﺍﻝﺸﺨﺹ ﻤﻥ ﺍﻝـﺭﺃﺱ ﺤﺘـﻰ‬

‫ﺍﻝﺭﻜﺒﺔ‪ .‬ﺃﻤﺎ ﺍﻝﻠﻘﻁﺔ ﺍﻻﻴﻁﺎﻝﻴﺔ‪ :‬ﻭﻫﻲ ﻝﻘﻁﺔ ﺘﻅﻬﺭ ﺍﻝﺸﺨﺹ ﻤﻥ ﺃﻋﻠﻰ ﺭﺃﺴﻪ ﺤﺘﻰ ﻤﻨﺘﺼﻑ ﺴﺎﻗﻴﺔ‪.‬‬

‫ﻭﻫﻨﺎﻙ ﺍﻝﻠﻘﻁﺔ ﺍﻝﻤﻘﺭﺒﺔ‪ :‬ﻭﻫﻲ ﺍﻝﺘﻲ ﺘﺅﻁﺭ ﺍﻝﺸﺨﺹ ﺤﺘﻰ ﻜﺘﻔﻪ ﺃﻭ ﺤﺘﻰ ﺤﺯﺍﻤﻪ‪ .‬ﻭﺍﻝﻠﻘﻁﺔ ﺍﻝﻜﺒﺭﻯ‪:‬‬

‫ﻴﺘﻡ ﻗﺒل ﻋﻤﻠﻴﺔ ﺍﻝﺘﺼﻭﻴﺭ ﻀﺒﻁ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻝﺘﺤﺩﻴﺩ ﻨﻘﺎﻁ ﺍﻝﺘﺼﻭﻴﺭ ﺒﻀﺒﻁ ﺍﻝﻤﺴﺎﻓﺎﺕ ﻭﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺭﺅﻴﺔ ﻭﺍﻀﺤﺔ ﻭﻤﺠﺎل ﺍﻋﻤﻕ‪.‬‬ ‫‪1‬‬

‫ﺸﻭﻴﻜﺔ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪36،‬‬ ‫‪2‬‬

‫ﺍﺸﻭﻴﻜﺔ‪ ،‬ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪42 ،‬‬ ‫‪3‬‬

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‫ﻭﻫﻲ ﺍﻝﺘﻲ ﺘﻠﺘﻘﻁ ﺸﻴﺌﺎ ﺒﻁﺭﻴﻘﺔ ﻤﻜﺒﺭﺓ ﺠﺩﺍ ﻜﺎﻝﻌﻴﻥ ﻤﻥ ﺍﻝﻭﺠﻪ ﻓﻘﻁ ‪ .1‬ﺇﻥ ﺍﺨﺘﻴﺎﺭ ﻨﻭﻉ ﺍﻝﻠﻘﻁﺔ ﺃﻤﺭ‬

‫ﻴﺘﻌﻠﻕ ﺒﺎﻝﻤﻌﻨﻰ ﻭﺍﻝﻤﺎﺩﺓ ﺍﻝﺘﻲ ﻴﺭﺍﺩ ﺇﻴﺼﺎﻝﻬﺎ ﻓﺎﻝﻠﻘﻁﺔ ﺍﻝﻤﻘﺭﺒﺔ ﺘﺅﺩﻱ ﻤﻌﻨﻰ ﻏﻴﺭ ﺍﻝﺘﻲ ﺘﺅﺩﻴﻪ ﺍﻝﻠﻘﻁـﺔ‬

‫ﺍﻷﻤﺭﻴﻜﻴﺔ ﺃﻭ ﺍﻝﻠﻘﻁﺔ ﺍﻝﻜﺒﺭﻯ‪ .‬ﻭﻝﺘﻭﻅﻴﻑ ﻜل ﻝﻘﻁﺔ ﺘﺄﺜﻴﺭ ﻋﻠﻰ ﺍﻝﻤﺸﻬﺩ ﻓﻲ ﺍﻝﻔﻴﻠﻡ‪.‬‬

‫ﺃﻤﺎ ﻓﻴﻤﺎ ﻴﺨﺹ ﺘﻘﻨﻴﺎﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻴﺠﺩﺭ ﺍﻝﺘﻌﺭﻑ ﺇﻝﻰ‪:‬‬

‫‪ -‬ﺯﻭﺍﻴﺎ ﺍﻝﺭﺅﻴﺔ‪ :‬ﺘﺅﺨﺫ ﺯﻭﺍﻴﺎ ﺍﻝﺭﺅﻴﺔ ﻤﻥ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺫﻱ ﺘﻨﺼﺏ ﻓﻴﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ .‬ﺃﻤﺎ ﻭﻀﻊ ﻭﺘﺭﺘﻴـﺏ‬

‫ﺍﻷﺸﻴﺎﺀ‪ ،‬ﻓﻬﻲ ﺒﺤﺴﺏ ﺍﻝﻤﺸﻬﺩ ﻭﻴﺘﻡ ﺍﺨﺘﻴﺎﺭ ﺍﻝﺯﻭﺍﻴﺎ ﻭﻓﻘﹰﺎ ﻝﻺﻁﺎﺭ ﻭﺍﻝﻠﻘﻁـﺔ‪ ،‬ﻭﻫﻨـﺎ ﻴـﺄﺘﻲ ﺩﻭﺭ‬

‫ﺍﻝﻤﺨﺭﺝ ﻤﺭﺓ ﺃﺨﺭﻯ ﺒﺤﻴﺙ ﻻ ﻴﺩﻉ ﺍﻷﺸﻴﺎﺀ ﺘﺤﺩﺙ‪ ،‬ﺒل ﻋﻠﻴﻪ ﺃﻥ ﻴﺼﺒﻎ ﺒﺭﺅﻴﺘﻪ ﻜﻴﻔﻴﺔ ﺤـﺩﻭﺙ‬

‫ﻫﺫﻩ ﺍﻷﺸﻴﺎﺀ‪ .‬ﺃﻤﺎ ﺃﺨﺫ ﺍﻝﺯﻭﺍﻴﺎ ﻓﺒﻁﺭﻕ ﻤﺨﺘﻠﻔﺔ‪ ،‬ﻫﻨﺎﻙ ﺍﻝﺯﺍﻭﻴﺔ ﺍﻝﻤﺤﺎﻴﺩﺓ ﻭﺍﻝﺯﺍﻭﻴﺔ ﻤـﻥ ﺃﻋﻠـﻰ‬

‫ﻭﺘﺅﺨﺫ ﻤﻥ ﺨﻼل ﺍﻝﻁﺎﺌﺭﺓ ﺃﻭ ﺍﻝﺭﺍﻓﻌﺔ ﺒﺤﻴﺙ ﺘﺒﺩﻭ ﺍﻷﺸﻴﺎﺀ ﺃﺼﻐﺭ‪ .‬ﻭﻗﺩ ﺘﺅﺨﺫ ﺍﻝﺯﻭﺍﻴﺎ ﻤﻥ ﺃﺴﻔل‬

‫ﻓﺘﺒﺩﻭ ﺍﻷﺸﻴﺎﺀ ﺃﻜﺒﺭ ﻤﻤﺎ ﻫﻲ ﻋﻠﻴﻪ‪.‬‬

‫‪ -‬ﻤﺠﺎل ﺍﻝﺼﻭﺭﺓ‪ :‬ﻭﻫﻭ ﺍﻝﻤﺠﺎل ﺍﻝﺒﺼﺭﻱ ﺍﻝﺫﻱ ﺘﺤﺩﺩﻩ ﻋﺩﺴﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺃﺜﻨﺎﺀ ﺍﻝﺘﺼﻭﻴﺭ ﺤﻴﺙ ﻴـﺘﻡ‬

‫ﺘﻘﺩﻴﻡ ﺍﻝﻤﺸﻬﺩ ﺩﺍﺨل ﺍﻹﻁﺎﺭ ﺍﻝﻤﺤﺩﺩ‪ ،‬ﻭﻫﻨﺎ ﻴﺭﺘﺒﻁ ﺍﻝﻤﺠﺎل ﻜﺜﻴﺭﹰﺍ ﺒﺴﻠﻡ ﺍﻝﻠﻘﻁﺎﺕ ﻭﻋﻤﻠﻴﺔ ﺍﻝﺘﺄﻁﻴﺭ‪،‬‬

‫ﻼ‪ ،‬ﻜﺈﻅﻬﺎﺭ ﻤﺴﺎﺤﺎﺕ ﺸﺎﺴﻌﺔ ﺠﺩﹰﺍ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﻜﻭﻥ ﻤﻭﺠﺯﺓ‬

‫ﻭﻗﺩ ﻴﻜﻭﻥ ﺍﻝﻤﺠﺎل ﺤﻘﻴﻘﻴﺎ ﺃﻭ ﻤﺘﺨﻴ ﹰ‬

‫ﺤﻘﹰﺎ ‪. 2‬‬

‫‪ -‬ﺤﺭﻜﺎﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ :‬ﺘﻌﺘﻤﺩ ﺍﻝﺤﺒﻜﺔ ﺍﻝﺩﺭﺍﻤﻴﺔ ﻋﻠﻰ ﻋﻨﺎﺼﺭ ﺘﻘﻨﻴﺔ‪ ،‬ﻤﻥ ﺃﻫﻤﻬﺎ ﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺇﺫ ﺃﻥ‬

‫ﺤﺭﻜﺔ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﻤﻨﺤﻬﺎ ﺠﻤﺎﻝﻴﺘﻬﺎ ﻭﺭﻤﺯﻴﺘﻬﺎ‪ .‬ﻭﻝﻨﺎ ﻫﻨﺎ ﺃﻥ ﻨﻌﺭﺝ ﻗﻠﻴﻼ ﻋﻠﻰ ﺃﻨـﻭﺍﻉ ﺍﻝﺤﺭﻜـﺎﺕ‬

‫ﻭﺃﺸﻜﺎﻝﻬﺎ‪ ،‬ﺍﻝﺘﺭﺍﻓﻴﻠﻨﻎ ‪ :Traveling‬ﻭﻫﻲ ﺘﻨﻘﻼﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺇﻝﻰ ﺍﻷﻤﺎﻡ ﺃﻭ ﺍﻝﺨﻠـﻑ ﺃﻭ ﺒـﺸﻜل‬

‫‪ 1‬ﺠﻭﺘﻴﺭﺍﻥ‪ ،‬ﻓﺭﺍﻨﻙ‪" .(2001) .‬ﻓﻨﻭﻥ ﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﻋﺒﺩ ﺍﻝﻘﺎﺩﺭ ﺍﻝﺘﻠﻤﺴﺎﻨﻲ‪ .‬ﺍﻝﻘﺎﻫﺭﺓ ‪:‬ﺍﻝﻤﺠﻠﺱ ﺍﻻﻋﻠﻰ ﻝﻠﺜﻘﺎﻓﺔ‪13 ،‬‬
‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪14 ،‬‬ ‫‪2‬‬

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‫ﺩﺍﺌﺭﻱ‪ .‬ﻭﻫﻨﺎﻙ ﺍﻝﺘﻨﻘل ﻤﻥ ﺨﻼل ﺍﻝﻌﺭﺒﺔ‪ ،‬ﺃﻭ ﻤﻥ ﺨﻼل ﺍﻝﻴﺩ ﻭﺫﻝﻙ ﻻﻝﺘﻘﺎﻁ ﺍﻝﻬﺩﻑ ﺒﺩﻗﺔ ﻭﺘﺭﻜﻴﺯ‬

‫ﺃﻜﺒﺭ‪ .‬ﺃﻭ ﻋﻥ ﻁﺭﻴﻕ ﺍﻝﺴﻴﺎﺭﺓ ﺫﺍﺕ ﺍﻷﺒﻭﺍﺏ ﻭﺍﻝﺸﺒﺎﺒﻴﻙ ﺍﻝﻤﻔﺘﻭﺤﺔ ‪.1‬‬

‫ﺡ‪ -‬ﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺨﺎﺼﺔ ﻋﻠﻰ ﺍﻝﻔﻴﻠﻡ‪ :‬ﺜﻤﺔ ﻋﻨﺎﺼﺭ ﺃﺨﺭﻯ ﺘﻐﻨﻲ ﺍﻝﻤﺸﻬﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻭﻫﻲ ﻤﺎ ﺘﺴﻤﻰ‬

‫ﺒﺎﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺨﺎﺼﺔ‪ ،‬ﻜﺎﻝﺸﺘﺎﺀ ﻭﺍﻝﺜﻠﺞ ﻭ ﺍﻝﺭﻴﺎﺡ ﻭﺍﻝﺩﺨﺎﻥ ﻭﺍﻝﻀﺠﻴﺞ‪ ،‬ﻭﻗﺩ ﻴﺤﺘﺎﺝ ﺍﻷﻤﺭ ﺃﻴﻀﹰﺎ‬

‫ﺇﻝﻰ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﺎﻝﻤﻐﺎﻤﺭﻴﻥ‪ ،‬ﻭﺍﻝﺨﺩﻉ‪ ،‬ﻭﺍﻝﻤﺘﻔﺠﺭﺍﺕ ﻷﺩﺍﺀ ﻤﺸﻬﺩ ﻓﻠﻤﻲ‪ ،‬ﻭﻫﻨﺎ ﻨﺫﻜﺭ ﺍﻝﻤـﺸﺎﻫﺩ‬

‫ﺍﻝﺤﺎﺴﻭﺒﻴﺔ ﺍﻝﺘﻲ ﻴﺴﺘﻌﺎﻥ ﻤﻥ ﺨﻼﻝﻬﺎ ﺒﺎﻝﺤﺎﺴﻭﺏ ﻝﺘﻐﻴﺭ ﺍﻷﻝﻭﺍﻥ ﻭﺍﻷﺸﻜﺎل ﻭﺍﻝﺘﻜﺜﻴﻑ ﻭﺘـﺸﻭﻴﻪ‬

‫‪2‬‬
‫ﺍﻝﺼﻭﺭ ﻭﺍﻝﺘﻜﺴﻴﺭ ﻭﺍﻝﻬﺩﻡ ﻭﺃﺩﺍﺀ ﻤﺸﺎﻫﺩ ﺍﻝﺯﻻﺯل ﻭﺍﻝﺒﺭﺍﻜﻴﻥ ﻭﻏﻴﺭﻫﺎ ‪..‬‬

‫ﺥ‪ -‬ﺍﻝﻤﻭﻨﺘﺎﺝ‪ :‬ﻭﻫﻲ ﻋﻤﻠﻴﺔ ﺘﺭﺘﻴﺏ ﺍﻝﻠﻘﻁﺎﺕ ﻓﻲ ﻤﻜﺎﻨﻬﺎ ﺍﻝﺼﺤﻴﺢ‪ ،‬ﺍﻝﻤﺸﻬﺩ ﺘﻠﻭ ﺍﻵﺨـﺭ‪ ،‬ﻭﺤـﺫﻑ‬

‫ﻏﻴﺭ ﺍﻝﻀﺭﻭﺭﻱ ﻤﻨﻬﺎ‪ ،‬ﻭﻋﻤﻠﻴﺔ ﺍﻝﻤﻭﻨﺘﺎﺝ ﺘﺒﺩﺃ ﺒﺘﺯﺍﻤﻥ ﺍﻝﺼﻭﺕ ﻭﺍﻝﺼﻭﺭﺓ‪ ،‬ﺜﻡ ﺘﺒـﺩﺃ ﻋﻤﻠﻴـﺔ‬

‫ﺍﻝﺘﻭﻝﻴﻑ‪ ،‬ﺜﻡ ﺍﻝﻤﺯﺝ ﻭﺇﺩﺨﺎل ﺍﻝﻤﺸﺎﻫﺩ ﺍﻹﻀﺎﻓﻴﺔ ﻜﺎﻝﺨﺩﻉ ﻭﻏﻴﺭﻫﺎ ﺇﻀـﺎﻓﺔ ﺇﻝـﻰ ﺍﻝﻤـﺅﺜﺭﺍﺕ‬

‫ﺍﻝﺼﻭﺘﻴﺔ ﻭﺍﻝﻤﻭﺴﻴﻘﻰ‪ ،‬ﻭﻤﻥ ﺜﻡ ﻴﺘﻡ ﺘﻌﺩﻴل ﺍﻝﻨﺴﺨﺔ ﺍﻷﻭﻝﻴﺔ ﺘﻤﻬﻴﺩﺍ ﻝﻠﻭﺼـﻭل ﺇﻝـﻰ ﺍﻝﻨـﺴﺨﺔ‬

‫ﺍﻷﺨﻴﺭﺓ‪ .‬ﻭﺍﻝﻤﻭﻨﺘﺎﺝ ﻗﺩ ﻴﻜﻭﻥ ﻤﻭﺍﺯﻴﺎ ﺃﻱ ﺍﺴﺘﺭﺠﺎﻋﺎ ‪ Flash Back‬ﺃﻱ ﺍﺴﺘﺭﺠﺎﻉ ﺍﻷﺤـﺩﺍﺙ‬

‫ﻭﺍﻝﻤﺸﺎﻫﺩ ﻤﻥ ﺍﻝﻨﻬﺎﻴﺔ ﺃﻭ ﻤﻭﻨﺘﺎﺝ ‪ Cut‬ﺒﺤﻴﺙ ﻴﺘﻡ ﺘﻭﻝﻴﻑ ﺍﻝﻤﺸﺎﻫﺩ ﺩﻭﻥ ﺇﺩﺨﺎل ﺃﻱ ﺇﻀﺎﻓﺎﺕ ﺃﻭ‬

‫ﻤﺅﺜﺭﺍﺕ ‪"-‬ﺃﻥ ﺍﺤﺘﻴﺎﺝ ﻜل ﻋﻤل ﺴﻴﻨﻤﺎﺌﻲ ﺇﻝﻰ ﺍﻝﺘﻭﻝﻴﻑ ﻴﺘﻡ ﻓﻲ ﺇﻁﺎﺭ ﺩﺭﺍﻤﻲ ﻤﺤـﺩﺩ ﺒﻬـﺩﻑ‬

‫ﺘﻁﻭﻴﺭ ﺍﻝﻤﻀﻤﻭﻥ ﻭﺘﻌﻤﻴﻕ ﺍﻝﺘﺼﻭﺭ ﻓﻲ ﻜل ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﻤﺭﺌﻴﺔ ﻭﻏﻴﺭ ﺍﻝﻤﺭﺌﻴﺔ ﻝﺫﻝﻙ ﺍﻝﻌﻤل"‪.3‬‬

‫ﻭﻫﻨﺎﻙ ﻤﻭﻨﺘﺎﺝ ﺍﻹﺨﻔﺎﺀ ﺃﻱ ﺇﺨﻔﺎﺀ ﻝﻘﻁﺔ ﺒﻠﻘﻁﺔ ﺃﻭ ﺩﻤﺞ ﻝﻘﻁﺔ ﺒﺄﺨﺭﻯ ﺇﻱ ﺃﻥ ﺘﺄﺨـﺫ ﺼـﻭﺭﺓ‬

‫ﻤﻜﺎﻥ ﺼﻭﺭﺓ ﺃﺨﺭﻯ‪ .‬ﻭﺴﻨﻔﺼل ﻤﻭﻀﻭﻉ ﺍﻝﻤﻭﻨﺘﺎﺝ ﺨﻼل ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ ﻤﻥ ﺍﻝﺒﺤﺙ‪.‬‬

‫‪ 1‬ﺍﺸﻭﻴﻜﻪ‪ ،‬ﺍﻝﻤﺼﺩﺭ ﻨﻔﺴﻪ‪67 ،‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪16 ،‬‬ ‫‪2‬‬

‫ﺍ‪ ،‬ﻜﺭﺍ ﻜﺎﺭﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪63 ،‬‬ ‫‪3‬‬

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 ‫‪ 6.1‬ﻗﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪:‬‬
‫ﺇﻥ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻤﺯﻴﺞ ﻤﻥ ﺍﻝﺼﻭﺭ ﺍﻝﺘﻲ ﺘﻭﻅﻑ ﺤﻘﻭﻻ ﻤﺨﺘﻠﻔﺔ ﺍﻝﺭﻭﺍﻓﺩ‪ :‬ﺘﻘﻨﻴـﺔ ﻭﻝﻐﻭﻴـﺔ‪،‬‬

‫ﻭﺃﺩﺒﻴﺔ‪ ،‬ﻭﺘﻭﺍﺼﻠﻴﺔ‪ .‬ﻴﻘﻭل ﻏﺎﺴﺘﻭﻥ ﺒﺎﺸﻼﺭ "ﻓﻲ ﺍﻷﺼل ﻜﺎﻨﺕ ﺍﻝﺼﻭﺭﺓ ﻭﻝﻴﺴﺕ ﺍﻝﻜﻠﻤﺔ‪ .‬ﻓﺎﻝﺼﻭﺭﺓ‬

‫ﺩﻻﻝﺔ‪ ،‬ﻭﺍﻝﺩﻻﻝﺔ ﺍﺨﺘﺭﺍﻕ ﺴﻴﻤﻴﺎﺌﻲ ﺘﺸﻕ ﺁﺜﺎﺭﻩ ﻓﻲ ﻜل ﺍﻝﺤﻘﻭل ﺍﻝﻤﺭﺌﻴﺔ ﻭﺍﻝﻼﻤﺭﺌﻴﺔ "‪ .1‬ﻓﺎﻝـﺼﻭﺭﺓ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺘﺄﺨﺫ ﺒﺎﻋﺘﺒﺎﺭ ﺍﻝﺴﻴﺎﻗﺎﺕ‪ ،‬ﻭﺍﻝﺩﻻﻻﺕ ﺍﻹﺠﺭﺍﺌﻴﺔ‪ ،‬ﻭﻤﻌﺭﻓﺔ ﺍﻝﺤﻘﻭل ﺍﻝﺘﻲ ﺸﻜﻠﺕ ﻤﻭﻀﻭﻉ‬

‫ﺘﻔﻜﻴﺭ ﺍﻝﺼﻭﺭﺓ‪ .‬ﻓﺎﻝﻔﻴﻠﻡ ﻜل ﺠﺎﻤﻊ ﻝﻌﺩﺩ ﻤﻥ ﺍﻝﺤﻤﻭﻻﺕ ﻭﺍﻝﺩﻻﻻﺕ‪ ،2‬ﻭﻝﻨﺎ ﻫﻨﺎ ﺃﻥ ﻨﻜﺸﻑ ﻁﺭﺍﺌـﻕ‬

‫ﻭﺃﺩﻭﺍﺕ ﻓﻬﻡ ﻭﻗﺭﺍﺀﺓ ﻫﺫﻩ ﺍﻝﺩﻻﻻﺕ‪ ،‬ﻭﻝﻨﺎ ﺃﻴﻀﹰﺎ ﺃﻥ ﻨﺒﻴﻥ ﻤﺴﺘﻭﻴﺎﺕ ﺘﺤﻠﻴل ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﺘﻘﻨﻴـﺔ‬

‫ﻭﻫﻭ ﻤﺴﺘﻭﻯ ﻴﺘﻌﻠﻕ ﺒﺘﻘﻨﻴﺔ ﺃﺩﺍﺀ ﺍﻝﻔﻴﻠﻡ ﻭﺍﻷﻤﻭﺭ ﺍﻝﻔﻨﻴﺔ ﺍﻝﺘﻲ ﻜﻨﺎ ﻗﺩ ﺫﻜﺭﻨﺎﻫﺎ ﺴﺎﺒﻘﺎ ﺍﺒﺘﺩﺍﺀ ﻤﻥ ﺍﻝﺘﻘﺎﻁ‬

‫ﺍﻝﻤﺸﺎﻫﺩ ﻭﺘﻭﻝﻴﻔﻬﺎ ﻭﺍﻨﺘﻬﺎﺀ ﺒﺎﻝﻤﻭﻨﺘﺎﺝ ﻭﺘﻭﻀﻴﺏ ﺍﻝﻠﻘﻁﺎﺕ‪ .‬ﻭﻫﺫﻩ ﺍﻷﻤﻭﺭ ﻤﻬﻤﺔ ﻭﺘﻌﺘﺒـﺭ ﻤﻔـﺎﺘﻴﺢ‬

‫ﺭﺌﻴﺴﻴﺔ ﻝﻘﺭﺍﺀﺓ ﻓﻴﻠﻡ ﺴﻴﻨﻤﺎﺌﻲ‪ .‬ﺃﻤﺎ ﺍﻝﻤﺴﺘﻭﻯ ﺍﻝﻭﺼﻔﻲ ﻓﻴﺘﻌﻠﻕ ﺒﺘﺤﻠﻴل ﺍﻝﺨﻁﺎﺏ ﻏﻴﺭ ﺍﻝﻤﺭﻤﻭﺯ ﻓـﻲ‬

‫ﺍﻝﻔﻴﻠﻡ‪ ،‬ﻭﻴﻌﻨﻲ ﺒﺈﻅﻬﺎﺭ ﺍﻝﻤﻜﻭﻨﺎﺕ ﺩﺍﺨل ﺍﻝﺼﻭﺭﺓ ﺍﻝﺤﻴﺔ ﻤﻨﻬﺎ ﻭﺍﻝﺠﺎﻤﺩﺓ‪ ،‬ﻋﻼﻗﺎﺘﻬﺎ ﻭﺘﺭﺘﻴﺒﻬـﺎ‪ .‬ﺃﻤـﺎ‬

‫ﺍﻝﻤﺴﺘﻭﻯ ﺍﻝﺘﺄﻭﻴﻠﻲ ﻓﻬﻭ ﻤﺎ ﻴﺨﺹ ﺒﺘﺤﻠﻴل ﺍﻝﺭﻤﺯ ﻤﻥ ﺍﻝﺨﻁﺎﺏ ﻭﻜﺸﻑ ﺩﻻﻻﺘﻬﺎ‪ ،‬ﻜﺭﻤﻭﺯ ﺍﻷﻝـﻭﺍﻥ‬

‫ﻤﻥ ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺭﻤﻭﺯ ﺍﻝﺤﺭﻜﻴﺔ‪ :‬ﻜﺎﻹﺸﺎﺭﺍﺕ‪ ،‬ﻭﺍﻹﻴﻤﺎﺀﺍﺕ‪ ،‬ﻭﺭﻤﻭﺯ ﺍﻝﻌﻨﺎﺼـﺭ ﻓـﻲ ﺍﻝـﺼﻭﺭﺓ‬

‫ﻼ‪ ،‬ﺍﻝﺨﻀﺭﺓ‪ ،‬ﺍﻝﺼﺤﺭﺍﺀ ‪ ...‬ﻤﻊ ﺇﺩﺭﺍﻙ ﺍﻝﻔﺭﻕ ﺒﻴﻥ ﻤﺎ ﻫﻭ ﺸﻔﻬﻲ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﻭﻤﺎ‬
‫ﻜﻌﻨﺼﺭ ﺍﻝﻤﺎﺀ ﻤﺜ ﹰ‬

‫ﻫﻭ ﺭﻤﺯﻱ ﻤﻥ ﺨﻼل ﺘﺸﻜﻼﺕ ﺍﻝﺼﻭﺭﺓ ﻭﺍﻷﻝﻭﺍﻥ ﻭﺍﻝﺩﻴﻜﻭﺭ ﻭﺍﻹﻜﺴﺴﻭﺍﺭ ﻭﺍﻝﻤﻅﻬـﺭ ﺍﻝﻔﻴﺯﻴـﺎﺌﻲ‬

‫ﻝﻠﺸﺨﺼﻴﺎﺕ‪ ،‬ﻭﻤﺎ ﻴﺴﻬﻡ ﻤﻥ ﺫﻝﻙ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﻜﺤﺭﻜﺎﺕ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ ،‬ﻭﻤﺠﺎل ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻭﺴﻠﻡ ﺍﻝﻠﻘﻁﺎﺕ‪،‬‬

‫ﻭﺯﻭﺍﻴﺎ ﺍﻻﻝﺘﻘﺎﻁ ﻭﻏﻴﺭ ﺫﻝﻙ ‪.3‬‬

‫‪ 1‬ﺍﺸﻭﻴﻜﺔ‪ ،‬ﻤﺼﺩﺭ ﺴﺎﺒﻕ‪13 ،‬‬

‫‪2‬‬
‫‪Dixon Helen. .(2001), “Public Reaction to the Portrayal of the Tobacco Industry in the Film "The‬‬
‫‪Insider": Tobacco Control .BMJ Publishing Group. pp. 285-291 .Stable URL:‬‬
‫‪http://www.jstor.org/stable/20207938. Retrived 2.12.2009‬‬
‫‪ 3‬ﺩﻭﻜﺎ‪ ،‬ﻝﻭ‪"".(1989) .‬ﺘﻘﻨﻴﺔ ﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﻋﻭﻴﺩﺍﺕ‪16-15 ،‬‬

‫‪27‬‬
‫ﺇﻥ ﻁﺭﻕ ﻗﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻡ ﻗﺩ ﺘﺨﺘﻠﻑ ﺒﺤﺴﺏ ﺍﻝﻘﺎﺭﺉ ﻭﺭﺅﻴﺘﻪ‪ ،‬ﻭﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﺄﺘﻲ ﺒﻪ ﻤﻥ ﺃﻓﻜـﺎﺭ‬

‫ﺘﺠﺎﻩ ﺼﻭﺭﺓ ﺴﻴﻨﻤﺎﺌﻴﺔ ﻤﻔﺘﻭﺤﺔ ﺍﻝﺩﻻﻻﺕ ﺇﺫ ﻴﻤﻜﻥ ﻝﻠﻘﺎﺭﺉ ﺃﻥ ﻴﺨﻀﻊ ﻝﻠﺘﺴﻠﺴل ﺍﻝﻤﻨﻁﻘﻲ ﺍﻝﻤﻨـﺴﺎﺏ‬

‫ﻝﻠﻤﺸﺎﻫﺩ‪ ،‬ﻭﺜﻤﺔ ﻤﻥ ﻴﻜﺘﺸﻑ ﺃﻥ ﻝﻜل ﺼﻭﺭﺓ ﻤﺤﺎﻴﺩﺓ ﺃﺨﺭﻯ ﻨﻘﻴﻀﻪ "ﺘﻘﻠﺏ ﺍﻝﻨﻅﺎﻡ ﺒﺸﻜل ﺨﻔﻲ"‪.1‬‬

‫ﺃﻤﺎ ﺍﻝﻘﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻤﻴﺔ ﻝﻬﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ ﻓﺴﺘﻜﻭﻥ ﺒﺭﺅﻴﺔ ﺴﻴﻤﻴﻠﻭﺠﻴﺔ ﺘﻘﻭﻡ ﻋﻠﻰ ﺘﺤﻠﻴـل ﻭﺩﺭﺍﺴـﺔ‬

‫ﺍﻝﻌﻼﻤﺎﺕ ﻭﺍﻝﺭﻤﻭﺯ ﻭﺃﺸﻜﺎل ﺍﻝﺘﻭﺍﺼل ﺍﻻﺠﺘﻤﺎﻋﻲ‪ ،‬ﻜﻤﺎ ﺘﻅﻬﺭ ﻤﻜﻭﻨﺎﺕ ﺍﻝﺤﻘل ﺍﻝﺜﻘﺎﻓﻲ ﻝﻠﻤﺠﺘﻤﻊ ﻓﻲ‬

‫ﻋﺼﺭ ﻤﻌﻴﻥ‪ .‬ﻭﺒﺤﺴﺏ ﺭﺅﻴﺔ ﺭﻭﻻﻥ ﺒﺎﺭﺕ ﻓﺈﻥ ﺍﻝﻤﺸﻬﺩ ﺍﻝﻔﻴﻠﻤﻲ ﻴﺨﻀﻊ ﻝﺴﻴﺎﻗﺎﺕ ﺘﺤﻠﻴﻠﻴﺔ ﻤﺨﺘﻠﻔﺔ‬

‫ﻓﻜل ﺼﻭﺭﺓ ﺘﺤﻤل ﻜﻤﺎ ﻤﻥ ﺍﻝﺩﻻﻻﺕ ‪ .2‬ﻜﻤﺎ ﻴﻠﺯﻡ ﻹﺘﻤﺎﻡ ﻋﻤﻠﻴﺔ ﻗﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺘﺤﻠﻴـل ﺍﻝﺨﻁـﺎﺏ‬

‫ﺍﻷﻴﻘﻭﻨﻲ ﻓﻲ ﺍﻝﺴﻴﺎﻗﺎﺕ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ ‪،‬ﺇﻨﻬﺎ ﻋﻤﻠﻴﺔ ﻴﺘﻡ ﻤﻥ ﺨﻼﻝﻬﺎ ﺘﺄﻁﻴﺭ ﻝﻠﺯﻤﻥ‬

‫ﻭﺍﻝﺘﺎﺭﻴﺦ ﻭﺍﻝﻠﻐﺔ ﻭﺍﻝﺠﺴﺩ ﻓﻲ ﻓﻴﻠﻡ ﺴﻴﻨﻤﺎﺌﻲ‪ .3‬ﻭﻓﻬﻡ ﺍﻝﺨﻁﺎﺏ ﺍﻝﺭﻤﺯﻱ ﻴﺤﺘـﺎﺝ ﻝﻤﻌﺭﻓـﺔ ﺃﻨـﻭﺍﻉ‬

‫ﺍﻝﺨﻁﺎﺒﺎﺕ ﺍﻻﻴﻘﻭﻨﻴﺔ ﺍﻷﺒﺠﺩﻴﺔ ﻭﺍﻝﻤﺠﺴﺩﺓ‪ ،‬ﻭﻫﺫﺍ ﺍﻝﻔﻬﻡ ﻴﺤﺘﺎﺝ ﺇﻝﻰ ﻤﻌﺭﻓﺔ ﺜﻘﺎﻓﻴﺔ ﻝﻺﺩﺭﺍﻙ ﻭﺘﻔﻜﻴـﻙ‬

‫ﺍﻝﺭﻤﻭﺯ‪.‬‬

‫‪ 7.1‬ﺍﻝﺴﻴﻨﻤﺎ ‪:‬ﺍﻝﺘﺎﺭﻴﺦ ﻭﺍﻝﺒﺩﺍﻴﺎﺕ‬

‫ﻝﻭ ﻭﺠﺩ ﻤﺎ ﻴﺴﺘﻁﻴﻊ ﻤﺤﺎﻜﺎﺓ ﺍﻝﻜﻭﻜﺏ ﺒﺤﺠﻤﻪ‪ ،‬ﻝﻜﺎﻨﺕ ﻫﻲ ﺍﻝﺴﻴﻨﻤﺎ‪ .‬ﺇﻨﻬﺎ ﺍﻝﻤﺤﺎﻜﺎﺓ ﺍﻷﻜﺜﺭ ﻗﺭﺒـﹰﺎ‬

‫ﻤﻥ ﺃﻱ ﺼﻨﺎﻋﺔ ﺃﺨﺭﻯ‪ ،‬ﻴﻤﻜﻥ ﺍﻝﻭﺼﻭل ﺇﻝﻰ ﻋﻤﻘﻬﺎ ﻤﻥ ﻤﺩﺍﺨل ﺘﻘﻨﻴﺔ ﻭﺍﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻗﺘﺼﺎﺩﻴﺔ ﺜﻘﺎﻓﻴﺔ‬

‫ﻭﺴﻴﺎﺴﻴﺔ‪ ،‬ﻜﻤﺎ ﻴﻤﻜﻥ ﺍﻝﺘﻌﺎﻁﻲ ﻤﻌﻬﺎ ﻜﺼﻨﺎﻋﺔ ﺃﻱ ﺁﻝﻴﺔ ﻤﺨﺘﺭﻋﺔ ﻝﻬﺎ ﻤﻜﺘﺴﺒﺎﺕ ﺴﻴﺎﺴـﻴﺔ ﻭﺜﻘﺎﻓﻴـﺔ‬

‫ﻭﺍﻗﺘﺼﺎﺩﻴﺔ‪ .‬ﻭﻜﻤﺎ ﻴﺒﺩﻭ ﻓﺎﻝﺼﻨﺎﻋﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻫﻲ ﺍﻝﻤﺴﻴﻁﺭﺓ ﺍﻵﻥ ﻭﻫﻲ ﺍﻝﺘﻲ ﺘﺤﺘﻜـﺭ‬

‫ﺍﻝﻤﻜﺘﺴﺒﺎﺕ ﺍﻝﻌﺩﻴﺩﺓ ﻝﻬﺫﻩ ﺍﻝﺴﻴﻨﻤﺎ‪.4‬‬

‫‪1‬‬
‫ﺍﺸﻭﻴﻜﺔ‪ ،‬ﻤﺼﺩﺭ ﺴﺎﺒﻕ‪79 ،‬‬
‫‪2‬‬
‫ﺒﺎﺭﺕ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪64 ،‬‬
‫ﻋﺯﻤﻲ‪ ،‬ﻴﺤﻴﻰ‪"" .(1999) .‬ﺍﻝﺼﻭﺭﺓ‪ ،‬ﺍﻝﺯﻤﺎﻥ‪ :‬ﺠﻴل ﺩﻭﻝﻭﺯ ﻭﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﻓﺼﻭل‪ .‬ﻉ‪249 ،63‬‬ ‫‪3‬‬

‫ﺩﻭﻜﺎ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪20 ،‬‬ ‫‪4‬‬

‫‪28‬‬
‫ﻝﻘﺩ ﻜﺎﻨﺕ ﺒﺩﺍﻴﺎﺕ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻨﺎ ﺘﺭﻓﻴﻬﻴﺎ‪ ،‬ﺜﻡ ﺴﺭﻋﺎﻥ ﻤﺎ ﺘﺤﻭ‪‬ﻝﺕ ﺇﻝﻰ ﺃﺩﻭﺍﺭ ﺃﻜﺜﺭ ﺘﻌﻘﻴﺩ ﻋﻥ ﻁﺭﻴﻕ‬

‫ﺩﻭﺭ ﺍﻝﻌﺭﺽ ﺍﻝﻤﻨﺘﺸﺭﺓ‪ .‬ﻜﻤﺎ ﻻ ﻴﻤﻜﻥ ﻓﺼل ﺘﻁﻭﺭ ﺍﻝﺴﻴﻨﻤﺎ ﻋﻥ ﺴﻴﺎﻗﺎﺕ ﻤﺨﺘﻠﻔﺔ ﻫﻲ ﻓﻲ ﻤﺠﻤﻠﻬﺎ‬

‫ﺘﺎﺭﻴﺨﻴﺔ ﻭﺘﻘﻨﻴﺔ ﻭﺼﻨﺎﻋﻴﺔ ﻭﺘﺠﺎﺭﻴﺔ‪ .‬ﺘﻤﺘﺩ ﺤﺘﻰ ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻝﻤﻨﻅﻤﺔ ﻝﺘﺴﻭﻴﻕ ﻤﻨﻅﻭﻤـﺔ ﺍﻷﻓﻜـﺎﺭ‬

‫ﺨﺩﻤﺔ ﻷﻫﺩﺍﻑ ﻤﺤﺩﺩﺓ‪ ،‬ﻭﺇﺫﺍ ﻜﺎﻥ ﺍﻝﺘﺎﺭﻴﺦ ﻴﻜﺘﺒﻪ ﺍﻝﻤﻨﺘﺼﺭ ﻓﺈﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺒﺘﺠﻠﻴﺎﺘﻬﺎ ﺍﻜﺒﺭ ﻤـﺎ ﺘﻜـﻭﻥ‬

‫ﻤﺅﺭﺨﺎ‪ ،‬ﻓﻜﻡ ﻝﺩﻴﻨﺎ ﻤﻥ ﺃﻓﻼﻡ ﺘﺩﻭﺭ ﺤﻭل ﺍﻝﺤﺭﺏ ﺍﻝﻌﺎﻝﻤﻴﺔ ﺍﻝﺜﺎﻨﻴﺔ ﺘﻌﻠﻲ ﻤﻥ ﺸﺄﻥ ﺠﻨـﺩﻱ ﺍﻝﺤﻠﻔـﺎﺀ‬

‫ﻭﺘﻤﻌﻥ ﻓﻲ ﺇﻅﻬﺎﺭ ﻋﺼﺒﻴﺔ ﻭﻏﺒﺎﺀ ﺍﻝﻤﺤﻭﺭ ﻤﻨﻬﻡ!‬

‫ﺇﻥ ﺃﻏﺭﺍﺽ ﺍﻝﺴﻴﻨﻤﺎ ﺘﻜﺎﺩ ﻻ ﺘﻨﺘﻬﻲ‪ ،‬ﻤﺘﻌﺩﺩﺓ ﻤﻭﻀﻭﻋﺎﺘﻬﺎ‪ ،‬ﺼﺎﻝﺤﺔ ﻝﻠﺒﺤﺙ ﺍﻝﻔﻠـﺴﻔﻲ ﺍﻷﻜﺜـﺭ‬

‫ﻋﻤﻘﺎ ﻓﻲ ﺫﺍﺕ ﺍﻹﻨﺴﺎﻥ ﻭﻤﺼﻴﺭﻩ‪ ،‬ﻜﺒﺤﺙ ﻝﻺﻨﺴﺎﻥ ﻓﻲ ﺍﻹﻨﺴﺎﻥ‪ ،‬ﻭﺭﺩﺓ ﻓﻌﻠﻪ ﺃﻤﺎﻡ ﺨﻭﻓﻪ ﻭﺘﻁـﻭﺭ‬

‫ﺘﻘﻨﻴﺎﺘﻪ‪ ،‬ﻝﺘﻜﻭﻥ ﺠﺩﻝﻴﺔ ﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻻﺜﻨﻴﻥ‪ .‬ﻝﻘﺩ ﻜﺎﻨﺕ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﺒـﺩﺍﻴﺎﺘﻬﺎ ﺘﻌـﺎﻨﻲ ﺍﻝﻜﺜﻴـﺭ ﻤـﻥ‬

‫ﺍﻝﻀﻐﻭﻁ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺒﺼﻔﺘﻬﺎ ﺼﻨﺎﻋﺔ ﻏﻴﺭ ﻤﺘﻘﺒﻠﺔ ﻤﻥ ﺍﻝﻤﺠﺘﻤﻊ‪ ،‬ﻭﻗﺩ ﺘﻡ ﻤﻨﻊ ﻋﺭﺽ ﺃﻭل ﻓـﻴﻠﻡ‬

‫‪) 1895‬ﺩﻭﻝﻴﺭﺘﺎ ﻓﻲ ﺍﻝﺭﻗﺼﺔ ﺍﻝﻌﺎﻁﻔﻴﺔ( ﻤﻥ ﻗﺒل ﺍﻝﺴﻠﻁﺎﺕ ﺍﻝﻤﺤﻠﻴﺔ ﻓﻲ ﻤﺩﻴﻨﺔ )ﺍﺘﻼﻨﺘﻙ ﺴـﻴﺘﻲ(‪،‬‬

‫ﻭﺒﻌﺩﻩ ﺒﺴﻨﺘﻴﻥ ﺘﻡ ﻤﻨﻊ ﻓﻴﻠﻡ ﺃﺨﺭ ﻭﻫﻭ ) ﺘﻔﺘﺢ ﺍﻝﺒﺭﺘﻘﺎل( ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﻴﻭﻴﻭﺭﻙ ﻤﻥ ﻗﺒل ﻤﺤﻜﻤﺔ ﺍﻝﻤﺩﻴﻨﺔ‬

‫ﺒﺤﺠﺔ ﺃﻨﻪ ﻴﺠﺭﺡ ﺸﻌﻭﺭ ﺍﻝﺠﻤﻬﻭﺭ‪ ،‬ﻭﺍﺯﺩﺍﺩﺕ ﻓﻲ ﺘﻠﻙ ﺍﻝﻔﺘﺭﺓ ﺍﻝﻀﻐﻭﻁ ﺍﻝﻤﻤﺎﺭﺴﺔ ﻤﻥ ﻗﺒل ﺍﻝﻜﻨﺎﺌﺱ‬

‫ﻭﺍﻝﺼﺤﺎﻓﺔ ﻭﺍﻝﻘﻭﻯ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻀﺩ ﺍﻨﺘﺸﺎﺭ ﺍﻷﻓﻼﻡ ﻭﺍﻝﺘﻲ ﻁﺎﻝﺒﺕ ﺒﺤﻤﺎﻴﺔ ﺍﻝﺠﻤﻬﻭﺭ ﻤـﻥ ﺇﻏـﻭﺍﺀ‬

‫ﺍﻝﺴﻴﻨﻤﺎ‪ ،‬ﻭﺭﻓﺽ ﺍﻝﻌﺭﻱ ﻭﻤﺸﺎﻫﺩ ﺍﻝﺠﻨﺱ ﻭﻤﺸﺎﻫﺩ ﺍﻝﻌﻨﻑ‪ .1‬ﻭﻓﻲ ﺍﻝﺠﻬﺔ ﺍﻝﻤﻘﺎﺒﻠﺔ ﻓﻲ ﺍﻝﻔﺘﺭﺓ ﻨﻔﺴﻬﺎ‪،‬‬

‫ﻅﻬﺭﺕ ﺍﻝﻘﻭﻯ ﻤﻥ ﺃﺼﺤﺎﺏ ﺼﻨﺎﻋﺔ ﺍﻝﺴﻴﻨﻤﺎ ﻜﻜﺘﻠﺔ ﺘﺩﺍﻓﻊ ﻋﻥ ﻫـﺫﻩ ﺍﻝـﺼﻨﺎﻋﺔ ﻋـﻥ ﻁﺭﻴـﻕ‬

‫ﺍﻝﻤﺅﺴﺴﺎﺕ ﻭﺍﻝﻤﺤﺎﻜﻡ ﺤﺘﻰ ﺘﻡ ﺍﻝﺘﻭﺼل ﺇﻝﻰ ﺘﻭﻗﻴﻊ ﻤﻴﺜﺎﻕ ﺸﺭﻑ‪ ،‬ﻭﻗﻌﺕ ﻋﻠﻴﺔ ﺸـﺭﻜﺎﺕ ﺍﻹﻨﺘـﺎﺝ‬

‫ﻤﺘﺤﺩﺓ‪ ،‬ﺘﺘﻌﻬﺩ ﺒﺘﻭﻗﻴﻑ ﻤﺸﺎﻫﺩ ﺍﻝﻌﻨﻑ ﻭﺍﻝﺠﻨﺱ ﻭﺍﻝﻌﺭﻱ‪ .‬ﺭﻏﻡ ﻋﺩﻡ ﺍﻻﻝﺘﺯﺍﻡ ﺍﻝﺘﺎﻡ ﺒﻬﺫﺍ ﺍﻝﻤﻴﺜﺎﻕ ﺇﻻ‬

‫ﺃﻥ ﺍﻝﺭﻗﺎﺒﺔ ﺭﻓﻌﺕ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻋﻠﻰ ﺃﻥ ﻴﺘﻡ ﻤﻭﻋﺩ ﻋﺭﺽ ﺍﻷﻓﻼﻡ ﻤـﺴﺒﻘﺎ‪ ،‬ﻭﻝـﻡ ﺘﻜـﻥ‬

‫‪1‬‬
‫‪Eileen bowers.( 1991).The history of American cinema: The transformation of cinema .university‬‬
‫‪of California. press. 27-29‬‬

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‫ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﺒﺩﺍﻴﺘﻬﺎ ﻓﻨﺎ ﻤﺴﺘﺄﻨﺴﺎ ﺒل ﻫﻲ ﻭﻝﻴﺩﺓ ﺍﻝﻤﻼﻫﻲ ﻭﺍﻝﻨﻭﺍﺩﻱ ‪ ،1‬ﻝﻜﻥ ﺴﺭﻋﺎﻥ ﻤﺎ ﺃﺼﺒﺤﺕ ﺃﺩﺍﺓ‬

‫ﻴﻤﻜﻥ ﺘﻁﻭﻴﻌﻬﺎ ﺒﺄﻴﺩﻱ ﺍﻝﻘﻭﻯ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻝﺴﻴﺎﺴﻴﺔ ‪ ،2‬ﻜﻤﺎ ﻅﻬﺭ ﺃﻨﻬﺎ ﻝﻡ ﺘﻅﻬﺭ ﻋﻠﻰ ﻤﺎ ﻫﻲ ﻋﻠﻴﻪ‬

‫ﺇﻻ ﻓﻲ ﺃﺠﻭﺍﺀ ﺍﻝﺤﺭﻴﺔ ﺍﻝﺘﻲ ﻤﻨﺤﺘﻬﺎ ﺇﻴﺎﻫﺎ ﻫﺫﻩ ﺍﻝﻘﻭﻯ‪ ،‬ﻭﺍﻝﺘﻲ ﺃﺼـﺒﺢ ﻤـﻥ ﺍﻝﻤﻤﻜـﻥ ﺃﻥ ﻴﺘﻠﻘﺎﻫـﺎ‬

‫ﺍﻝﺠﻤﻬﻭﺭ ﺒﻜل ﺘﺭﺤﻴﺏ ﻋﻠﻰ ﻋﻜﺱ ﻤﺎ ﻜﺎﻨﺕ ﻓﻲ ﺒﺩﺍﻴﺎﺘﻬﺎ‪ ،‬ﻜﺎﻝﺼﺩﻤﺔ ﺍﻝﺫﻱ ﻴﺼﻌﺏ ﻋﻠﻰ ﺍﻝﺠﻤﻬﻭﺭ‬

‫ﺘﻠﻘﻴﻪ ﺭﻏﻡ ﺠﻤﺎﻝﻴﺘﻪ ﺍﻝﻔﻨﻴﺔ‪ ،‬ﻤﺜﺎل ﺫﻝﻙ ﻓﻴﻠﻡ "ﻨﻬﺭ ﺍﻝﺤﺏ" ﺍﻝﻤﺄﺨﻭﺫ ﻤﻥ ﺭﻭﺍﻴـﺔ ﻝﻠﻜﺎﺘـﺏ ﺍﻝﺭﻭﺴـﻲ‬

‫ﺘﻭﻝﺴﺘﻭﻱ‪ ،‬ﻓﺭﻏﻡ ﻤﺸﺎﻋﺭ ﺍﻝﺤﺏ ﺍﻝﻠﻁﻴﻔﺔ ﻭﺍﻝﻌﺎﻁﻔﺔ ﺍﻝﻤﻔﻌﻤﺔ‪ ،‬ﻝﻡ ﻴﻠﻕ ﺍﻝﻔـﻴﻠﻡ ﺘﺭﺤﻴﺒـﹰﺎ ﻤـﻥ ﻗﺒـل‬

‫ﺍﻝﺠﻤﻬﻭﺭ‪ ،‬ﻝﻴﺱ ﺇﻻ ﻷﻥ ﺍﻝﺒﻁﻠﺔ ﺍﻝﻤﺘﺯﻭﺠﺔ ﻗﺩ ﺃﺤﺒﺕ ﺸﺎﺒﹰﺎ ﻴﺎﻓﻌﹰﺎ‪ ،‬ﻝﻤﺎ ﻴﻌﺘﺒﺭ ﺃﻨﻪ ﻤﻬﺎﺠﻤﺔ ﻭﻤﻌﺎﺭﻀﺔ‬

‫ﻝﻤﺅﺴﺴﺔ ﺍﻝﺯﻭﺍﺝ ﺍﻝﺸﺭﻋﻲ‪ ،‬ﻭﻜﺫﻝﻙ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻔﺭﻨﺴﻲ )ﺍﻝﺭﺍﻫﺒﺔ( ﺍﻝﺫﻱ ﺘﺩﻭﺭ ﻗﺼﺘﻪ ﺤـﻭل ﺇﻏـﻭﺍﺀ‬

‫ﺍﻝﺭﺍﻫﺏ ﺩﺍﺨل ﺩﻴﺭ ﻤﻐﻠﻕ‪ ،‬ﺤﻴﺙ ﻻﻗﻰ ﺍﻝﻔﻴﻠﻡ ﻫﺠﻭﻤﹰﺎ ﺸﺩﻴﺩﹰﺍ ﻝﻤﺎ ﻓﻴﻪ ﻤﻥ ﺍﻋﺘﺩﺍﺀ ﻋﻠـﻰ ﺍﻝﻤﺅﺴـﺴﺔ‬

‫ﺍﻝﺩﻴﻨﻴﺔ‪ ،‬ﻭﺘﻌﺩ ﻋﻠﻰ ﺤﺭﻤﺘﻬﺎ ﻭﺼﺩﻤﺔ ﻝﻠﻜﺎﺜﻭﻝﻴﻙ ﺍﻝﻔﺭﻨﺴﻴﻴﻥ ﺒﺸﻜل ﻋـﺎﻡ‪ ،‬ﻭﻝﻨـﺎ ﺃﻥ ﻨـﺫﻜﺭ ﻓـﻴﻠﻡ‬

‫)ﺍﻹﻏﺭﺍﺀ ﺍﻷﺨﻴﺭ ﻝﻠﻤﺴﻴﺢ( ﺍﻝﻔﻴﻠﻡ ﺍﻝﺫﻱ ﺃﺜﺎﺭ ﻀﺠﺔ ﻋﻅﻴﻤﺔ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ ،‬ﺍﻷﻤﺭ ﺍﻝﺫﻱ ﺃﺩﻯ‬

‫ﺇﻝﻰ ﺇﺤﺭﺍﻕ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺩﻭﺭ ﺍﻝﻌﺭﺽ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺒﺴﺒﺏ ﺍﻝﻤﺸﻬﺩ ﺍﻝﺫﻱ ﻴﺘﺫﻜﺭ ﻓﻴﻪ ﺍﻝﻤﺴﻴﺢ ﺍﻹﻏﺭﺍﺀﺍﺕ‬

‫ﺍﻝﺘﻲ ﺘﻌﺭﺽ ﻝﻬﺎ‪ ،‬ﻭﻜل ﺍﻝﺨﻁﺎﻴﺎ ﻭﺍﻝﻨﺯﻭﺍﺕ ﺍﻝﺘﻲ ﻜﺎﻥ ﻴﺘﻤﻨﻰ ﻝﻭ ﺃﻨﻪ ﺭﻀﺦ ﻝﻬﺎ‪.3‬‬

‫ﺇﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﺘﻜﻭﻴﻨﺎﺘﻬﺎ ﺜﻘﺎﻓﺔ ﺒﺼﺭﻴﺔ‪ ،‬ﻓﻬﻲ ﺃﻜﺜﺭ ﻤﻥ ﻝﻭﺤﺔ ﺘﺼﻭﻴﺭﻴﺔ ﻝﻠﺤﻴﺎﺓ‪ ،‬ﻜﻤﺎ ﺘﺨﺘﻠـﻑ‬

‫ﻋﻥ ﺍﻝﺘﺄﻤل ﺍﻝﻤﺒﺎﺸﺭ ﻝﻠﻁﺒﻴﻌﺔ‪ ،‬ﻭﻫﻲ ﺘﺨﺘﺯل ﺍﻷﺒﻌﺎﺩ ﻭﺍﻝﻤﺴﺎﻓﺎﺕ ﻭﺤﺩﻭﺩ ﺍﻝﺯﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ ﺒﻬﺎﻝﺔ ﻤﻥ‬

‫ﺍﻝﻤﺅﺜﺭﺍﺕ‪ ،‬ﻭﺘﺤﺩﺩ ﻤﻜﺎﻨﺔ ﺍﻝﻤﺸﺎﻫﺩ ﺒﺜﻤﻥ ﺍﻝﺘﺫﻜﺭﺓ ﺍﻝﺘﻲ ﺘﺒﺘﺎﻋﻬﺎ‪ ،‬ﻭﺃﻱ ﺯﺍﻭﻴـﺔ ﻤﺭﻴﺤـﺔ ﻴﻤﻜـﻥ ﺃﻥ‬

‫ﺘﺠﻠﺱ ﻋﻠﻴﻬﺎ ﻭﺘﻁﻔﺊ ﺍﻷﻨﻭﺍﺭ ﺍﻝﺘﻲ ﺘﺩﺨﻠﻙ ﻓﻲ ﺠﺩﻝﻴﺔ ﺇﻝﻐﺎﺀ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺤﻘﻴﻘﻲ‪ ،‬ﻝﺘﻠﺞ ﺇﻝﻰ ﻋﻭﺍﻝﻡ ﺃﺨﺭﻯ‬

‫ﻭﺘﺴﺘﺤﺩﺙ ﻭﻗﺎﺌﻊ ﺃﺨﺭﻯ ﺘﺤﺎﻜﻲ ﺠﺯﺌﻴﺎﺕ ﺍﻝﺤﻴﺎﺓ ﺍﻝﺘﻲ ﻨﻌﻴﺸﻬﺎ‪ ،‬ﺒﻁﺭﻴﻘﺔ ﺃﺨﺭﻯ ﺘﺘﺴﻠل ﺒﻜل ﻫـﺩﻭﺀ‬

‫ﻋﺯﻤﻲ‪ ،‬ﻴﺤﻴﻰ‪"" .(1999).‬ﻝﻐﺔ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺒﺤﺙ ﻋﻥ ﻤﻜﺎﻨﺔ"‪ .‬ﻓﺼﻭل‪ .‬ﻉ‪146 ،62‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪148 ،‬‬ ‫‪2‬‬

‫ﻤﺤﻤﻭﺩ‪ ،‬ﻋﻁﺎﷲ ‪"" .(1995).‬ﺍﻝﺴﻴﻨﻤﺎ ﺸﺎﺒﺔ ﻋﻤﺭﻫﺎ ﻤﺎﺌﺔ ﻋﺎﻡ"‪ .‬ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻉ‪71-63 ،439‬‬ ‫‪3‬‬

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‫ﺃﻭ ﺇﺜﺎﺭﺓ ﻤﻔﻌﻤﺔ ﻝﻤﺨﻴﺎل ﺍﻝﻤﺘﻠﻘﻲ ﻓﻲ ﺘﺠﻠﻴﺎﺕ ﻻﺨﺘﺯﺍل ﺍﻝﻭﺍﻗﻊ ﺇﻝﻰ ﻤﺎ ﻭﺭﺍﺀ ﺍﻝﻭﺍﻗﻊ‪ ،‬ﻤﺸﺎﻫﺩ ﻭﺃﺤﺩﺍﺙ‬

‫ﺘﺘﺠﻠﻰ ﻓﻴﻪ ﺤﺩﻭﺩ ﺍﻝﺯﻤﺎﻥ ﻭﺃﺒﻌﺎﺩ ﺍﻝﻤﻜﺎﻥ‪ ،‬ﺘﺄﺜﻴﺭ ﺍﻝﻠﺤﻅﺔ ﺒﺎﻝﺼﻭﺭﺓ ﺍﻝﻔﻴﻠﻤﻴﺔ ﺍﻝﻤﺸﺎﻫﺩﺓ‪ ،‬ﻝﺤﻅﺔ ﻁﻔﻭﻝﺔ‬

‫ﺒﺭﻴﺌﺔ‪ ،‬ﻭﺭﺤﻠﺔ ﺒﺤﺙ ﻋﻥ ﺤﻠﻡ ﻀﺎﺌﻊ ﺃﻭ ﻭﻁﻥ ﻤﺴﺭﻭﻕ ﻝﻤﺸﺎﻫﺩ ﻻ ﻴﻤﻜﻥ ﻨﺴﻴﺎﻨﻬﺎ‪ ،1‬ﺒـل ﺘﺘﺄﻜـﺩ‬

‫ﻝﺘﻜﻭﻥ ﺠﺯﺀ ﺍﻝﺫﺍﻜﺭﺓ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺍﻝﺘﻲ ﺘﺠﺩ ﺘﻤﺎﺜﻼﺘﻬﺎ ﻝﻠﻭﺍﻗﻊ ﺍﻝﻤﻌﺎﺵ ﻭﺘﻜﻭﻥ ﺃﻴﻀﹰﺎ ﺠﺯﺀﹰﺍ ﻤﻥ ﺍﻝﺒﻨـﻲ‬

‫ﺍﻝﻔﻜﺭﻴﺔ ﺍﻝﻤﺘﺭﺍﻜﻤﺔ ﻝﺩﻯ ﺍﻝﺫﺍﺕ ﺍﻝﺒﺸﺭﻴﺔ‪ .‬ﺇﺫ ﻜﻴﻑ ﻝﻠﻤﺸﺎﻫﺩ ﺃﻥ ﻴﻨﺴﻰ ﻤﺸﻬﺩ ﺍﻝﺠﺜﺙ ﺍﻝﻤﻤﺯﻗﺔ ﻋﻠـﻰ‬

‫ﺩﺭﺝ "ﺃﻭﺩﺴﺎ" ﻓﻲ ﻓﻴﻠﻡ )ﺍﻝﻤﺩﺭﻋﺔ ﺒﻭﺘﻤﻜﻴﻥ( ﻝﻠﻤﺨﺭﺝ ﺍﻴﺯﻨﺸﺘﻥ‪ .‬ﺃﻭ ﻤﺸﻬﺩ ﺴﻜﺎﺭﻝﻴﺕ ﻭﻫﻲ ﺘﺭﺍﻗـﺏ‬

‫ﻤﺸﻬﺩ ﻏﺭﻭﺏ ﺸﻤﺱ ﺃﺘﻼﻨﺘﺎ ﻭﻫﻲ ﺘﻘﺴﻡ ﺃﻨﻬﺎ ﻝﻥ ﺘﺠﻭﻉ ﺃﺒﺩﺍ ﻓﻲ ﻓﻴﻠﻡ )ﺫﻫﺏ ﻤﻊ ﺍﻝﺭﻴﺢ( ﺃﻭ ﻤـﺸﻬﺩ‬

‫ﺍﻝﻔﻼﺡ ﺍﻝﻤﺼﺭﻱ ﻓﻲ ﻓﻴﻠﻡ )ﺍﻷﺭﺽ( ﺍﻝﺫﻱ ﻋﺫﺏ ﺤﺘﻰ ﺴﺎﻝﺕ ﺍﻝﺩﻤﺎﺀ ﻤﻥ ﺠﺴﺩﻩ ﺒﻌـﺩ ﺃﻥ ﺠﺭﺘـﻪ‬

‫ﺍﻝﺨﻴﻭل ﻋﻠﻰ ﻓﻭﻕ ﺯﻫﺭﺍﺕ ﺍﻝﻘﻁﻥ ﺍﻝﻤﺘﻔﺘﺤﺔ ﻭﻫﻭ ﻴﺤﺎﻭل ﻋﺒﺜﹰﺎ ﺍﻝﺘﻘﺎﻁﻬﺎ ﻓﻲ ﻝﺤﻅﺔ ﺍﺴﺘﺠﺩﺍﺀ ﻝﻌﻠﻬـﺎ‬

‫ﺘﻨﻘﺫﻩ‪.‬‬

‫ﻜﺎﻨﺕ ﺃﻭل ﺍﻝﻌﺭﻭﺽ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻲ ﻤﺩﻴﻨﺔ ﻨﻴﻭﺭﻙ ﻝﻌﺎﻡ ‪ 1896‬ﻓﻲ ﺍﻝﺜﺎﻝـﺙ ﻭﺍﻝﻌـﺸﺭﻴﻥ ﻤـﻥ‬

‫ﺍﺒﺭﻴل‪ .‬ﻭﻓﻲ ﺍﻝﺤﻘﻴﻘﺔ ﻝﻡ ﻴﻜﻥ ﻫﺫﺍ ﺍﻝﻌﺭﺽ ﺍﻷﻭل ﺇﺫ ﺴﺒﻘﻪ ﻋﺭﺽ ﺃﻭﺠﺴﺕ ﻭﻝﻭﻴﺱ ﻝﻭﻤﻴﻴﺭ ﻓﻲ ﻋﺎﻡ‬

‫‪ 1895‬ﺍﻝﺜﺎﻤﻥ ﻭﺍﻝﻌﺸﺭﻴﻥ ﻤﻥ ﺩﻴﺴﻤﺒﺭ‪ ،‬ﻓﻲ ﻤﺩﻴﻨﺔ ﺒﺎﺭﻴﺱ‪ .‬ﻭﻜﺎﻨﺕ ﺍﻝﺒﺩﺍﻴﺎﺕ ﻓﻲ ﻨـﻭﻓﻤﺒﺭ ﻋﻨـﺩﻤﺎ‬

‫ﺍﺨﺘﺭﻉ ﻤﺎﻜﺱ ﺴﻜﻼﺘﻭﻓﺴﻜﺱ ﺠﻬﺎﺯ )ﺍﻝﺒﻴﻭﺴﻜﻭﺏ( ﻭﺍﺴﺘﺨﺩﻤﻪ ﻓﻲ ﻋﺭﺽ ﺒﻌﺽ ﺍﻷﻓﻼﻡ ﺍﻝﻘﺼﻴﺭﺓ‬

‫ﺘﻁﻭﻴﺭﹰﺍ ﻝﺠﻬﺎﺯ ﺍﻷﻤﺭﻴﻜﻲ )ﻤﺎﺠﻭﺭ ﻻﻨﺎﻡ( ﺍﻝﺫﻱ ﺴﻤﺎﻩ ﺒﺎﻷﻴﺩﻭﻝﻭﺴﻜﻭﺏ‪ ،‬ﻭﻜﺎﻥ ﺫﻝـﻙ ﻓـﻲ ﻤﺩﻴﻨـﺔ‬

‫ﺸﻴﻜﺎﻏﻭ‪ ،‬ﺤﻴﺙ ﺘﻡ ﻋﺭﺽ ﺍﻝﺭﺴﻭﻡ ﺍﻝﻤﺘﺤﺭﻜﺔ ﻤﻤﻥ ﺨﻼﻝﻪ‪ .‬ﺇﻻ ﺃﻥ ﺍﻝﻨﻘﺎﺩ ﻴﻌﺘﺒﺭﻭﻥ ﺘﺎﺭﻴﺦ ﻋـﺭﺽ‬

‫ﺍﻷﺨﻭﻴﻴﻥ ﻝﻭﻤﻴﻴﺭ ﻓﻲ ﻤﺩﻴﻨﺔ ﺒﺎﺭﻴﺱ‪ 2‬ﻋﺎﻡ ‪ ،1896‬ﻋﻨﺩﻤﺎ ﻋﺭﻀﺕ ﺘﺴﺠﻴﻠﻴﺔ ﻗﺼﻴﺭﺓ ﻭﻫﻲ )ﺴﺎﻋﺔ‬

‫ﻏﺩﺍﺀ( ﻭ)ﻭﺼﻭل ﺍﻝﻘﻁﺎﺭ(‪ .‬ﺒﻌﺩ ﺫﻝﻙ ﺘﻡ ﻋﺭﺽ ﻓﻴﻠﻡ )ﺘﺘﻭﻴﺞ ﻗﻴﺼﺭ ﻨﻘﻭﻻ ﺍﻝﺜﺎﻨﻲ( ﺍﻝﺫﻱ ﻜﺎﻥ ﻨﻘﻠـﺔ‬

‫ﻤﺤﻤﺩ ‪،‬ﺍﻝﺭﻤﻴﺤﻲ‪"" .(1995) .‬ﺍﻝﺴﻴﻤﺎ ﻭﺍﻝﺤﻴﺎﺓ‪ :‬ﺍﻴﻬﻤﺎ ﺍﻜﺜﺭ ﺤﻘﻴﻘﺔ ﻤﻥ ﺍﻵﺨﺭ"‪ ،‬ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻉ‪33 ،439‬‬ ‫‪1‬‬

‫ﺸﺎﻜﺭ ﻋﺒﺩ ﺍﻝﺤﻤﻴﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪260 ،‬‬ ‫‪2‬‬

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‫ﻨﻭﻋﻴﺔ ﻓﻲ ﻨﻭﻉ ﺍﻷﻓﻼﻡ ﺍﻝﻤﻨﺘﺠﺔ ﻓﻲ ﺍﻝﻌﺎﻡ ‪ .11896‬ﺤﻴﺙ ﻜﺎﻨﺕ ﺘﻌﺘﻤﺩ ﺍﻷﻓﻼﻡ ﻋﻠﻰ ﺘﺴﺠﻴل ﺍﻝﻭﻗﺎﺌﻊ‬

‫ﻭﺍﻷﺤﺩﺍﺙ ﺍﻝﻴﻭﻤﻴﺔ ﻭﻝﻡ ﺘﻜﻥ ﻫﻨﺎﻙ ﺍﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﺒل ﻜﺎﻥ ﺍﻝﻌﻤل ﻴﻘﻊ ﻋﻠﻰ ﻜﺎﻫل ﺍﻝﻤـﺼﻭﺭ ﻓـﻲ‬

‫ﺍﻷﻏﻠﺏ ﻤﻠﺘﻘﻁ ﺍﻝﺼﻭﺭﺓ ﻤﻥ ﺍﻝﺸﺎﺭﻉ ﻭﺍﻝﺤﺩﻴﻘﺔ ﻭﺍﻝﻤﺼﻨﻊ ﻓﻜﺄﻥ ﺍﻝﻤﺼﻭﺭ ﻜﺎﻥ ﻫﻭ ﺍﻝﻤﺨﺭﺝ ﻭﺍﻝﻤﻨﺘﺞ‬

‫ﻭﺍﻝﻤﺩﻴﺭ ﺍﻝﻔﻨﻲ‪ .‬ﺒﺩﺃﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺘﻨﺘﻘل ﺇﻝﻰ ﻁﺎﺒﻊ ﺃﺨﺭ ﻴﻘﺘﺭﺏ ﻓﻲ ﻤﺠﻤﻠﻪ ﻤﻥ ﺍﻝﻔﻥ ﺍﻝﻤﺴﺭﺤﻲ‪ ،‬ﺃﻭ ﻜﻤﺎ‬

‫ﻗﺎل ﺍﻝﻤﺼﻭﺭ ﺠﻭﺭﺝ ﻤﻴﻠﻴﻪ ﺇﻝﻰ ﺍﻝﻤﺴﺭﺤﻲ ﺍﻝﻤﺸﻬﺩﻱ‪ .‬ﻭﺒﺫﻝﻙ ﺘﻜﻭﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻗـﺩ ﺃﺨـﺫﺕ ﻁﺭﻴﻘـﺎ‬

‫ﺍﻷﻓﻼﻡ ﺍﻝﺭﻭﺍﺌﻴﺔ‪ .‬ﺃﻤﺎ ﻤﻴﻠﻴﻪ ﻫﺫﺍ ﺍﻝﻤﺼﻭﺭ ﻓﻴﺭﺠﻊ ﺇﻝﻴﻪ ﻓﻀل ﺘﻁﻭﺭ ﺍﻝﻔﻥ ﺍﻝـﺴﻴﻨﻤﺎﺌﻲ ﻓﻜـﺎﻥ ﺃﻭل‬

‫ﺍﻝﻤﺨﺭﺠﻴﻥ ﺍﻝﺴﻴﻨﺎﻤﺎﺌﻴﻥ ﻋﻨﺩﻤﺎ ﺨﻠﻑ ﺴﻴﻨﻤﺎ ﺍﻝﻔﺭﺠﺔ‪ ،‬ﻜﻤﺎ ﻜﺎﻥ ﺃﻭل ﻤﻥ ﺒﻨﻲ ﺍﺴـﺘﺩﻴﻭ‪ ،‬ﻭﺃﻭل ﻤـﻥ‬

‫ﻜﺘﺏ ﺴﻴﻨﺎﺭﻴﻭ ﻭﺭﺴﻡ ﺃﻭل ﺩﻴﻜﻭﺭ‪ ،‬ﻭﺃﺒﺩﻉ ﺃﻭل ﺍﻝﺨﺩﻉ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ ،‬ﻭﻜﺎﻨﺕ ﺘﺠﻠﻴﺎﺕ ﻜل ﺫﻝـﻙ ﻓـﻲ‬

‫ﻓﻴﻠﻤﻪ )ﺭﺤﻠﺔ ﺇﻝﻰ ﺍﻝﻘﻤﺭ( ﺍﻝﺫﻱ ﺃﺨﺭﺠﻪ ﻓﻲ ﺍﻝﻌﺎﻡ ‪ 1903‬ﻭﺤﻘﻕ ﻨﺠﺎﺤﹰﺎ ﻋﻅﻴﻤﹰﺎ‪ .‬ﺃﻤﺎ ﺍﻝﻤﺨﺭﺝ ﺍﻵﺨﺭ‬

‫ﺍﻝﺫﻱ ﻜﺎﻥ ﻝﻪ ﺍﻝﺩﻭﺭ ﺍﻝﻜﺒﻴﺭ ﻓﻲ ﻨﺸﺄﺓ ﺍﻝﺴﻴﻨﻤﺎ ﻭﻫﻭ )ﺃﺩﻭﻴﻥ ﺒﻭﺭﺘﺭ(‪ ،‬ﺍﻝﺫﻱ ﻜﺎﻨﺕ ﺒﺩﺍﻴﺘﻪ ﻫﻭ ﺍﻵﺨـﺭ‬

‫ﻓﻲ ﻤﺠﺎل ﺍﻝﺘﺼﻭﻴﺭ ﻝﻴﺼﺒﺢ ﻓﻴﻤﺎ ﺒﻌﺩ ﻤﻥ ﻜﺒﺎﺭ ﺍﻝﻤﺨﺭﺠﻴﻥ ﻋﻨﺩﻤﺎ ﺃﺨﺭﺝ ﻓﻴﻠﻤـﻪ )ﺤﻴـﺎﺓ ﺭﺠـل‬

‫ﺍﻝﻤﻁﺎﻓﺊ ﺍﻷﻤﺭﻴﻜﻲ( ﻓﻲ ﻋﺎﻡ ‪ ،1902‬ﺜﻡ ﻓﻴﻠﻡ )ﺴﺭﻗﺔ ﺍﻝﻘﻁﺎﺭ ﺍﻝﻜﺒﻴﺭ( ﻭﺍﻝﺫﻱ ﻤﻥ ﺨﻼﻝﻪ ﻅﻬـﺭﺕ‬

‫ﺘﺠﻠﻴﺎﺕ ﻋﻨﺎﺼﺭ ﺍﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻭﺍﻝﺫﻱ ﺍﻗﺘﻔﻰ ﺃﺜﺭﻩ ﻜل ﻤﻥ ﺍﻝﻤﺨﺭﺠﻴﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﻓﻴﻤﺎ ﺒﻌﺩ‪ ،‬ﻓﻔﻲ‬

‫ﻋﺎﻡ ‪ 1909‬ﺃﺨﺭﺝ "ﺠﺭﻴﻔﺙ" ﻓﻴﻠﻤﻪ )ﺍﻝﻔﻴﻼ ﺍﻝﻭﺤﻴﺩﺓ(‪ 2‬ﻭﺍﻝﺫﻱ ﺃﺒﺩﻉ ﻓﻴﻪ ﻓﻨﹰﺎ ﺠﻴﺩﹰﺍ ﻭﻫـﻭ ﺍﻝﻠﻘﻁـﺎﺕ‬

‫ﺍﻝﻤﺘﻘﺎﻁﻌﺔ‪ ،3‬ﻭﺍﺴﺘﻤﺭ ﺠﺭﻴﻔﺙ ﻓﻲ ﺘﻁﻭﻴﺭ ﺍﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ ،‬ﻓﻔﻲ ﻓﻴﻠﻤﻪ )ﻤﻭﻝﺩ ﺃﻤﻪ( ﺍﺒﺘﺩﻉ ﺃﺴـﺎﻝﻴﺏ‬

‫ﻓﻨﻴﺔ ﻜﺎﻨﺕ ﺒﻤﺜﺎﺒﺔ ﻗﻔﺯﺓ ﻫﺎﺌﻠﺔ ﻓﻲ ﻤﺠﺎل ﺍﻝﻔﻥ ﺍﻝﻔﻴﻠﻤﻲ‪ ،‬ﺤﻴﺙ ﺍﺴﺘﺨﺩﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺍﻝﻤﺘﺤﺭﻜـﺔ‪ .‬ﻜﻤـﺎ‬

‫ﺍﺴﺘﺨﺩﻡ ﺒﺒﺭﺍﻋﺔ ﻁﺭﻗﻪ ﻓﻲ ﺍﻝﻘﻁﻊ ﺍﻝﻤﺘﺩﺍﺨل ﻭﺍﻝﺘﻭﺍﺯﻱ ﺒﻴﻥ ﺍﻝﻤﻁﺎﺭﺩ ﻭﺍﻝﻁﺭﻴـﺩ ﻝﺨﻠـﻕ ﺍﻹﺜـﺎﺭﺓ‬

‫ﺍﻝﻤﺘﺼﺎﻋﺩﺓ‪ .‬ﻓﻲ ﻋﺎﻡ ‪ 1916‬ﻗﺩﻡ ﺫﺍﺕ ﺍﻝﻤﺨﺭﺝ ﺭﺍﺌﻌﺘﻪ )ﺍﻝﺘﻌﺼﺏ( ﻭﻜﺫﺍ ﺃﺒﺩﻉ ﻓﻴﻪ ﻓﻨﺎ ﺠﺩﻴﺩﺍ ﻭﻫﻭ‬

‫‪1‬‬
‫‪Hyannis Tzioumakis. American independent cinema. Edinburgh University Press. 2006. 23‬‬
‫‪2‬‬
‫‪Ibid 24-25‬‬
‫ﺘﻌﺭﻑ ﺍﻝﻘﻁﺎﺕ ﺍﻝﻤﺘﻘﺎﻁﻌﺔ ﻓﻲ ﻭﻗﺘﻨﺎ ﺍﻵﻥ ﺒﺎﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﻤﺘﻭﺍﺯﻱ ﻭﻫﻭ ﻋﺭﺽ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﻲ ﺘﻘﻊ ﻓﻲ ﺃﻜﺜﺭ ﻤﻥ ﻤﻜﺎﻥ ﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗﺕ ‪.‬‬ ‫‪3‬‬

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‫ﺘﻘﺩﻴﻡ ﺃﺭﺒﻊ ﺃﻤﺜﻠﺔ ﻤﺨﺘﻠﻔﺔ ﺘﺠﻤﻌﻬﺎ ﻭﺤﺩﺓ ﺍﻝﻤﻭﻀﻭﻉ‪ ،‬ﻭﻤﺨﺭﺝ ﺁﺨﺭ ﺃﺨﺫ ﻴﺴﺘﻘـﺼﻲ ﺍﻝﻤﺯﻴـﺩ ﻤـﻥ‬

‫ﺇﻤﻜﺎﻨﺎﺕ ﺍﻹﺒﺩﺍﻉ ﺍﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻭﺇﺒﺩﺍﻉ ﻝﻐﺔ ﺘﻌﺒﻴﺭ ﺃﺨﺭﻯ‪ ،‬ﻭﻫﻭ ﺍﻝﻤﺨﺭﺝ ﺸﺎﺭﻝﻲ ﺸـﺎﺒﻠﻥ ﺍﻝـﺫﻱ‬

‫ﻋﻤل ﻓﻲ ﻤﺠﺎل ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻜﻭﻤﻴﺩﻴﺔ ﻝﻴﺨﺭﺝ ﺒﺭﺍﺌﻌﺘﻲ )ﺍﻝﺒﺤﺙ ﻋـﻥ ﺍﻝـﺫﺌﺏ( ‪ 1920‬ﻭ)ﺍﻝـﺴﻴﺭﻙ(‬

‫‪ ،1928‬ﺜﻡ ﺍﻨﺘﻘل ﺇﻝﻰ ﻤﻌﺎﻝﺠﺔ ﺍﺠﺘﻤﺎﻋﻴﺔ‪ ،‬ﻓﻌﻤل ﻋﻠﻰ ﺃﺭﻭﻉ ﺍﻝﻤﺸﺎﻫﺩ ﻓﻲ ﺘﺼﻭﻴﺭ ﺍﻝﺒﺅﺱ ﻭﺍﻝﻤﻌﺎﻨﺎﺓ‬

‫ﻭﻝﺤﻅﺎﺕ ﺍﻝﺤﺏ ﺍﻝﻌﻤﻴﻕ ﻭﻜﺎﻨﺕ ﺃﻤﺜﻠﺘﻪ ﻋﻅﻴﻤﺔ ﻓﻲ )ﺍﻷﺯﻤﻨـﺔ ﺍﻝﺤﺩﻴﺜـﺔ( ‪ 1926‬ﻭ)ﺍﻝـﺩﻴﻜﺘﺎﺘﻭﺭ‬

‫ﺍﻝﻌﻅﻴﻡ(‪ ،‬ﻭ)ﺃﻀﻭﺍﺀ ﺍﻝﻤﺴﺭﺡ( ﻭ)ﺃﻀﻭﺍﺀ ﻨﻴﻭﻴﻭﺭﻙ(ﻋﺎﻡ ‪ .11958‬ﻭﻤﻤﺎ ﻴﺸﺎﺒﻪ ﺸﺎﺒﻠﻥ ﻜﺎﻥ ﺍﻝﺠﻭﺍﻝﺔ‬

‫ﺍﻷﻤﺭﻴﻜﻲ ﺭﻭﺒﺭﺕ ﻓﻼﻫﺭﺘﻲ ﻋﻠﻰ ﺤﻴﻥ ﻤﻊ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﺴﺘﻨﻁﺎﻕ ﺃﺸﻜﺎل ﻓﻨﻴﺔ ﺃﺨﺭﻯ ﻋﻨﺩﻤﺎ ﺍﺨـﺭﺝ‬

‫ﻤﺨﻠﻭﻗﺎﺘﻪ ﺍﻷﻭﻝﻰ )ﻨﺎﻨﻭﻙ ﺍﺒﻥ ﺍﻝﺸﻤﺎل(‪ ،‬ﺍﻝﺫﻱ ﻜﺎﻥ ﺒﺩﺍﻴﺎﺕ ﺘﻁﻭﻴﺭ ﺍﻷﻓﻼﻡ ﺍﻝﺘﺴﺠﻴﻠﻴﺔ ﻭﺍﻝﺘﻲ ﺍﻨﻁﻠﻘﺕ‬

‫ﻓﻴﻤﺎ ﺒﻌﺩ ﻓﻲ ﺍﻨﺠﻠﺘﺭﺍ ﻭﺍﻨﺘﺸﺭﺕ ﻝﺘﺘﺠﻠﻰ ﻗﻭﺍﻋﺩﻫﺎ ﻭﻨﻅﺭﻴﺎﺘﻬﺎ ﻝﺘﺩﺭﺱ ﻓﻲ ﺍﻝﻤﻌﺎﻫـﺩ ﻭﺍﻝﺠﺎﻤﻌـﺎﺕ‪،‬‬

‫ﻭﺘﺘﺠﺎﻭﺯ ﺍﻝﻨﻁﺎﻗﺎﺕ ﺍﻝﻤﺤﻠﻴﺔ ﺇﻝﻰ ﺍﻝﺩﻭﻝﻴﺔ ﻤﻨﻬﺎ‪ ،2‬ﻹﻨﺘﺎﺝ ﺃﻀﺨﻡ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﻻ ﺘﺯﺍل ﺫﺍﻜﺭﺘﻬﺎ ﺤﻴﺔ‬

‫ﻭﻤﻨﺘﻌﺸﺔ ﻋﻅﻴﻤﺔ‪ ،‬ﻓﻔﻲ ﺍﻻﺘﺤﺎﺩ ﺍﻝﺴﻭﻓﻴﺘﻲ ﻴﺨﺭﺝ ﺍﻴﻨﺸﺘﺎﻴﻥ ﻓﻲ ﻤﺸﻬﺩ ﻤﺫﺒﺤـﺔ ﺩﺭﺠـﺎﺕ ﺍﻭﺩﻴـﺴﺎ‬

‫)ﺍﻝﻤﺩﺭﻋﺔ ﺒﻭﺘﻤﻜﻴﻥ(‪ ،‬ﺍﻝﺫﻱ ﻻ ﺯﺍل ﺃﺴﻠﻭﺏ ﺍﻝﻤﻭﻨﺘﺎﺝ ﺤﻴﻨﺌﺫ ﻤﺩﻫﺸﹰﺎ ﺘﻤﺎ ‪‬ﻤﺎ ﻜﻤﺎ ﻫﻭ ﺍﻵﻥ‪ ،‬ﻭﺍﺴـﺘﻤﺭ‬

‫ﻜﺫﺍ ﻓﻲ ﺃﻓﻼﻤﻪ )ﺃﻜﺘﻭﺒﺭ( ﻭ)ﺍﻝﺨﻁ ﺍﻝﻌﺎﻡ(‪ .‬ﻜﻤﺎ ﻅﻬﺭ ﺘﻴﺎﺭ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺘﻌﺒﻴﺭﻴﺔ ﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗـﺕ ﻓـﻲ‬

‫ﺃﻝﻤﺎﻨﻴﺎ‪ ،‬ﻭﻤﻨﻪ ﻓﻴﻠﻡ )ﻋﻴﺎﺩﺓ ﺍﻝﺩﻜﺘﻭﺭ ﻜﺎﻝﻴﺠﺎﺭﻱ( ﻝﻠﻤﺨﺭﺝ ﺍﻻﻝﻤﺎﻨﻲ ﺭﻭﺒﺭﺕ ﻭﺍﻴﻥ‪.3‬‬

‫‪Warner‬‬ ‫ﻜﻤﺎ ﻨﺫﻜﺭ ﺍﻝﻤﺭﺤﻠﺔ ﺍﻝﺘﻲ ﻨﻁﻘﺕ ﻓﻴﻬﺎ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻔﻲ ﺃﻜﺘﻭﺒﺭ ﻋﺎﻡ ‪ 1927‬ﻗﺩﻤﺕ ﺸﺭﻜﺔ‬

‫‪ Brothers‬ﻓﻴﻠﻡ )ﻤﻐﻨﻲ ﺍﻝﺠﺎﺯ(‪ ،‬ﺍﻝﺫﻱ ﻀﻡ ﺤﻭﺍﺭﺍ ﻨﺎﻁﻘﺎ‪ .‬ﻋﺎﻡ ‪ 1939‬ﺍﻨﺘﻬﺕ ﺍﻝﺤـﺭﺏ ﺍﻝﻌﺎﻝﻤﻴـﺔ‬

‫ﺍﻝﺜﺎﻨﻴﺔ ﻤﺨﻠﻔﺔ ﻭﺭﺍﺀﻫﺎ ﺃﺯﻤﺎﺕ ﺍﻗﺘﺼﺎﺩﻴﺔ ﻭﻭﻴﻼﺕ ﻭﻜﻭﺍﺭﺙ‪ ،‬ﻭﺩﺨﻭل ﺃﺴﻠﺤﺔ ﺠﺩﻴﺩﺓ‪ ،‬ﻭﺃﻴـﺩﻝﻭﺠﻴﺎﺕ‬

‫ﻭﺃﻓﻜﺎﺭ ﻜﺎﻥ ﻝﻬﺎ ﺍﻷﺜﺭ ﺍﻝﻜﺒﻴﺭ ﻓﻲ ﺘﻐﻴﺭ ﺨﺭﺍﺌﻁ ﺍﻝﻁﺭﻴﻕ‪ ،‬ﻓﻜﺎﻨﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻔﻥ ﺍﻷﻜﺜﺭ ﺘﻌﺒﻴﺭﹰﺍ ﻋـﻥ‬

‫‪ 1‬ﺴﺘﺎﺒﻠﺯ‪ ،‬ﺩﻭﻨﺎﻝﺩ‪"" .(1981) .‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ"‪ .‬ﺍﻝﻘﺎﻫﺭﺓ‪ :‬ﺩﺍﺭ ﺍﻝﻤﻌﺎﺭﻑ‪36 ،‬‬

‫‪2‬‬
‫‪Yannis Tzioumakis. Ibid 63‬‬
‫ﻋﻁﺎﷲ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪73-72 ،‬‬ ‫‪3‬‬

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‫ﺍﻝﺤﺭﺏ ﻭﻭﻴﻼﺘﻬﺎ ﻭﺭﻏﻡ ﺍﻷﺯﻤﺎﺕ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﺍﻝﻤﺘﻼﺤﻘﺔ ﻭﻀﻌﻑ ﺍﻻﻨﺘﺎﺝ ﻭﺼﻌﻭﺒﺔ ﺍﻝﻅﺭﻭﻑ ﺇﻝﻰ‬

‫ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻝﻡ ﺘﺘﻼﺵ ﺒل ﺘﻜﻴﻔﺕ ﺒﺄﻥ ﺃﻨﺘﺠﺕ ﻨﻭﻋﺎ ﺠﺩﻴﺩﺍ ﻤﻥ ﺍﻝﺴﻴﻨﻤﺎ‪ ،‬ﺃﺒﺩﻋﺘﻪ ﺍﻝﻭﺍﻗﻌﻴـﺔ ﺍﻝﺠﺩﻴـﺩﺓ‬

‫ﺨﺎﺼﺔ ﻓﻲ ﺍﻴﻁﺎﻝﻴﺎ ﺤﻴﺙ ﺍﻝﻠﺠﻭﺀ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺒﺴﻴﻁﺔ ﺍﻹﻨﺘﺎﺝ‪ ،‬ﻤﻨﻁﻠﻘﺔ ﻤﻥ ﺍﻝﺤـﻭﺍﺭﻱ ﻭﺍﻝﺒﻴـﻭﺕ‬

‫ﻭﺍﻝﺸﻭﺍﺭﻉ ﻭﺃﻤﺎﻜﻥ ﺍﻝﻌﻤل‪ ،‬ﻓﻜﺎﻥ ﺭﻭﺒﺭﺘﻭ ﺭﻭﺴﻠﻴﻨﻲ ﻤﻥ ﺃﻭﺍﺌل ﻤﻥ ﻗﺩﻡ ﺃﻓﻼﻡ ﻫﺫﺍ ﺍﻝﻤـﺫﻫﺏ ﻓـﻲ‬

‫ﻓﻴﻠﻤﻪ )ﺭﻭﻤﺎ ﻤﺩﻴﻨﺔ ﻤﻔﺘﻭﺤﺔ ( ‪ ،1946‬ﻜﻤﺎ ﺍﻝﻤﺨﺭﺝ ﻓﻴﺘﻭﺭﺒﻭﺩﻱ )ﺴﺎﺭﻕ ﻝﺩﺭﺠﺎﺕ( ‪...11948‬ﺍﻝﺦ‬

‫ﺜﻡ ﻅﻬﺭﺕ ﻓﻴﻤﺎ ﻴﻠﻴﻬﺎ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻔﺭﻨﺴﻴﺔ ﻭﺭﺍﺌﺩﻫﺎ ﺍﻝﻤﺨﺭﺝ ﺍﻝﻔﺭﻨﺴﻲ ﺠﺎﻥ ﻝﻭﻙ ﺠﻭﺩﺍﺭ ﺤﻴﺙ ﻗﺩﻡ ﻓﻲ‬

‫ﻋﺎﻡ‪) 1960‬ﺤﺘﻰ ﺁﺨﺭ ﻨﻔﺱ( ﻭ)ﺍﻝﻤﺭﺃﺓ ﻫﻲ ﺍﻷﻤﺔ( ﻓﻲ ﻋﺎﻡ ‪ 1961‬ﻭ)ﺍﻝﺠﻨﺩﻱ ﺍﻝـﺼﻐﻴﺭ( ‪1963‬‬

‫ﻭ)ﺍﻤﺭﺃﺓ ﻤﺘﺯﻭﺠﺔ( ﻓﻲ ﺫﺍﺕ ﺍﻝﻌﺎﻡ‪ .‬ﻭﻋﻠﻰ ﻫﺫﺍ ﺍﻷﺜﺭ ﻅﻬﺭ ﻤﺨﺭﺠﻭﻥ ﺁﺨﺭﻭﻥ ﺃﻤﺜﺎل ﺭﻴﻨﻴﻪ ﺼﺎﺤﺏ‬

‫ﻓﻴﻠﻡ )ﻫﻴﺭﻭﺸﻴﻤﺎ ﺤﺒﻴﺒﺘﻲ(‪ .‬ﻭﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗﺕ ﻝﻤﻌﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻴﺎﺒﺎﻨﻴﺔ ﺒﻌﻨﺎﺼﺭ ﺇﺒﺩﺍﻋﻴﺔ ﻤﺘﻤﻴﺯﺓ ﻋﻠﻰ‬

‫ﺃﻴﺩﻱ ﺒﻌﺽ ﺍﻝﻤﺨﺭﺠﻴﻥ ﺃﻤﺜﺎل ﻴﺯﻭ ﺠﻭﺘﺸﻲ ﻭﺍﻜﻴﺭﺍ ﻜﺭﻭﺴﺎﻭﺍ‪ .‬ﻭﻓﻲ ﺍﻝﻬﻨﺩ ﻜﺫﻝﻙ ﺠـﺎﺀﺕ ﺃﻓـﻼﻡ‬

‫)ﺴﺎﺘﻴﺎ ﺠﻴﺕ ﺭﺍﻱ( ﻤﻥ ﺨﻼل ﺜﻼﺜﻴﺘﻪ ﺍﻝﻌﻅﻴﻤﺔ )ﺁﻴﻭ(‪.2‬‬

‫ﻭﻤﻨﺫ ﺍﻝﻌﺎﻡ ‪ 1951‬ﺘﻁﻭﺭﺕ ﺘﻘﻨﻴﺎﺕ ﻋﺭﻭﺽ ﺍﻷﻓﻼﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻭﺍﺯﺩﺍﺩﺕ ﻭﺘﻴﺭﺘﻬـﺎ ﺒـﺸﻜل‬

‫ﻤﺘﺴﺎﺭﻉ ﻤﺭﻭﺭﹰﺍ ﺒﺸﺎﺸﺔ ﻋﺭﺽ )ﺍﻝﺴﻴﺯﻤﺎ(‪ .3‬ﻓﻲ ﻋﺎﻡ ‪ 1955‬ﻗـﺎﻡ ﻭﺍﻝـﺕ ﺩﻴﺯﻨـﻲ ﺒـﺎﺨﺘﺭﺍﻉ‬

‫)ﺍﻝﺴﺭﻜﺭﺍﻤﺎ( ﺍﻝﺫﻱ ﻝﻡ ﻴﻠﻕ ﺘﺭﺤﻴﺒﹰﺎ ﻭﺍﺴﻌﹰﺎ ﺒﺴﺒﺏ ﺘﻜﻠﻔﺘﻪ ﺍﻝﺒﺎﻫﻅﺔ‪ ،‬ﻓﻬﻭ ﻴﻘﻭﻡ ﻋﻠﻰ ﺸﺎﺸـﺔ ﺩﺍﺌﺭﻴـﺔ‬

‫ﺘﺴﺘﺨﺩﻡ ﺇﺤﺩﻯ ﻋﺸﺭﺓ ﺁﻝﺔ ﻋﺭﺽ‪ .4‬ﻜﻤﺎ ﺒﺩﺃﺕ ﺘﻅﻬﺭ ﻤﻭﺠﺎﺕ ﺃﻓﻼﻡ ﺍﻝﺭﻋﺏ ﻭﺍﻷﻓﻼﻡ ﺍﻝﺠﻨﺴﻴﺔ ﺍﻝﺘﻲ‬

‫ﺘﺤﻘﻕ ﺍﻭﺩﻴﻤﺎ‪ ،5‬ﻭﻝﻜﻥ ﻫﺫﺍ ﻝﻡ ﻴﺘﻨﺎﻑ ﻤﻊ ﺍﻝﻭﺠﻭﺩ ﺍﻝﻤﻁﻠﻕ ﻝﻸﻓﻼﻡ ﺍﻝﺠﻴﺩﺓ ﻭﺍﻝﺘـﻲ ﺤـﺎﺯﺕ ﻋﻠـﻰ‬

‫ﺴﺘﺎﺒﻠﺯ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪38 ،‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪40 ،‬‬ ‫‪2‬‬

‫ﻭﻴﺘﻡ ﺘﻨﻔﻴﺫﻩ ﺒﺎﺴﺘﺨﺩﺍﻡ ﻋﺩﺴﺔ ﻋﻨﺩ ﺍﻝﺘﺼﻭﻴﺭ ﺍﻝﺘﻲ ﺘﻘﻭﻡ ﺒﻀﻐﻁ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺒﺎﻨﻭﺭﺍﻤﻴﺔ ﻋﻨﺩ ﺍﻝﺘﺼﻭﻴﺭ ﺜﻡ ﻴﺘﻡ ﺍﻋﺎﺩﺓ ﻓﺭﺩﻫﺎ ﻋﻨﺩ ﺍﻝﺘﺼﻭﻴﺭ‪.‬‬ ‫‪3‬‬

‫ﺴﺘﺎﺒﻠﺯ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪42 ،‬‬ ‫‪4‬‬

‫ﻤﺼﻁﻠﺢ ﺍﻻﻭﺩﻴﻡ ﻴﻌﻨﻲ ﺘﺤﻘﻴﻕ ﺍﻋﻠﻰ ﻨﺴﺒﺔ ﻤﻥ ﺍﻝﻤﺸﺎﻫﺩﺓ ﻋﻠﻰ ﻤﺴﺘﻭﻯ ﺍﻝﺠﻤﻬﻭﺭ‪.‬‬ ‫‪5‬‬

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‫ﻨﺠﺎﺤﺎﺕ ﻋﻅﻴﻤﺔ ‪ .1‬ﻤﻊ ﻤﻁﻠﻊ ﺍﻝﺴﺒﻌﻴﻨﺎﺕ ﻅﻬﺭ ﻤﺎ ﻋﺭﻑ ﺒـﺎﻝﻔﻴﻠﻡ ﺍﻝـﺴﻴﺎﺴﻲ ﻗـﺩﻤﺘﻬﺎ ﺍﻝـﺴﻴﻨﻤﺎ‬

‫ﺍﻷﻭﺭﻭﺒﻴﺔ ﺜﻡ ﻓﻲ ﻤﺎ ﻴﻠﻴﻬﺎ ﺍﻝﻘﺎﺭﺓ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،‬ﺤﻴﺙ ﺃﺨﺭﺠﺕ ﺃﻓﻼﻡ ﺤﻭل ﺍﻝﺤﺭﺏ ﺍﻝﻔﻴﺘﻨﺎﻤﻴﺔ‪ ،‬ﻭﻤﻨﻬﺎ‬

‫ﻗﺩﻤﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻋﺩﺩﺍ ﻤﻥ ﺍﻷﻓﻼﻡ ﺃﻤﺜﺎل )ﻻ ﺘﻌﻴﺵ ﻫﻨﺎ ﺒﻌﺩ ﺍﻝﻴﻭﻡ ﺍﻝﻴﺴﺎ( ﻝﻠﻤﺨﺭﺝ ﻤﺎﺭﺘﻥ‬

‫ﺴﻜﻭﺴﻴﺱ‪ ،‬ﻭﻓﻴﻠﻡ )ﺍﻝﻭﺠﻪ ﺍﻝﻤﻌﺭﺽ ﻝﻼﻫﺎﻨﺔ( ﻝﻠﻤﺨﺭﺝ ﻤﺎﺭﺘﻥ ﺭﻴﺕ‪ ،‬ﻭﻓﻲ ﻋـﺎﻡ ‪ 1972‬ﺃﺨـﺭﺝ‬

‫ﺍﻷﻤﺭﻴﻜﻲ ﻓﺭﺍﻨﺴﻴﺱ ﻓﻭﺭ ﻋﺩﺩﺍ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺴﻴﺎﺴﻴﺔ ﺍﻝﻤﺘﻭﺍﻝﻴﺔ ﺃﻤﺜﺎل )ﺯﻭﺍﺝ ﺃﻤﻲ(‪) ،‬ﺍﻝﺤﺎﺩﺜﺔ( ﺜـﻡ‬

‫)ﺯﻭﺝ ﺃﻤﻲ( ﺝ‪ .2‬ﻨﺫﻜﺭ ﺃﻴﻀﺎ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺤﺎﺌﺯ ﻋﻠﻰ ﺠﺎﺌﺯﺓ ﺍﻷﻭﺴﻜﺎﺭ )ﻗﺎﺌﻤﺔ ﺸﻨﺩﻝﺭ( ﺍﻝـﺫﻱ ﻴﺤﻜـﻲ‬

‫ﻗﺼﺔ ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﻅل ﺍﻝﺤﻜﻡ ﺍﻝﻨﺎﺯﻱ‪ ،‬ﻭﻜﺎﻥ ﻤﺨﺭﺠﻪ )ﺴﺒﻴل ﺒﺭﺝ( ﻤﻥ ﺃﻭﺍﺌل ﻤﻥ ﺍﺴﺘﺨﺩﻡ ﺍﻝـﺴﻴﻨﻤﺎ‬

‫ﺍﻻﻝﻜﺘﺭﻭﻨﻴﺔ ﺤﻴﺙ ﺍﺴﺘﺨﺩﻡ ﺘﻘﻨﻴﺔ ﺍﻝﺤﺎﺴﻭﺏ‪ ،‬ﻭﺃﻨﻅﻤﺔ ﺍﻝﻭﺴﺎﺌﻁ ﺍﻝﻤﺘﻌﺩﺩﺓ‪ ،‬ﻭﺇﻤﻜﺎﻨﺎﺕ ﺍﻝﻔﻴﺩﻴﻭ ﺤﻴـﺙ‬

‫ﺍﺨﺭﺝ ﻓﻴﻠﻤﻪ )ﺤﺩﻴﻘﺔ ﺍﻝﺩﻴﻨﺼﻭﺭﺍﺕ(‪ ،‬ﻭﻤﻥ ﻫﻨﺎ ﻓﻲ ﺃﻭﺍﺨﺭ ﺍﻝﺜﻤﺎﻨﻴﻨﺎﺕ ﻭﻤﻁﻠﻊ ﺍﻝﺘﺴﻌﻴﻨﺎﺕ ﻜﺎﻨﺕ ﺃﻭل‬

‫ﻤﺒﺸﺭﺍﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺫﺍﺕ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﻝﻤﺘﻌﺩﺩﺓ‪ ،‬ﻓﺄﺨﺭﺝ ﻜﻼ ﻤﻥ ﻓﺭﺍﻨﺴﻴﺱ ﻓﻭﺭﺩ ﻭﺠﻭﺭﺝ ﻝﻭﻜﺎﺱ ﺍﻝﻌﺩﻴﺩ‬

‫ﻤﻥ ﺃﻓﻼﻡ ﺍﻝﺨﻴﺎل ﺍﻝﻌﻠﻤﻲ ﻤﺴﺘﺨﺩﻤﻴﻥ ﻭﻤﺯﺍﻭﺠﻴﻥ ﺒﻴﻥ ﺘﻘﻨﻴﺎﺕ ﺍﻝﺴﻴﻨﻤﺎ‪ ،‬ﻭﺇﻤﻜﺎﻨﺎﺕ ﺍﻝﻔﻴﺩﻴﻭ ﺍﻝﻤﺘﻁﻭﺭﺓ‬

‫‪.2‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪45 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﻤﺤﻤﻭﺩ‪ ،‬ﻋﻁﺎﷲ‪".(1995) .‬ﺍﻝﺴﻴﻨﻤﺎ ﺸﺎﺒﺔ ﻋﻤﺭﻫﺎ ﻤﺎﺌﺔ ﻋﺎﻡ"‪ .‬ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻉ‪71-63. 439‬‬

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 ‫ﺍﻝﻔﺼل ﺍﻝﺜﺎﻝﺙ‬

‫‪ .1‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ‬
‫"ﺤﻤل ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻬﻤﺔ ﺼﻌﺒﺔ ﻭﺩﻗﻴﻘﺔ ﻻ ﺘﻘل ﺃﻫﻤﻴﺔ ﻋﻥ ﺤﻤل ﺍﻝﺴﻼﺡ ﻓﻲ ﺍﻝﺤﺭﺏ" ‪ :‬ﺠﺎﻥ ﺍﻝﻜﺴﺎﻥ‬
‫‪1‬‬

‫ﻗﺎﻤﺕ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﺤﺭﻜﺎﺕ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ ،‬ﺨﺎﺼﺔ ﻓﻲ ﺩﻭل ﺍﻝﺠﻨﻭﺏ‪ ،‬ﺭﺍﻓـﻀﺔ ﻤﻨﻁـﻕ ﺍﻝﻬﻴﻤﻨـﺔ‬

‫ﺍﻝﺴﻴﺎﺴﺔ ﻭﺍﻝﺘﺴﻠﻁ ﻭﺩﻋﺕ ﺇﻝﻰ ﺍﻝﺜﻭﺭﺓ ﻋﻠﻴﻪ ﻭﺘﺤﻁﻴﻤﻪ‪ ،‬ﻜﻤﺎ ﻭﺠﺩﺕ ﺍﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺃﺩﺍﺓ ﻝﻠﺘﻌﺒﻴﺭ ﻋﻥ‬

‫ﻫﺫﺍ ﺍﻝﺭﻓﺽ ﻝﻴﻅﻬﺭ ﻓﻲ ﻋﺩﺩ ﻤﻥ ﺍﻝﺘﺠﺎﺭﺏ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ ،‬ﻭﺒﺭﺯﺕ ﺃﻓﻼﻡ ﻴﻬﻤﻬﺎ ﺍﻻﺸﺘﻐﺎل ﺒﺎﻝﻭﻗـﺎﺌﻊ‬

‫ﺍﻝﺴﻴﺎﺴﻴﺔ ﻤﻥ ﻗﺒﻴل )ﺍﻹﻀﺭﺍﺏ( ﻭ)ﺍﻝﻤﺩﺭﻋﺔ ﺒﻭﺘﻤﻜﻴﻥ( ﻭ)ﺃﻜﺘﻭﺒﺭ( ﻝﻠﻤﺨﺭﺝ ﺴﻴﺭﺠﻲ ﺍﻴﺯﻨـﺸﺘﺎﻴﻥ‪،‬‬

‫ﻭ)ﺍﻝﻤﻌﻠﻡ ﺍﻷﻭل( ﻝﻠﻤﺨﺭﺝ ﻤﻴﺨﺎﻝﻜﻭﻑ‪ ،‬ﻭﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﺘﺠﺎﺭﺏ ﺍﻹﺒﺩﺍﻋﻴﺔ ﻝﻠﻤﺨﺭﺝ ﺩﺯﻴﻐﺎ ﻤﺭﺘﻭﻑ‪.2‬‬

‫ﻭﻫﺫﺍ ﻤﻤﺎ ﻻ ﻴﻌﻨﻲ ﺍﺸﺘﻐﺎل ﺃﻓﻼﻡ ﻫﺅﻻﺀ ﻋﻠﻰ ﺍﻝﻭﻅﻴﻔﺔ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻓﻘﻁ‪ ،‬ﻭﺇﻨﻤﺎ ﻜﺎﻨﺕ ﺩﻓﻌﺔ ﺒﺎﺘﺠـﺎﻩ‬

‫ﺒﻨﺎﺀ ﻤﺭﺘﻜﺯﺍﺕ ﺠﻤﺎﻝﻴﺔ ﻭﻓﻜﺭﻴﺔ ﻤﺘﻤﻴﺯﺓ‪ 3.‬ﺃﻤﺎ ﻤﻭﻀﻭﻋﺎﺕ ﻫﺫﻩ ﺍﻷﻓﻼﻡ ﻓﻘﺩ ﺍﺸﺘﻤﻠﺕ ﻋﻠـﻰ ﺍﻨﺘﻘـﺎﺩ‬

‫ﺍﻝﻁﺒﻘﺎﺕ ﺍﻝﺤﺎﻜﻤﺔ‪ ،‬ﻭﻤﻭﺍﺠﻬﺔ ﺍﻝﺘﻴﺎﺭ ﺍﻝﻤﻬﻴﻤﻥ ﻭﺍﻝﻤﺘﺴﻠﻁ‪ ،‬ﺇﺫﻜﺎﺀ ﺠﺫﻭﺭ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﺸﻌﺒﻴﺔ‪ ،‬ﻭﺍﻝﺘﻁـﺭﻕ‬

‫ﺇﻝﻰ ﺤﺎﻝﺔ ﺍﻝﻜﺒﺕ ﻭﺍﻝﺤﺎﻝﺔ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﺍﻝﻤﺯﺭﻴﺔ ﻓﻲ ﻤﺤﺎﻭﻝﺔ ﻹﻴﻘﺎﻅ ﺍﻝﺘﻀﺎﻤﻥ ﺍﻝﻌﺎﻝﻤﻲ ﻀﺩ ﺍﻝﻌﻨـﻑ‬

‫ﻭﺍﻝﻘﻤﻊ ﻭﺍﻝﻬﻴﻤﻨﺔ‪.4‬‬

‫ﻨﺸﺄﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻋﻠﻰ ﺃﻴﺩﻱ ﺒﻌﺽ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﺍﻻﻴﻁﺎﻝﻴﻴﻥ ﻋﻘـﺏ ﺍﻝﺤـﺭﺏ ﺍﻝﻌﺎﻝﻤﻴـﺔ‬

‫ﺍﻝﺜﺎﻨﻴﺔ‪ ،‬ﻭﻜﺎﻥ ﺃﻏﻠﺒﻬﻡ ﻤﻤﻥ ﻴﻨﺘﻤﻭﻥ ﺇﻝﻰ ﺍﻝﺤﺯﺏ ﺍﻝﻴﺴﺎﺭﻱ‪ ،‬ﺇﺫ ﻁﺭﺤﻭﺍ ﻤﻭﻀﻭﻋﺎﺕ ﺘﺨﺹ ﺍﻝﻭﺍﻗـﻊ‬

‫ﺍﻝﺴﻴﺎﺴﻲ ﻋﻘﺏ ﺍﻝﺘﺩﻤﻴﺭ ﺍﻝﺫﻱ ﺨﻠﻔﺘﻪ ﺍﻝﺤﺭﺏ ﺍﻝﻔﺎﺸﻴﺔ ‪ .5‬ﻗﺩﻡ ﻓﻴﻜﺘﻭﺭﻴﺎ ﺩﻱ ﺴـﻴﻜﺎ ﻓـﻴﻠﻡ )ﺴـﺎﺭﻕ‬

‫ﺠﺎﻥ ﺍﻝﻜﺴﺎﻥ‪" ،(1982) :‬ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ"‪ ،‬ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ‪ ،‬ﺍﻝﻜﻭﻴﺕ‪53 ،‬‬ ‫‪1‬‬

‫ﺍﺘﺒﺎﺘﻭ‪ ،‬ﺤﻤﻴﺩ‪" .(2008).‬ﺭﺅﻴﺔ ﺍﻝﻤﻬﻤﺵ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﻤﻥ ﺍﻝﺘﺠﺎﺭﺏ ﺍﻝﻌﺎﻝﻤﻴﺔ"‪ .‬ﺼﻭﺭﺓ ﺍﻝﻤﻬﻤﺵ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ‪ :‬ﺍﻝﻭﻅﺎﺌﻑ ﻭﺍﻝﺨﺼﻭﺼﻴﺎﺕ‪.‬‬ ‫‪2‬‬

‫ﺍﻝﻤﻐﺭﺏ‪ :‬ﺍﻴﻤﻭﺯﺍﺭ ﻝﻠﺴﻴﻨﻤﺎ ‪16 .8 .‬‬

‫‪ 3‬ﺍﻴﺯﻨﺸﺘﺎﻴﻥ‪ .‬ﺴﻴﺭﺠﻲ‪" .(1975 ).‬ﺍﻹﺤﺴﺎﺱ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ .‬ﺴﻬﻴل ﺠﺒﺭ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻔﺎﺭﺍﺒﻲ‪43 .‬‬
‫ﺍﺘﺒﺎﺘﻭ‪ .‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪17،‬‬ ‫‪4‬‬

‫ﻜﺎﺯﺍﻨﻭﻑ‪ ،‬ﺍﻝﻜﺴﻨﺩﺭ‪".( 1975).‬ﺍﻝﺴﻴﻨﻤﺎ ﺒﻴﻥ ﺍﻻﻴﺩﻝﻭﺠﻴﺎ ﻭﺸﺒﺎﻙ ﺍﻝﺘﺫﺍﻜﺭ‪ .‬ﺴﺎﻤﻲ ﺍﻝﻜﻌﻜﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻁﻠﻴﻌﺔ‪13 ،‬‬ ‫‪5‬‬

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‫ﺍﻝﺩﺠﺎﺠﺔ( ﻋﺎﻡ ‪ 1949‬ﺤﻭل ﺍﻝﺒﻁﺎﻝﺔ ﻭﺍﻝﻔﻘﺭ ﺍﻝﻠﺫﻴﻥ ﺴﺎﺩﺍ ﺍﻝﻤﻨﻁﻘﺔ ﺨﻼل ﺘﻠﻙ ﺍﻝﻔﺘﺭﺓ‪ ،‬ﻭﻷﻭل ﻤـﺭﺓ‬

‫ﻜﺎﻨﺕ ﺘﹸﺴﺘﺨﺩﻡ ﺃﻤﺎﻜﻥ ﺤﻘﻴﻘﻴﺔ ﻝﺘﺼﻭﻴﺭ ﺍﻝﻤﺸﻬﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻭﻤﺜﹼﻠﺕ ﺘﻠﻙ ﺍﻝﻔﺘﺭﺓ ﺍﻝﻭﺍﻗﻌﻴـﺔ ﺍﻝﺠﺩﻴـﺩﺓ‬

‫ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ‪ .‬ﺜﻡ ﺃﺨﺫﺕ ﺘﻨﺘﺸﺭ ﺃﻓﻼﻡ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ ﺸﻴﺌﺎ ﻓﺸﻴﺌﺎ ﻓﻲ ﺒﺎﻗﻲ ﺩﻭل ﺍﻝﻌـﺎﻝﻡ ﻜﻤـﺎ‬

‫ﺃﺨﺫﺕ ﺃﺸﻜﺎﻻ ﺠﺩﻴﺩﺓ‪ ،‬ﻜﺎﻝﻜﻭﻤﻴﺩﻴﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ ،‬ﻭﺍﻝﺒﻭﻝﻴﺴﻴﺔ ﺍﻝـﺴﻴﺎﺴﻴﺔ‪ ،‬ﻭﺭﺍﻓـﻕ ﺫﻝـﻙ ﺃﻁﺭﻭﺤـﺎﺕ‬

‫ﻭﻨﻅﺭﻴﺎﺕ ﺒﺤﺜﺕ ﺠﺎﺩﺓ ﻝﻔﻬﻡ ﺃﺒﻌﺎﺩ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻝﺘﺄﺜﻴﺭ ﺍﻻﻴﺩﻭﻝﻭﺠﻴﺎ ﻝﻬﺎ‪ .‬ﺜﻡ ﺒـﺩﺃﺕ ﺍﻝـﺴﻴﻨﻤﺎ‬

‫ﺍﻝﺴﻴﺎﺴﻴﺔ ﺘﹸﻁﺭﺡ ﻜﺴﻼﺡ ﻓﻲ ﻴﺩ ﺍﻝﺜﻭﺭﺓ ﻜﻤﺎ ﻓﻲ ﺃﻤﺭﻴﻜﻴﺎ ﺍﻝﻼﺘﻴﻨﻴﺔ‪ ،‬ﺤﻴﺙ ﺭﻓـﻀﻭﺍ ﺍﻝـﺴﻴﻨﻤﺎ ﺫﺍﺕ‬

‫ﺍﻝﻁﺎﺒﻊ ﺍﻝﺒﺭﺠﻭﺍﺯﻱ ﻭﻁﺎﻝﺒﻭﺍ ﺒﺄﻴﺩﻭﻝﻭﺠﻴﺎ ﺨﺎﺼﺔ ﺒﺎﻝﺴﻴﻨﻤﺎ ﺘﺤﻘﻕ ﻤﻁﻠـﺏ ﺍﻝﻔـﻥ ﺃﻭﻻ‪ ،‬ﺜـﻡ ﺘﺨـﺩﻡ‬

‫ﺃﻴﺩﻝﻭﺠﻴﺎ ﺍﻝﺜﻭﺭﺓ ﺜﺎﻨﻴﺎ‪ .‬ﻭﻫﻜﺫﺍ ﻁﹸﺭﺤﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺇﻤﻜﺎﻨﻴﺔ ﺘﺄﺜﻴﺭﻫﺎ ﺴﻴﺎﺴﻴﺎ ﻋﻠﻰ ﺍﻝﺠﻤﻬـﻭﺭ‬

‫ﻭﺴﻠﻭﻜﻬﻡ‪ .‬ﻭﻨﺫﻜﺭ ﻫﻨﺎ ﻓﻴﻠﻤﻲ ﺠﺭﻴﻔﺕ )ﺍﻝﺘﻌﺼﺏ( ﻭ)ﻤﻭﻝﺩ ﺍﻤﺔ( ﺤﻭل ﺍﻝﺼﺭﺍﻉ ﺒﻴﻥ ﺍﻝﻌﺎﻤـل ﻭﺭﺏ‬

‫ﻋﻤﻠﺔ‪ ،‬ﻭﺍﻝﺘﻔﺭﻗﺔ ﺍﻝﻌﻨﺼﺭﻴﺔ ﻓﻲ ﺃﻤﺭﻴﻜﺎ‪ ،‬ﻭﺍﻀﻁﻬﺎﺩ ﺍﻝﺯﻨﻭﺝ ‪ .1‬ﻜﺎﻥ ﻝﻬﺫﻴﻥ ﺍﻝﻔﻴﻠﻤﻴﻥ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻝﻜﺒﻴﺭ‬

‫ﻋﻠﻰ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ﻭﺘﺴﻠﻴﻁ ﺍﻝﻀﻭﺀ ﻋﻠﻰ ﻤﺜل ﻫﺫﻩ ﺍﻝﻘﻀﺎﻴﺎ ﺇﺫ ﺘﺘﻤﻴﺯ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ ﺒﺄﻨﻬﺎ ﺘﻁﺭﺡ‬

‫ﺍﻝﻤﻭﺍﻀﻴﻊ ﻤﻥ ﺨﻼل ﻋﻼﻗﺘﻬﺎ ﺍﻝﻤﺒﺎﺸﺭﺓ ﺒﺎﻝﺴﻴﺎﺴﻴﺔ ﻜﺼﺭﺍﻉ ﺍﻝﻁﺒﻘﺎﺕ ﻓﻲ ﺴﺒﻴل ﺍﻝـﺴﻠﻁﺔ ﻤـﺜﻼ‪،‬‬

‫ﻓﻴﻜﻭﻥ ﺍﻝﻬﺩﻑ ﻤﻥ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﺎﺴﻲ ﻫﻭ ﺘﺤﺭﻴﺽ ﻨﺤﻭ ﺍﻝﻨﻀﺎل ﺍﻝﺴﻴﺎﺴﻲ ﺃﻭ ﺍﻝﻔﻌـل ﺍﻝـﺴﻴﺎﺴﻲ ﺃﻭ‬

‫ﺒﺎﺘﺠﺎﻩ ﺍﻝﺴﻠﻁﺔ‪ ،‬ﺤﻴﺙ ﺃﻥ ﻜﻼ ﻤﻥ ﺍﻝﻤﻌﺭﻓﺔ ﻭﺍﻝﺜﻘﺎﻓﺔ ﺒﺸﻜل ﻋﺎﻡ ﻭﺍﻝﻔﻨﻭﻥ ﺘﺘﺠﺎﻭﺏ ﻤـﻊ ﻤﺤﻴﻁﻬـﺎ‬

‫ﻭﺍﻫﺘﻤﺎﻤﺎﺕ ﺍﻝﺼﺭﺍﻉ ﺍﻝﻁﺒﻘﻲ‪.‬‬

‫ﺇﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺘﻲ ﺘﺨﺹ ﺍﻝﻁﺎﺒﻊ ﺍﻻﺴﺘﻌﻤﺎﺭﻱ ﺍﻝﺠﺩﻴﺩ ﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻝﺘﺒﻌﻴﺔ ﺍﻝﺘﻲ ﺘﻭﻝﺩ ﺃﻨﻤﺎﻁﺎ ﻭﻗﻴﻤﺎ‬

‫ﻨﺎﺘﺠﺔ ﻋﻥ ﺍﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﺘﻭﺴﻊ ﺍﻻﻤﺒﺭﻴﺎﻝﻲ‪ .‬ﻭﻤﻥ ﺨﻼل ﺍﻝﺘﺎﺭﻴﺦ ﺍﻝﻤﺒﻜﺭ ﻝﻠﺴﻴﻨﻤﺎ ﻜﺎﻥ ﻤﻥ ﺍﻝﻤﻤﻜـﻥ‬

‫ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺴﻴﻨﻤﺎ ﺍﻴﻁﺎﻝﻴﺔ ﻭﺃﻝﻤﺎﻨﻴﺔ ﻤﺘﻤﻴﺯﺓ ﻭﻤﻭﺍﺘﻴﺔ ﻝﺴﻤﺎﺕ ﺍﻝﺜﻭﺭﺓ ﻭﺍﻝﻘﻭﻤﻴﺔ ‪ .2‬ﺇﻻ ﺃﻥ ﻫﺫﺍ ﻤﻤـﺎ‬

‫ﻴﺒﺩﻭ ﻗﺩ ﻁﻤﺴﺘﻪ ﺍﻝﻴﻭﻡ ﻤﻌﺎﻝﻡ ﺍﻝﺘﻭﺴﻊ ﺍﻷﻤﺭﻴﻜﻲ ﻭﻨﻤﻭﺫﺝ ﻫﻭﻝﻴﻭﻭﺩ‪ ،‬ﻝﻐﺔ ﻭﺒﻨﻴﺔ‪ ،‬ﺒﺤﻴﺙ ﺘﻐﻴﺏ ﺴﻴﻨﻤﺎ‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪15 ،‬‬ ‫‪1‬‬

‫ﺍﺘﺒﺎﺘﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪19 ،‬‬ ‫‪2‬‬

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‫ﺍﻝﻤﺅﻝﻑ ﻝﺤﺴﺎﺏ ﺴﻴﻨﻤﺎ ﺍﻝﻤﺅﺴﺴﺔ‪ ،‬ﺍﻝﺘﻲ ﺍﺒﺘﻜﺭﺕ ﻭﻨﹸﻅﻤﺕ ﻝﺘﻭﻝﻴﺩ ﺍﻷﻓﻜﺎﺭ‪ ،‬ﻓﻜﺎﻥ ﺭﺃﺱ ﺍﻝﻤﺎل ﺃﺼﻼ‬

‫ﻝﻬﺎ ﻭﻤﺤﺭﻜﻬﺎ ﺍﻷﺴﺎﺴﻲ‪ ،‬ﺤﻴﺙ ﻴﻅﻬﺭ ﺍﻹﻨﺴﺎﻥ ﺒﺎﻝﻨﻬﺎﻴﺔ ﺸﻴﺌﺎ‪ ،‬ﺴﻠﺒﻴﺎ‪ ،‬ﻤﺴﺘﻬﻠﻜﺎ‪ ،‬ﻻ ﻴﻤﻠﻙ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ‬

‫ﻓﻬﻡ ﺠﺩﻝﻴﺎﺕ ﺍﻝﻭﺍﻗﻊ ﻭﺍﻝﺘﻁﻭﺭ ﺍﻝﺘﺎﺭﻴﺨﻲ ﻝﻬﺎ ﻜﻤﺎ ﺃﻥ ﻋﻠﻴﻪ ﻓﻘـﻁ ﺍﻝﻘـﺭﺍﺀﺓ‪ ،‬ﺍﻝﺘﺄﻤـل‪ ،‬ﺍﻹﺼـﻐﺎﺀ‬

‫ﻭﺍﻝﺨﻀﻭﻉ‪ ،‬ﺤﻴﺙ ﺘﺒﺩﻭ ﻋﻤﻠﻴﺎﺕ ﺤﺼﺭ ﺘﺎﺭﻴﺨﻴﺔ ﻋﻠﻰ ﺸﺎﺸﺔ ﺍﻝﺴﻴﻨﻤﺎ ‪.1‬‬

‫ﻭﻗﺩ ﻴﺒﺭﺯ ﺍﻝﺒﺩﻴل ﺇﺫﻥ ﻓﻲ ﺴﻴﻨﻤﺎ ﺍﻝﻤﺅﻝﻑ ﺍﻝﺤﺭ ﻻ ﻴﺘﺤﺩﺙ ﺒﻠﻐﺔ ﻤﻌﻴﺎﺭﻴﺔ ﺃﻭ ﺇﻱ ﻁﺎﺒﻊ ﻝﻠﻬﻴﻤﻨـﺔ‬

‫ﺍﻝﺜﻘﺎﻓﻴﺔ‪ ،‬ﺤﻴﺙ ﻴﻘﻭل ﺠﻭﺩﺍﺭ "ﻴﻅل ﺼﺎﻨﻊ ﺍﻝﻔﻴﻠﻡ ﻤﺼﻁﺎﺩﺍ ﺩﺍﺨل ﺍﻝﺤﺼﻥ"‪.2‬‬

‫ﺇﻥ ﻗﺩﺭﺓ ﺍﻝﺼﻭﺭ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻋﻠﻰ ﺍﻝﺘﺨﻠﻕ ﻭﺍﻝﻨﻔﺎﺫ ﻓﻲ ﺍﻹﻤﻜﺎﻨﺎﺕ ﺍﻝﺘﻲ ﺘﻤﺘﻠﻜﻬﺎ‪ ،‬ﻭﻗﻭﺓ ﺍﻝﺘﻨـﻭﻴﺭ‬

‫ﻓﻲ ﺍﻝﻭﺴﻴﻠﺔ ﺍﻝﺴﻤﻌﻴﺔ ﺍﻝﺒﺼﺭﻴﺔ‪ ،‬ﺠﻌﻠﺕ ﺍﻝﻔﻴﻠﻡ ﺃﻜﺜﺭ ﺘﺄﺜﻴﺭﺍ ﻤﻥ ﺃﻱ ﻭﺴﻴﻠﺔ ﺍﺘﺼﺎل ﺃﺨﺭﻯ‪ ،‬ﻭﻝﻨـﺎ ﺃﻥ‬

‫ﻨﺫﻜﺭ ﺒﻌﺽ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﻜﺎﻥ ﻝﻬﺎ ﺘﺄﺜﻴﺭ ﻤﺒﺎﺸﺭ‪ ،‬ﻭﺃﺴﻬﻤﺕ ﻓﻲ ﺘﻌﺒﺌﺔ ﻜﻭﺍﺩﺭ ﺍﻝﺜﻭﺭﺓ ﻭﺤﺘـﻰ ﻓـﻲ‬

‫ﻋﻤل ﺍﻷﺤﺯﺍﺏ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻝﻜﺘل ﺍﻝﺠﻤﺎﻫﻴﺭﻴﺔ ﺍﻝﺸﻌﺒﻴﺔ‪ ،‬ﻜﻤﺜل ﺍﻝﻁﻼﺏ ﺍﻝﺫﻴﻥ ﺃﻗﺎﻤﻭﺍ ﻤﺘﺎﺭﻴﺱ ﺒﻌـﺩ‬

‫ﻋﺭﺽ ﻓﻴﻠﻡ )ﺃﻨﺎ ﺃﺤﺏ ﺍﻝﻁﻠﺒﺔ( ﻓﻲ ﻓﻴﻨﺩﺍ‪ ،‬ﻭﺃﻭﻝﺌﻙ ﺍﻝﺫﻴﻥ ﺘﻅﺎﻫﺭﻭﺍ ﻭﺃﻨﺸﺩﻭﺍ ﺍﻝﻨﺸﻴﺩ ﺍﻝـﻭﻁﻨﻲ ﻓـﻲ‬

‫ﻜﺭﺍﺘﺎﺱ ﺒﻌﺩ ﻋﺭﺽ ﻓﻴﻠﻡ )ﺴﺎﻋﺔ ﺍﻝﺠﺤﻴﻡ( ‪ .3‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻜﺜﻴﺭ ﻤـﻥ ﺍﻝﻠﻘـﺎﺀﺍﺕ ﻭﺍﻻﺠﺘﻤﺎﻋـﺎﺕ‬

‫ﺍﻝﺴﺭﻴﺔ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺘﻌﻘﺩ ﺒﻌﺩ ﻜل ﻓﻴﻠﻡ ﻤﻥ ﺃﻓﻼﻡ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺜﺎﻝﺜﺔ‪ .4‬ﻭﻷﻭل ﻤﺭﺓ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﺍﻝﻼﺘﻴﻨﻴـﺔ‬

‫ﺘﺼﺒﺢ ﺍﻝﻤﻨﻅﻤﺎﺕ ﻭﺍﻷﺤﺯﺍﺏ ﺭﺍﻋﻴﺔ ﻭﻤﻭﻅﻔﺔ ﻝﻠـﺴﻴﻨﻤﺎ ﻷﻫـﺩﺍﻑ ﺴﻴﺎﺴـﻴﺔ ﻜﻤﻨﻅﻤـﺔ ﺍﻝﺤـﺯﺏ‬

‫ﺍﻻﺸﺘﺭﺍﻜﻲ ﺍﻝﺘﺸﻴﻠﻲ‪ ،‬ﺍﻝﺘﻲ ‪‬ﺯﻭﺩﺕ ﻜﻭﺍﺩﺭﻫﺎ ﺒﺎﻝﻤﻌﺩﺍﺕ ﻭﺍﻝﺨﺒﺭﺍﺕ ﻝﺼﻨﺎﻋﺔ ﺴﻴﻨﻤﺎ ﺜﻭﺭﻴﺔ‪ .‬ﻭﻜـﺫﻝﻙ‬

‫ﻓﻌﻠﺕ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻤﻨﻅﻤﺎﺕ ﺍﻝﺸﻌﺒﻴﺔ ﻓﻲ ﺃﺴﻴﺎ ﻭﺇﻓﺭﻴﻘﻴﺎ ﻭﺃﻤﺭﻴﻜﺎ ﺍﻝﻼﺘﻴﻨﻴﺔ‪ ،‬ﺒﺭﻏﻡ ﻀﺎﻝﺔ ﺍﻝﺨﺒـﺭﺍﺕ‬

‫‪1‬ﻋﻴﺴﻰ‪ ،‬ﺭﻴﻤﺎ‪ .(1983).‬ﻤﻥ ﺍﻝﺠﺎﻨﺏ ﺍﻵﺨﺭ ﻝﻠﺜﻘﺎﻓﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻝﻠﺩﺭﺍﺴﺎﺕ ﻭﺍﻝﻨﺸﺭ‪45.‬‬
‫ﻜﺎﺯﻨﻭﻑ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪34،‬‬ ‫‪2‬‬

‫ﺍﻝﺠﻌﻴﺩﻱ‪ ،‬ﻤﻭﻻﻱ ﺍﺩﺭﻴﺱ‪ .(2008).‬ﺍﻝﻤﻬﻤﺵ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ‪ :‬ﺘﻌﺩﺩ ﺍﻝﻭﺍﺤﺩ‪ .‬ﺍﻝﻤﻐﺭﺏ‪ :‬ﺍﻴﻤﻭﺯﺍﺭ ﻝﻠﺴﻴﻨﻤﺎ‪14.‬‬ ‫‪3‬‬

‫‪4‬‬
‫‪07J‬ت ا‪ ".K‬ا["[‪ 6 %‬دول أ‪ "Q>0‬ا‪ %3N‬ا; <@أت ‪ ،1960 6‬وه `‪0‬آ‪ %‬ا‪N6O‬م ا; ‪ ^WE3‬ا‪".9;&O‬ر ا‪ ،@>@W‬ا‪"1‬م‬
‫ا‪0‬أ&‪ ، ".‬و‪.8‬ذج هود )‪ ".K‬وا‪ %b< "7 %c‬ا;‪ %)K‬ا; ‪ dF6 @>03‬آ‪ ^K‬ا‪".‬ل‪.‬‬

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‫ﻭﻗﻠﺔ ﺍﻝﻤﻌﺩﺍﺕ ﻭﺍﻝﺼﻌﻭﺒﺎﺕ ﺍﻝﻔﻨﻴﺔ ﻭﺍﻝﺘﻘﻨﻴﺔ ﻭﺍﻝﺘﻜﺎﻝﻴﻑ ﺍﻝﻤﺭﺘﻔﻌﺔ‪ ،‬ﺍﻝﺘﻲ ﻜﺎﻥ ﻝﻬﺎ ﺍﻷﺜﺭ ﻓـﻲ ﺘـﺄﺨﺭ‬

‫ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺜﻭﺭﻴﺔ ﻭﻗﺘﺌﺫ‪.‬‬

‫ﻝﻘﺩ ﺍﺘﻬﻤﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺜﺎﻝﺜﺔ ﺍﻝﺭﺃﺴﻤﺎﻝﻴﺔ‪ 1‬ﺴﻭﺍﺀ ﻓﻲ ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻻﺴﺘﻬﻼﻜﻴﺔ‪ ،‬ﺃﻭ ﻓﻲ ﻤﺠﺘﻤﻌﺎﺕ‬

‫ﺍﻝﺘﻲ ﺘﻘﺒﻊ ﺘﺤﺕ ﺍﻻﺴﺘﻌﻤﺎﺭ ﺍﻝﺠﺩﻴﺩ ﺒﻭﻀﻊ ﺤﺠﺎﺏ ﻓﻭﻕ ﻜل ﺸﻲﺀ ﻴﻘﻊ ﺨﻠﻑ ﺍﻝﺸﺎﺸﺔ ﺍﻝﺘـﻲ ﺘﻘـﺩﻡ‬

‫ﺼﻭﺭﺍ‪ ،‬ﻭﺘﺸﻜﻴل ﻤﻅﺎﻫﺭ ﺠﻌﻠﺕ ﻤﻥ ﺍﻝﻭﺍﻗﻊ ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ ﻫﻭ ﺍﻝﺤﻘﻴﻘﻲ‪ ،‬ﻭﻜل ﻤﺎ ﺴﻭﺍﻩ ﻋﻜﺱ ﺫﻝﻙ‬

‫ﺒل ﻭﺃﻜﺜﺭ ﺃﻫﻤﻴﺔ ﻤﻥ ﺍﻝﻭﺍﻗﻊ ﺫﺍﺘﻪ! ﺒﺤﻴﺙ ﻴ‪‬ﻘﺩﻡ ﻋﺎﻝﻡ ﺍﻷﻁﻴﺎﻑ ﻭﺍﻝﻔﺎﻨﺘﺎﺯﻴﺎ ﻜﻤﺎ ﻴﺸﻊ ﺍﻝﻭﺍﻗﻊ ﻭﻴﺠﻌﻠﻪ‬

‫ﻤﻜﺴﻭﺍ ﺒﺎﻝﺠﻤﺎل ﻭﻴﺼﺒﻎ ﺍﻝﻌﺎﻝﻡ ﻜﻭﻨﺎ ﺒﺭﺠﻭﺍﺯﻴﺎ ﻤﺘﺨﻴﻼ ﺤﻴﺙ ﺍﻻﺘﺯﺍﻥ ﻭﺍﻝﺭﺍﺤﺔ‪ ،‬ﺍﻝﻜﻔﺎﺀﺓ‪.‬‬

‫ﺫﺍﻉ ﻤﺼﻁﻠﺢ ﺼﻨﺎﻋﺔ ﺍﻝﺜﻭﺭﺓ ﺒﺎﻝﺴﻴﻨﻤﺎ ﻝﻤﻘﻭﻝﺔ ﺃﻨﺎ ﺍﺼﻨﻊ ﺍﻝﺜﻭﺭﺓ ﺇﺫﻥ ﺃﻨﺎ ﻤﻭﺠﻭﺩ‪ ،‬ﺒﻐﺽ ﺍﻝﻨﻅﺭ‬

‫ﻋﻥ ﺸﻜل ﺍﻝﺜﻭﺭﺓ ﻭﻨﻭﻋﻬﺎ‪ ،‬ﻭﺇﻥ ﻜﺎﻨﺕ ﻓﻨﻴﺔ ﻓﺎﻝﺴﻴﻨﻤﺎ ﺼﻨﺎﻋﺘﻬﺎ‪ ،‬ﺤﻴﺙ ﺒﺩﺍﻴـﺔ ﺍﺨﺘﻔـﺎﺀ ﺍﻝﻔﺎﻨﺘﺎﺯﻴـﺎ‬

‫ﻭﺍﻷﻁﻴﺎﻑ ﻝﻔﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺜﺎﻝﺜﺔ‪ ،‬ﺍﻝﺘﻲ ﺍﻋﺘﺒﺭﺕ ﻨﻔﺴﻬﺎ ﻫﺩﻤﺎ ﻝﻤﺨﻠﻭﻗﺎﺕ ﺍﻻﺴﺘﻌﻤﺎﺭ‪ ،‬ﻭﺍﻝﺘﺒﻌﻴﺔ‪ ،‬ﻭﺒﺩﺍﻴﺔ‬

‫ﺘﺨﹼﻠﻕ ﻭﺍﻗﻊ ﺠﺩﻴﺩ ﻴﺴﺘﺭﺩ ﺍﻝﺤﻘﺎﺌﻕ ﺒﺄﻱ ﺼﻴﻐﺔ ‪ ،2‬ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﺃﺼـﺒﺤﺕ ﻭﺴـﺎﺌل ﺍﻻﺘـﺼﺎل‬

‫ﺍﻝﺠﻤﺎﻫﻴﺭﻱ ﻫﻲ ﺍﻷﻜﺜﺭ ﺃﻫﻤﻴﺔ ﺤﻴﺙ ﻴﺤﺘﻜﺭﻫﺎ ﺍﻝﻨﻅﺎﻡ ﻭ ﻴﺴﻴﻁﺭ ﻋﻠﻴﻬﺎ ﻭﺇﻥ ﻜﺎﻥ ﺍﻝﺯﻴﻑ ﻭﺍﻝﺘﻌﺒﻴﺭ‬

‫ﺍﻝﻔﺎﻨﺘﺎﺯﻱ ﻭﺍﻝﺨﻴﺎل ﻴﺼﻨﻌﺎﻥ ﻭﺍﻗﻌﺎ ﺘﺎﺭﻴﺨﻴﺎ ﻴﺼﺒﺢ ﺃﻜﺜﺭ ﺃﺼﺎﻝﺔ ﻭﺨﻠﻭﺩﺍ‪.‬‬

‫ﻻ ﺘﻭﺠﺩ ﻤﻌﺭﻓﺔ ﺒﻭﺍﻗﻊ ﻤﺎ ﺩﺍﻡ ﺍﻷﺨﻴﺭ ﻏﻴﺭ ﻤﺘﻤﺭﺩ ﺤﻴﺙ ﻴﺘﻜﺭﺭ ﻤﺎﺭﻜﺱ ﻓﻴﻤﺎ ﻴﺴﺘﺤﻕ ﺃﻥ ﻴﺘﻜﺭﺭ‬

‫ﻓﻌﻼ "ﺇﻥ ﺘﻔﺴﻴﺭ ﺍﻝﻌﺎﻝﻡ ﻝﻴﺱ ﻜﺎﻓﻴﺎ ﻓﺎﻝﻘﻀﻴﺔ ﻫﻲ ﺘﺒﺩﻴﻠﻪ "‪ ،3‬ﻝﺫﺍ ﻜﺎﻥ ﻋﻠﻰ ﺼﺎﻨﻊ ﺍﻷﻓﻼﻡ ﺨﻠﻕ ﻝﻐـﺔ‬

‫ﺨﺎﺼﺔ ﺘﻨﺸﺄ ﻋﺒﺭ ﺭﺅﻴﺔ ﺍﻻﺤﺘﻴﺎﺠﺎﺕ‪ ،‬ﻭﺍﻝﺘﻌﺒﻴﺭ ﺍﻝﺤﻘﻴﻘﻲ ﻭﻭﺠﻬﺔ ﻨﻅﺭ ﺃﻜﺜﺭ ﺍﻨﺴﺠﺎﻤﺎ ﻤـﻊ ﺍﻝﻔﻜـﺭ‬

‫ﺍﻝﻤﺭﻏﻭﺏ ﻓﻴﻪ ﻤﻥ ﺍﻝﻔﻜﺭ ﺍﻝﻤﻭﺠﻭﺩ ﻓﻌﻼ‪ .‬ﻗﺩ ﺘﺅﺩﻱ ﺇﻝﻰ ﺤﺎﻻﺕ ﻤﻌﻴﻨﺔ ﻻﺴﺘﺨﺩﺍﻡ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺤﻘﻴﻘﻴﺔ‪،‬‬

‫ﻤﻀﻔﻲ ﻋﻠﻴﻬﺎ ﻁﺎﺒﻊ ﻴﺯﻴل ﺍﻝﺘﻨﺎﻗﻀﺎﺕ ﺍﻝﻌﻤﻴﻘﺔ‪ ،‬ﻓﻴﻜﻭﻥ ﺫﻭ ﻗﺩﺭﺓ ﻋﻠﻰ ﺍﻝﺘﺄﺜﻴﺭ‪ .‬ﻭﻗﺩﺭﺓ ﺜﺭﻴﺔ ﻤﺤﻔﺯﺓ‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪15.‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪16.‬‬ ‫‪2‬‬

‫ﻨﻴﻜﻭﻝﺯ‪ .‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪99.‬‬ ‫‪3‬‬

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‫ﻋﻠﻰ ﺍﻻﺒﺘﻜﺎﺭ‪ .‬ﻓﺎﻝﻤﻌﺭﻓﺔ ﺘﺒﺩﺃ ﺒﺎﻝﻤﻤﺎﺭﺴﺔ ﻭﺒﻌﺩ ﺍﻜﺘﺴﺎﺏ ﺍﻝﻤﻌﺭﻓﺔ ﺍﻝﻨﻅﺭﻴﺔ ﻤﻥ ﺨﻼل ﺍﻝﻤﻤﺎﺭﺴـﺔ‪،‬‬

‫ﻤﻥ ﺍﻝﻀﺭﻭﺭﻱ ﺍﻝﻌﻭﺩﺓ ﻝﻠﻤﻤﺎﺭﺴﺔ‪.‬‬

‫‪ 2.1‬ﺘﺄﺜﻴﺭ ﺍﻝﻨﻅﺭﺓ ﺍﻻﺴﺘﺸﺭﺍﻗﻴﺔ ﻋﻠﻰ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﺴﻴﻨﻤﺎﺌﻴﺎ‬

‫" ﺃﻋﺩﺍﺅﻨﺎ‪ ،‬ﻨﻘﺘﻠﻬﻡ ﺒﻌﻘﻭﻝﻨﺎ ﻗﺒل ﻗﺘﻠﻬﻡ ﺒﺄﺴﻠﺤﺘﻨﺎ‪ ،‬ﻤﻬﻤﺎ ﻜﺎﻥ ﺍﻝﺼﺭﺍﻉ‪ ،‬ﻨﺤﻥ ﻓﻲ ﺍﻝﻁﺭﻴﻕ ﺍﻝﻤﺅﺩﻱ ﺇﻝﻰ ﺍﷲ‪ ،‬ﻨﺤﻥ‬

‫ﺍﻝﺼﺎﻝﺤﻭﻥ ﻭﻫﻡ ﺍﻝﺒﺭﺒﺭﻴﻭﻥ " ﺴﺎﻡ ﻜﻴﻥ‬

‫ﺜﻤﺔ ﻤﺎ ﻴﺴﻤﻰ ﺤﺩﻴﺙ ﺍﻝﻼﻭﺠﻭﺩ ﻝﻜﻭﻥ ﻤﺎ‪ ،‬ﺯﺍﺌﺩ ﻋﻥ ﺍﻻﺤﺘﻴﺎﺝ‪ ،‬ﻭﻫﻭ ﺤﺩﻴﺙ ﺍﻝﻬﺎﻤﺸﻲ‪ ،‬ﺍﻝﺫﻱ‬

‫ﻴﺒﺩﻭ ﺩﻭﻥ ﻗﻴﻤﺔ‪ ،‬ﻜﻤﺎ ﺃﻨﻪ ﻏﻴﺭ ﻤﻭﺠﻭﺩ ﺘﻘﺭﻴﺒﺎ‪ ،‬ﺭﻏﻡ ﺃﻨﻪ ﻴﻤﻜﻥ ﺍﻻﺴﺘﺩﻻل ﻋﻠﻴﻪ‪ .‬ﻭﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ‬

‫ﻴﺒﺩﻭ ﺍﻻﺤﺘﻴﺎﺝ ﻝﻠﻤﻭﺠﻭﺩ ﻓﺈﻥ ﻗﻴﻤﺔ ﻏﻴﺭ ﺍﻝﻤﻭﺠﻭﺩ ﺘﺼﺒﺢ ﺤﺎﺠﺔ ﻹﺒﺭﺍﺯ ﺘﻤﻴﺯ ﺍﻝﻤﺭﻜﺯ ﻭ ﻻ ﻴﺘﺤﻘﻕ‬

‫ﻭﺠﻭﺩﻩ ﺇﻻ ﻋﻨﺩﻤﺎ ﻴﻘﺎﺭﻥ ﻜﻴﻨﻭﻨﺘﻪ ﺒﺎﻝﻬﺎﻤﺸﻲ‪ ،‬ﺤﻴﺙ ﻴﺼﺒﺢ ﺤﺎﺠﺔ ﻝﻠﻤﺭﻜﺯ ﻓﻬﻭ ﻴﺤﻘﻕ ﻭﺠﻭﺩﻩ ﻤﻥ‬

‫ﺨﻼل ﺍﻝﻬﺎﻤﺸﻲ‪ ،‬ﻭﻤﻌﻨﻰ ﺍﻝﻬﺎﻤﺸﻲ ﻴﺴﺘﺩﻋﻲ ﻋﺩﺩﺍ ﻤﻥ ﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻝﺘﻲ ﻝﻬﺎ ﻋﻼﻗﺔ ﺒﺎﻝﻤﻘﻤﻭﻉ ﻭﺍﻝﻤﻘﺼﻲ‬

‫ﻭﺍﻝﻤﻤﻨﻭﻉ ﻭﺍﻝﻤﺼﺎﺩﺭ ﻭﺍﻝﺫﻱ ﻴﺴﺘﺤﻀﺭﻩ ﺍﻝﻤﺭﻜﺯ ﻓﻲ ﺃﺸﻴﺎﺌﻪ‪ ،‬ﺒﻐﻴﺔ ﺘﻤﻴﻴﺯ ﺫﺍﺘﻪ ﻭﺇﻋﻁﺎﺌﻬﺎ ﺃﻫﻤﻴﺔ ﺃﻭ‬

‫ﺒﻐﻴﺔ ﺍﻻﻨﺘﻘﺎﻡ ﻤﻥ ﻤﻜﻭﻨﺎﺕ ﻝﻡ ﻴﻜﻥ ﺒﺎﻹﻤﻜﺎﻥ ﺘﺭﻭﻴﻀﻬﺎ ﻭﻓﻕ ﻨﻤﻭﺫﺝ ﺍﻝﻤﺭﻜﺯ ﻭﺭﺅﻴﺘﻪ ﻭﺒﺭﻨﺎﻤﺠﻪ‪،‬‬

‫ﻓﻜﻠﻤﺎ ﺍﻨﻔﻠﺘﺕ ﻤﻜﻭﻨﺎﺕ ﻤﺎ ﻤﻥ ﺴﻠﻁﺔ ﺍﻝﻤﺭﻜﺯ ﻭﺨﺭﺠﺕ ﻤﻥ ﺴﻴﻁﺭﺘﻪ ﻨﻤﺫﺠﺔ ﺍﻷﺸﻴﺎﺀ ﻜﻠﻤﺎ ﺃﺼﺒﺢ‬

‫ﻨﺒﺫﻫﺎ ﻭﺇﻗﺼﺎﺅﻫﺎ ﻭﺇﺒﻌﺎﺩﻫﺎ ﻋﻥ ﺍﻝﻤﺤﻴﻁ ﺃﻜﺜﺭ ﺤﺩﻭﺜﺎ‪ ،‬ﻭﻫﻜﺫﺍ ﻴﻔﺭﺽ ﺍﻝﻤﺭﻜﺯ ﻋﻠﻰ ﺍﻝﻬﺎﻤﺸﻲ ﺍﻝﻘﺒﻭل‬

‫ﺒﺘﻘﻴﻤﺎﺘﻪ ﻭﺃﺤﻜﺎﻤﻪ‪ ،‬ﻭﻫﻨﺎ ﻜﺎﻥ ﻻ ﺒﺩ ﻝﻸﺨﻴﺭ ﺃﻥ ﻴﺴﺘﻌﻴﺩ ﻤﻌﺎﻨﻴﻪ ﺍﻝﺨﺎﺼﺔ‪ ،‬ﻭﻗﺩ ﺍﻨﻌﻜﺱ ﺫﻝﻙ ﻓﻲ‬

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‫ﺍﻝﻤﺠﺎل ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ ،‬ﻓﻜﺎﻥ ﻤﺠﺎﻻ ﻝﻠﺼﺭﺍﻉ ﺒﻴﻥ ﻤﺎ ﻫﻭ ﻤﺭﻜﺯﻱ‪ ،‬ﻭﺒﻴﻥ ﻤﺎ ﻫﻭ ﻫﺎﻤﺸﻲ‪.‬‬

‫ﻻ ﺒﺩ ﻤﻥ ﺍﺴﺘﻌﺎﺩﺓ ﻨﻅﺭﺍﺕ ﺘﺴﺘﺭﺠﻊ ﺴﺒﺏ ﻭﺠﻭﺩ ﺍﻵﺨﺭ ﺍﻝﻌﺭﺒﻲ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،‬ﻓـﻲ‬

‫ﻜﻴﻨﻭﻨﺘﻪ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻰ ﺍﻷﻨﺎ‪ ،‬ﺇﺫ ﺘﹸﻁﺭﺡ ﻓﻲ ﻫﺫﺍ ﺍﻝﻔﺼل ﺜﻨﺎﺌﻴﺔ ﺍﻷﻨﺎ ﻭﺍﻵﺨﺭ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ‪.‬‬

‫ﺽ ﺤﻴﺜﻴﺎﺕ ﺍﻝﺫﺍﺕ ﻭﺍﻝﻤﻭﻀﻭﻉ‪ ،‬ﺍﻝﺘﺄﺜﻴﺭ ﻭﺍﻝﺘﺄﺜﺭ ﻭﻜﻨﻪ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻨﻬﻤﺎ‪ ،‬ﻓﻲ ﺃﻤﺎﻜﻥ ﺇﺠﺭﺍﺌﻴـﺔ‬
‫ﺍﺴﺘﻌﺭﺍ ‪‬‬

‫ﺍﺘﺒﺎﺘﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪14-13،‬‬ ‫‪1‬‬

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‫ﻭﻭﻅﻴﻔﻴﺔ ﻝﺘﺤﺩﻴﺩ ﻤﻭﻀﻊ ﺍﻵﺨﺭ ﻭﺍﻷﻨﺎ ﻭﺒﺩﺍﻴﺎﺘﻬﻤﺎ ﺍﻷﻭﻝﻰ‪ ،‬ﻭﺇﻥ ﻜﺎﻥ ﻻ ﺒﺩ ﺃﻴﻀﺎ ﻤﻥ ﻤﻌﺭﻓﺔ ﺃﺴﺒﺎﺏ‬

‫ﻜﻭﻥ ﻫﺫﺍ ﺍﻵﺨﺭ ﻤ‪‬ﺜﹼل ﻜﻨﻤﻭﺫﺝ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﻝﺩﻯ ﺍﻷﻨﺎ‪ .‬ﻭﺇﻥ ﻜﺎﻥ ﻗﺩ ﺘﹶﻤﺜﹼل ﻫﻭ ﺍﻵﺨﺭ ﻤﻭﻗﻔﺎ ﻴﺘﺠﺎﻭﺯ‬

‫ﻜﻭﻨﻪ ﻤﺘﺄﺜﺭﺍ ﻓﺤﺴﺏ‪ ،‬ﻤﻘﺎﺭﻨ ﹰﺔ ﺒﻤﺎ ﻗﺩﻤﺘﻪ ﻫﻭﻝﻴﻭﺩ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻭﻤﺎ ﻗﺩﻤﻪ ﺍﻝﻌﺭﺒﻲ ﺃﻴﻀﺎ‪ ،‬ﻭﻤﺎ ﻝﺩﻴﻨﺎ ﻤﻥ‬

‫ﺭﻭﺍﻓﺩ ﻤﻘﺎﺭﻨﺔ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﻜﻨﻤﻭﺫﺝ ﺒﺩﺍ ﻤﺅﺜﺭﺍ ﺃﻏﻠﺏ ﺍﻷﺤﻴﺎﻥ‪ .‬ﺇﺫ ﻴﻘﺩﺭ ﺍﻝﻘﺎﺭﺉ ﻋﻠﻰ ﺭﺒـﻁ‬

‫ﻤﺠﻤل ﺍﻝﻌﻼﻗﺎﺕ ﻹﺩﺭﺍﻙ ﻤﺎ ﺇﺫﺍ ﻜﺎﻥ ﺍﻵﺨﺭ ﺍﻝﻌﺭﺒﻲ ﻫﻭ ﺍﻝﻌﺎﻤل ﺍﻷﻭل ﻜﻭﻨﻪ ﺸﺭﻴﺭﺍ ﻓﻲ ﻫﻭﻝﻴـﻭﺩ‪،‬‬

‫ﻭﺃﻥ ﺍﻷﺨﻴﺭﺓ ﻜﺎﻨﺕ ﻗﺩ ﺘﺒﻨﺕ ﺍﺴﺘﺭﺍﺘﻴﺠﻴﺎﺕ ﺃﺨﺭﻯ ﻓﻲ ﺘﺎﺭﻴﺦ ﺍﻨﻔﺼﺎل ﻤﺭﺤﻠﺘﻴﻥ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ‬

‫ﻤﻥ ﺃﻴﻠﻭل ‪ .2001‬ﻝﺘﻜﻥ ﻫﺫﻩ ﺘﻭﻁﺌﺔ ﺃﻭﻝﻰ ﻝﻌﺘﺒﺔ ﺍﻝﻔﺼل ﺍﻝﺜﺎﻨﻲ ﺒﻤﺎ ﻴﺅﻜﺩ ﺍﻹﻤﻜﺎﻨﺎﺕ ﺍﻝﻬﺎﺌﻠﺔ ﻝﻠﺴﻴﻨﻤﺎ‬

‫ﻤﻤﺎ ﻴﺅﻫﻠﻬﺎ ﻝﺘﻁﻭﻴﻊ ﺍﻝﺴﻴﺎﺴﺔ ﻭﺒﻨﺎﺀ ﺍﻻﺴﺘﺭﺍﺘﻴﺠﻴﺎﺕ‪ ،‬ﺇﺫ ﺃﻨﻪ ﻤﻥ ﺨﻼل ﺍﻝﺴﻴﻨﻤﺎ ﻴﻤﻜﻥ ﺇﻋﺎﺩﺓ ﺘﺭﺘﻴﺏ‬

‫ﻜل ﺸﻲﺀ‪ :‬ﺍﻝﺘﺎﺭﻴﺦ‪ ،‬ﺍﻝﺠﻐﺭﺍﻓﻴﺔ‪،‬ﺍﻝﺤﻘﺎﺌﻕ‪ .‬ﻭﺒﻭﺍﺴﻁﺔ ﺍﻝﺴﻴﻨﻤﺎ ﺘﺴﺘﻁﻴﻊ ﺃﻥ ﺘﹸﺭﻱ ﺃﻜﺜـﺭ ﺍﻝﻤﺠـﺭﻤﻴﻥ‬

‫ﻗﺴﺎﻭﺓ ﻴﺘﺤﻭل ﺇﻝﻰ ﻀﺤﻴﺔ‪ ،‬ﻭﻴﻤﻜﻥ ﻝﻤﻨﺘﺠﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺃﻥ ﻴﺠﻌﻠﻭﺍ ﻤﻥ ﻗﺎﺌﺩ ﻤﻐﻭﺍﺭ‪ ،‬ﺍﻝﻤﺜل ﺍﻝﺨـﺴﻴﺱ‪،‬‬

‫ﻫﻲ ﺇﺫﻥ ﺼﻨﺎﻋﺔ ﻗﻭﻴﺔ ﺠﺒﺎﺭﺓ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺨﻠﻕ ﻭﺍﻗﻊ ﺠﺩﻴﺩ ﻭﺒﺩﻴل ﻋﻥ ﻭﺍﻗﻊ ﺤﻘﻴﻘﻲ‪.1‬‬

‫ﻤﺼﺩﺭ ﺍﻝﺼﻭﺭ ﻭﺘﺸﻜﻴﻼﺘﻬﺎ ﻻ ﺯﺍل ﻴﺅﺜﺭ ﻓﻲ ﻋﻘﻭل ﺍﻝﻐﺭﺏ ﻭﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ﺍﻝﻐﺭﺒـﻲ ﺤـﻭل‬

‫ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ‪ ،‬ﺍﻝﻤﺴﻠﻡ ﺘﺤﺩﻴﺩﺍ‪ ،‬ﻭﺍﻝﺘﻔﺎﻋﻼﺕ ﻤﻊ ﺘﻠﻙ ﺍﻝﺼﻭﺭﺓ ﺒﺘﺸﻭﻫﺎﺘﻬﺎ ﻭﺤﻘﺎﺌﻘﻬﺎ ﻓﻲ ﻭﺴـﺎﺌل‬

‫ﺍﻹﻋﻼﻡ ﻭﻓﻲ ﺩﻭﺍﺌﺭ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭ ﻤﻥ ﻤﻨﻅﻭﻤﺎﺕ ﺴﻴﺎﺴﻴﺔ ﻭﻋﺎﻝﻤﻴـﺔ‪ .‬ﻭﻫـﻲ ﺼـﻭﺭﺓ ﻤﺘﻘﺎﺭﺒـﺔ‬

‫ﻭﻤﺨﺘﺯﻝﺔ ﺘﺭﺘﺴﻡ ﻓﻲ ﺍﻝﺫﺍﻜﺭﺓ ﻭﺍﻝﻤﺨﻴﺎل ﺍﻝﻐﺭﺒﻴﻴﻥ‪ .‬ﺤﺩﻭﺩﻫﺎ‪ :‬ﺨﻴﻤﺔ ﻭﻗﺒﻴﻠﺔ‪ ،‬ﻭﺍﻝﺠﻤل ﻭﺴﻴﻠﺔ ﺍﻝﺘﻨﻘـل‬

‫ﻓﻲ ﺃﺭﺽ ﺼﺤﺭﺍﻭﻴﺔ ﻗﺎﺤﻠﺔ‪ ،‬ﺃﻭ ﻫﻲ ﺼﻭﺭﺓ ﻏﺒﻲ ﻤﺘﻐﻁﺭﺱ ﻴﺠﻠﺱ ﻋﻠﻰ ﺒﺌﺭ ﻤﻥ ﺍﻝﻨﻔﻁ‪ ،‬ﺃﻭ ﻜﻨﺯ‬

‫ﻤﻥ ﺍﻝﺫﻫﺏ‪ .2‬ﺼﻭﺭﺓ ﺘﺘﻜﺭﺭ ﻤﻜﻭﻨﺎﺘﻬﺎ ﻋﺒﺭ ﻭﺴﺎﺌل ﺍﻹﻋﻼﻡ ﺍﻝﻤﻭﺠﺔ ﻜﻤﺎ ﻴﺭﻯ ﻨﺠﻴﺏ ﺒﻭﻁﺎﻝـﺏ‪،3‬‬

‫ﺒﺤﻴﺙ ﺘﻡ ﺇﻨﺸﺎﺀ ﻭﺘﻜﺭﻴﺱ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﺜﻘﺎﻓﻴﺎ‪ ،‬ﻭﻋﻠﻰ ﻀﻭﺌﻬﺎ ﺘﺘﺸﻜل ﺍﺘﺠﺎﻫﺎﺕ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ﺍﻝﺘـﻲ‬

‫ﻴﻭﺴﻑ‪ .‬ﺨﺎﻝﺩ ‪ .(1998).‬ﺘﺎﺭﻴﺦ ﺍﻝﻬﻴﻤﻨﺔ ﺍﻝﺼﻬﻴﻭﻨﻲ ﻋﻠﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ‪ ،‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻝﻠﺩﺭﺍﺴﺎﺕ ﻭﺍﻝﻨﺸﺭ‪45 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﻝﺒﻴﺏ‪ ،‬ﺍﻝﻁﺎﻫﺭ‪"". (1999) :‬ﺍﻻﺨﺭ ﻓﻲ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻐﺭﺒﻴﺔ"‪ ،‬ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻨﺎﻅﺭﺍ ﻭﻤﻨﻅﻭﺭﺍ ﺍﻝﻴﻪ‪ ،‬ﺍﻝﻭﺤﺩﺓ ﺍﻝﻌﺭﺒﻴﺔ‪ :‬ﺒﻴﺭﻭﺕ‪ ،‬ﻁ‪433 ،1‬‬
‫ﺒﻭﻁﺎﻝﺏ‪ .‬ﻨﺠﻴﺏ ‪" .(1999).‬ﺼﻭﺭﺓ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻝﻌﺭﺒﻲ ﺍﻻﺴﻼﻤﻲ"‪ .‬ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻨﺎﻅﺭﺍ ﻭﻤﻨﻅﻭﺭﺍ ﺍﻝﻴﻪ‪.‬ﺍﻝﻁﺎﻫﺭ ﻝﺒﻴﺏ‪ .‬ﺒﻴﺭﻭﺕ‪:‬‬ ‫‪3‬‬

‫ﻤﺭﻜﺯ ﺍﻝﻭﺤﺩﺓ ﺍﻝﻌﺭﺒﻴﺔ‪434 .‬‬

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‫ﺘﺘﻔﺎﻋل ﻤﻊ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻝﻌﺴﻜﺭﻴﺔ‪ .1‬ﻭﻻ ﺘﻔﺘﺄ ﺍﻝﺼﻭﺭﺓ ﺍﻝﻤﺸﻭﻫﺔ ﺃﻥ ﺘﺒﺭﺯ ﻜﻠﻤﺎ ﺍﹸﻋﺘﻘﺩ ﺃﻨﻬﺎ‬

‫ﺍﺨﺘﻔﺕ ﻓﻲ ﻀﻭﺀ ﺍﻝﻌﻼﻗﺎﺕ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻝﺩﺒﻠﻭﻤﺎﺴﻴﺔ ﺍﻝﺘﻲ ﺘﺭﺒﻁ ﺍﻝﻌﺎﻝﻡ ﺍﻝﻌﺭﺒﻲ ﺒﺎﻝﻐﺭﺏ‪ ،‬ﺒﺤﻴـﺙ‬

‫ﺘﺤﺩﺙ ﺍﻫﺘﺯﺍﺯﺍﺕ ﻋﻤﻴﻘﺔ ﻭﻗﻭﻴﺔ‪ ،‬ﻭﻋﻼﻤﺘﻬﺎ ﺍﻝﻔﺎﺭﻗﺔ ﺍﻝﺘﻲ ﺒﺎﺘﺕ ﺇﻋﻼﻥ ﻤﻌﺎﻝﻡ ﺍﻝﺼﻭﺭﺓ ﺒﻌﺩ ﺃﺤﺩﺍﺙ‬

‫ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪ ،2001‬ﺤﻴﺙ ﻗﹸﺴﻡ ﺍﻝﻌﺎﻝﻡ ﺇﻝﻰ ﻓﺴﻁﺎﻁﻴﻥ‪ ،‬ﺒل ﻭﺤﺩﺩﺕ ﻤﺤﺎﻭﺭ ﺍﻝﺸﺭ ﻓﻲ‬

‫ﻫﺫﺍ ﺍﻝﻜﻭﻥ ﻓﺎﺯﺩﺍﺩ ﺍﻝﺨﻴﺭ ﺨﻴﺭﺍ ﺼﻨﺎﻋﺔ‪ ،‬ﻭﺍﺯﺩﺍﺩ ﺍﻝﺸﺭ ﺸﺭﺍ ﺼﻨﺎﻋﺔ ﺃﻭ ﺤﻘﻴﻘﺔ ﻫﻭ ﺍﻵﺨﺭ‪ .‬ﻝﻴﻜﺸﻑ‬

‫ﺃﻥ ﻤﺎ ﺴ‪‬ﻤﻲ ﺒﻌﻼﻗﺎﺕ ﺍﻻﻨﺴﺠﺎﻡ ﻭﺍﻝﺘﺭﺍﺒﻁ ﻭﺍﻝﺘﺯﺍﻭﺝ ﻤﻊ ﺍﻵﺨﺭ ﻝﻡ ﺘﻜﻥ ﺴﻭﻯ ﻭﻫﻡ ﺒﺩﺩﺘﻪ ﺃﻋﻤـﺩﺓ‬

‫ﺩﺨﺎﻥ ﺃﺒﺭﺍﺝ ﻨﻴﻭﻴﻭﺭﻙ! ﺍﻫﺘﺯﺍﺯﺍﺕ ﻭﺼﻠﺕ ﺇﻝﻰ ﺍﻝﻘﻴﻤﺔ ﻭﺍﻝﻔﻜﺭ ﻭﺍﻝﺜﻘﺎﻓﺔ‪ ،‬ﻁﺭﺤﺕ ﺃﺴـﺌﻠﺔ ﻋﻤﻴﻘـﺔ‬

‫ﺤﻭل ﺍﻝﻤﻔﺎﻫﻴﻡ ﻭﺍﻝﻨﻅﺭﻴﺎﺕ ﻓﻴﻤﺎ ﻴﺭﺍﻩ ﺍﻝﻐﺭﺏ ﻓﻲ ﺍﻝﻌﺭﺒﻲ ﻓﻌﻼ‪.‬‬

‫ﺇﻥ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ ﻭﺍﻝﻤﻭﺍﻗﻑ ﻋﻠﻰ ﻤﺴﺘﻭﻯ ﺘﻭﺯﻴﻊ ﺍﻷﺩﻭﺍﺭ‪ ،‬ﻭﺘﻘﺴﻴﻡ ﺍﻝﻌﺎﻝﻡ ﺃﺼﺒﺢ ﻤﺤﻜﻭﻤـﺎ‬

‫ﻋﻠﻴﻪ ﺒﻤﻭﺍﺯﻴﻥ ﺍﻝﻘﻭﻯ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ‪ .‬ﺇﻨﻬﺎ ﻋﻤﻠﻴﺔ ﺘﺠﺎﻭﺯﺕ ﺍﻷﺩﻭﺍﺕ ﺍﻝﻤﻌﺭﻓﻴـﺔ‬

‫ﺍﻝﺘﻲ ﻋﺎﻝﺠﺕ ﺍﻝﺸﺭﻕ ﻭﺍﻝﺘﻲ ﻋ‪‬ﺭﻓﺕ ﺒﺎﻻﺴﺘﺸﺭﺍﻕ ﺍﻝﺫﻱ ﺒﻨﻰ ﻤﻨﻅﻭﻤﺔ ﻀﺨﻤﺔ ﻤﻥ ﺍﻷﻓﻜﺎﺭ ﻭﺍﻷﺤﻜﺎﻡ‬

‫ﺤﻭل ﺍﻝﺸﺭﻕ‪ .‬ﻝﻘﺩ ﺃﻭﻀﺢ ﺍﺩﻭﺍﺭﺩ ﺴﻌﻴﺩ ﺃﻥ ﺍﻝﻐﺭﺏ ﻤﻨﺫ ﺍﻝﻘﺩﻡ ﻗﺩ ﺃﻗﺎﻡ ﻋﻼﻗﺔ ﺘﻌﺎﺭﻀﻴﺔ ﻤﻊ ﺍﻝﺸﺭﻕ‬

‫ﻜﺎﻨﺕ ﺒﺩﺍﻴﺘﻬﺎ ﺍﻷﻭﻝﻰ ﺸﻌﻭﺭﺍ ﺒﺎﻝﺨﻭﻑ ﺍﺘﺠﺎﻩ ﺍﻹﺴﻼﻡ‪ ،‬ﻭﺸﻌﻭﺭﹰﺍ ﺒﺎﻝﺭﻋﺏ ﻤﻥ ﺇﻋﺎﺩﺓ ﺍﻝﻬﻴﻤﻨﺔ ﺍﻝﺘـﻲ‬

‫ﻓﺭﻀﻬﺎ ﺍﻝﺘﻭﺴﻊ ﺍﻻﺴﺘﻌﻤﺎﺭﻱ‪ ،‬ﻭﺒﺭﻭﺯ ﻗﻭﻯ ﺍﻝﻬﻴﻤﻨﺔ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ .‬ﺤﻴﺙ ﺘﺠﺴﺩﺕ ﺍﻝـﺼﻭﺭﺓ ﺍﻝـﺴﻠﺒﻴﺔ‬

‫ﻝﻠﻌﺭﺏ ﺃﻋﻘﺎﺏ ﺃﺯﻤﺔ ﺍﻝﻨﻔﻁ ﻓﻲ ﺍﻝﺴﺒﻌﻴﻨﺎﺕ ﺤﻴﺙ ﺒﺩﺍ ﺍﻝﻌﺭﺒﻲ ﻓﻲ ﺼﻭﺭﺘﻪ ﺨﺒﻴﺜﺎ‪ ،‬ﻏﺒﻴـﺎ‪ ،‬ﻴـﺴﻴﻁﺭ‬

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‫ﻋﻠﻰ ﻤﺎ ﻻ ﻴﺴﺘﺤﻕ ﺒل ﻭﻴﺴﺎﻭﻡ ﺒﻪ ﺍﻝﻌﺎﻝﻡ ﻜﺎﻓﺔ‪.‬‬

‫ﻭﺘﺤﺕ ﻅﻼل ﻤﻨﻅﻭﻤﺔ ﺍﻝﻤﺭﻜﺯ ﺍﻝﻨﻭﻭﻱ ﻭﺍﻝﻤﺤﻴﻁ‪ ،‬ﺃﺼﺒﺢ ﺍﻝﻐﺭﺏ ﻤﻨﻁﻠﻕ ﺍﻷﺤﻜﺎﻡ‪ ،‬ﺒﻴﻨﻤﺎ ﺍﻝﺸﺭﻕ‬

‫ﻤﺤﻜﻭﻤﹰﺎ ﻋﻠﻴﻪ‪ .‬ﺇﺫ ﺤﻜﻡ ﺍﻝﻤﺴﺘﺸﺭﻗﻭﻥ ﺒﺎﺴﺘﺒﺩﺍﺩﻴﺔ ﺍﻝﺸﺭﻕ ﻭﺩﻴﻤﻘﺭﺍﻁﻴﺔ ﺍﻝﻐﺭﺏ ﺍﻝﺭﺃﺴﻤﺎﻝﻲ‪ ،‬ﻓﻜﺎﻥ ﻤﻥ‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪434 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﺴﻌﻴﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪73-70 ،‬‬

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‫ﺤﻘﻬﻡ ﺇﻁﻼﻕ ﺍﻷﺤﻜﺎﻡ‪ ،‬ﻭﺘﻠﻘﻴﻥ ﺍﻝﺸﺭﻕ ﻁﺭﺍﺌﻕ ﺍﻝﻐﺭﺏ ﺍﻝﺤﺩﻴﺜﺔ ‪ .1‬ﻭﻓﻜﺭﺓ ﺍﻝﺭﺴﺎﻝﺔ ﺍﻝﺘـﻲ ﺘﻨـﺎﺩﻱ‬

‫ﺒﺘﻤﺩﻴﻥ ﺍﻝﺸﻌﻭﺏ ﺍﻝﻤﺘﺨﻠﻔﺔ ‪-‬ﺘﺩﺨل ﺍﻝﻤﺩﻨﻴﺔ ﺇﻝﻰ ﺍﻝﺸﻌﻭﺏ ﺍﻝﺒﺭﺒﺭﻴﺔ‪ -‬ﻜﻤﺎ ﻭ‪‬ﺼﻔﺕ ﺒﺎﻝﺸﻌﻭﺏ ﻏﻴـﺭ‬

‫ﺍﻝﻐﺭﺒﻴﺔ‪ ،‬ﻭﻨﺎﻗﺼﺔ ﺍﻝﻘﺩﺭﺓ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻝﺤﻀﺎﺭﻴﺔ‪ ،‬ﻭﺍﻋﺘﺒﺭﺕ ﺃﻭﻀﺎﻋﻬﺎ ﻋـﺎﻤﻼ ﻤـﺅﺨﺭﺍ‬

‫ﻝﺘﻘﺩﻡ ﺍﻝﺒﺸﺭﻴﺔ ﻭﺃﻨﻬﺎ ﻓﻲ ﻤﺭﺤﻠﺔ ﺍﻝﺒﺩﺍﺌﻴﺔ ﺍﻝﺘﻲ ﻻ ﺯﺍﻝﺕ ﺘﻌﻴﺵ ﻁﻭﺭ ﺍﻝﻬﻤﺠﻴﺔ ﻭﺍﻝﺘﻭﺤﺵ ﻭﺍﻝﻘﺒﻠﻴﺔ ‪.‬‬

‫ﻴﺭﻯ ﻫﺸﺎﻡ ﺠﻌﻴﻁ ﻓﻲ ﻜﺘﺎﺒﻪ )ﺃﻭﺭﻭﺒﺎ ﻭﺍﻹﺴﻼﻡ( ﺃﻥ ﺍﻝﻌﺩﺍﻭﺓ ﺍﻝﻘﺎﺌﻤﺔ ﺒﻴﻥ ﺍﻹﺴـﻼﻡ ﻭﺍﻝﻐـﺭﺏ ﻗـﺩ‬

‫ﺍﺴﺘﻤﺩﺕ ﻤﻥ ﻭﻋﻲ ﻤﻭﺭﻭﺙ ﺍﻝﻌﺼﻭﺭ ﺍﻝﻭﺴﻁﻰ ﻭﻫﺫﺍ ﺍﻝﻭﻋﻲ ﺍﻝﻤﺸﻭﻩ ﺍﺩﻤﺞ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ ‪.2‬‬

‫ﺇﻥ ﺍﻝﺸﻌﻭﺭ ﺒﺎﻝﺘﻔﻭﻕ ﻭﺍﻝﺤﻘﻴﻘﺔ ﻴﺘﻼﺯﻤﺎﻥ ﻤﻊ ﻭﻋﻲ ﺒﺘﻔﻭﻕ ﺴﻴﺎﺴﻲ ﻭﺤﻀﺎﺭﻱ ﺇﻝﻰ ﺤﻴﺙ ﺍﻝﻌﺎﻝﻡ ﻴﺠﺩ‬

‫ﻤﺤﻭﺭﻩ‪ ،‬ﻷﻥ ﺍﻝﻘﻭﺓ ﻭﺍﻝﺜﻘﺎﻓﺔ ﺘﺘﻁﺎﺒﻘﺎﻥ ﻤﻊ ﺍﻝﺤﻘﻴﻘﺔ‪ .‬ﻭﻝﻡ ﻴﻌﺩ ﺍﻹﺴﻼﻡ ﺨﺼﻤﺎ ﻻﻫﻭﺘﻴﺎ ﺒل ﺩﻴﻨﺎ ﺒﺴﻴﻁﺎ‬

‫ﻴﻤﻜﻥ ﺍﻋﺘﺒﺎﺭﻩ ﺨﺎﺭﺝ ﺍﻝﺘﻴﺎﺭ ﺍﻝﻤﺭﻜﺯﻱ ﺍﻝﻔﻜﺭﻱ ﻤﻨﺫ ﺍﻝﻘﺭﻥ ﺍﻝﺴﺎﺩﺱ ﻋﺸﺭ‪ ،‬ﺇﺫ ﺃﻥ ﺍﻝﻔﻜﺭﺓ ﺍﻝـﺸﻌﺒﻴﺔ‬

‫ﺍﻝﺴﺎﺌﺩﺓ ﻜﺎﻨﺕ ﺘﺘﺭﺍﻭﺡ ﻓﻲ ﻤﻔﺎﻫﻴﻤﻬﺎ ﻋﻥ ﺍﻝﺸﺭﻕ‪ :‬ﺍﻝﻤـﺩﻫﺵ ﺍﻝﻔـﺎﺘﻥ‪ ،‬ﻭﺍﻝـﺸﺭﻕ ﺍﻝﻘﺎﺴـﻲ ﺍﻝﻔـﻅ‬

‫ﺍﻝﺒﺭﺒﺭﻱ‪ 3.‬ﻝﻘﺩ ﺍﺴﺘﺨﺩﻤﺕ ﻤﺼﻁﻠﺤﺎﺕ ﻋﺩﻴﺩﺓ ﻝﻠﺘﻌﺒﻴﺭ ﻋﻥ ﻋﻼﻗﺔ ﺍﻝﻐﺭﺏ ﺒﺎﻝﺸﺭﻕ‪ :‬ﻓﺎﻝﺸﺭﻗﻲ‪ :‬ﻏﻴﺭ‬

‫ﻋﻘﻼﻨﻲ‪ ،‬ﻓﺎﺴﻕ‪ ،‬ﻁﻔﻭﻝﻲ‪ .‬ﺒﺎﻝﻤﻘﺎﺒل ﻓﺈﻥ ﺍﻷﻭﺭﻭﺒﻲ‪ :‬ﻋﻘﻼﻨﻲ ﻤﺘﺤل ﺒﺎﻝﻔﻀﺎﺌل‪ ،‬ﻨﺎﻀﺞ‪ ،‬ﺴﻭﻱ‪ .‬ﻭﻝﻡ‬

‫ﻴﺼﺒﺢ ﺍﻹﺴﻼﻡ ﺭﻤﺯﺍ ﻝﻠﺭﻋﺏ ﻭﺍﻝﺩﻤﺎﺭ ﺒﺼﻭﺭﺓ ﺍﻋﺘﺒﺎﻁﻴﺔ‪ ،‬ﻓﻤﻨﺫ ﻨﻬﺎﻴﺔ ﺍﻝﻘﺭﻥ ﺍﻝﺴﺎﺒﻊ ﻋـﺸﺭ ﻜـﺎﻥ‬

‫ﺍﻝﺨﻁﺭ ﺍﻝﻌﺜﻤﺎﻨﻲ ﻤﺘﺭﺒﺼﺎ ﺒﺄﻭﺭﻭﺒﺎ ﻤﻤﺜﻼ ﺘﻬﺩﻴﺩﺍ ﺩﺍﺌﻤﺎ ﻝﻬﺎ‪ ،4‬ﻭﻤﻥ ﻗﺒل ﺫﻝﻙ ﻜﺎﻥ ﺍﻝﺸﺭﻕ ﺒﺎﺴـﺘﺜﻨﺎﺀ‬

‫ﺍﻝﺩﻭل ﺍﻹﺴﻼﻤﻴﺔ ﻤﻴﺩﺍﻨﺎ ﻝﻠﺴﻴﻁﺭﺓ ﺍﻝﻐﺭﺒﻴﺔ ﺍﻝﺘﻲ ﻝﻡ ﺘﺘﺤﺩ ﻭﻴﺘﺠﻠـﻰ ﺫﻝـﻙ ﻓـﻲ ﺍﻝﻬﻨـﺩ ﺍﻝـﺸﺭﻗﻴﺔ‪،‬‬

‫ﻭﺍﻝﺒﺭﺘﻐﺎل‪ ،‬ﻭﺍﻝﺼﻴﻥ‪ ،‬ﻭﺍﻝﻴﺎﺒﺎﻥ ﺇﻻ ﺃﻥ ﺍﻝﺸﺭﻕ ﺍﻝﻌﺭﺒﻲ ﻭﺍﻹﺴﻼﻤﻲ ﺒﺸﻜل ﻋﺎﻡ ﻜﺎﻨـﺎ ﺍﻝﻭﺤﻴـﺩﻴﻥ‬

‫‪ 1‬ﺍﻝﻁﺎﻫﺭ‪ ،‬ﻝﺒﻴﺏ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ ‪437،‬‬

‫ﺠﻌﻴﻁ‪ ،‬ﻫﺸﺎﻡ‪ .(1995) .‬ﺍﻭﺭﻭﺒﺎ ﻭﺍﻹﺴﻼﻡ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻁﻠﻴﻌﺔ‪20 ،‬‬ ‫‪2‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪16 ،‬‬ ‫‪3‬‬

‫‪4‬‬
‫ﺴﻌﻴﺩ‪ ،‬ﺍﺩﻭﺍﺭﺩ‪ .(1995) .‬ﺍﻻﺴﺘﺸﺭﺍﻕ‪ :‬ﺍﻝﻤﻌﺭﻓﺔ‪ ،‬ﺍﻝﺴﻠﻁﺔ‪ ،‬ﺍﻻﻨﺸﺎﺀ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺅﺴﺴﺔ ﺍﻻﺒﺤﺎﺙ ﺍﻝﻌﺭﺒﻴﺔ‪ ،‬ﻁ‪71 ،4‬‬

‫‪43‬‬
‫ﺍﻝﻠﺫﻴﻥ ﺠﺎﺒﻬﺎ ﺃﻭﺭﻭﺒﺎ‪ .‬ﺤﻴﺙ ﺃﺼﺒﺢ ﺍﻹﺴﻼﻡ ﺍﺴﺘﻔﺯﺍﺯﺍ ﺤﻘﻴﻘﻴﺎ ﻝﻠﻐﺭﺏ‪ .‬ﻓﻜـﺎﻥ ﻋﻠـﻰ ﺍﻝـﺸﺭﻕ ﺃﻥ‬

‫‪‬ﻴﻌﺭﻑ‪ ،‬ﺜﻡ ﻴﻌﺎﺩ ﺨﻠﻘﻪ ﻋﻠﻰ ﺃﻴﺩﻱ ﺍﻝﺒﺎﺤﺜﻴﻥ‪ ،‬ﻭﺍﻝﺠﻨﻭﺩ‪ ،‬ﻭﺍﻝﻘﻀﺎﺓ ‪.1‬‬

‫ﺍﺭﺘﺒﻁ ﺍﻝﺸﺭﻕ ﺒﺨﻴﺎل ﺍﻷﻭﺭﻭﺒﻲ ﻓﻜﺎﻥ‪:‬ﻋﻔﺭﻴﺘﺎ‪ ،‬ﺸﻴﻁﺎﻨﺎ ﻤﺭﻋﺒـﺎ‪ ،‬ﺸـﺩﻴﺩ ﺍﻝـﺸﺒﻕ ﺒﺎﻝـﺸﻬﻭﺍﺕ‬

‫ﻭﺍﻝﻤﻠﺫﺍﺕ ‪ .2‬ﻭﺭﻏﻡ ﻤﺎ ﺃﺤﺩﺙ ﺍﻹﺴﻼﻡ ﻓﻲ ﺍﻝﻤﺴﺘﺸﺭﻕ ﺭﻴﻨﺎﻥ ﻤﻥ ﺍﻨﻔﻌﺎﻻﺕ ﻋﻤﻴﻘﺔ ﺠﻌﻠﺘﻪ ﻤﺘـﺄﺜﺭﺍ‬

‫ﺒﺎﻹﺴﻼﻡ‪ ،‬ﺇﻻ ﺃﻨﻪ ﻤﺎ ﺍﻨﻔﻙ ﻴﺭﻯ ﺍﻷﺨﻴﺭ ﻤﺴﺌﻭﻻ ﻋﻥ ﻋﺒﻭﺩﻴﺔ ﺍﻝﻔﻜﺭ ﻭﺘﻁﻭﺭ ﺍﻝﻌﻠﻭﻡ ﺍﻝﻤﺨﺘﻠﻔـﺔ‪ ،‬ﺇﺫ‬

‫ﺘﻨﺎﻭل ﻤﻭﻀﻭﻉ ﺍﻹﺴﻼﻡ ﻜﻭﻨﻪ ﻤﺅﺭﺨﺎ ﻝﻠﻌﻠﻡ ﻭﺍﻷﻓﻜـﺎﺭ‪ .‬ﺤﻴـﺙ ﺍﻨـﺸﻐل ﺍﻹﺴـﻼﻡ ﺒﺎﻝﻔﺘﻭﺤـﺎﺕ‬

‫ﻭﺍﻝﺘﻨﻅﻴﻤﺎﺕ ﺍﻹﺩﺍﺭﻴﺔ ﻋﻠﻰ ﺤﺴﺎﺏ ﺍﻝﻨﺸﺎﻁ ﺍﻝﻌﻘﻠﻲ‪ ،‬ﻭﺇﻥ ﻜﺎﻥ ﻫﻨﺎﻙ ﻤﻥ ﺘﻘﺩﻡ ﻓﻲ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻹﺴﻼﻤﻴﺔ‬

‫ﻓﻘﺩ ﻜﺎﻥ ﺒﺴﺒﺏ ﻋﻭﺩﺓ ﺍﻹﺴﻼﻡ ﺇﻝﻰ ﻤﻨﺎﺒﻊ ﺍﻝﻌﻠﻡ ﺍﻝﻴﻭﻨﺎﻨﻲ ﻭﺼﻴﺎﻨﺘﻪ ﻹﺭﺜﻪ‪.3‬‬

‫ﺍﺘﺴﻤﺕ ﺃﻭﺭﻭﺒﺎ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﺘﺎﺴﻊ ﻋﺸﺭ ﺒﺴﻤﺘﻬﺎ ﺍﻻﺴﺘﻌﻤﺎﺭﻴﺔ ﺍﻻﻤﺒﺭﻴﺎﻝﻴﺔ ﻜﻤﺎ ﺸﻜﻠﺕ ﻤﺭﻜﺯﻴﺘﻬﺎ‬

‫ﺫﺍﺕ ﺍﻝﺼﻔﺔ ﺍﻻﺴﺘﻌﻼﺌﻴﺔ ﺍﻝﺘﻲ ﺘﺒﺭﺭ ﻁﺎﻗﺘﻬﺎ ﻨﺤﻭ ﺍﻝﺴﻴﻁﺭﺓ‪ ،‬ﻭﺒﻬﺫﺍ ﻴﺠﺩ ﺍﻝﻌﺎﻝﻡ ﻏﻴﺭ ﺍﻝﻐﺭﺒﻲ ﻨﻔـﺴﻪ‬

‫ﺩﻭﻥ ﺃﻴﺔ ﺃﻫﻤﻴﺔ‪ ،‬ﻭﻤﺠﺭﺩﺍ ﻤﻥ ﻗﻴﻤﺘﻪ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ‪ .‬ﻜﻤﺎ ﺍﻋﺘﺒﺭ ﺍﻹﺴﻼﻡ ﻤﺭﺍﺩﻓﺎ ﻝﻠﺘﻌﺼﺏ‪ ،‬ﻭﺍﻋﺘﺒـﺭﺕ‬

‫ﻓﻜﺭﺓ ﺍﻷﻤﺔ ﺍﻹﺴﻼﻤﻴﺔ ﻤﺅﺍﻤﺭﺓ ﻀﺩ ﺍﻝﻌﺎﻝﻡ ﺍﻝﻐﺭﺒﻲ‪ .4‬ﻴﺭﻯ ﺍﺩﻭﺍﺭﺩ ﺴﻌﻴﺩ ﺘﺤﻭل ﻫﺫﻩ ﺍﻝﻌﺩﺍﻭﺓ ﺇﻝـﻰ‬

‫ﺍﺭﺙ ﺫﺍﺘﻲ ﻭﺨﺎﺼﺔ ﻓﻲ ﻤﻭﺍﻗﻑ ﺍﻝﻌﺩﺍﺌﻴﺔ ﺍﻝﺜﻘﺎﻓﻴﺔ‪ .‬ﻭﺒﺎﻝﺭﻏﻡ ﻤﻥ ﺘﺼﺩﻴﺭ ﻫﺫﻩ ﺍﻝﻤﻭﺍﻗﻑ ﻝﻠﺭﺃﻱ ﺍﻝﻌﺎﻡ‬

‫ﺍﻝﻐﺭﺒﻲ ﺇﻻ ﺃﻨﻬﺎ ﻝﻴﺴﺕ ﺒﺎﻝﻀﺭﻭﺭﺓ ﻤﻠﺘﺼﻘﺔ ﺒﺎﻷﻓﺭﺍﺩ ﻋﻠﻰ ﻗﺩﺭ ﺍﻝﻤﻨﻅﻭﻤﺎﺕ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻹﻋﻼﻤﻴﺔ‪.5‬‬

‫" ‪...‬ﺇﻥ ﺍﻝﻐﺭﺏ ﻻ ﻴﻬﺘﻡ ﺒﺎﻹﺴﻼﻡ ﺇﻻ ﺒﺎﻋﺘﺒﺎﺭﻩ ﻗﻁﺎﻋﺎ ﻫﺎﻤﺸﻴﺎ ﻋﻨﻪ ‪،‬ﻝﺫﻝﻙ ﻋﻨﺩﻤﺎ ﻴﺘﻭﺠﻪ ﺍﻝﻤﺴﺘﺸﺭﻕ ﺇﻝﻰ‬

‫ﺠﻤﻬﻭﺭﻩ ﻓﺈﻨﻪ ﻴﺒﺴﻁ ﻭﻴﺒﺨﺱ ﻗﻴﻤﺔ ﻤﻌﻠﻭﻤﺎﺘﻪ ﺤﻴﺙ ﺇﻥ ﺍﻝﻤﺭﺠﻌﻴﺔ ﺍﻝﺘﻲ ﻴﺴﺘﻘﻴﻡ ﻋﻠﻴﻬﺎ ﻋﺎﻝﻡ ﺫﻫﻨﻲ ﺒﺄﺴﺭﻩ ﺘﻔﻘﺩ‬

‫ﻤﺭﻜﺯﻴﺘﻬﺎ ﻭﻤﻌﻨﺎﻫﺎ ﻭﺘﺘﻌﺎﺭﺽ ﻓﻭﻕ ﺫﻝﻙ ﻤﻊ ﺘﺄﻜﻴﺩ ﺴﺎﺫﺝ ﻝﻼﻨﺎ ﺍﻝﻐﺭﺒﻲ "‪.6‬‬

‫‪1‬‬
‫ﺴﻌﻴﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪117 ،‬‬
‫‪ 2‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ ‪92،‬‬
‫‪3‬‬
‫ﺠﻌﻴﻁ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪35 ،‬‬
‫ﺠﻌﻴﻁ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪40 ،‬‬ ‫‪4‬‬

‫ﺍﻨﻅﺭ ﺘﻐﻁﻴﺔ ﺍﻻﺴﻼﻡ‪37 ،‬‬ ‫‪5‬‬

‫ﺠﻌﻴﻁ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪44 ،‬‬ ‫‪6‬‬

‫‪44‬‬
‫ﺇﻥ ﺍﻻﺴﺘﺸﺭﺍﻕ ﻓﻲ ﺤﻘﻴﻘﺘﻪ ﺍﻜﺘﻨﺎﻩ ﻝﻠﻤﻌﺭﻓﺔ ﻭﺍﻝﺴﻠﻁﺔ ﺍﻝﺫﻱ ﻴﻤﺎﺭﺴﻪ ﺍﻹﻨﺸﺎﺀ‪ ،‬ﺤﻴﺙ ﺃﻨﻪ ﺒﻤﺜﺎﺒـﺔ‬

‫ﻤﺎﺩﺓ ﺘﺎﺭﻴﺨﻴﺔ ﻭﺜﻘﺎﻓﻴﺔ ﻤﺸﻤﻭﻝﺔ ﺒﺎﻝﺘﺤﻠﻴل ﺒﻭﺼﻑ ﺍﻻﺴﺘﺸﺭﺍﻑ ﺨﺎﺭﺠﻴﺎ ﻭﻤﺴﺘﺜﻨﻰ‪ ،‬ﻓﻲ ﺇﻁﺎﺭ ﺍﻝﻘـﻭﺓ‬

‫ﺍﻝﻔﻭﻗﻴﺔ ﺍﻝﺴﻠﻁﻭﻴﺔ‪.1‬‬

‫"‪....‬ﻴﻌﺘﺒﺭ ﺍﻻﺴﺘﺸﺭﺍﻕ ﺍﻝﺸﺭﻕ ﻭﺍﻝﺸﺭﻗﻴﻴﻥ ﻤﻭﻀﻭﻋﺎ ﻝﻠﺩﺭﺍﺴﺔ‪ ،‬ﻤﻭﺴﻭﻤﺎ ﺒﺂﺨﺭﻴﺔ ﻤﻜﻭﻨﺔ‪ ،‬ﺫﺍﺕ ﻁﺒﻴﻌـﺔ‬

‫ﺠﻭﻫﺭﺍ ﻨﻴﺔ ﺨﺎﻝﺼﺔ ﻭﻤﻭﻀﻭﻉ ﺍﻝﺩﺭﺍﺴﺔ ﺴﻴﻜﻭﻥ‪ ،‬ﻜﻤﺎ ﻫﻲ ﺍﻝﻌﺎﺩﺓ‪ ،‬ﺴﻠﺒﻴﺎ‪ ،‬ﻻ ﻤﺸﺎﺭﻜﺔ ﻓﻴﻪ‪ ،‬ﻤﻭﻫﻭﺒﺎ ﺫﺍﺘﻴـﺎ‬

‫)ﺘﺎﺭﻴﺨﻴﺎ( ﻭﻓﻭﻕ ﻜل ﺸﻲﺀ ﻏﻴﺭ ﻓﺎﻋل‪ ،‬ﻏﻴﺭ ﻤﺴﺘﻘل ﺍﻝﻭﺠﻭﺩ‪ ،‬ﻏﻴﺭ ﺫﻱ ﺴﻴﺎﺩﺓ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻰ ﻨﻔﺴﻪ‪:‬ﻭﺍﻝـﺸﺭﻕ‬

‫ﺍﻝﻭﺤﻴﺩ ﺃﻭ ﺍﻝﺸﺭﻗﻲ ﺍﻝﻭﺤﻴﺩ ﺃﻭ )ﺍﻝﻔﺎﻋل( ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﻴﻤﻜﻥ ﺇﻥ ﻴﻌﺘﺭﻑ ﺒﻪ ﻫﻭ‪ ،‬ﻓﻲ ﺍﻝﺤﺩ ﺍﻷﻗﺼﻰ‪ ،‬ﺍﻝﻜﺎﺌﻥ‪،‬‬

‫ﺍﻝﻤﻐﺭﺏ‪ ،‬ﻭﺍﻝﻤﺴﺘﻠﺏ ﻓﻠﺴﻔﻴﺎ‪ .‬ﺃﻭ ﺃﻱ ﺸﻲﺀ ﺁﺨﺭ ﻏﻴﺭ ﺫﺍﺘﻪ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻰ ﺫﺍﺘﻪ‪ ،‬ﻤﻤﻭﻀﻊ‪ ،‬ﻤﻔﻬـﻭﻡ‪ ،‬ﻤﺤـﺩﺩ‪،‬‬

‫ﻭﻤﻔﻌﻭل ﻤﻥ ﻗﺒل ﺍﻵﺨﺭﻴﻥ "‪.2‬‬

‫ﺇﻥ ﺼﻭﺭﺓ ﺍﻵﺨﺭ ﻝﻴﺴﺕ ﺒﺎﻝﻀﺭﻭﺭﺓ ﻫﻲ ﺍﻵﺨﺭ‪ ،‬ﺇﻨﻬﺎ ﺒﻨﺎﺀ ﻓﻲ ﺍﻝﻤﺨﻴﺎل ﻭﻓﻲ ﺍﻝﺨﻁﺎﺏ ﻭﻝﻴﺴﺕ‬

‫ﺒﺎﻝﻀﺭﻭﺭﺓ ﻫﻲ ﺍﻝﻭﺍﻗﻊ ﺤﺘﻰ ﻭﺇﻥ ﻜﺎﻥ ﺍﻝﺼﺭﺍﻉ ﺤﻭﻝﻬﺎ ﻤﻥ ﺭﻫﺎﻨﺎﺕ ﺍﻝﻭﺍﻗﻊ ‪ .3‬ﺇﻥ ﺘﻌﺭﻴﻑ ﺍﻵﺨـﺭ‬

‫ﻴﺩﻝﻲ ﺒﻪ ﻤﻥ ﻜﺎﻥ ﻝﻪ ﺒﻪ ﺸﺄﻥ ﻭﺴﻴﻜﻭﻥ ﺒﺎﻝﻀﺭﻭﺭﺓ‪ ،‬ﺫﺍ ﻤﻌﺎﻝﻡ ﺤﺎﺩﺓ ﻋﻨﻴﻔﺔ ﻴﺘﺤﻭل ﻏﺎﻝﺒﺎ ﺇﻝﻰ ﻤـﺎﺩﺓ‬

‫ﻭﻗﻀﻴﺔ ﺇﻤﺎ ﻝﻐﻠﺒﻪ‪ ،‬ﺃﻭ ﺘﻬﺩﺌﺔ ﺴﻁﻭﺘﻪ‪ ،‬ﺃﻭ ﺭﺒﻤﺎ ﺇﻓﻨﺎﺌﺔ‪ ،‬ﻭﺇﻻ ﻝﻤﺎ ﻜﺎﻥ ﻫﻭ ﺍﻵﺨﺭ ﺇﺫ ﺃﻥ ﺍﻵﺨﺭ ﻴﺘﺤﺩﺩ‬

‫ﺒﺤﺴﺏ ﺍﻝﻨﺎﻅﺭ ﺇﻝﻴﻪ‪ ،‬ﻓﻬﻭ ﺍﻝﻤﺴﺘﺒﺩ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻤﻅﻠﻭﻡ ﻭﻗﺩ ﻴﻜﻭﻥ ﻫﻭ ﺍﻝﻤﺤﻜﻭﻡ ﺒﺤﺴﺏ ﻤﻜﻴﺎﻓﻴﻠﻠﻲ ﻓـﻲ‬

‫)ﺍﻷﻤﻴﺭ(‪ ،‬ﻭﺍﻵﺨﺭ ﻫﻭ ﺭﺏ ﺍﻝﻌﻤل ﺒﺎﻝﻨﺴﺒﺔ ﻝﻤﺎﺭﻜﺱ ﻓﻲ )ﺭﺃﺱ ﺍﻝﻤﺎل(‪ ،‬ﻭﺍﻵﺨﺭ ﺠﻨﺴﺎ ﻗﺩ ﻴﻜـﻭﻥ‬

‫ﺍﻝﺭﺠل ﺃﻭ ﺍﻝﻤﺭﺃﺓ‪ ،‬ﻭﺍﻵﺨﺭ ﻓﻲ ﻨﺩﻴﺔ ﺍﻝﺘﻨﺎﻓﺱ ﻭﻓﺭﺽ ﺍﻝﻘﻭﺓ ﻭﺍﻝﺴﻴﻁﺭﺓ ﻓﻲ ﻤﻴﺯﺍﻥ ﺍﻝﻘﻭﻯ‪ .‬ﻭﺍﻵﺨﺭ‬

‫ﺸﺭﻗﺎ ﺃﻭ ﻏﺭﺒﺎ‪ ..‬ﻭﺍﻵﺨﺭ ﻫﻭ ﺃﻴﻀﺎ "ﻏﻴﺭ ﺍﻝﻤﻔﻜﺭ ﻓﻴﻪ"‪ .4‬ﻓﻼ ﻴﺤﺘﻤل ﺍﻵﺨﺭ ﻤﺩﻝﻭﻻ ﻭﺍﺤﺩﺍ ﺒل ﻴﺘﺒﺩل‬

‫ﻋﻨﺩ ﻜل ﻭﺍﻗﻌﺔ ﺘﺎﺭﻴﺨﻴﺔ ﺃﻭ ﺴﻴﺎﺴﻴﺔ ﺃﻭ ﺍﺠﺘﻤﺎﻋﻴﺔ ﻭﺘﺒﻌﺎ ﻝﻠﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻴﺘﻡ ﻤـﻥ ﺨﻼﻝﻬـﺎ ﺘﻨـﺎﻭل‬

‫ﺠﻌﻴﻁ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪35،‬‬ ‫‪1‬‬

‫‪ 2‬ﺴﻌﻴﺩ‪،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪121 ،‬‬

‫ﺏ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ ‪21،‬‬
‫‪ 3‬ﺍﻝﻁﺎﻫﺭ‪ ،‬ﻝﺒﻴ ِ‬
‫ﺍﻝﺒﺭﺯﻱ‪ .‬ﺩﻻل‪" .(1999) .‬ﺍﻵﺨﺭ ﺍﻝﻤﻔﺎﺭﻗﺔ ﺍﻝﻀﺭﻭﺭﻴﺔ"‪ .‬ﺼﻭﺭﺓ ﺍﻻﺨﺭ ﺍﻝﻌﺭﺒﻲ ﻨﺎﻅﺭﺍ ﻭﻤﻨﻅﺭﺭﺍ ﺍﻝﻴﻪ‪ .‬ﺍﻝﻁﺎﻫﺭ ﻝﺒﻴﺏ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺭﻜﺯ‬ ‫‪4‬‬

‫ﺩﺭﺍﺴﺎﺕ ﺍﻝﻭﺤﺩﺓ ﺍﻝﻌﺭﺒﻴﺔ‪102 ،‬‬

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‫ﺍﻵﺨﺭ ﻓﺈﺫﺍ ﻜﺎﻥ ﺍﻷﻭل ﻫﻭ ﺍﻷﻗﻭﻯ ﻭﺍﻝﻤﺴﻴﻁﺭ ﻓﺎﻵﺨﺭ ﻫﻭ ﺍﻝﺫﻱ ﻭﻗﻌﺕ ﻋﻠﻴﻪ ﺍﻝﺘﺴﻤﻴﺔ‪ ،‬ﻓﻘـﺩ ﻜـﺎﻥ‬

‫ﺍﻵﺨﺭ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻫﻭ "ﺍﻻﺘﺤﺎﺩ ﺍﻝﺴﻭﻓﻴﺘﻲ" ﻭﻓﻲ ﺩﺭﺍﺴﺘﻨﺎ "ﻋﺭﺒﻲ‪ ،‬ﻤﺨﻴﺎل ﺍﻝﻭﻻﻴـﺎﺕ‬

‫ﺍﻝﻤﺘﺤﺩﺓ" ﺒﻌﺩ ﺃﺤﺩﺍﺙ ﺃﻴﻠﻭل ‪ 2001‬ﺇﺫ ﻻ ﻴﻭﺠﺩ ﺁﺨﺭ ﺩﻭﻥ ﻭﻋﻲ ﺒﻭﺠﻭﺩﻩ ﻭﻻ ﺘﻭﺠﺩ ﺍﻝﻌﻼﻗﺔ ﺒﺎﻵﺨﺭ‬

‫ﺇﻻ ﻋﻠﻰ ﻗﺎﻋﺩﺓ ﺍﻝﻐﺎﻝﺏ ﻭﺍﻝﻤﻐﻠﻭﺏ‪ ،‬ﻭﺒﺩﻭﻥ ﻫﺎﺘﻴﻥ ﺍﻝﻘﺎﻋﺩﺘﻴﻥ ﻝﻥ ﻴﻜﻭﻥ ﺜﻤﺔ ﺁﺨﺭ‪ ،‬ﺒـل ﺴﻴﺘﻼﺸـﻰ‬

‫ﻭﺴﻴﻀﻤﺤل ﺘﻤﺎﻤﺎ ﺒﺤﻴﺙ ﻴﺼﺒﺢ ﻫﻭ ﺍﻷﻨﺎ‪ ،‬ﻭﻻ ﺘﺯﺍل ﺍﻝﺭﺅﻴﺔ ﺍﻝﺴﺎﺒﻘﺔ ﻝﻠﻌﺭﺒﻲ ﻜﻤﺎ ﻫـﻲ ﻤﺨﺘﺯﻝـﺔ‬

‫ﺒﺎﻹﺴﺘﺒﺩﺍﺩ ﺍﻝﻤﺭﺘﺒﻁ ﺒﺎﻝﻘﺒﻴﻠﺔ ﻭﺍﻝﺩﻴﻥ ﻭﺍﻝﻌﺭﻑ ﻜﻤﺎ ﻨﻅﺭﺓ ﺍﻝﻌﺭﺒﻲ ﺇﻝﻰ ﺍﻝﻐﺭﺒﻲ ﺒﺄﻨﻪ ﻜـﺎﻓﺭ ﻭﻓﺎﺴـﻕ‬

‫ﻭﺠﺎﺤﺩ ﻤﺸﺭﻙ‪ ،‬ﻭﺍﻷﻤﺭﻴﻜﻲ ﺸﻴﻁﺎﻥ ﻤﻁﻠﻕ‪ ،‬ﺃﻤﺎ ﺍﻝﻌﺭﺒﻲ ﻓﻬﻭ ﻭﺍﻫﻥ ﺨﺎﺌﺭ ﺭﺨﻭ ﺴـﺎﻜﻥ ﺼـﺎﻤﺕ‬

‫ﻝﺩﻴﻪ ﺸﻬﻭﺍﻨﻴﺔ ﻤﻔﺭﻁﺔ ﻓﻲ ﺤﺏ ﺍﻝﺠﻨﺱ ﻭﺍﻝﻨﺴﺎﺀ ‪.1‬‬

‫ﻭﻓﻲ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﻝﺯﻤﻥ ﺍﻝﻤﻔﻭﺕ ﻗﻀﻴﺔ ﻤﻬﻤﺔ ﻓﻲ ﺍﻝﺤﺩﻴﺙ ﺜﻨﺎﺌﻴﺔ ﺍﻷﻨﺎ ﻭﺍﻵﺨﺭ‪ ،‬ﺇﺫ ﻴﻌﻴﺵ ﻜل‬

‫ﻤﻨﻬﻤﺎ ﺯﻤﻨﺎ ﻴﺸﺘﺒﻙ ﻓﻴﻪ ﺍﻝﻤﺎﻀﻲ ﻭﺍﻝﻤﺴﺘﻘﺒل‪ ،‬ﻓﺎﻷﻭل ﻴﺼﺎﺩﺭ ﺘﺎﺭﻴﺦ ﺍﻵﺨﺭ ﺍﻝﻤﻐﻠﻭﺏ ﻭﻴﺫﻫﺏ ﺇﻝـﻰ‬

‫ﻤﺎ ﻭﺭﺍﺀ ﺍﻝﺘﺎﺭﻴﺦ ﻝﻴﺠﺩ ﺍﻵﺨﺭ ﻤﻠﺠﺄ ﻴﻬﺭﺏ ﺇﻝﻴﻪ‪ .‬ﻭﺇﺫ ﻴﻁﻤﺱ ﺍﻷﻨﺎ ﻤﻌﺎﻝﻡ ﺍﻵﺨﺭ ﻭﻤﺎﻀﻴﻪ ﺍﻝﻤﺠﻴﺩ ﺃﻭ‬

‫ﺃﻱ ﺒﻘﻌﺔ ﺴﻭﺩﺍﺀ ﻜﺎﻥ ﻗﺩ ﺃﻀﺎﺀﻫﺎ‪ ،‬ﻓﻴﺒﻘﻰ ﺍﻝﻌﺭﺒﻲ ﻋﻠﻰ ﺤﺎﻓﺔ ﺍﻝﻬﺎﻭﻴﺔ ﻤـﻥ ﻏﻴـﺭ ﺘﺤـﻭﻻﺕ ﻭﻻ‬

‫ﺘﺠﺎﺭﺏ ﻭﻻ ﻤﺠﺎﺒﻬﺔ ﻭﻻ ﻴﺠﺩﻭﻥ ﺴﻭﻯ ﺍﻝﺘﻐﻨﻲ ﺒﻘﻭﺘﻬﻡ ﺍﻝﺴﺎﺒﻘﺔ ﻓﻴﻤﺎ ﻫﻡ ﻗﺎﺒﻌﻭﻥ ﻓﻲ ﺸﺭﻕ ﻤﺎ ﻗﺒـل‬

‫ﺍﻝﺠﺎﻫﻠﻴﺔ‪ .‬ﻨﻅﺭﺓ ﻻ ﺘﺘﺠﺎﻭﺯ ﺍﻻﺨﺘﺯﺍل ﻭﺍﻝﺘﻔﻭﻴﺕ‪ ،‬ﻓﺎﻝﻌﻴﻥ ﻴﺤﺘﺎﺝ ﺇﻝﻰ ﻀﺩﻩ ﺒﻐﻴﺔ ﺭﺴﻡ ﻤﻼﻤﺤﻪ‪ ،‬ﻭﻝﻡ‬

‫ﺘﺒﺭﺯ ﺃﺯﻤﺔ ﺍﻝﻬﻭﻴﺔ ﺇﻻ ﻋﻨﺩﻤﺎ ﺩﺨﻠﺕ ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﻓﻲ ﺩﻴﻨﺎﻤﻴﻜﻴﺔ ﻤﺎ ﺒﻌﺩ ﺍﻝﺤﺩﺍﺜﺔ ‪.2‬‬

‫ﻴﺸﺘﻐل ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻭﻥ ﺒﺘﻤﺜﻴل ﺍﻝﺘﺼﻭﺭﺍﺕ ﺍﻝﺘﻲ ﺠﺎﺀﺕ ﺒﻬﺎ ﻗﺼﺹ ﺍﻻﺴﺘﺸﺭﺍﻑ ﺴـﻴﻨﻤﺎﺌﻴﺎ‪ .‬ﻓﻤـﺎ‬

‫ﺘﺯﺍل ﺍﻝﺼﻭﺭ ﺍﻝﻜﺎﺭﻴﻜﺎﺘﻭﺭﻴﺔ ﺍﻝﺘﻲ ﺭﺴﻤﻬﺎ ﺍﻝﻤﺴﺘﺸﺭﻕ ﺍﻝﻔﺭﻨﺴﻲ ﻓﺭﺍﻨﺴﻭﺍ ﺩﻭ ﺸﺎﺘﻭﺒﺭﻴﺎﻥ ﻓﻲ ﺴـﻨﺔ‬

‫‪ ،1803‬ﺤﻴﺙ ﻜﺎﻥ ﻝﻪ ﻨﻅﺭﺓ ﺜﺎﻨﻭﻴﺔ ﻓﻲ ﺍﻹﺴﻼﻡ ﻓﻬﻭ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻪ ﺒﺭﺒﺭﻴﺔ ﻤﻨﻅﻤﺔ‪ ،‬ﺠﻌﻠﻬـﺎ ﺍﻝـﺩﻴﻥ‬

‫ﺇﻨﺴﺎﻨﻴﺔ‪ ،‬ﻭﻝﻜﻨﻬﺎ ﻓﻲ ﺍﻝﻤﺠﻤل ﻗﺎﺴﻴﺔ ﻭﻏﻴﺭ ﺤﻤﻴﻤﻴﺔ‪ .‬ﻜﻤﺎ ﻴﺼﻑ ﺭﺤﻠﺘﻪ ﻤﻥ ﺩﻤـﺸﻕ ﺇﻝـﻰ ﻭﺴـﻁ‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪103 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﺴﻌﻴﺩ‪ ،‬ﺍﻻﺴﺘﺸﺭﺍﻕ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪13 ،‬‬

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‫ﺍﻝﺠﺯﻴﺭﺓ ﺍﻝﻌﺭﺒﻴﺔ‪ ،‬ﻓﻴﻘﻭل‪" :‬ﺒﺩﺍ ﻝﻲ ﺍﻝﻌﺭﺏ ﺤﻴﻨﻤﺎ ﺭﺃﻴﺘﻬﻡ ﻁﻭﺍل ﺍﻝﻘﺎﻤﺔ‪ ،‬ﻭﻝﻭ ﺃﻨﻬﻡ ﺃﺒﻘـﻭﺍ ﺃﻓـﻭﺍﻫﻬﻡ‬

‫ﻤﻐﻠﻘﺔ ﺩﻭﻤﹰﺎ ﻝﻤﺎ ﺩل ﺸﻲﺀ ﻝﺩﻴﻬﻡ ﻋﻠﻰ ﺍﻝﻭﺤﺸﻴﺔ‪ ،‬ﺒﻴﺩ ﺃﻨﻬﻡ ﻤﺎ ﺃﻥ ﻴﺒﺩﺅﻭﺍ ﺍﻝﻜﻼﻡ ﺤﺘﻰ ﺘﺴﻤﻊ ﻝﻬﻡ ﻝﻐﺔ‬

‫ﺼﺎﺨﺒﺔ ﻭﻤﻠﻔﻭﻅﺔ ﺒﻤلﺀ ﺍﻝﻨﻔﺱ ﻭﺘﻠﺤﻅ ﺃﺴﻨﺎﻨﹰﺎ ﻁﻭﻴﻠﺔ‪ ،1"...‬ﻜﻤﺎ ﻴﻘﻭل ﺃﻴﻀﹰﺎ‪" :‬ﺃﻥ ﺼـﻔﺎﺕ ﻤﺜـل‬

‫ﺍﻝﻭﺤﺸﻴﺔ ﻭﺍﻝﻌﺒﻭﺩﻴﺔ ﻭﺍﻝﺘﻌﺼﺏ ﺘﻠﺘﺼﻕ ﺒﺎﻝﺸﻌﻭﺏ ﺍﻝﺸﺭﻗﻴﺔ ﺍﻝﺘﻲ ﺘﻨﺘﻤﻲ ﺇﻝﻰ ﺍﻝـﺴﻴﻑ ﻓـﻲ ﺒﻨﻴﺘﻬـﺎ‬

‫ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ‪،‬ﻭﻫﻭ ﺘﺎﺭﻴﺦ ﺒﺭﺒﺭﻱ ﻴﺒﺭﺭ ﺍﻝﺤﻤﻠﺔ ﺍﻝﺼﻠﻴﺒﻴﺔ" ‪ ،2‬ﻜﻤﺎ ﻜﺘﺒﺕ ﺍﻝﺭﺤﺎﻝﺔ ﺍﻝﻔﺭﻨﺴﻴﺔ ﺃﻭﺠـﻴﻥ‬

‫ﺩﻭﻓﻭﻏﻴﻪ ﻓﻲ ﻜﺘﺎﺒﻬﺎ )ﺭﺤﻠﺔ ﺇﻝﻰ ﺒﻼﺩ ﺍﻝﻤﺎﻀﻲ( ﻤﻭﻀﻭﻋﺎﺕ ﺘﺘﻁﺎﺒﻕ ﻭﻤﺎ ﻜﺘﺒﻪ ﺸﺎﺘﻭﺒﺭﻴﺎﻥ‪ ،‬ﻭﻝﻜﻨﻬﺎ‬

‫ﺃﻜﺜﺭ ﻜﺎﺭﻴﻜﺎﺘﻭﺭﻴﺔ ﺤﻴﺙ ﺘﻌﻭﺩ ﺒﺎﻹﻨﺴﺎﻥ ﺍﻝﻌﺭﺒﻲ ﺇﻝﻰ ﻤﺎ ﻗﺒل ﺍﻝﻤﻴﻼﺩ‪ ،‬ﻏﺎﻴﺔ ﻓﻲ ﺍﻝﺒﺩﺍﺌﻴﺔ‪ .‬ﻫﻡ ﺒـﺩﻭ‬

‫ﺭﻋﺎﺓ‪ :‬ﻋﻴﻭﻨﻬﻡ ﻨﺎﺭﻴﺔ ﻭﺃﺴﻨﺎﻨﻬﻡ ﺘﺸﺒﻪ ﺍﻝﻌﺎﺝ ﻭﻭﺠﻭﻫﻡ ﺸﺎﺤﺒﺔ ‪.3‬‬

‫‪ 3.1‬ﺠﺩﻝﻴﺔ ﺍﻝﺸﺭ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ ‪ :‬ﺤﺎﻝﺔ ﺍﻝﺤﺭﺏ ﺍﻝﺩﺍﺌﻤﺔ‬

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‫" ﺴﻭﻓﺎﺝ‪ ،‬ﺴﻭﻓﺎﺝ‪ ،‬ﺍﻨﻬﻡ ﻝﻴﺴﻭ ﻤﺜﻠﻲ ﺃﻭ ﻤﺜﻠﻙ ‪"....‬‬

‫ﻓﻲ ﺭﺴﺎﻝﺔ ﺴﻠﹼﻤﻬﺎ ﻝﻠﻜﻭﻨﺠﺭﺱ ﺍﻷﻤﺭﻴﻜﻲ ﻓﻲ ‪ 2‬ﺩﻴﺴﻤﺒﺭ ‪1823‬ﻡ‪ ،‬ﺃﻓﺎﺩ ﺍﻝﺭﺌﻴﺱ ﺠﻴﻤﺱ ﻤﻭﻨﺭﻭ‬

‫ﺃﻥ "ﻜل ﺍﻝﺤﺭﻭﺏ ﺍﻝﺘﻲ ﺘﺠﺭﻱ ﻝﻥ ﺘﻜﻭﻥ ﻓﻲ ﺃﻭ ﻋﻠﻰ ﺃﺭﺽ ﺍﻝﻭﻻﻴـﺎﺕ ﺍﻝﻤﺘﺤـﺩﺓ ﺍﻷﻤﺭﻴﻜﻴـﺔ "‪،5‬‬

‫ﻭﻜﺫﻝﻙ ﻜﺎﻨﺕ ﺤﺭﻭﺏ ﻫﻭﻝﻴﻭﺩ ﻗﺼﺼﻬﺎ ﺨﺎﺭﺝ ﺃﺭﺽ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻓﻬﻨـﺎﻙ ﺩﺍﺌﻤـﺎ ﺠﻨـﻭﺩ‬

‫ﺃﻤﺭﻴﻜﻴﻭﻥ‪ ،‬ﺸﺠﻌﺎﻥ ﻁﻴﺒﻭﻥ ﺒل ﻭﺭﻭﻤﺎﻨﺴﻴﻭﻥ ﻋﻠﻰ ﺍﻷﻏﻠﺏ ﻴﺤﺎﺭﺒﻭﻥ ﻋـﺩﻭﺍ ﻫـﻭ ﺒﺎﻝـﻀﺭﻭﺭﺓ‬

‫ﻫﻤﺠﻲ‪ ،‬ﻗﺎﺱ‪ ،‬ﻭﺇﺭﻫﺎﺒﻲ‪ .‬ﻭﻓﻲ ﺃﻓﻼﻤﻬﺎ ﻜﺎﻥ ﻝﻬﻭﻝﻴﻭﺩ ﻋﺩﻭ ﺘﻨﺘﺼﺭ ﻋﻠﻴﻪ‪ ،‬ﻭﻫﺫﺍ ﺍﻝﻌﺩﻭ ﻜﺎﻥ ﻴﻭﻤـﺎ‬

‫ﺘﻭﺩﺭﻭﻑ‪ ،‬ﺘﺯﻓﻴﺘﺎﻥ‪ .(1998) :‬ﻨﺤﻥ ﻭﺍﻻﺨﺭﻭﻥ‪-‬ﺍﻝﻨﻅﺭﺓ ﺍﻝﻔﺭﻨﺴﻴﺔ ﻝﻠﺘﻨﻭﻉ ﺍﻝﺒﺸﺭﻱ‪ .‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﺍﻝﻤﺩﺍﻯ‪35 ،‬‬ ‫‪1‬‬

‫ﺠﻌﻴﻁ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪42 ،‬‬ ‫‪2‬‬

‫‪ 3‬ﺍﻝﻘﺤﻁﺎﻨﻲ‪ ،‬ﺴﻠﻁﺎﻥ‪ (2008) .‬ﺼﻭﺭﺓ ﺍﻝﻌﺭﺏ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺒﻌﺩ ﻋﺼﺭ ﺍﻻﺴﺘﺸﺭﺍﻕ‪.‬ﺍﻝﺠﺯﻴﺭﺓ ﺍﻝﺜﻘﺎﻓﻴﺔ‪ .‬ﻨﺴﺨﺔﺍﻝﻜﺘﺭﻭﻨﻴﺔ‪.‬‬
‫ﺍﺴﺘﺭﺠﻌﺕ ﺒﺘﺎﺭﻴﺦ ‪http://www.al-jazirah.com/culture/2008/17032008/fadaat21.htm 10.12.2009‬‬
‫ﻤﻥ ﻓﻴﻠﻡ ‪1995 Pocahont‬‬ ‫‪4‬‬

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‫ل ﺩﻭل ﻨﺼﻑ ﺍﻝﻜﺭﺓ ﺍﻝﻐﺭﺒﻲ ﻀﺩ ﺍﻝﺘﺩﺨل ﺍﻷﻭﺭﻭﺒﻲ ﺒﻐﺭﺽ ﺍﻀﻁﻬﺎﺩﻫﻡ‪ ،‬ﺃﻭ ﺍﻝﺘﹼﺩﺨﹼل ﻓﻲ‬
‫ﻜﻤﺎ ﻨﺎﺩﻯ ﻤﺒﺩﺃ ﻤﻭﻨﺭﻭ ﺒﻀﻤﺎﻥ ﺍﺴﺘﻘﻼل ﻜ ِّ‬
‫ﺘﻘﺭﻴﺭ ﻤﺼﻴﺭﻫﻡ‪ .‬ﻭﻴﺸﻴﺭ ﻤﺒﺩﺃ ﻤﻭﻨﺭﻭ ﺃﻴﻀﹰﺎ ﺇﻝﻰ ﺃﻥ ﺍﻷﻭﺭﻭﺒﻴﻴﻥ ﺍﻷﻤﺭﻴﻜﻴﻴ‪‬ﻥ ﻻ ﻴﺠﻭﺯ ﺍﻋﺘﺒﺎﺭﻫﻡ ﺭﻋﺎﻴﺎﻤﺴﺘﻌﻤﺭﺍﺕ ﻷﻱ ﻗﹸﻭﻯ ﺃﻭﺭﻭﺒﻴﺔ‬
‫ﻓﻲ ﺍﻝﻤﺴﺘﻘﺒل‪ .‬ﻭﺍﻝﻘﺼﺩ ﻤﻥ ﻫﺫﺍ ﺍﻝﺒﻴﺎﻥ ﻫﻭ ﺃﻥ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻝﻥ ﺘﺴﻤ‪‬ﺢ ﺒﺘﻜﻭﻴﻥ ﻤﺴﺘﻌﻤﺭﺍﺕ ﺠﺩﻴﺩﺓ ﻓﻲ ﺍﻷﻤﺭﻴﻜﺘﻴﻥ‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ‬
‫ﻋﺩﻡ ﺍﻝﺴﻤﺎﺡ ﻝﻠﻤﺴﺘﻌﻤﺭﺍﺕ ﺍﻝﺘﻲ ﻜﺎﻨﺕ ﻗﺎﺌﻤﺔ ﺒﺎﻝﺘﻭﺴﻊ ﻓﻲ ﺤﺩﻭﺩﻫﺎ‪.‬‬

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‫ﻓﺭﻨﺴﻴﺎ ﻭﻜﺎﻥ ﺒﺭﻴﻁﺎﻨﻴﺎ ﻭﻜﺎﻥ ﻫﻨﺩﻴﺎ ‪،‬ﺃﻓﻐﺎﻨﺴﺘﺎﻨﻴﺎ‪ ،‬ﺼﻴﻨﻴﺎ‪ ،‬ﺭﻭﺴﻴﺎ ﻻﺘﻴﻨﻴﺎ ﻭﻋﺭﺒﻴﺎ ﺃﻴﻀﺎ ﻤﻊ ﺍﺴﺘﺜﻨﺎﺀ‬

‫ﻭﺤﻴﺩ ﻭﻫﻭ ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ‪ .1‬ﻭﺒﻌﺽ ﺍﻝﺩﻭل ﺍﻝﺘﻲ ﻝﻡ ﺘﻌﺭﻑ ﺍﻝﺤﺭﺏ ﺍﻝﺤﻘﻴﻘﻴﺔ ﻜﺎﻝﺴﻭﻴﺩ ﻭﺍﻝﺩﻨﻤﺎﺭﻙ‪.‬‬

‫ﻜﺎﻨﺕ ﻫﻭﻝﻴﻭﺩ ﻭﻤﺎ ﺯﺍﻝﺕ ﺘﺒﺤﺙ ﻋﻥ ﻤﻭﻀﻭﻉ ﻷﻓﻼﻤﻬﺎ‪ ،‬ﻋﻠﻰ ﺃﻨﻬﺎ ﻫﻲ ﻝﻡ ﺘﻌـﺭﻑ ﺤـﺭﻭﺏ‬

‫ﺤﻘﻴﻘﺔ ﻋﻠﻰ ﺃﺭﻀﻬﺎ ﺇﻻ ﻤﺎ ﻜﺎﻥ ﺇﺒﺎﺩﺓ ﻝﻠﻬﻨﻭﺩ ﺍﻝﺤﻤﺭ‪ ،‬ﺜﻡ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ ﺒﻴﻥ ﺍﻝﺸﻤﺎل ﻭﺍﻝﺠﻨﻭﺏ ﻓﻲ‬

‫ﺴﺘﻴﻨﺎﺕ ﺍﻝﻘﺭﻥ ﺍﻝﺘﺎﺴﻊ ﻋﺸﺭ‪ ،‬ﻓﻜﺎﻥ ﺨﻁﺎﺏ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ ﻋﻠﻰ ﻨﺤﻭ ﻴﻅﻬﺭ ﺍﻝﺭﺠل ﺍﻷﺒـﻴﺽ‬

‫ﺍﻝﻘﺎﺩﻡ ﻝﺘﻁﻬﻴﺭ ﺍﻷﺭﺽ ﺍﻝﺠﺩﻴﺩﺓ ﻤﻥ ﺍﻝﻬﻨﻭﺩ ﺍﻝﺫﻴﻥ ﺒﺩﻭ ﺘﻭﺤﺸﻭﻥ ﻫﻤﺠﻴﻭﻥ‪ .‬ﻭﻝﻡ ﻴﻨﺘﻪ ﺍﻷﻤﺭ ﺇﻻ ﻓﻲ‬

‫ﻤﻨﺘﺼﻑ ﺍﻝﺨﻤﺴﻴﻨﺎﺕ ﻋﻨﺩﻤﺎ ﻝﻡ ﺘﻌﺩ ﻫﻨﺎﻙ ﺃﻴﺔ ﺃﻫﻤﻴﺔ ﻝﻁﺭﺡ ﺍﻝﻬﻨﻭﺩ ﻜﻔﻜﺭﺓ ﺴﻴﻨﻤﺎﺌﻴﺔ‪ ،‬ﻓﺘﻡ ﺘﻘـﺩﻴﻤﻬﻡ‬

‫ﻓﻴﻤﺎ ﺒﻌﺩ ﻋﻠﻰ ﺃﻨﻬﻡ ﻁﻴﺒﻭﻥ ﺴﺎﺫﺠﻭﻥ ﻭﺤﻜﻤﺎﺀ ﺃﺤﻴﺎﻨﺎ‪ ،‬ﻜﻤﺎ ﻓﻲ ﻓﻴﻠﻡ )ﺃﺒـﺎﺵ( ﻝﺭﻭﺒـﺭﺕ ﺩﺭﻴـﺵ‬

‫‪ ،1956‬ﻭ)ﺍﻝﻼﺘﺴﺎﻤﺢ( ﻝﺠﻭﻥ ﻫﻴﻭﺴﺘﻥ ‪ ،1958‬ﻭ)ﺍﺭﻗﺹ ﻤﻊ ﺍﻝﺫﺌﺎﺏ( ﻝﻜﻴﻔﻥ ﻜﻭﺴـﺘﻨﺯ ‪.21992‬‬

‫ﺃﻤﺎ ﻓﻲ ﻤﻭﻀﻭﻉ ﺍﻝﺤﺭﺏ ﺍﻷﻫﻠﻴﺔ‪ ،‬ﻭﺒﻤﺎ ﺃﻨﻬﺎ ﻝﻴﺴﺕ ﻤﻥ ﺒﻁﻭﻻﺕ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ ،‬ﻓﻘـﺩ ﻏﻠﻔـﺕ‬

‫ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﻨﺎﻭﻝﺕ ﻫﺫﺍ ﺍﻝﻤﻭﻀﻭﻉ ﺒﺎﻝﺭﻭﻤﺎﻨـﺴﻴﺔ ﻜﻔـﻴﻠﻡ )ﺫﻫـﺏ ﻤـﻊ ﺍﻝـﺭﻴﺢ( ل ﻓﻴﻜﺘـﻭﺭ‬

‫ﻓﻠﻴﻤﻨﺞ‪ 1993،‬ﻓﻠﻡ ﻴﻜﻥ ﻫﻨﺎﻙ ﻤﻨﺘﺼﺭ ﻭﻤﻨﻬﺯﻡ ﺒل ﺍﻤﺔ ﺠﺭﻴﺤﺔ ﻓﻲ ﺍﻝﻨﻬﺎﻴـﺔ‪ .‬ﻭﻓـﻴﻠﻡ )ﺍﻝﻁﺭﻴـﻕ‬

‫ﺍﻝﻁﻭﻴل ﻝﻠﻤﻨﺯل( ‪ .3 1966‬ﻜﻤﺎ ﺃﻥ ﺒﺭﻴﻁﺎﻨﻴﺎ ﻝﻡ ﺘﺴﻠﻡ ﻜﻭﻨﻬﺎ ﻋﺩﻭﺍ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻬﻭﻝﻴﻭﺩﻴـﺔ ﻓﻘـﺩﻡ‬

‫ﺍﻻﻨﺠﻠﻴﺯﻱ ﻋﻠﻰ ﺃﻨﻪ ﺍﻝﻤﺘﻭﺤﺵ ﻓﻲ ﻤﻘﺎﺘﻠﺔ ﺨﺼﻭﻤﻪ ﻓﻘﺩ ﻤﻨﺤﺕ ﺠﻭﺍﺌﺯ ﺍﻷﻭﺴﻜﺎﺭ ﻝﻠﻤﻤﺜـل ﻤﻴـل‬

‫ﺠﻴﺒﺴﻭﻥ ﻓﻲ ﻓﻴﻠﻤﻪ )ﻗﻠﺏ ﺸﺠﺎﻉ ( ‪ 1996‬ﺍﻝﺫﻱ ﻗﺎﻡ ﻓﻴﻪ ﺒﺩﻭﺭ ﺍﻴﺭﻝﻨﺩﻱ ﻻﻗﻰ ﺸﺘﻰ ﺃﻨﻭﺍﻉ ﺍﻝﻌـﺫﺍﺏ‬

‫ﻤﻥ ﻗﺒل ﺍﻻﺤﺘﻼل ﺍﻝﺒﺭﻴﻁﺎﻨﻲ ﻭﻭﺤﺸﻴﺘﻪ ‪ .4‬ﻜﻤﺎ ﻜﺎﻥ ﻝﻠﻤﺨﺭﺝ ﺭﻭﻨﺎﻝﺩ ﺍﻴﻤﻴﺭﻴﺵ ﻓـﻴﻠﻡ )ﺍﻝـﻭﻁﻨﻲ(‬

‫ﻋﺎﻡ‪ 2000‬ﻭﻓﻴﻪ ﺘﻨﺎﻭل ﺍﺴﺘﻘﻼل ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻋﻥ ﺒﺭﻴﻁﺎﻨﻴﺎ ﻓﻲ ﻗﺴﻭﺓ ﻭﺃﻝﻡ ﺸﺩﻴﺩﻴﻥ‪ ،‬ﺃﻤﺎ ﻓﺭﻨﺴﺎ‬

‫ﻓﻘﺩ ﺃﻨﺘﺠﺕ ﺃﻓﻼﻤﺎ ﺤﻭل ﺘﺤﺭﻴﺭﻫﺎ ﻤﻥ ﺍﻻﺤﺘﻼل ﺍﻝﻨﺎﺯﻱ‪ ،‬ﻭﺍﻹﻨـﺯﺍل ﺍﻷﻤﺭﻴﻜـﻲ ﻓـﻲ ﺴـﻭﺍﺤل‬

‫ﻗﺎﺴﻡ ﻤﺤﻤﻭﺩ ‪"".(2005).‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ "‪ ،‬ﺃﺩﺏ ﻭﻨﻘﺩ‪ ،‬ﻉ‪5، 236‬‬ ‫‪1‬‬

‫‪ 2‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪136 .‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪138 .‬‬ ‫‪3‬‬

‫ﺍﻝﺭﻤﻴﺤﻲ‪ ،‬ﻤﺤﻤﺩ ‪"" .(2000).‬ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺤﻴﺎﺓ‪ :‬ﺃﻴﻬﻤﺎ ﺃﻜﺜﺭ ﺤﻘﻴﻘﺔ ﻤﻥ ﺍﻷﺨﺭ" ‪.‬ﺍﻝﻌﺭﺒﻲ ‪.‬ﻉ‪.439‬‬ ‫‪4‬‬

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‫ﺍﻝﻨﻭﺭﻤﻨﺩﻱ ‪ 1944‬ﻜﻔﻠﻴﻡ )ﻤﻤﺭ ﺍﻝﻤﺠﺩ( ﻭﻓﻴﻠﻡ )ﺘﻭﺒﺎﺯ(‪ 1967‬ﻭﺘﻡ ﺘﺼﻭﻴﺭ ﺍﻝﻔﺭﻨـﺴﻴﻥ ﻓـﻲ ﻫـﺫﻩ‬

‫ﺍﻷﻓﻼﻡ ﺒﺎﻝﺠﺒﻨﺎﺀ ﻭﺍﻝﻘﺎﺌﺩ ﺍﻝﻔﺭﻨﺴﻲ ﻏﻴﺭ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﺘﺨﺎﺫ ﺍﻝﻘﺭﺍﺭﺍﺕ‪ ،‬ﻤﺘﺨﺒﻁ ﻓﻲ ﻤﻌﻅﻡ ﺍﻷﺤﻴﺎﻥ ﻜﻤﺎ‬

‫ﻓﻲ ﻓﻴﻠﻡ "ﺘﻭﺒﺎﺯ" ﺤﻴﺙ ﺘﻡ ﺇﺩﺍﻨﺔ ﺍﻷﺠﻬﺯﺓ ﺍﻝﻌﺴﻜﺭﻴﺔ ﺍﻝﻔﺭﻨﺴﻴﺔ ‪ 1.‬ﻭﺤﻔﻠﺕ ﻫﻭﻝﻴﻭﺩ ﺒﻤﺌـﺎﺕ ﺍﻷﻓـﻼﻡ‬

‫ﺍﻝﺘﻲ ﺼﻭﺭﺕ ﺍﻷﻝﻤﺎﻥ ﻜﻤﺠﺭﻤﻲ ﺤﺭﺏ ﻭﺘﻡ ﺘﺼﻭﻴﺭﻫﻡ ﺒﺄﻨﻬﻡ ﻴﻤﻴﻠﻭﻥ ﺇﻝـﻰ ﺍﻝـﺩﻤﺎﺀ ﻭﺍﻝﺘﻌـﺫﻴﺏ‬

‫ﻭﺍﻝﺘﻭﺤﺵ ﻓﻲ ﺍﻻﻨﺘﻘﺎﻡ‪ ،‬ﻭﻜل ﻤﺎ ﻴﻬﻤﻬﻡ ﻫﻭ ﺍﻝﺴﻠﻁﺔ ﻭﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺍﻷﻭﺴﻤﺔ ﺍﻝﻌﺴﻜﺭﻴﺔ‪ ،‬ﻭﺜﻤـﺔ‬

‫ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﻜﺎﻥ ﺍﻻﻨﺘﺼﺎﺭ ﻓﻴﻬﺎ ﻝﻠﺤﻠﻔﺎﺀ ﺒﻤﺴﺎﻋﺩﺓ ﺍﻻﻤﺭﻴﻜﻴﻥ ﻜﻔﻴﻠﻡ )ﺍﻝﻌﻤﻠﻴﺔ ﻜﺭﺍﺴﺒﻭ(‬

‫‪ 1963،‬ﻭ)ﺍﻝﻌﺏ ﺒﺸﻜل ﻗﺫﺭ( ‪ 1968‬ﻭ)ﺃﻁﻭل ﻴﻭﻡ ﻓﻲ ﺍﻝﺘﺎﺭﻴﺦ( ‪ .2 1962‬ﺃﻤﺎ ﻋﻥ ﺤﺎﺩﺜﺔ ﺒﻴـﺭل‬

‫ﻫﺎﺭﺒﺭ ﻓﻘﺩ ﺭﺍﺤﺕ ﻫﻭﻝﻴﻭﻭﺩ ﺘﻨﺘﻘﻡ ﻤﻥ ﺍﻝﻴﺎﺒﺎﻥ ﻓﻲ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻷﻓﻼﻡ )ﺘﻭﺭﺍ ﺘﻭﺭﺍ ﺘﻭﺭﺍ( ﻭﻫﻲ ﻜﻠﻤﺔ‬

‫ﺴﺭ ﺍﻝﻬﺠﻭﻡ ﻋﻠﻰ ﺍﻝﻤﻴﻨﺎﺀ‪ 1968 ،‬ﻭﻓﻴﻠﻡ ﺁﺨﺭ ﺘﻡ ﺇﻨﺘﺎﺠﻪ ﻓﻲ ﺍﻝﻌﺎﻡ ‪ 2001‬ﻓﻲ ﺫﻜﺭﻯ ﺍﻝﻬﺠﻭﻡ‪ ،‬ﻓﻴﻠﻡ‬

‫ﻴﺤﻜﻲ ﻗﺼﺔ ﺸﺎﺒﻴﻥ ﻴﺘﻨﺎﻓﺴﺎ ﻋﻠﻰ ﻗﻠﺏ ﺍﻤﺭﺃﺓ ﻭﻫﺅﻻﺀ ﺍﻝﺜﻼﺜﺔ ﺤﻭ‪‬ﻝﻭﺍ ﺍﻝﻬﺯﻴﻤﺔ ﺇﻝﻰ ﻨـﺼﺭ ﻋﺒـﺭ‬

‫ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻌﻤﻠﻴﺎﺕ ﺍﻝﻔﺩﺍﺌﻴﺔ ﺍﻝﺘﻲ ﻗﺎﻤﺎ ﺒﻬﺎ ﺩﻓﺎﻋﺎ ﻋﻥ ﺸﺭﻑ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ‪ .3‬ﻜﻤﺎ ﻴ‪‬ﻼﺤﻅ ﺃﻥ‬

‫ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻷﻓﻼﻡ ﺃُﻨﺘﺠﺕ ﻓﻲ ﺍﻝﺴﺒﻌﻴﻨﺎﺕ ﻋﻘﺏ ﻫﺯﻴﻤﺔ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻓﻲ ﻓﻴﺘﻨﺎﻡ ﻭﻜﻠﻬﺎ ﺃﻓـﻼﻡ‬

‫ﻏﻠﻔﺕ ﺒﺎﻝﻐﻁﺎﺀ ﺍﻝﺭﻭﻤﺎﻨﺴﻲ ﻭﺍﻝﻌﺎﻁﻔﻲ‪ ،‬ﻭﺍﺴﺘﻔﺎﻀﺕ ﻗـﻲ ﺘـﺼﻭﻴﺭ ﻁﻴﺒـﺔ ﻭﺸـﺠﺎﻋﺔ ﺍﻝﺠﻨـﻭﺩ‬
‫ﹸ‬

‫ﺍﻻﻤﺭﻴﻜﻴﻴﻥ ﻭﻭﺤﺸﻴﺔ ﺍﻝﻔﻴﺘﻨﺎﻤﻴﻴﻥ ﻤﻥ ﺠﻬﺔ ﺃﺨﺭﻯ ﻭﻝﻘﺩ ﻜﺎﻥ ﺍﻝﻘﺼﺩ ﻤﻥ ﺫﻝـﻙ ﺍﻝﺤـﺼﻭل ﻋﻠـﻰ‬

‫ﺍﻝﺘﻌﺎﻁﻑ‪ ،‬ﻭﺘﻭﺠﻴﻪ ﺍﻷﻨﻅﺎﺭ ﺇﻝﻰ ﺃﻤﺭ ﻏﻴﺭ ﺍﻝﻬﺯﻴﻤﺔ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻝﻌﺴﻜﺭﻴﺔ ﻓﻲ ﻤﺤﺎﻭﻻﺕ ﺴـﻴﻨﻤﺎﺌﻴﺔ‬

‫ﺫﻜﻴﺔ‪ .‬ﻭﺘﻭﺍﻝﺕ ﺍﻷﻓﻼﻡ ﻁﻴﻠﺔ ﺍﻝﻔﺘﺭﺓ ﻤﻥ ﺍﻝﺴﺒﻌﻴﻨﺎﺕ ﻭﺍﻝﺜﻤﺎﻨﻴﺎﺕ ﻜﺎﻥ ﻤـﻥ ﺃﻫﻤﻬـﺎ )ﺍﻤﺒﺭﺍﻁﻭﺭﻴـﺔ‬

‫ﺼﻭ‪‬ﺭﺕ ﺃﻓﻼﻡ ﻋﻥ ﺍﻝﺠﻨﻭﺩ ﺍﻝﻌﺎﺌﺩﻴﻥ ﻭﺫﻜﺭﻴﺎﺘﻬﻡ ﻓﻲ ﺍﻝﺤـﺭﺏ ﻭﻗـﺼﺹ‬

‫ﺍﻝﺸﻤﺱ( ‪ .1989‬ﻜﻤﺎ ‪‬‬

‫ﺒﻁﻭﻻﺘﻬﻡ ﻤﺜل ﻓﻴﻠﻡ )ﺼﺎﺌﺩ ﺍﻝﻐﺯﻻﻥ( ﺇﺫ ﻝﻡ ﺘﻤﻨﻊ ﺠﺭﺍﺡ ﺍﻝﺠﻨﻭﺩ ﺃﻥ ﻴﻐﻨﻭﺍ "ﺘﺤﻴﻰ ﺃﻤﺭﻴﻜﺎ‪" ..‬ﻋﻠـﻰ‬

‫‪ 1‬ﻗﺎﺴﻡ‪ ،‬ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪31-28 ،‬‬

‫ﺍﻝﺭﻤﻴﺤﻲ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪،‬‬ ‫‪2‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪،‬‬ ‫‪3‬‬

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‫ﻤﺎﺌﺩﺓ ﺃﻋﺩﻭﻫﺎ ﻋﻠﻰ ﺸﺭﻑ ﺼﺩﻴﻘﻬﻡ ﺍﻝﺫﻱ ﻤﺎﺕ ﻭﻝﻡ ﻴﻌﺩ ﺠﺜﻤﺎﻨﻪ ﺇﻝﻰ ﺒﻼﺩﻩ‪ ،‬ﻭﺜﻤﺔ ﺃﻓﻼﻡ ﻋﻥ ﺍﻝﺠﻨﻭﺩ‬

‫ﺍﻝﺫﻴﻥ ﻓﻘﺩﻭﺍ ﺃﻁﺭﺍﻓﻬﻡ ﻜﻔﻴﻠﻡ )ﺍﻝﻌﻭﺩﺓ ﻝﻠﻤﻨﺯل(‪ .‬ﺃﻤﺎ ﻓﻴﻠﻡ ﺭﺍﻤﺒﻭﺍ‪ 1‬ﻓﻘﺩ ﺘﺨﻴل ﺃﺤﺩﺍﺜﺎ ﺒﻁﻭﻝﻴﻪ‪ ،‬ﺃﺒﻁﺎﻝﻬـﺎ‬

‫ﻋﺩﺩ ﻤﻥ ﺍﻝﺠﻨﻭﺩ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ ﺃﺴﺭﻯ ﻓﻲ ﻓﻴﺘﻨﺎﻡ ﻴﺫﻫﺏ ﻹﻨﻘﺎﺫﻫﻡ ﻤﻥ ﺍﻝﺘﻌﺫﻴﺏ ﻭﺍﻷﺴﺭ‪ .‬ﺃﻤﺎ ﺍﻝﺠـﺯﺀ‬

‫ﺍﻝﺜﺎﻨﻲ ﻤﻥ ﺭﺍﻤﺒﻭ ﻓﻴﺼﻭﺭ ﺭﺤﻠﺔ ﻫﺫﺍ ﺍﻝﺒﻁل ﺇﻝﻰ ﺃﻓﻐﺎﻨﺴﺘﺎﻥ ﻝﻤﻨﺎﺼﺭﺓ ﺍﻝﻤﺠﺎﻫﺩﻴﻥ ﻀﺩ ﺍﻻﺤـﺘﻼل‬

‫ﺍﻝﺴﻭﻓﻴﺘﻲ‪ ،‬ﺤﻴﺙ ﺃﻅﻬﺭ ﺍﻝﻔﻴﻠﻡ ﺠﻨﻭﺩ ﺍﻝﺭﻭﺱ ﺃﻏﺒﻴﺎﺀ ﻴﺴﺘﺤﻘﻭﻥ ﻤﺎ ﻴﻠﺤﻘﻬﻡ ﻤﻥ ﻫﺯﺍﺌﻡ‪ .‬ﻭﻓـﻲ ﻓـﻴﻠﻡ‬

‫)ﺘﺸﻲ( ﺤﻴﺙ ﺘﻡ ﺇﻝﻘﺎﺀ ﺍﻝﻀﻭﺀ ﻋﻠﻰ ﻋﺩﻭﻴﻥ ﺁﺨﺭﻴﻥ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﺍﻝﻼﺘﻴﻨﻴﺔ ﻫﻤﺎ ﺠﻴﻔﺎﺭﺍ ﻭﻜﺎﺴـﺘﺭﻭ‪.‬‬

‫ﻭﺼ‪‬ﻭﺭ ﺍﻝﺜﺎﺌﺭ ﻓﻴﻪ ﺸﺨﺼﺎ ﺃﻨﺎﻨﻴﺎ ﻤﻠﻲﺀ ﺒﺎﻷﺤﻘﺎﺩ ﻭﺍﻷﻤﺭﺍﺽ ﺍﻝﻨﻔﺴﻴﺔ ﻓﻜﺎﻥ ﻻ ﺒﺩ ﻤـﻥ ﻤﻼﺤﻘﺘـﻪ‪.‬‬

‫ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻓﻴﻠﻡ )ﺒﺭﻫﺎﻥ ﺍﻝﺤﻴﺎﺓ( ﺍﻝﺫﻱ ﺼﻭﺭ ﺜﻭﺍﺭ ﻨﻴﻜﺎﺭﺍﻜﻭﺍ ﺒﺄﻨﻬﻡ ﻤﺴﺘﻐﻠﻭﻥ ﺍﻨﺘﻬﺎﺯﻴﻭﻥ ﻴﻘﻭﻤﻭﻥ‬

‫ﺒﺎﺨﺘﻁﺎﻑ ﻤﻬﻨﺩﺱ ﺃﻤﺭﻴﻜﻲ ﻝﻘﺎﺀ ﻓﺩﻴﺔ ﻤﺎﻝﻴﺔ‪.1‬‬

‫ﻝﻘﺩ ﺸﻜل ﺘﺭﺍﻜﻡ ﺍﻝﺼﻭﺭ ﻭﺍﻝﻤﻭﺍﻀﻴﻊ ﻭﺍﻷﻓﻜﺎﺭ ﻓﻲ ﻨﺘﺎﺝ ﻫﻭﻝﻴﻭﺩ‪ ،‬ﺃﺭﺸﻴﻔﺎ ﻏﻨﻴﺎ ﻝﺴﻠﻁﺔ ﺍﻝﺼﻭﺭﺓ‬

‫ﺨﺎﺼﺔ ﺘﺸﻜﻴل ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻓﻘﺩ ﺭﺼﺩ ﺠﺎﻙ ﺸﺎﻫﻴﻥ ﺃﻜﺜﺭ ﻤـﻥ ‪ 900‬ﻓـﻴﻠﻡ ﺒـﻴﻥ ﺍﻝـﺴﻴﻨﻤﺎ‬

‫ﻭﺍﻝﺘﺴﺠﻴﻠﻴﺔ ﻭﺍﻝﻭﺜﺎﺌﻘﻴﺔ ﻭﺃﻓﻼﻡ ﺍﻝﻜﺭﺘﻭﻥ‪ .‬ﺃﻓﻼﻡ ﺘﻌﻤﺩﺕ ﺍﻹﺴﺎﺀﺓ ﺇﻝﻰ ﺍﻝﻌﺭﺒـﻲ ﺒﺎﻋﺘﺒـﺎﺭﻩ )ﺍﻵﺨـﺭ‬

‫ﺍﻝﺜﻘﺎﻓﻲ( ﺍﻝﺫﻱ ﻴﺴﺘﻬﺩﻑ ﺒﺤﺴﺒﻬﻡ ﺍﻝﻐﺭﺏ ﺍﻝﻤﺘﺤﻀﺭ‪ .2‬ﻭﺇﺫ ﻴﻨﺎﻗﺵ ﺸﺎﻫﻴﻥ ﻗﻀﻴﺔ ﺯﻋـﻡ ﻫﻭﻝﻴـﻭﺩ‬

‫ﺒﺘﻌﺭﻴﻑ ﺍﻝﻌﺭﺒﻲ ﻤﻥ ﺨﻼل ﺃﻓﻼﻤﻬﺎ ﻓﻜﻠﻬﻡ ﺴﻭﺍﺀ"ﻜﻤﺎ ﻗﺎﻝﺕ ﺍﻝﺒﻁﻠﺔ ﻓﻲ ﻓﻴﻠﻡ )ﺍﻝـﺸﻴﺦ( ﻭ )ﻭﻜﻠﻬـﻡ‬

‫ﻤﺘﺸﺎﺒﻬﻭﻥ( ﻓﻲ ﻓﻴﻠﻡ )ﻜﻭﻤﺎ ﻨﺩﻭ(‪ .‬ﻭﺍﻝﺒﻁل ﺍﻷﻤﺭﻜﻲ ﻓﻲ ﻓﻴﻠﻡ ﺍﻝﺭﻫﻴﻨﺔ ﻴﻘﻭل‪" :‬ﻻ ﺃﺴﺘﻁﻴﻊ ﺃﻥ ﺃﻤﻴﺯ‬

‫ﻋﺭﺒﻴﺎ ﻋﻥ ﺁﺨﺭ‪ ،‬ﻏﻁﺎﺀ ﺍﻝﺭﺃﺱ‪ ،‬ﻨﻅﺎﺭﺍﺕ ﺴﻭﺩﺍﺀ‪ ،‬ﻝﻴﻤﻭﺯﻴﻥ‪ ،‬ﻨﺴﺎﺀ ﻭﺒﺌﺭ ﻨﻔﻁ ﻭﺴﻴﻭﻑ ﻭﻋﻴـﻭﻥ‬

‫ﺤﺎﻗﺩﺓ‪ ،‬ﻭﻋﻠﻰ ﺍﻝﺸﻔﺎﻩ ﻜﻠﻤﺔ ﺍﷲ"‪ .‬ﻭﻗﺩ ﺒﻴﻥ ﺸﺎﻫﻴﻥ ﻤﻥ ﺨﻼل ﺃﻁﺭﻭﺤﺘﻪ ﺃﻥ ﺍﻝﻌﺭﺒـﻲ – ﺍﻝـﺸﻴﺦ‪-‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪35،‬‬ ‫‪1‬‬

‫ﻭﻓﻲ ﻓﻴﻠﻡ‪) :‬ﺍﻝﻌﺭﺏ ﺍﻝﺴﻴﺌﻭﻥ(ﺍﻝﺫﻱ ﻨﺸﺭ ﺒﺭﻓﻘﺔ ﻜﺘﺎﺏ )ﺍﻝﻌﺭﺏ ﺍﻝﺴﻴﺌﻭﻥ( ﻴﻘﻭل ﺸﺎﻫﻴﻥ ﺇﻥ ﻫﻨﺎﻙ ﺭﺍﺒﻁ ﺒﻴﻥ ﺴﻴﺎﺴﺎﺕ ﻭﺍﺸﻨﻁﻥ ﻓﻲ ﺍﻝﺸﺭﻕ‬ ‫‪2‬‬

‫ﺍﻷﻭﺴﻁ ﻭﺃﻓﻼﻡ ﻫﻭﻝﻴﻭﻭﺩ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﺎﻝﻤﻨﻁﻘﺔ‪ ،‬ﻓﺎﻝﺴﻴﺎﺴﺎﺕ ﺍﻷﻤﻴﺭﻜﻴﺔ ﺘﻌﺯﺯ ﺍﻝﺼﻭﺭﺓ ﺍﻷﺴﻁﻭﺭﻴﺔ ﺍﻝﺴﺎﺌﺩﺓ ﻋﻥ ﺍﻝﻌﺭﺏ‪ ،‬ﻭﺒﺩﻭﺭﻫﺎ ﺍﻷﻓﻼﻡ‬
‫ﺘﺴﺎﻫﻡ ﻓﻲ ﺘﻌﺯﻴﺯ ﺍﻝﺴﻴﺎﺴﺎﺕ ﺍﻷﻤﻴﺭﻜﻴﺔ ﺍﻝﺨﺎﺼﺔ ﺒﺎﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ‪.‬ﻭﻗﺩ ﻅﻬﺭ ﻨﺘﻴﺠﺔ ﻝﻬﺫﻩ ﺍﻝﺼﻭﺭﺓ ﻓﻴﻠﻡ ﺸﻬﻴﺭ ﻓﻲ ﺍﻝﺴﺒﻌﻴﻨﻴﺎﺕ ﺒﻌﻨﻭﺍﻥ‬
‫"ﺍﻝﺸﺒﻜﺔ" ﻴﺤﻜﻲ ﻋﻥ ﻭﺠﻭﺩ ﻤﺅﺍﻤﺭﺓ ﻤﻥ ﻗﺒل ﺸﻴﻭﺥ ﺍﻝﺴﻌﻭﺩﻴﺔ ﻝﺸﺭﺍﺀ "ﺃﺠﺯﺍﺀ ﻤﻥ ﺃﻤﻴﺭﻜﺎ‪.‬‬

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‫ﺍﻝﻤﺼﺭﻱ – ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‪ -‬ﺼﺎﺤﺏ ﺍﻝﻌﺒﺎﺀﺓ ﺃﻭ ﻤﻥ ﺨﻼل ﻨﻤﺎﺫﺝ ﻭﻤﺴﻤﻴﺎﺕ ﺃﺨﺭﻯ ﻁﺭﺡ ﺒـﺼﻭﺭﺓ‬

‫ﺴﻴﺌﺔ ﻓﻠﻁﺎﻝﻤﺎ ﻅﻬﺭ ﺸﺭﻴﺭﺍ‪ ،‬ﻏﺒﻴﺎ ﻤﺘﻭﺤﺸﺎ‪ ،‬ﺸﻬﻭﺍﻨﻴﺎ‪.1‬‬

‫…"ﺠﺌﺕ ﻤﻥ ﻤﻜﺎﻥ ﺒﻌﻴﺩ ﻤﻥ ﺍﺭﺽ ﺒﻌﻴﺩﺓ‪ ،‬ﺤﻴﺙ ﺍﻝﺠﻤﺎل‪ ،‬ﻗﻭﻤﻲ ﻴﻘﻁﻌـﻭﻥ ﺃﺫﻨـﻙ ﺇﺫﺍ ﻝـﻡ‬

‫ﺘﻌﺠﺒﻬﻡ‪ ،‬ﻭﻁﻥ ﻫﻤﺠﻲ ﻝﻜﻨﻪ ﻭﻁﻨﻲ" ﻜﺎﻨﺕ ﻫﺫﻩ ﺒﺩﺍﻴﺔ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻜﺭﺘﻭﻨﻲ ﺍﻷﻏﻨﻴﺔ ﺍﻝﺘﻲ ﻴﺭﺩﺩﻫﺎ ﻋـﻼﺀ‬

‫ﺍﻝﺩﻴﻥ ﺍﻝﺸﺨﺼﻴﺔ ﺍﻝﻜﺭﺘﻭﻨﻴﺔ ﻓﻲ ﻓﻴﻠﻡ ﺍﻝﻜﺭﺘﻭﻥ ﺍﻝﺫﻱ ﻴﺤﻤل ﻨﻔﺱ ﺍﻻﺴﻡ‪ ،‬ﺇﻥ ﻓﻴﻠﻡ )ﻋﻼﺀ ﺍﻝﺩﻴﻥ( ﻜﺎﻥ‬

‫ﺃﻜﺒﺭ ﺩﻝﻴل ﻋﻠﻰ ﺍﻝﻌﺩﺍﺀ ﺍﻝﻭﺍﻀﺢ ﺘﺠﺎﻩ ﺍﻝﻌﺭﺏ ﻭﻜﺎﻥ ﺍﻝﻌﻔﺭﻴﺕ ﺍﻝﻁﻴﺏ ﺍﻝﺫﻱ ﻅﻬﺭ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﻴﻤﺜـل‬

‫ﺭﻤﺯﹰﺍ ﻝﻠﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ"‪ .2‬ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺃﻓﻼﻡ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻐﺭﺒﻴﺔ‪ ،‬ﻤﻨﻬﺎ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻤﺄﺨﻭﺫ ﻤﻥ ﺭﻭﺍﻴـﺔ‬

‫)ﺍﻝﺘﻌﻭﻴﺫﺓ( ﺒﺤﻴﺙ ﻴﻘﺩﻡ ﺼﻼﺡ ﺍﻝﺩﻴﻥ ﻓﺎﺭﺴﺎ ﻤﻘﻨﻌﺎ ﺘﺤﺭﻜﻪ ﺸﻬﻭﺍﺘﻪ ﺇﺫ ﺍﻨﻪ ﻴﺘﻘﺭﺏ ﻤـﻥ ﺭﻴﺘـﺸﺎﺭﺩ‬

‫ﻝﻴﺤﺼل ﻋﻠﻰ ﺸﻘﻴﻘﺘﻪ ﺍﻝﺤﺴﻨﺎﺀ ‪ .3‬ﻜﻤﺎ ﺘﻭﺍﻝﺕ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﻋﺯﺯﺕ ﻨﻤﻭﺫﺝ ﺍﻝﻌﺭﺒﻲ ﻤﺴﺘﺨﺩﻤﺔ ﺘﻘﻨﻴﺔ‬

‫ﺍﻝﺘﻜﺭﺍﺭ‪.4‬‬

‫ﻭﻓﻲ ﺒﻼﺩ ﺍﻝﻌﺭﺏ ﻋﻠﻰ ﺤﺩ ﺘﻌﺒﻴﺭ ﺸﺎﻫﻴﻥ "ﻤﻭﺴﻴﻘﻰ ﻤﺸﺌﻭﻤﺔ ﻤﻥ ﺨﻼل ﻫﻭﻝﻴﻭﺩ ﺘﺒﺩﺃ ﺒﺼﺤﺭﺍﺀ‬

‫ﻜﻭﻨﻬﺎ ﻤﻜﺎﻨﺎ ﺫﺍ ﺘﻬﺩﻴﺩ‪ ،‬ﻭﺍﺤﺔ ﻭﺃﺸﺠﺎﺭ ﻨﺨﻴل ‪،‬ﻗﺼﺭ ﻭﻗﺒﻭ ﺘﻌﺫﻴﺏ ﻭﺠﻭﺍﺭ ﻻ ﺘﻔﻠﺢ ﺒﺈﺭﻀﺎﺀ ﺍﻝـﺸﻴﺦ‬

‫ﺍﻝﺫﻱ ﻴﺨﻁﻑ ﺍﻝﺸﻘﺭﺍﻭﺍﺕ ﺍﻝﻠﻭﺍﺘﻲ ﻴﺭﻓﻀﻥ ﺍﻹﻏﻭﺍﺀ ﺒﺎﻝﻌﺎﺩﺓ "‪ ،‬ﺼﻭﺭ ﻤﺘﻜﺭﺭﺓ ﻅﻬﺭﺕ ﻓﻲ ﺃﻓـﻼﻡ‬

‫ﻋﺩﻴﺩﺓ ﻜﻨﻤﻭﺫﺝ ﻤﺘﻜﺭﺭ ﻓﻲ )ﺩﻋﻭﺓ ﻝﻠﺭﻗﺹ( ‪) ،1956‬ﻋﻠﻲ ﺒﺎﺒﺎ ﻜﻠﺏ ﺍﻝﺼﺤﺭﺍﺀ ﺍﻝﻤﺠﻨﻭﻥ( ‪.1962‬‬

‫ﻓﻴﻠﻡ ﺠﻴﻤﺱ ﺒﻭﻨﺩ ﻭ)ﻻ ﺘﻘل ﺃﺒﺩﺍ ﺜﺎﻨﻴﺔ ﺒﻌﺩ ﺍﻵﻥ( ‪) .1983‬ﺠﻭﻫﺭﺓ ﺍﻝﻨﻴل( ‪) .1985‬ﺃﻜﺎﺫﻴﺏ ﺤﻘﻴﻘﻴﺔ(‬

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‫‪shaheen,jack,(2001) Reel Bad Arabs: How Hollywood Vilifies a People. ny:olive branch press.3‬‬
‫ﻋﺒﺩ ﺍﻝﺤﺎﻓﻅ‪ ،‬ﺍﺤﻤﺩ ﺴﻭﻜﺎﺭﻨﻭ‪" (2007) .‬ﺼﻭﺭﺓ ﺍﻝﻌﺭﺏ ﻭﺍﻝﻤﺴﻠﻤﻴﻥ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ"‪ ،‬ﻤﺠﻠﺔ ﺍﻝﺤﻭﺍﺭ‪ ،‬ﻉ‪/188‬‬ ‫‪2‬‬

‫ﻨﺴﺨﺔ ﺍﻝﻜﺘﺭﻭﻨﻴﺔ ‪ http://www.ahewar.org/debat/show.art.asp?aid=93460‬ﺘﺎﺭﻴﺦ ﺍﻝﻤﺭﺍﺠﻌﺔ‪22.5.2009‬‬

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‫‪Shaheen. 5‬‬
‫‪ 4‬ﺼﻭﺭ ﻓﻴﻠﻡ )ﻨﻴﺘﻭﻴﺭﻙ( ﺍﻝﺴﻌﻭﺩﻴﻴﻥ ﻜﺸﻌﺏ ﺩﻴﻨﻲ ﻤﺘﻁﺭﻑ‪ .‬ﻭﺼﻭﺭﻫﻡ ﻓﻴﻠﻡ )ﺭﻭﻝﻭﻓﺭ(ﻜﺘﺠﺎﺭ ﺒﺘﺭﻭل ﺍﺸﺭﺍﺭ ﻴﺭﻴﺩﻭﻥ ﺘﺩﻤﻴﺭ ﺍﻻﻗﺘﺼﺎﺩ‬
‫ﺍﻻﻤﻴﺭﻜﻲ‪ .‬ﻭﺼﻭﺭ ﻓﻴﻠﻡ )ﺒﺭﻭﺘﻭﻜﻭل( ﺍﻝﻤﻤﺜﻠﺔ ﻏﻭﻝﺩﻴﻥ ﻫﻭﻥ ﺘﺴﺎﻓﺭ ﺍﻝﻰ ﺩﻭﻝﺔ ﺨﻠﻴﺠﻴﺔ ﻷﻥ ﺍﻤﻴﺭﻫﺎ ﺍﺸﺘﺭﻁ ﺸﻘﺭﺍﺀ ﺍﻤﻴﺭﻜﻴﺔ ﻗﺒل ﺍﻝﻤﻭﺍﻓﻘﺔ‬
‫ﻋﻠﻰ ﻁﻠﺏ ﺸﺭﻜﺔ ﺍﻤﻴﺭﻜﻴﺔ ﻝﻠﺘﻨﻘﻴﺏ ﻋﻥ ﺍﻝﺒﺘﺭﻭل‪ .‬ﻭﺼﻭﺭ ﻓﻴﻠﻡ )ﻨﺴﺭ ﺤﺩﻴﺩﻱ( ﺍﻨﺘﻘﺎﻡ ﺠﻨﺭﺍل ﻋﺴﻜﺭﻱ ﺍﻤﻴﺭﻜﻲ ﻤﻥ ﻗﺒﻴﻠﺔ ﻋﺭﺒﻴﺔ ﻷﻨﻬﺎ‬
‫ﻜﺎﻨﺕ ﻗﺩ ﻗﺘﻠﺕ ﻭﺍﻝﺩﻩ‪ .‬ﻭﺼﻭﺭ ﻓﻴﻠﻡ )ﺍﻜﺎﺫﻴﺏ ﺤﻘﻴﻘﻴﺔ( ﻤﻨﻅﻤﺔ ﺍﻝﺠﻬﺎﺩ ﺍﻻﺤﻤﺭ ﺍﻻﺴﻼﻤﻴﺔ ﺍﻝﺘﻲ ﺤﺼﻠﺕ ﻋﻠﻰ ﻗﻨﺒﻠﺔ ﻨﻭﻭﻴﺔ ﻭﻗﺭﺭﺕ‬
‫ﺘﺩﻤﻴﺭﻫﺎ ﻓﻲ ﺍﻤﻴﺭﻜﺎ‪ .‬ﻭﺼﻭﺭ ﻓﻴﻠﻡ )ﺍﻝﺤﺼﺎﺭ( ﺍﻋﺘﻘﺎل ﺁﻻﻑ ﺍﻝﻤﺴﻠﻤﻴﻥ ﻭﺍﻝﻌﺭﺏ ﻓﻲ ﻨﻴﻭﻴﻭﺭﻙ ﺒﻌﺩ ﺍﻥ ﻓﺠﺭ ﺍﺭﻫﺎﺒﻴﻭﻥ ﻗﻨﺒﻠﺔ ﻫﻨﺎﻙ‪.‬‬

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‫‪ .1991‬ﻭ)ﻗﻭﺍﻋﺩ ﺍﻻﺸﺘﺒﺎﻙ( ‪ .1 2000‬ﻭﻗﺩ ﻗﺩﻤﺕ ﻫﻭﻝﻴﻭﺩ ﺩﻋﻤﺎ ﻏﻴﺭ ﻤﺴﺒﻭﻕ ﻝﻠﻴﻬﻭﺩ ﻜﺄﺼﺤﺎﺏ‬

‫ﺤﻕ ﻤﻘﺎﺒل ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﻐﺘﺼﺏ ﻭﺍﻹﺭﻫﺎﺒﻲ ﻤﺜل )ﺍﻝﺘﺭﺤﻴل ﺍﻝﺠﻤﺎﻋﻲ( ﻭ)ﺍﻝﻕ ﻅﻼ ﻋﻤﻴﻘﺎ( ﻭﻓـﻴﻠﻡ‬

‫)ﺍﻝﻤﻭﺕ ﻗﺒل ﺍﻝﻌﺎﺭ( ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻓﻴﻠﻡ )ﺍﻷﺤﺩ ﺍﻷﺴﻭﺩ( ﺍﻝﺫﻱ ﻴﻅﻬﺭ ﺍﻝﻤﺭﺃﺓ ﺍﻝﻔﻠـﺴﻁﻴﻨﻴﺔ ﺍﻨﺘﺤﺎﺭﻴـﺔ‬

‫ﻭﺇﺭﻫﺎﺒﻴﺔ ﺘﻘﺘل ﺒﻼ ﺭﺤﻤﺔ ‪ .2‬ﻭﻗﺩ ﺃﻜﺩ ﺸﺎﻫﻴﻥ ﻓﻲ ﻨﻬﺎﻴﺔ ﺃﻁﺭﻭﺤﺘﻪ ﺃﻥ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺸﻭﻴﻪ ﻝـﻡ ﺘﻜـﻥ‬

‫ﺒﺴﺒﺏ ﺠﻬل ﺼﺎﻨﻌﻲ ﺍﻷﻓﻼﻡ‪ ،‬ﺒل ﺘﻤﺕ ﺍﻝﻌﻤﻠﻴﺔ ﻋﻠﻰ ﺃﺴﺱ ﻋﻠﻤﻴﺔ ﻭﻨﻔﺴﻴﺔ ﻭﺴﻴﺎﺴﻴﺔ ﺩﻗﻴﻘﺔ ﻭﻝـﺩﻴﻬﺎ‬

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‫ﻤﻥ ﻴﻌﻠﻡ ﺠﻴﺩﺍ ﺒﺎﻝﺜﻘﺎﻓﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻭﺍﻝﻠﻐﺔ ﻭﺍﻝﺘﺎﺭﻴﺦ ﻭﺍﻝﺭﻤﻭﺯ ﺍﻝﺩﻴﻨﻴﺔ ﻭﻫﻲ ﺘﻀﺭﺏ ﺒﻘﻭﺓ‪.‬‬

‫ﺇﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺘﺤﺩﺙ ﻋﻥ ﺍﻝﺼﺤﺭﺍﺀ ﺘﺤﻭﻱ ﻜل ﺴﻠﺒﻴﺎﺕ ﺍﻝﺸﺨﺼﻴﺔ ﺍﻝﻌﺭﺒﻴﺔ‪ ،‬ﻭﺃﻤﺜﻠﺘﻬﺎ ﻤـﻥ‬

‫ﺍﻷﻓﻼﻡ‪) :‬ﺍﻝﻌﺭﺏ( ﻋﺎﻡ ‪ 1915‬ﻭ)ﺒﻴﻼ ﺩﻭﻨﺎ (‪ 1923‬ﻭ)ﺍﻝﻬﻤﺠﻲ ‪ (1933‬ﻭ)ﻅﻼل ﺍﻝﺘﺤﺭﻴﻡ( ﻋـﺎﻡ‬

‫‪ 1928‬ﻭﻓﻴﻠﻡ )ﺍﻝﺨﺭﻭﺝ( ﻋﺎﻡ ‪ ،1961‬ﺤﻴﺙ ﻴﺘﻡ ﺘﺼﻭﻴﺭ ﺍﻝﻌﺭﺏ ﺍﻝﺼﺤﺭﺍﻭﻴﻴﻥ ﺒﺎﻝﻘﺴﺎﺓ ﺩﺍﺌﻤﺎ ﻭﻝﻬﻡ‬

‫ﺼﻭﺭﺓ ﺫﻫﻨﻴﺔ ﻋﺎﻤﺔ ﺤﻴﺙ ﻴﻘﻭﻤﻭﻥ ﺒﺎﺨﺘﻁﺎﻑ ﺍﻝﻔﺘﻴـﺎﺕ ﻭﺍﻏﺘـﺼﺎﺒﻬﻥ ﻭﻴﺘﻌـﺎﻁﻭﻥ ﺍﻝﻤﺨـﺩﺭﺍﺕ‬

‫ﻭﻴﺭﺘﺩﻭﻥ ﻝﺒﺎﺴﺎ ﺒﺸﻌﺎ‪.4‬‬

‫ﻴﺭﻯ ﺒﻌﺽ ﺍﻝﻤﻔﻜﺭﻴﻥ ﺃﻥ ﺍﻹﺴﻼﻡ ﻓﻴﻤﺎ ﻴﻠﻲ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠـﻭل ‪ 2001‬ﻅﻬـﺭ ﻜـﺩﻴﻥ‬

‫ﻋﺩﻭﺍﻨﻲ‪ ،‬ﺇﺭﻫﺎﺒﻲ‪ ،‬ﻭﺩﻴﻥ ﺘﺭﻭﻴﻊ ﻭﺘﺨﻭﻴﻑ‪ ،‬ﻭﻏﺩﺭ‪ .5‬ﻭﺃﻥ ﺍﻝﻘﺭﺁﻥ ﻤﺼﺩﺭ ﻋﻨﻑ ﻭﺍﺴﺘﺒﺎﺤﺔ ﺩﻤـﺎﺀ‬

‫ﺍﻷﺒﺭﻴﺎﺀ ﻭﻤﺩﻤﺭ ﻝﻠﻌﻤﺭﺍﻥ ﻭﺍﻝﺤﻀﺎﺭﺓ‪ .‬ﺒﻴﻨﻤﺎ ﻴﺭﻯ ﺁﺨﺭﻭﻥ ﺃﻥ ﺃﺤﺩﺍﺙ ﺃﻴﻠﻭل ‪ 2001‬ﻜﺎﻨﺕ ﺤـﺎﻓﺯﺍ‬

‫ﻝﺘﻜﻭﻴﻥ ﻨﺘﻴﺠﺔ ﻋﻜﺴﻴﺔ ‪.6‬‬

‫ﺘﺭﺴﻡ ﻫﺫﻩ ﺍﻻﻓﻼﻡ ﺼﻭﺭﺓ ﻝﻺﺴﻼﻡ ﻤﺴﺎﻭﻴﺔ ﻝﻺﺭﻫﺎﺏ‪,‬ﻜﻤﺎ ﻋﻤﻠﺕ ﻋﻠﻰ ﺘﻜﻴﻴﻑ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ﺍﻷﻤﺭﻴﻜﻲ ﻋﻠﻰ ﺘﻭﻗﻊ ﺍﻷﺴﻭﺃ ﻤﻥ ﺤﻀﺎﺭﺓ‬ ‫‪1‬‬

‫ﺭﺴﻤﺕ ﻋﻠﻰ ﺍﻨﻬﺎ ﺇﺭﻫﺎﺒﻴﺔ ﻭﺍﺼﻭﻝﻴﺔ ﻭﻤﺘﻌﺼﺒﺔ‪.‬ﻭﻜﺎﻨﺕ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ ﻤﻥ ﺍﻝﻘﻭﺓ ﻝﺩﺭﺠﺔ ﺘﺠﻌل ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﺸﻌﺒﻴﺔ ﺘﺴﺘﻨﺘﺞ ﻫﺫﻩ ﺍﻝﻤﺴﺎﻭﺍﺓ ﺩﻭﻥ‬
‫ﺘﻔﻜﻴﺭ ﺍﻭ ﺇﻤﻌﺎﻥ ﻨﻅﺭ ﻓﻴﻬﺎ‪.‬‬
‫‪2‬‬
‫‪Ibid. 6-8‬‬
‫‪3‬‬
‫‪Ibid.456‬‬
‫‪ 4‬ﺴﻭﻜﺎﺭﻨﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ ‪.‬‬
‫‪ http://www.ahewar.org/debat/show.art.asp?aid=93460‬ﺘﺎﺭﻴﺦ ﺍﻻﺴﺘﺭﺠﺎﻉ ‪22.5.2009‬‬
‫ﺒﺸﺎﺭﻱ‪ ،‬ﻤﺤﻤﺩ‪ ،(2004) :‬ﺼﻭﺭﺓ ﺍﻻﺴﻼﻡ ﻓﻲ ﺍﻻﻋﻼﻡ ﺍﻝﻐﺭﺒﻲ‪ ،‬ﺩﺍﺭ ﺍﻝﻔﻜﺭ‪ ،‬ﺩﻤﺸﻕ ‪123،‬‬ ‫‪5‬‬

‫‪ 6‬ﻝﻜﻨﻨﺎ ﻨﺠﺩ ﺍﻥ ‪24‬ﺃﻝﻔﺎ ﻤﻥ ﺍﻷﻤﺭﻴﻜﻴﻴﻥ ﺍﻋﺘﻨﻘﻭﺍ ﺍﻹﺴﻼﻡ ﻤﻨﺫ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪ 2001‬ﺤﺘﻰ ﻤﻨﺘﺼﻑ ﺘﺸﺭﻴﻥ ﺍﻷﻭل ﺍﻝﺫﻱ ﻴﻠﻴﻪ ﻜﻤﺎ‬
‫ﺃﻋﻠﻨﺕ ﻤﻨﻅﻤﺔ ﻜﻴﺭ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،‬ﻭﺍﻥ ﻤﺴﻠﻤﻲ ﻓﺭﻨﺴﺎ ﺒﺩﻭﺍ ﺃﻜﺜﺭ ﺍﻨﺩﻤﺎﺠﺎ ﻭﺍﻨﺴﺠﺎﻤﺎ ﺒﺎﻝﻤﺠﺘﻤﻊ ﺍﻻﻝﻐﺭﺒﻴﺔ‪ .‬ﺃﻅﻬﺭﺕ ﺍﻝﻠﻭﻤﻭﻨﺩ ﺒﻌﺩ ﺃﺤﺩﺍﺙ‬

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‫ﻋﻤﻠﺕ ﺍﻝﺴﻴﻨﻤﺎ ﻜﺈﻁﺎﺭ ﺜﻘﺎﻓﻲ ﻝﻠﺴﻴﺎﺴﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،‬ﺤﻴﺙ ﺘﻭﺤﺩ ﺍﻝﻤﺴﻠﻡ ﻭﺍﻝﻌﺭﺒﻲ ﻓﻲ‬

‫ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،‬ﻓﺎﻝﻌﺭﺒﻲ ﻫﻭ ﺒﺎﻝﻀﺭﻭﺭﺓ ﻤﺴﻠﻡ ﻭﺍﻝﻤﺴﻠﻡ ﻫﻭ ﻗﻁﻌﺎ ﻋﺭﺒﻲ‪.1‬‬

‫ﺃﻤﺎ ﺍﻝﺴﺒﺏ ﺍﻝﺤﻘﻴﻘﻲ ﻭﺭﺍﺀ ﺍﻝﺨﻭﻑ ﻤﻥ ﺍﻹﺴﻼﻡ ﺒﺤﺴﺏ ﺍﻝﺒﺎﺤﺜﺔ ﺍﻝﻔﺭﻨﺴﻴﺔ ﺠﻭﺴﻠﻴﻥ ﺴﻴﺯﺍﺭﻱ ﻓﻲ‬

‫ﻜﺘﺎﺒﻬﺎ )ﻤﻥ ﻴﺨﺎﻑ ﺍﻹﺴﻼﻡ(؟‪ .‬ﻓﺘﺘﻠﺨﺹ ﻓﻲ ﻤﺠﻤﻠﻬﺎ ﺒﺎﻝﺼﺭﺍﻉ ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‪ ،‬ﻭﺨﻁـﺭ‬

‫ﺍﻤﺘﻼﻙ ﺃﺴﻠﺤﺔ ﻨﻭﻭﻴﺔ ﻓﻲ ﻜل ﻤﻥ ﺇﻴﺭﺍﻥ ﻭﺍﻝﺒﺎﻜﺴﺘﺎﻥ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻤﻭﺍﺠﻬﺔ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ﺒﻴﻥ ﺍﻝﻌـﺎﻝﻡ‬

‫ﺍﻹﺴﻼﻤﻲ ﻭﺍﻝﺩﻭل ﺍﻷﻭﺭﻭﺒﻴﺔ ﺃﻭ ﻜﻤﺎ ﻭﺭﺩ ﻓﻲ ﺍﻷﺩﺒﻴﺎﺕ ﺍﻷﻜﺎﺩﻴﻤﻴﺔ ﻜﺤـﺭﻭﺏ ﺼـﻠﻴﺒﻴﺔ ﻤﻘﺘﺭﻨـﺔ‬

‫ﺒﺎﻨﺘﺸﺎﺭ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻹﺴﻼﻤﻴﺔ ﺒﺤﻴﺙ ﺃﺼﺒﺤﺕ ﻅﺎﻫﺭﺓ ﻤﻤﻴﺯﺓ ﻝﻠﻘﺭﻥ ﺍﻝﺤﺎﻝﻲ‪ .‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺃﺯﻤﺔ ﺍﻝﺭﻫﺎﺌﻥ‬

‫ﺍﻹﻴﺭﺍﻨﻴﺔ ‪2‬ﺨﻼل ﻓﺘﺭﺓ ﺍﻝﺴﺒﻌﻴﻨﻴﺎﺕ‪.‬‬

‫ﺤﺭ‪‬ﻀﺕ ﺃﺤﺩﺍﺙ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪ 2001‬ﺍﻷﻤﺭﻴﻜﺎﻥ ﻋﻠﻰ ﺍﻜﺘﺸﺎﻑ ﺃﻨﻔﺴﻬﻡ ﻭﻜﺫﻝﻙ ﻫﺫﺍ‬

‫ﺍﻵﺨﺭ ﺍﻝﺫﻱ ﻁﺎﻝﻤﺎ ﺘﻤﺕ ﻗﺭﺍﺀﺘﻪ ﻜﻨﻤﻭﺫﺝ‪ .‬ﻝﻘﺩ ﺘﺄﺨﺭﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻋﻥ ﻜل ﻤﺎ ﻴﻤﺕ ﻷﺤﺩﺍﺙ‬

‫ﺃﻴﻠﻭل ‪ 2001‬ﺒﺼﻠﻪ ﺒل ﺍﺒﺘﻌﺩﺕ ﻋﻥ ﺃﻓﻼﻡ ﺍﻝﻌﻨﻑ ﻭﺍﻹﺭﻫﺎﺏ‪ ،‬ﻋﺩﺍ ﻋﺩ ٍﺩ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﻘﻠﻴﻠﺔ ﺍﻝﺘـﻲ‬

‫ﺃﻨﺠﺯﻫﺎ ﺃﻭﺭﻭﺒﻴﻭﻥ ﻭﻋﺭﺏ ﺴﻠﻁﺕ ﺍﻝﻀﻭﺀ ﻋﻠﻰ ﺍﻝﻜﺎﺭﺜﺔ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﺍﻝﺤﻀﺎﺭﻴﺔ ﻋﻘﺏ ﺍﻷﺤـﺩﺍﺙ‪،‬‬

‫ﺒﻴﻨﻤﺎ ﺼﻤﺘﺕ ﻫﻭﻝﻴﻭﺩ ﺼﻤﺘﺎ ﻤﻁﺒﻘﺎ ﻝﺘﺠﻨﺏ ﺯﻴـﺎﺩﺓ ﺍﻹﺤﺒـﺎﻁ ﻭﺍﻝﺘـﻭﺘﺭ ﻭﺍﻷﻝـﻡ ﺍﻝـﺫﻱ ﻋﺎﺸـﻪ‬

‫ﺍﻷﻤﺭﻴﻜﻴﻭﻥ‪ ،‬ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺇﻝﻐﺎﺀ ﻜﺎﻓﺔ ﺍﻝﻤﺸﺎﻫﺩ ﻭ ﺍﻝﺼﻭﺭ ﺍﻝﺘﻲ ﻴﻅﻬﺭ ﻓﻴﻬﺎ ﺍﻝﺒﺭﺠﺎﻥ ﻤﻥ ﺍﻷﻋﻤﺎل‬

‫ﺤﺩﻴﺜﺔ ﺍﻹﻨﺘﺎﺝ ﻭﻗﺘﺌﺫ‪ .‬ﻭﺴﺤﺒﻭﺍ ﻤﻥ ﻏﺭﻑ ﺍﻝﻤﻭﻨﺘﺎﺝ ﻤﺸﺎﺭﻴﻊ ﻗﻴﺩ ﺍﻝﺘﻨﻔﻴﺫ ﻜﻤﺎ ﺃﻝﻐﻴﺕ ﺍﻝﻤﺸﺎﺭﻴﻊ ﺫﺍﺕ‬

‫ﺍﻝﺼﻠﺔ‪ .‬ﺒل ﺫﻫﺒﻭﺍ ﻝﻼﺒﺘﻌﺎﺩ ﻋﻥ ﻫﺫﺍ ﺍﻝﻤﻨﺎﺥ ﻭﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﺃﻥ ﺘﺫﻜﹼﺭ ﺍﻷﻤـﺭﻴﻜﻴﻴﻥ‪ .‬ﻋﻠـﻰ‬

‫ﺃﻴﻠﻭل ‪ 2001‬ﻭﻫﻡ ﺃﻴﻀﺎ ﻴﻨﺒﺫﻭﻥ ﺍﻹﺭﻫﺎﺏ ﻜﻤﺎ ﺃﻥ ‪ %90‬ﻤﻨﻬﻡ ﻝﻡ ﻴﺒﺘﻬﺠﻭﺍ ﺒﺄﺤﺩﺍﺙ ﺃﻴﻠﻭل ‪ 2001‬ﻭﺒﻨﻔﺱ ﺍﻝﻨﺴﺒﺔ ﻤﻤﻥ ﻴﺭﻭﻥ ﺃﻥ ﺍﻝﺫﻴﻥ‬
‫ﻗﺎﻤﻭﺍ ﺒﺎﻷﺤﺩﺍﺙ ﻻ ﻴﻤﺜﻠﻭﻥ ﺍﻹﺴﻼﻡ ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ ﺍﻹﺴﻼﻡ ﺩﻴﻥ ﻋﺩل ﻭﻭﺴﻁﻴﺔ‪ .‬ﻭﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗﺕ ﻓﺎﻥ ‪ %68‬ﻤﻥ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻷﻤﺭﻴﻜﻲ‬
‫ﺭﺃﻯ ﺃﻥ ﺴﺒﺏ ﺃﺤﺩﺍﺙ ﺃﻴﻠﻭل ‪ 2001‬ﻝﻡ ﻴﻜﻥ ﺇﻻ ﻨﺘﻴﺠﺔ ﺤﺘﻤﻴﺔ ﻝﺴﻴﺎﺴﺎﺕ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻓﻲ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ﻭﺍﻥ ‪ %78‬ﻴﻌﺎﺭﻀﻭﻥ‬
‫ﺍﻝﺴﻴﺎﺴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻜﻤﺎ ﻴﺭﻓﻀﻭﻥ ﺍﻝﺤﺭﺏ ﻋﻠﻰ ﺍﻝﻌﺭﺍﻕ‪ .‬ﺒﺴﺒﺏ ﺘﺼﺎﻋﺩ ﺍﻝﺭﻏﺒﺔ ﻓﻲ ﻤﻌﺭﻓﺔ ﺍﻝﻌﺭﺏ ﻭﺍﻝﻤﺴﻠﻤﻴﻥ ﺴﻭﺍﺀ ﻓﻲ‬
‫ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻭﺍﻝﻤﻨﻁﻘﺔ ﺍﻷﻭﺭﻭﺒﻴﺔ ﻭﻫﺫﺍ ﻴﻅﻬﺭ ﺍﻝﻔﺭﻕ ﻓﻴﻤﺎ ﺘﺭﻴﺩ ﺍﻝﻘﻨﻭﺍﺕ ﺍﻹﻋﻼﻤﻴﺔ ﺇﻅﻬﺎﺭﻩ ﻭﺒﻴﻥ ﺍﻹﺭﺍﺩﺓ ﺍﻝﻔﺭﺩﻴﺔ ﻝﻸﺸﺨﺎﺹ ﻓﻲ‬
‫ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﻐﺭﺒﻴﺔ‬
‫‪ 1‬ﺒﺸﺎﺭﻱ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪67 ،‬‬
‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪69 ،‬‬ ‫‪2‬‬

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‫ﺍﻝﻌﻜﺱ ﻤﻥ ﺫﻝﻙ ﺇﺫ ﺃﻨﺘﺠﻭﺍ ﺃﻋﻤﺎﻻ ﻴﻤﻜﻥ ﺃﻥ ﺘﻐﻴﺭ ﺍﻷﺠﻭﺍﺀ ﻭﺘﺨﻔﻑ ﻤﻥ ﻫﻭل ﺍﻝﺼﺩﻤﺔ‪ .‬ﻭﻗﺎﻡ ﻋﻨﻬﻡ‬

‫ﺒﻬﺫﻩ ﺍﻝﻤﻬﻤﺔ ﺁﺨﺭﻭﻥ ﻗﺎﻤﻭﺍ ﺒﻤﺤﺎﻭﻻﺕ ﻜﺎﻥ ﺃﻭﻝﻬﺎ ﻤﺤﺎﻭﻝﺔ ﻓﺭﻨﺴﻴﺔ‪ ،‬ﺘﻠﺘﻬﺎ ﻤﺤﺎﻭﻝـﺔ ﻴﺎﺒﺎﻨﻴـﺔ‪ ،‬ﺜـﻡ‬

‫ﻤﺤﺎﻭﻝﺔ ﺠﻤﺎﻋﻴﺔ ﻹﺨﺭﺍﺝ ﻓﻴﻠﻡ ﻗﺼﻴﺭ ﺸﺎﺭﻙ ﻓﻴﻪ ﺍﺤﺩ ﻋﺸﺭ ﺴﻴﻨﻤﺎﺌﻴﺎ ﻤﻥ ﺍﺤﺩ ﻋﺸﺭ ﺩﻭﻝﺔ‪ .‬ﺜﻡ ﺘﻼﻫﺎ‬

‫ﻤﺤﺎﻭﻻﺕ ﺃﻜﺜﺭ ﺠﺭﺃﺓ ﻓﻲ ﺃﻓﻼﻡ ﺘﻨﺎﻭﻝﺕ ﺍﻝﻤﻭﻀﻭﻉ ﻤﺒﺎﺸﺭﺓ ﻜﺎﻨﺕ ﻓﻲ ﺍﻏﻠﺒﻬﺎ ﺴﺭﺩﻴﺔ ﻭﺒﻠﻐﺔ ﻭﺜﺎﺌﻘﻴﺔ‬

‫ﻤﺜل )ﺨﻠﻴﺔ ﻫﺎﻤﺒﻭﺭﻍ( ﻻﻨﺘﻭﻨﻴﺎ ﺒﻴﺭﺩ ﻭ )ﻴﻭﻨﺎﻴﺘﺩ ‪ ( 93‬ﻝﻤﺎﻴﻜل ﻏﺭﻴﻨﻐـﺭﺍﺱ‪ .‬ﻭ)ﺒـﺫﻭﺭ ﺍﻝـﺸﻙ(‬

‫ﻝﻠﻤﺨﺭﺝ ﺴﻤﻴﺭ ﻨﺼﺭ‪ .‬ﻭ )ﻤﺭﻜﺯ ﺍﻝﺘﺠﺎﺭﺓ ﺍﻝﻌﺎﻝﻤﻲ( ل ﺍﻭﻝﻴﻔﺭ ﺴﺘﻭﻥ ‪.1‬‬

‫‪ 4.1‬ﻫﻭﻝﻴﻭﻭﺩ ﻭﺴﻴﻨﻤﺎ ﺍﻹﺸﻬﺎﺭ‬

‫" ﺃﻓﻼﻡ ﻫﻭﻝﻴﻭﺩ ﺘﺅﺜﺭ ﻋﻠﻰ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻴﻌﻴﺵ ﺒﻬﺎ ﺍﻝﻨﺎﺱ ﺤﻴﺎﺘﻬﻡ" ﺍﻝﻨﺎﻗﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ :‬ﻤﻴﺸﻴل ﻓﻴﺩﻏﺭ‬

‫ﻻ ﺸﻙ ﺃﻥ ﺍﻝﺨﻁﺎﺏ ﺍﻻﺸﻬﺎﺭﻱ ﺃﺼﺒﺢ ﺍﻝﻤﺅﺜﺭ ﺍﻷﻗﻭﻯ ﻋﻠﻰ ﻤﺴﺘﻘﺒﻠﻲ ﺍﻝﺭﺴﺎﺌل ﺍﻝﺒﺼﺭﻴﺔ‪ ،‬ﺤﺘﻰ‬

‫ﺃﻨﻪ ﺃﺩﻯ ﺇﻝﻰ ﺘﻐﻴﻴﺭ ﺍﻝﻌﺎﺩﺍﺕ ﺍﻝﺴﻠﻭﻜﻴﺔ ﻭﺍﻻﺴﺘﻬﻼﻜﻴﺔ‪ ،‬ﺍﻷﻤﺭ ﺍﻝﺫﻱ ﺃﺩﻯ ﺇﻝﻰ ﺘﻐﻴﺭ ﻓـﻲ ﺍﻝﻘﻨﺎﻋـﺎﺕ‬

‫ﺍﻝﻔﻜﺭﻴﺔ ﻭﺍﻻﺘﺠﺎﻫﺎﺕ ﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻷﻴﺩﻝﻭﺠﻴﺔ‪ ،‬ﺃﻱ ﺃﻥ ﺍﻝﺘﺭﻭﻴﺞ ﻝﻤﻨﺘﺞ ﻤﻌﻴﻥ ﺃﺼـﺒﺢ ﺃﻴـﻀﺎ ﺩﻋـﻭﺓ‬

‫ﻀﻤﻨﻴﺔ ﻝﺘﺒﻨﻲ ﺜﻘﺎﻓﺔ ﻤﻌﻴﻨﺔ ‪ .2‬ﻭﺭﺒﻤﺎ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻫﺫﺍ ﺍﻝﻔﻥ ﺍﻹﺒﺩﺍﻋﻲ ﻗﺩ ﺘﺴﻠل ﻝﻬـﺎ ﻤـﻥ ﺨـﻼل‬

‫ﺍﻝﺨﻁﺎﺏ ﺍﻻﺸﻬﺎﺭﻱ ﺒﻘﻭﺓ ﺇﻗﻨﺎﻉ ﺘﺴﺘﺨﺩﻡ ﻜﺎﻓﺔ ﺍﻷﺒﻌﺎﺩ ﺍﻝﺴﻴﻜﻭﻝﻭﺠﻴﺔ ﻭﺍﻝﻤﺅﺜﺭﺍﺕ ﺍﻝﺒﺼﺭﻴﺔ ﺍﻝﻤﻤﻜﻨـﺔ‬

‫ﻓﻲ ﺴﻴﺎﻕ ﺤﻜﺎﺌﻲ ﻤﺜﻴﺭ‪ ،‬ﻭﻴﺼل ﺇﻝﻰ ﺍﻷﺫﻫﺎﻥ ﺍﻝﻤﺴﺘﻘﺒﻠﺔ ﺨﻼل ﻏﻔﻠﺔ ﻓﻜﺭﻴﺔ ﻝﻬﺎ‪ .‬ﻭﻜﺫﺍ ﺍﺴـﺘﺨﺩﻤﺕ‬

‫ﻫﻭﻝﻴﻭﺩ ﻫﺫﺍ ﺍﻝﻠﻭﻥ ﺍﻝﺫﻱ ﻻﻗﻰ ﺘﺭﺤﻴﺒﺎ‪ ،‬ﺨﺎﺼﺔ ﻝﺩﻯ ﺍﻷﻭﺴﺎﻁ ﺍﻝﺸﺎﺒﺔ‪ ،‬ﻭﻗﺩ ﺍﺘﺠﻬﺕ ﻫﻭﻝﻴﻭﺩ ﺫﺍﺘﻬـﺎ‬

‫ﻝﺘﺭﺴﻴﺦ ﻗﻴﻡ ﻀﻤﻥ ﻅﺭﻭﻑ ﺴﻴﺎﺴﻴﺔ ﻭﺘﺎﺭﻴﺨﻴﺔ ﻤﻌﻴﻨﺔ‪ ،‬ﻭﻜﺎﻥ ﻋﻠﻴﻬﺎ ﺃﻴﻀﺎ ﺘﻘﺩﻴﻡ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤـﺩﺓ‬

‫ﻋﻠﻰ ﻨﺤﻭ ﻴﻬﻴﺊ ﻝﻠﻘﻁﺏ ﺍﻝﻭﺍﺤﺩ‪ .‬ﻭﻗﺩ ﺘﺯﺍﻤﻥ ﺫﻝﻙ ﻤﻊ ﺇﻜﻤﺎل ﺴﻠﺴﺔ ﻤـﻥ ﺍﻻﻨﺘﺎﺠـﺎﺕ ﺍﻝـﺴﻴﻨﻤﺎﺌﻴﺔ‬

‫ﺃﻤﺜﺎل‪(COMMANDO-RAMBO-COBRA-TOPGUN-ROKY-INVASION .‬‬

‫ﻨﺩﻴﻡ ﺠﺭﺠﻭﺭﺓ ‪ 11". (2007).‬ﺃﻴﻠﻭل ‪ 2001‬ﻋﻠﻰ ﺸﺎﺸﺔ ﺍﻝﺴﻴﻨﻤﺎ"‪ ،‬ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻉ ‪127-121 .581‬‬ ‫‪1‬‬

‫ﺭﺍﻀﻲ‪ ،‬ﺍﺤﻤﺩ‪" .(1997) .‬ﺍﻻﺸﻬﺎﺭ ﻭﺍﻝﺘﻤﺜﻼﺕ ﺍﻝﺜﻘﺎﻓﻴﺔ"‪.‬ﻋﻼﻤﺎﺕ‪ .‬ﻉ‪ ،7‬ﻨﺴﺨﺔ ﺍﻝﻜﺘﺭﻭﻨﻴﺔ ‪.‬ﺍﺴﺘﺭﺠﻌﺕ ﺘﺎﺭﻴﺦ ‪12.3.2009‬‬ ‫‪2‬‬

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‫)‪USA‬ﻫﺫﻩ ﺍﻝﺴﻠﺴﺔ ﻜﺎﻨﺕ ﻗﺩ ﺘﻠﺕ ﺤﺭﺏ ﻓﻴﺘﻨﺎﻡ ﻭﺭﺒﻤﺎ ﻜﺎﻨﺕ ﻤﺒﺭﺭﺍﺕ ﻝﻌﻨﻑ ﻫﻭ ﺸﺭﻋﻲ ﺒﺎﻝﻨﺴﺒﺔ‬

‫ﻝﻠﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ .1‬ﺃﻤﺎ ﺨﺼﺎﺌﺹ ﻫﺫﻩ ﺍﻷﻓﻼﻡ ﻓﻬﻲ ﻋﻠﻰ ﺍﻷﻏﻠﺏ ﺼﺭﺍﻉ ﺒـﻴﻥ ﺜﻨﺎﺌﻴـﺔ ﺍﻝﺨﻴـﺭ‬

‫ﻭﺍﻝﺸﺭ‪ ،‬ﺤﻴﺙ ﻴﺴﻨﺩ ﺍﻝﺨﻴﺭ ﺇﻝﻰ ﺒﻁل ﻴﺘﺤﻭل ﺇﻝﻰ ﺸﺨﺹ ﻤﺭﻤﻭﻕ ﻋﺎﺩﺓ ﺒﺎﻝﻠﺠﻭﺀ ﺇﻝﻰ ﺍﻝﺘﻜﺭﺍﺭ‪ ،‬ﻤﻤﺎ‬

‫ﻴﺴﻬل ﺘﻤﺎﻫﻲ ﻭﺍﻨﺨﺭﺍﻁ ﺍﻝﻤﺸﺎﻫﺩ‪ ،‬ﻭﻫﺫﺍ ﺍﻝﺒﻁل ﻏﺎﻝﺒﺎ ﻤﺎ ﻴﺘﻤﺘﻊ ﺒﻘﺩﺭﺍﺕ ﺠﺴﺩﻴﺔ ﻤﻨﻘﻁﻌﺔ ﺍﻝﻨﻅﻴـﺭ‪،‬‬

‫ﻜﻤﺎ ﻴﺘﻡ ﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﻗﻭﺍﻩ ﺍﻝﻌﻀﻠﻴﺔ ﻭﺘﻘﺎﺴﻴﻡ ﻭﺠﻬﻪ ﺍﻝﺠﺫﺍﺒﺔ‪ ،‬ﺜﻡ ﻴﺴﻬل ﺃﻥ ﺘﻘﻊ ﻓﻲ ﻏـﺭﺍﻡ ﻫـﺫﺍ‬

‫ﺍﻝﺒﻁل ﺤﻴﻨﻤﺎ ﻴﺘﺭﻜﻪ ﺍﻝﺠﻤﻴﻊ ﻭﺤﻴﺩﺍ ﻝﻤﺠﺎﺒﻬﺔ ﻤﺼﻴﺭﻩ ﺍﺘﺠﺎﻩ ﺍﻝﺘﻬﺩﻴﺩ ﺍﻝﺨﺎﺭﺠﻲ ﺍﻝـﺫﻱ ﻴﺤـﻴﻁ ﺒـﻪ‪،‬‬

‫ﻭﻴﻜﻭﻥ ﻋﻠﻴﻪ ﺃﻥ ﻴﺤﺭﺭ ﻨﻔﺴﻪ ﻭﻭﻁﻨﻪ "ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ" ﻭﺒﺎﻝﺘﺎﻝﻲ ﻴﻜﻭﻥ ﻗﺩ ﺃﻨﻘﺫ ﺍﻝﻌﺎﻝﻡ ﺃﻴﻀﺎ‪ .‬ﻜﻤﺎ‬

‫ﺘﻠﺠﺄ ﻫﺫﻩ ﺍﻷﻓﻼﻡ ﻏﺎﻝﺒﺎ ﺇﻝﻰ ﺘﻐﻠﻴﺏ ﻗﻭﺓ ﺍﻝﺴﻼﺡ‪ ،‬ﻭﻗﻭﺘﻪ ﻋﻠﻰ ﻗﻭﺓ ﺍﻝﻘﺎﻨﻭﻥ ﻭﺍﻝﺸﺭﻋﻴﺔ ﻭﺘﻤﻌﻥ ﺍﻝﻠﻘﻁﺔ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻲ ﺇﻅﻬﺎﺭ ﺍﻝﺒﻁل ﻴﻘﹼﻠﺏ ﺃﺤﺩﺙ ﺃﻨﻭﺍﻉ ﺍﻷﺴﻠﺤﺔ ﻝﻤﺠﺎﺒﻬﺔ ﻋﺩﻭﻩ ﺒﺸﺠﺎﻋﺔ ﻭﻫـﺫﺍ ﺍﻝﻌـﺩﻭ‬

‫ﺼﻨﻴﻌﺔ ﻫﻭﻝﻴﻭﺩ‪ ،‬ﻤﺜل ﺭﻭﺴﻴﺎ ﺃﻭ ﺍﻝﻌﺭﺏ ﺃﻭ ﻏﻴﺭﻫﻡ ﻭﺃﺤﻴﺎﻨﺎ ﻤﺨﻠﻭﻗﺎﺕ ﻓﻀﺎﺌﻴﻪ ﺃﻭ ﻓﻴﺭﻭﺴﺎﺕ ﻓﺘﹼﺎﻜﺔ‬

‫ﻭﺇﺫﺍ ﻜﺎﻥ ﻴﻬﺩﺩ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻓﻬﻭ ﺒﺎﻝﺘﺎﻝﻲ ﻴﻬﺩﺩ ﺍﻝﻭﺠﻭﺩ ﺍﻝﺒﺸﺭﻱ‪ ،‬ﻭﻝﻬﺎ ﺍﻝﺤﻕ ﻓﻲ ﺍﺨﺘﻴـﺎﺭ ﺃﻱ‬

‫ﻁﺭﻴﻕ ﺃﻭ ﺃﻱ ﺴﻼﺡ ﻝﻤﺤﺎﺭﺒﺔ ﺍﻝﻌﺩﻭ ﻭ ﻀﺩ ﺃﻱ ﺘﻬﺩﻴﺩ ﺨﺎﺭﺠﻲ‪ .2‬ﻭﻫﺫﻩ ﻤﻴﺯﺓ ﻫﻭﻝﻴﻭﺩ ﺤﻴﺙ ﺘﻀﻔﻲ‬

‫ﺍﻝﺸﺭﻋﻴﺔ ﻋﻠﻰ ﺍﻝﻤﻭﺕ ﻭﻝﺴﻠﻁﺔ ﺍﻝﺼﻭﺭﺓ ﻓﻌﺎﻝﻴﺔ ﺇﻗﻨﺎﻉ ﻜﺒﻴﺭﺓ ﻓﺎﻝﺨﻴﺭ ﻤـﺭﺍﺩﻑ ﻝﻠﺤﺭﻴـﺔ ﻭﺍﻝﺘﻘـﺩﻡ‬

‫ﻭﺍﻝﺤﺩﺍﺜﺔ‪ ،‬ﻝﻴﻭﻝﺩ ﺍﻝﻔﻴﻠﻡ ﺤﺎﺠﺎﺕ ﺒل ﻴﺠﻌﻠﻬﺎ ﺘﺘﻜﻴﻑ ﻤﻊ ﺃﺫﻭﺍﻗﻨﺎ‪.‬‬

‫ﺇﻥ ﺍﻝﺨﻁﺎﺏ ﺍﻹﺸﻬﺎﺭﻱ ﻫﻭ ﻓﻲ ﺤﻘﻴﻘﺘﻪ ﺨﻁﺎﺏ ﺴﻭﺴﻴﻭ ﺍﻗﺘﺼﺎﺩﻱ ﻴﻌﺘﻤﺩ ﻋﻠﻰ ﺠﻤﻊ ﺍﻝﻤﻌﻁﻴﺎﺕ‬

‫ﺍﻝﺒﺼﺭﻴﺔ ﻭﺍﻝﻠﺴﺎﻨﻴﺔ‪ ،‬ﻭﺍﻝﻤﺜﻴﺭﺍﺕ ﺍﻝﺴﻴﻜﻠﻭﺠﻴﺔ ﻝﺩﻓﻊ ﺍﻝﺫﺍﺕ ﺍﻝﻤﺸﺎﻫﺩﺓ ﻨﺤﻭ ﺍﻹﻗﺘﻨﺎﻉ‪ ،‬ﻭﻫﺫﺍ ﻤﺎ ﺒﻌﺩ‬

‫ﺍﻝﻬﺩﻑ ﺍﻷﺴﻤﻰ ﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﻭﺍﺼل ﺍﻹﺸﻬﺎﺭﻱ‪ ،‬ﻤﻥ ﺨﻼل ﺍﻻﺴﺘﻴﻬﺎﻤﺎﺕ ﺍﻝﺒﻼﻏﻴﺔ ﻭﺍﻹﻨﻔﻌﺎﻝﻴﺔ ﺤﻴﺙ‬

‫ﺘﻠﻌﺏ ﺍﻝﻌﻼﻤﺎﺕ ﺩﻭﺭ ﺍﻝﻤﺜﻴﺭ ﺍﻝﺫﻱ ﻴﺩﻓﻊ ﺍﻝﻤﺘﻠﻘﻲ ﻨﺤﻭ ﺍﻹﺴﺘﺠﺎﺒﺔ‪ .‬ﻜﻤﺎ ﺃﻥ ﺍﻝﺨﻁﺎﺒﺎﺕ ﺍﻹﺸﻬﺎﺭﻴﺔ‬

‫ﺇﺒﺭﺍﻫﻴﻡ ﺍﻝﻌﻤﺭﻱ ‪" ،(2003).‬ﺤﻴﻨﻤﺎ ﺘﺘﺤﻭل ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻰ ﻭﺍﺠﻬﺔ ﻝﻠﺴﻠﻌﺔ‪ :‬ﻋﻥ ﺍﻹﺸﻬﺎﺭ ﺍﻝﻀﻤﻨﻲ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ"‪ ،‬ﻋﻼﻤﺎﺕ‪ ،‬ﻉ‬ ‫‪2‬‬

‫‪34-29 ،28‬‬
‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪35 ،‬‬ ‫‪2‬‬

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‫ﺘﻘﻭﻡ ﺒﺩﻭﺭﻫﺎ ﺒﻁﺭﻴﻘﺔ ﻤﻨﻅﻤﺔ ﺤﻴﺙ ﺃﻨﻬﺎ ﺘﺘﺤﺩ ﻝﻔﺌﺔ ﻤﺠﺘﻤﻌﻴﺔ ﻤﺤﺩﺩﺓ‪ ،‬ﺤﻴﺙ ﺘﺴﺘﺜﻴﺭ ﺍﻻﻫﺘﻤﺎﻤﺎﺕ‬

‫‪1‬‬
‫ﻭﺍﻝﺭﻏﺒﺎﺕ ﻝﺘﺘﻔﺎﻋل ﺒﺎﻝﻁﺭﻴﻘﺔ ﺍﻝﻤﻁﻠﻭﺒﺔ‪.‬‬

‫‪ 5.1‬ﺍﻝﻘﻀﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ‪:‬ﺼﻭﺭﺓ ﺃﻋﻤﻕ ﻝﻠﻌﺭﺒﻲ ﺍﻝﺸﺭﻴﺭ‬

‫ﻝﻡ ﺘﻜﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺫﺍﻙ ﺍﻝﺩﻋﻡ ﺍﻝﻤﻌﻨﻭﻱ ﻓﺤﺴﺏ ﻝﺘﻜﻭﻴﻥ ﻓﻜﺭﺓ ﺜﺎﺒﺘﺔ ﻋﻥ ﺍﻝﺤﻕ ﺍﻝﺘﺎﺭﻴﺨﻲ ﻝﻠﻴﻬﻭﺩ‬

‫ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴﻁﻴﻥ ﺒل ﻜﺎﻥ ﻝﻬﺎ ﺍﻝﺩﻭﺭ ﺍﻝﻔﻌﻠﻲ ﻝﺘﺄﻜﻴﺩ ﺫﻝﻙ ﻤﺭﺍﺭﺍ ﻤﻨﺫ ﺍﻝﻌﺎﻡ ‪ ،1899‬ﺃﻱ ﺒﻌﺩ ﻓﺘﺭﺓ‬

‫ﻗﺼﻴﺭﺓ ﻤﻥ ﻤﺅﺘﻤﺭ ﺒﺎل‪ .‬ﺍﻷﻤﺭ ﺍﻝﺫﻱ ﻴﺩل ﻋﻠﻰ ﺍﻝﺩﻭﺭ ﺍﻹﻋﻼﻤﻲ ﺍﻝﻬﺎﻡ ﻝﻠﺘﺭﻭﻴﺞ ﻝﻔﻜﺭﺓ ﺍﻻﺴﺘﻴﻁﺎﻥ‪.2‬‬

‫ﻭﺘﺸﻜﻴل ﺍﻝﺼﻭﺭﺓ ﺍﻝﺘﻲ ﻴﺭﻴﺩ ﺃﻥ ﻴﻅﻬﺭ ﺒﻬﺎ ﻝﻠﻌﺎﻝﻡ‪ .‬ﻭﻝﻴﺱ ﺴﺅﺍﻝﻨﺎ ﻋﻥ ﺴـﺒﺏ ﺍﻝﺘﻭﺍﺠـﺩ ﺍﻝﻤﻜﺜـﻑ‬

‫ﻝﻠﺼﻬﻴﻭﻨﻴﺔ ﻓﻲ ﺍﻝﻤﻴﺎﺩﻴﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ ،‬ﺒل ﺴﺒل ﺘﺄﺜﻴﺭﻫﺎ ﻭﻜﻴﻔﻴﺔ ﺍﺴﺘﺨﺩﺍﻤﻬﺎ ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﺍﻝﻤﻔﻌﻭل‬

‫ﺍﻝﻤﺒﺎﺸﺭ ﻭﺍﻨﻌﻜﺎﺱ ﺫﻝﻙ ﻋﻠﻰ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ﺍﻝﻌﺎﻝﻤﻲ‪ ،‬ﻭﺘﻐﻴﻴﺭ ﺍﻝﻘﻨﺎﻋﺎﺕ ﻭﺘﺭﺴﻴﺦ ﺍﻝﻔﻜﺭﺓ ﻓﻲ ﺍﻷﺫﻫﺎﻥ‪.‬‬

‫ﺒل ﻭﺼﻨﺎﻋﺔ ﺍﻝﻤﻭﺍﻗﻑ ﺍﻝﺴﻠﺒﻴﺔ ﺍﺘﺠﺎﻩ ﺍﻵﺨﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻝﻔﻜﺭﺘﻴﻥ ﻫﻤﺎ ﻀﺭﻭﺭﺘﻲ ﺍﻹﻁﻼﻉ ﻋﻠـﻰ‬

‫ﺍﻝﺴﻴﻨﻤﺎ ﻭﻭﺍﻗﻌﻬﺎ ﻷﻨﻬﺎ ﺴﻴﻨﻤﺎ ﺒﻠﻐﺕ ﻭﺍﺘﺴﻌﺕ ﻝﺘﺒﻠﻎ ﺍﻝﺠﻤﻬﻭﺭ ﺍﻝﻌـﺭﻴﺽ‪ ،‬ﻭﻫـﺫﺍ ﻴﻌﻨـﻲ ﺃﻥ ﻝﻬـﺎ‬

‫ﺍﺴﺘﺭﺍﺘﻴﺠﻴﺎﺘﻬﺎ ﺍﻝﺘﻘﻨﻴﺔ ﺍﻝﺠﺩﻴﺭﺓ ﺒﺎﻝﻤﻌﺭﻓﺔ ﺤﻴﺙ ﺴﺎﻫﻤﺕ ﻓﻲ ﺘﺸﻭﻴﻪ ﻭﺘﺤﻁﻴﻡ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ‪.3‬‬

‫ﻅﻬﺭ ﺍﻝﺘﻭﺍﺠﺩ ﺍﻷﻭل ﻭﺍﻝﻤﻜﺜﻑ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﻓﻲ ﻫﻭﻝﻴﻭﻭﺩ ﺤﻴﺙ ﻋﺎﺩﺕ ﻤﻠﻜﻴﺔ ﺴﺒﻌﺔ ﻤﻨﻬﺎ‬

‫ﻝﻠﻴﻬﻭﺩ ﻭﻫﻲ ﻤﺘﺭﻭ ﻏﻭﻝﺩ‪ ,‬ﻭﻴﻥ ﻤﺎﻴﺭ‪ ,‬ﻓﻭﻜﺱ ﺒﺎﺭﻭﻤﻨﺕ‪ ,‬ﻜﻭﻝﻭﻤﺒﻴﺎ ﺒﻜﺸﺭﺯ‪ ,‬ﻴﻭﻥ ﻴﻔﺭﺴﺎل‪ ,‬ﻭﺍﺭﻨـﺭ‬

‫ﺒﺭﻭﺱ‪ ,‬ﻴﻭﻨﻴﺘﺩ ﺍﺭﺘﺴﺕ‪ .‬ﻭﻻ ﺘﻔﻙ ﻫﻭﻝﻴﻭﺩ ﻋﻥ ﺘﻘﺩﻴﻡ ﺍﻝﻴﻬﻭﺩﻱ ﻜﺸﺨﺼﻴﺔ ﻤﺤﻭﺭﻴﺔ ﻓﻲ ﺃﻓﻼﻤﻬﺎ ﻤﺜل‬

‫ﻓﻴﻠﻡ )ﻴﻭﻡ ﺍﻻﺴﺘﻘﻼل(‪ ،‬ﺤﻴﺙ ﻴﻨﻘﺫ ﺍﻝﻌﺎﻝﻡ ﻤﻥ ﻏﺯﻭ ﻓﻀﺎﺌﻲ ﻋﺎﻝﻡ ﻴﻬﻭﺩﻱ‪ ،‬ﻜﻤﺎ ﻴﻅﻬﺭ ﺃﻥ ﺍﻝﻤﻭﺴﺎﺩ ﻻ‬

‫ﻴﺤﻘﻕ ﺍﻷﻤﻥ ﻹﺴﺭﺍﺌﻴل ﻭﺤﺩﻫﺎ ﻭﺇﻨﻤﺎ ﻝﻠﻌﺎﻝﻡ ﻜﺎﻓﺔ‪ .‬ﺇﻥ ﺤﻘﻴﻘﺔ ﻗﻭﺓ ﺍﻝﻨﻔﻭﺫ ﺍﻝﻴﻬﻭﺩﻱ ﻭﺒﺭﻭﺯﻫـﺎ ﻓـﻲ‬

‫ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻌﺎﻤﺔ ﺃﺼﺒﺢ ﺃﻤﺭﺍ ﻴﺼﻌﺏ ﺇﻨﻜﺎﺭﻩ‪ .‬ﺇﻥ ﻗﺎﺌﻤﺔ ﻤﺩﻴﺭﻱ ﺍﻹﻨﺘﺎﺝ ﺫﻭﻱ ﺍﻝﻨﻔﻭﺫ ﺍﻝﻘـﻭﻱ ﺒﻜـل‬

‫ﻋﺎﺒﺩ‪ ،‬ﻋﺒﺩ ﺍﻝﻤﺠﻴﺩ‪ .2008.‬ﻤﺒﺎﺤﺙ ﻓﻲ ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺎﺕ‪ .‬ﺍﻝﻤﻐﺭﺏ‪ .‬ﺩﺍﺭ ﺍﻝﻘﺭﻭﻴﻴﻥ ‪47.‬‬ ‫‪1‬‬

‫ﻋﺒﻴﺩﻭ‪ ،‬ﻤﺤﻤﺩ‪ .(2004) .‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﺸﺎﺸﺔ ﻝﻠﺘﻀﻠﻴل‪ .‬ﺩﺍﺭ ﻜﻨﻌﺎﻥ‪ .‬ﺩﻤﺸﻕ‪25 .‬‬ ‫‪2‬‬

‫‪ 3‬ﺍﻝﻌﻤﺭﻱ‪ ،‬ﺍﻤﻴﺭ)‪"".(1992‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﺒﻴﻥ ﺍﻝﺫﺍﺕ ﻭﺍﻻﺨﺭ"‪ ،‬ﺒﻴﺎﺩﺭ‪ ،‬ﻉ‪107-105 ،8‬‬

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‫ﺍﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻜﺒﺭﻯ ﺍﻝﺘﻲ ﺘﺤﻭﻱ ﺃﻏﻠﺒﻴﺘﻬﺎ ﻋﻠﻰ ﺃﺴﻤﺎﺀ ﻴﻬﻭﺩﻴﺔ‪ ،‬ﺇﻀـﺎﻓﺔ ﺇﻝـﻰ ﻤﻠﻜﻴـﺘﻬﻡ‬

‫ﻝﺼﺤﻑ ﻭﻤﺠﻼﺕ ﻜﺒﻴﺭﺓ ﻤﺜل‪ :‬ﻓﻭﺭﻭﺍﺭﺩ‪ ،‬ﻭﻨﻴﻭﺭﻙ ﺘﺎﻴﻤﺯ ‪.1‬‬

‫ﺃﻤﺎ ﻤﻴﺎﺩﻴﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻴﻬﻭﺩﻴﺔ ﻓﻘﺩ ﻜﺎﻨﺕ ﺘﺨﺩﻡ ﺍﻷﻏﺭﺍﺽ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ ،‬ﻭﺍﻻﻗﺘﺼﺎﺩﻴﺔ‪ ،‬ﻭﺍﻝﻌـﺴﻜﺭﻴﺔ‬

‫ﻝﺘﺤﻘﻴﻕ ﺃﻫﺩﺍﻑ ﺍﻝﺤﺭﻜﺔ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ‪ ،‬ﻝﺫﺍ ﻜﺎﻥ ﻤﻥ ﺍﻝﻁﺒﻴﻌﻲ ﺍﺴﺘﻤﺭﺍﺭ ﺍﻫﺘﻤﺎﻡ ﻭﺩﻋـﻡ ﺍﻝـﺴﻴﺎﺴﻴﻴﻥ‬

‫ﻝﻠﺴﻴﻨﻤﺎ ﻋﻠﻰ ﻤﺭﻭﺭ ﺍﻝﺤﻘﺏ ﺍﻝﺯﻤﻨﻴﺔ‪ ،‬ﻭﻴﻅﻬﺭ ﺫﻝﻙ ﻤﻥ ﺨﻼل ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ﺍﻝﺘﻲ ﻤﺭﺕ ﺒﻬـﺎ‬

‫ﺇﻗﺎﻤﺔ ﺍﻝﻜﻴﺎﻥ ﺍﻝﺼﻬﻴﻭﻨﻲ ﻋﻠﻰ ﺃﺭﺽ ﻓﻠﺴﻁﻴﻥ ﻭﻝﻨﺎ ﻤﻥ ﺨﻼل ﺍﻝﺴﻴﺎﻕ ﺍﻝﺤﺩﻴﺙ ﻋﻨﻬﺎ ﺘﺒﺎﻋﺎ‪.‬‬

‫ﻴﻼﺤﻅ ﺃﻥ ﺍﻝﺘﻜﺎﻝﻴﻑ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺘﺭﺘﻔﻊ ﻓﻲ ﻜل ﺃﻨﺤﺎﺀ ﺍﻝﻌﺎﻝﻡ ﺇﻻ ﻓﻲ ﺇﺴﺭﺍﺌﻴل ﻓﻬﻲ ﻓﻲ ﺍﻨﺨﻔﺎﺽ‬

‫ﺒﺴﺒﺏ ﺭﻋﺎﻴﺔ ﺍﻝﺩﻭﻝﺔ ﺍﻝﻤﺒﺎﺸﺭﺓ ﻝﻬﺎ ﻭﺘﻘﺩﻴﻡ ﻴﺩ ﺍﻝﻤﺴﺎﻋﺩﺓ ﻭﺍﻝﻌﻭﻥ ﻝﻠﻘـﺎﺌﻤﻴﻥ ﻋﻠـﻰ ﺇﻨﺘـﺎﺝ ﺍﻝﻤـﻭﺍﺩ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﺩﺭﺍﻤﻴﺔ ﻭﺍﻝﻭﺜﺎﺌﻘﻴﺔ ﻤﻨﻬﺎ‪.2‬‬

‫ﻴﺭﺼﺩ ﺃﻭل ﻓﻴﻠﻡ ﺴﻴﻨﻤﺎﺌﻲ ﻋﺎﻡ ‪ 1899‬ﻭﻫﻭ )ﻗﻀﻴﺔ ﺩﺭﻴﻔﻭﺱ( ﻤﻥ ﺇﺨﺭﺍﺝ ﺠﻭﺭﺝ ﻤﻴﻠﻲ ﻓﻲ‬

‫ﺒﺎﺭﻴﺱ‪ ،‬ﺍﻝﺫﻱ ﻜﺎﻥ ﻴﻌﺭﺽ ﻗﻀﻴﺔ ﺍﻀﻁﻬﺎﺩ ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﺃﻭﺭﻭﺒﺎ ﻋﺒﺭ ﻗﺼﺔ ﺍﻝﻀﺎﺒﻁ ﺍﻝﻔﺭﻨﺴﻲ ﺍﻝﺫﻱ‬

‫ﺍﹸﺘﻬﻡ ﺒﺎﻝﺨﻴﺎﻨﺔ ﺍﻝﻌﻅﻤﻰ ﻷﻨﻪ ﻴﻬﻭﺩﻱ‪ ،‬ﺜﻡ ﺘﻼﻩ ﻓﻴﻠﻡ ) ﺍﻝﻤﺎﻋﺯ ﺘﺒﺤﺙ ﻋﻥ ﺍﻝﺤﺸﺎﺌﺵ (ﻋـﺎﻡ ‪.1900‬‬

‫ﻭﻴﺤﻜﻲ ﺍﻝﻔﻴﻠﻡ ﻗﺼﺔ ﻋﺎﺌﻠﺔ ﻴﻬﻭﺩﻴﺔ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﺘﻨﺎﻀل ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﺍﻝﻭﻁﻥ‪ .‬ﻴﻠﻴﻬﺎ ﻋـﺩﺩ ﻤـﻥ‬

‫ﺍﻷﻓﻼﻡ ﺍﻝﻤﺄﺨﻭﺫﺓ ﻋﻥ ﺭﻭﺍﻴﺎﺕ ﻋﺎﻝﻤﻴﺔ ﻤﺜل)ﺍﻻﺒﻥ ﺍﻝﻌﺎﻕ( ﻭﻓﻴﻠﻡ )ﺸﻤـﺸﻭﻥ ﻭﺩﻝﻴﻠﻴـﻪ( ﻭ)ﻗـﻀﺎﺀ‬

‫ﺴﻠﻴﻤﺎﻥ( ﻭ)ﺸﺎﺅﻭل ﻭﺩﺍﻭﺩ( ﻭ)ﺩﺍﻭﺩ ﻭﺠﻭﻝﻴﺎﺕ( ﻓﻲ ﻋﺎﻡ ‪ ،1913‬ﻭﻓﻴﻠﻡ )ﻤﻭﻝﺩ ﺍﻤﺔ(‪ 3‬ﻭﻓﻴﻠﻡ )ﻤﻠﻜـﺔ‬

‫ﺴﺒﺄ(‪ ،‬ﻭﻓﻴﻠﻡ )ﺍﻝﻭﺼﺎﻴﺎ ﺍﻝﻌﺸﺭ( ﻭﻓﻴﻠﻡ )ﺍﻝﺘﺎﺌﻪ( ﻭﻓﻴﻠﻡ )ﺒﻥ ﻫﻭﺭ(‪. 4‬‬

‫‪1‬‬
‫‪Waber.mark. The Institute for Historical Review. http://www.ihr.org/index.html. retrieved‬‬
‫‪02.01.2010‬‬
‫ﻋﺒﻴﺩﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪27-26 ،‬‬ ‫‪2‬‬

‫ﻜﺎﻥ ﺍﻭل ﻓﻴﻠﻡ ﺍﻤﻴﺭﻜﻲ ﻁﻭﻴل ﻫﻭ )ﻤﻭﻝﺩ ﺍﻤﺔ( ﻴﺤﻜﻲ ﻋﻥ ﻨﻘﺎﺀ ﺍﻝﺩﻡ ﺍﻻﺒﻴﺽ‪ ،‬ﻭﻋﻅﻤﺔ ﺍﻝﺤﻀﺎﺭﺓ ﺍﻝﻐﺭﺒﻴﺔ‪ ،‬ﻭﺭﻓﻊ ﻜﻠﻤﺔ ﺍﻝﻤﺴﻴﺤﻴﺔ‪ ،‬ﻭﺒﺩﺍﺌﻴﺔ‬ ‫‪3‬‬

‫ﺍﻝﺴﻭﺩ ﻭﺒﻘﻴﺔ ﺸﻌﻭﺏ ﺍﻝﻌﺎﻝﻡ ﺍﻝﺜﺎﻝﺙ‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪29 ،‬‬ ‫‪4‬‬

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‫ﻴﺫﻜﺭ ﺴﻤﻴﺭ ﻓﺭﻴﺩ ﻓﻲ ﻜﺘﺎﺒﻪ )ﻤﺩﺨل ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ( ﺃﻥ ﺃﻏﻠﺏ ﺘﻠﻙ ﺍﻷﻓﻼﻡ ﻫﻲ ﻤـﻥ‬

‫ﺇﺨﺭﺍﺝ ﻴﻬﻭﺩ ﻭﻜﺫﻝﻙ ﻤﻥ ﺇﻨﺘﺎﺝ ﺸﺭﻜﺎﺕ ﻤﺅﺴﺴﻭﻫﺎ ﻤﻥ ﺍﻝﻴﻬﻭﺩ ﺃﻤﺎ ﺍﻝﻤﻭﻀﻭﻋﺎﺕ ﻓﻘﺩ ﻜﺎﻨﺕ ﺘﺼﻭﺭ‬

‫ﺍﻝﻭﻀﻊ ﺍﻻﻨﺸﻁﺎﺭﻱ ﺒﻴﻥ ﺍﻷﻭﺭﻭﺒﻴﻥ ﻭﺍﻝﻌﺭﺏ ﺤﻴﺙ ﺃﻨﻬﻡ ﻴﺒﺩﻭﻥ ﻓﻲ ﻤﻭﻀﻊ ﺤﺼﺎﺭ ﺩﺍﺌـﻡ ﻤـﻥ‬

‫ﺍﻝﺸﺨﺹ ﺍﻹﺭﻫﺎﺒﻲ ﺍﻝﻤﻠﺜﻡ‪ ،‬ﺤﺎﻤل ﺍﻝﺴﻴﻑ ﻜﻤﺎ ﻓﻴﻠﻡ )ﺃﻏﻨﻴﺔ ﺍﻝﺼﺤﺭﺍﺀ(‪ ،‬ﻭ )ﻋﻭﺩﻴﺕ ﺍﻝﺘﺎﺌﻪ( ﻭﻫـﻭ‬

‫ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﺍﻝﺭﻭﺍﺌﻴﺔ ‪ 1933‬ﺍﻝﺫﻱ ﻴﺭﻭﻱ ﺤﻜﺎﻴﺔ ﺍﻝﺼﺒﻲ ﺍﻝﺫﻱ ﻴـﺫﻫﺏ ﻓـﻲ ﺭﺤﻠـﺔ‬

‫ﻤﺩﺭﺴﻴﺔ ﺍﺴﺘﻜﺸﺎﻓﻴﻪ ﻝﻜﻨﻪ ﻴﻀل ﻁﺭﻴﻘﻪ ﻓﻴﺄﺨﺫﻨﺎ ﻝﻤﻐﺎﻤﺭﺓ ﻴﺠﻭﺏ ﺨﻼﻝﻬﺎ ﺃﺭﺽ ﺇﺴﺭﺍﺌﻴل‪ ،‬ﺇﺫ ﻴﻤﺠﺩ‬

‫ﺭﻏﺒﺔ ﺍﻝﻴﻬﻭﺩ ﺒﺎﻝﺨﺎﺭﺝ ﺒﺎﻝﻌﻭﺩﺓ ﻝﻸﺭﺽ ﺍﻝﺘﻭﺭﺍﺘﻴﺔ ﺍﻝﻤﻠﻬﻤﺔ‪ ،1‬ﻜﻤﺎ ﻓﻴﻡ )ﺼـﺎﺒﺭﺍ( ﺍﻝـﺫﻱ ﻴﻅﻬـﺭ‬

‫ﻓﻠﺴﻁﻴﻥ ﺃﺭﻀﺎ ﺠﺭﺩﺍﺀ ﺒﻼ ﺴﻜﺎﻥ ﻴﺭﺘﺎﺩﻫﺎ ﻤﻬﺎﺠﺭﻭﻥ ﻴﻘﻭﻤﻭﻥ ﺒﺘﻌﻤﻴﺭﻫﺎ‪ ،‬ﻭﻝﻡ ﻴﻅﻬﺭ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻌﺭﺏ‬

‫ﺇﻻ ﺒﺼﻭﺭ ﺒﺸﻌﺔ ﻭﻭﺠﻭﻩ ﻤﺸﻭﻫﻪ ‪.2‬‬

‫ﻜﺎﻨﺕ ﺃﻓﻼﻡ ﺍﻹﻨﺘﺎﺝ ﺍﻝﻴﻬﻭﺩﻱ ﻤﻨﺫ ﺍﻝﺤﺭﺏ ﺍﻝﻌﺎﻝﻤﻴﺔ ﺍﻝﺜﺎﻨﻴﺔ ﻭﻜﺄﻨﻬﺎ ﺘﻌﻠﻥ ﺃﻓﻼﻡ ﺤﻤﻠﺔ ﻀـﺩ ﻤـﻥ‬

‫ﺃﺴﻤﺘﻬﻡ ﺃﻋﺩﺍﺀ ﺍﻝﺴﺎﻤﻴﺔ‪ ،‬ﻜﻔﻴﻠﻡ )ﻋﺒﺭ ﺍﻝﻨﻴﺭﺍﻥ( ‪ 1949‬ﻭ)ﺍﺘﻔﺎﻕ ﺍﻝﺴﺎﺩﺓ( ﻭﺤﻴﺎﺓ ﺍﻝﻴﻬﻭﺩ ﻓـﻲ )ﺃﺭﺽ‬

‫ﺍﻝﻤﻴﻌﺎﺩ(‪ ،‬ﺍﻝﺫﻱ ﻴﺩﻋﻭ ﻜﺎﻓﺔ ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﺃﻨﺤﺎﺀ ﺍﻝﻌﺎﻝﻡ ﻝﻠﻌﻭﺩﺓ ﺇﻝﻰ ﺃﺭﺽ ﺍﻝﻤﻴﻌﺎﺩ‪ ،‬ﻭﻜﻤﺎ ﻓـﻴﻠﻡ "ﺍﺒـﻥ‬

‫ﺍﻷﺭﺽ" ﺍﻝﺫﻱ ﻴﺤﻜﻲ ﻗﺼﺔ ﺸﺎﺏ ﻴﻬﻭﺩﻱ ﻴﻜﺎﻓﺢ ﻝﻠﺘﺤﺭﺭ ﻤﻥ ﺍﻻﺴﺘﻌﻤﺎﺭﻴﻥ ﺍﻝﺒﺭﻴﻁﺎﻨﻲ ﻭﺍﻝﻌﺭﺒـﻲ‬

‫ﻓﻔﻲ ﻨﻬﺎﻴﺔ ﺍﻝﻔﻴﻠﻡ ﻴﻅﻬﺭ ﺍﻝﺸﺒﺎﻥ ﺍﻝﻴﻬﻭﺩ ﺒﻜﻔﺎﺤﻬﻡ ﻀﺩ ﻫﺫﺍ ﺍﻻﺴﺘﻌﻤﺎﺭ ﺤﻴﺙ ﺃﻨﻬﻡ ﻓﻲ ﻨﻬﺎﻴـﺔ ﺍﻝﻔـﻴﻠﻡ‬

‫ﻴﺭﻤﻭﻥ ﺒﺎﻝﺭﺼﺎﺹ ﻭﻴﻁﻠﻘﻭﻥ ﺃﺼﻭﺍﺕ ﺍﻝﺭﻤﻕ ﺍﻷﺨﻴﺭ ﻝﻜﻨﻬﺎ ﺒﺩﺕ ﺼﺎﺩﺤﺔ ﻤﺠﻠﺠﻠﺔ "ﺇﻨﻬﺎ ﺃﺭﻀﻨﺎ‪..‬‬

‫ﻭﻨﺤﻥ ﺃﺒﻨﺎﺀ ﻫﺫﻩ ﺍﻷﺭﺽ‪ .‬ﻭﻜﻔﻴﻠﻡ )ﺒﻴﺕ ﺃﺒﻲ( ﺍﻝﺫﻱ ﻴﻘﺹ ﺭﺤﻠﺔ ﺼﺒﻲ ﻴﻬﻭﺩﻱ ﺃﻨﻘﺫ ﻤﻥ ﺍﻝﻤﻌﺴﻜﺭ‬

‫ﺍﻝﻨﺎﺯﻱ ﻓﺒﺩﺃ ﺭﺤﻠﺔ ﺍﻝﺒﺤﺙ ﻋﻥ ﺃﺒﻴﻪ ﻓﻲ ﻓﻠﺴﻁﻴﻥ ﺜﻡ ﻴﻜﺘﺸﻑ ﺃﻨﻪ ﻻ ﻴﺒﺤﺙ ﻋﻥ ﺃﺒﻴﻪ ﺒل ﻴﺒﺤﺙ ﻋﻥ‬

‫ﺒﻴﺕ ﺃﺒﻴﻪ‪ ،‬ﻭﻓﻴﻠﻡ ﺍﻷﺭﺽ ﺍﻝﺫﻱ ﻴﻘﺹ ﺤﻴﺎﺓ ﺸﺎﺏ ﻫﺭﺏ ﻫﻭ ﺍﻵﺨﺭ ﻤﻥ ﺍﻝﻤﻌﺘﻘﻼﺕ ﺍﻝﻨﺎﺯﻴﺔ ﻓﻴﻤـﺭ‬

‫ﻓﺭﻴﺩ‪ ،‬ﺴﻤﻴﺭ‪ .(1989) .‬ﻤﺩﺨل ﺍﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺼﻬﻴﻭﻨﻴﺔ‪ .‬ﺒﻐﺩﺍﺩ‪ :‬ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻌﺎﻤﺔ ﻝﻠﺴﻴﻨﻤﺎ ﻭﺍﻝﻤﺴﺭﺡ‪36 ،‬‬ ‫‪1‬‬

‫‪2‬‬
‫ﺸﻭﻫﺎﺕ‪ ،‬ﺍﻴﻼ‪ ".(2000).‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻻﺴﺭﺍﺌﻴﻠﻴﺔ‪ :‬ﺍﻝﻔﻠﺴﻁﻴﻨﻭﻴﻭﻥ ﻭﻴﻬﻭﺩ ﺍﻝﺸﺭﻕ"‪ .‬ﺍﺩﺏ ﻭﻨﻘﺩ‪ .‬ﺕ ﺍﺤﻤﺩ ﻴﻭﺴﻑ‪ ،‬ﻉ‪73-68 ،173‬‬

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‫ﺒﻔﺘﺭﺓ ﻋﺼﻴﺒﺔ ﻤﻥ ﺍﻝﻀﻴﺎﻉ ﻭﺍﻝﺘﺸﺭﺩ ﻝﻜﻨﻪ ﻴﺴﺘﺭﺩ ﺜﻘﺘﻪ ﺒﻔﻀل ﻋﺜﻭﺭﻩ ﻋﻠﻰ ﻤﺴﺘﻭﻁﻨﺔ ﻴﻬﻭﺩﻴﺔ ﻋﻠﻰ‬

‫ﺃﺭﺽ ﻓﻠﺴﻁﻴﻥ ﻓﻴﺘﺨﺫﻫﺎ ﻤﻭﻁﻨﺎ ‪.1‬‬

‫ﺘﻌﺩ ﻫﺫﻩ ﺃﻓﻼﻡ ﻤﺭﺤﻠﺔ ﺠﺩﻴﺩﺓ ﻋﻜﺴﺕ ﺤﺎل ﺇﻋﻼﻥ ﻋﻥ ﻜﻴﺎﻥ ﻝﻪ ﻤﻥ ﻴﺒﺤﺙ ﻋﻨﻪ ﻭﻴﻀﺤﻲ ﻤـﻥ‬

‫ﺃﺠﻠﻪ ﻓﻲ ﻤﺭﺤﻠﺘﻬﺎ ﺍﻝﺜﺎﻨﻴﺔ‪ ،‬ﻭﻋﻘﺏ ﺍﻹﻋﻼﻥ ﻋﻥ ﺩﻭﻝﺔ ﺍﻝﻜﻴﺎﻥ ﺍﻝـﺼﻬﻴﻭﻨﻲ ‪ 1948‬ﺍﺯﺩﺍﺩ ﺍﻫﺘﻤـﺎﻡ‬

‫ﺃﺼﺤﺎﺏ ﺍﻝﻘﺭﺍﺭ ﻤﻥ ﺍﻝﻴﻬﻭﺩ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺍﻝﺴﻴﻨﻤﺎ ﻜﺄﺩﺍﺓ ﻤﻬﻤﺔ ﻓﻲ ﺘﺭﺴﻴﺦ ﻜﻴﺎﻨﻴـﻪ ﺍﻝﺩﻭﻝـﺔ ﺍﻝﻴﻬﻭﺩﻴـﺔ‬

‫ﻭﺍﻨﺘﺸﺭ ﻤﺎ ﻴﻌﺭﻑ ﺒﺎﻝﻌﻼﻗﺔ "ﺍﻝﻴﻬﻭﺩﻴﺔ ﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ"‪ ،‬ﺤﻴﺙ ﺘﻡ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﺠﺭﻴﺩﺓ ﺍﻝﻌﺭﺽ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‬

‫ﻝﺘﺭﺴﻴﺦ ﻓﻜﺭﺓ ﺍﻝﻜﻴﺎﻥ ﻭﺍﺴﺘﻐﻠﺕ ﻤﺎ ﺃﺴﻤﺎﻩ ﺍﻝﻴﻬﻭﺩ ﻋﻤﻠﻴﺎﺕ ﺍﻹﺒﺎﺩﺓ ﺍﻝﺠﻤﺎﻋﻴﺔ ﻝﻠﻴﻬﻭﺩ‪ ،‬ﻋﻠـﻰ ﺃﻴـﺩﻱ‬

‫ﺍﻝﻨﺎﺯﻴﻴﻥ ﺨﻼل ﺍﻷﻓﻼﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺁﻨﺫﺍﻙ‪ ،‬ﻜﻤﺎ ﺘﺒﻌﺘﻬﺎ ﺤﻤﻠﺔ ﻀﺩ "ﺘﻘﺎﻋﺱ ﺍﻝﻀﻤﻴﺭ ﺍﻝﻌﺎﻝﻤﻲ ﻋﻤـﺎ‬

‫ﻴﺤﺩﺙ ﻝﻠﻴﻬﻭﺩ ﻤﻥ ﺇﺒﺎﺩﺓ " ‪.2‬‬

‫ﻓﻲ ﻋﺎﻡ ‪ 1954‬ﺘﺴﻠﻤﺕ ﻭﺯﺍﺭﺘﺎ ﺍﻝﺴﻴﺎﺤﺔ ﻭﺍﻝﺘﺠﺎﺭﺓ ﻭﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﺘﺭﺒﻴﺔ ﺍﻝﺤﻘﻴﺒﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺒﻤﺴﺎﻋﺩﺓ‬

‫ﺍﻝﻤﻌﺎﻫﺩ ﻭﺍﻝﻤﺩﺍﺭﺱ ﺍﻝﻔﻨﻴﺔ‪ ،‬ﺒﺈﺸﺭﺍﻑ ﺍﻝﻤﺭﻜﺯ ﺍﻝﻭﻁﻨﻲ ﻝﻠﺴﻴﻨﻤﺎ ﺤﻴﺙ ﺘﻡ ﺍﻝﻌﻤل ﻭﺍﻹﺸـﺭﺍﻑ ﻋﻠـﻰ‬

‫ﺇﻨﺘﺎﺝ ﺃﻜﺜﺭ ﻤﻥ ﺜﻼﺜﻴﻥ ﻓﻴﻠﻤﺎ ﻭﺸﺭﻴﻁﺎ ﻭﺜﺎﺌﻘﻴﺎ ﺤﺘﻰ ﺍﻝﻌﺎﻡ ‪ ،1964‬ﻭﻜﺎﻨﺕ ﻤﻭﻀـﻭﻋﺎﺘﻬﺎ ﺘﻨـﺴﺎﺏ‬

‫ﺒﺸﻜل ﺘﻌﺒﻭﻱ ﻤﻭﺠﻪ ﻝﻠﺭﺃﻱ ﺍﻝﻌﺎﻡ ﺍﻝﻌﺎﻝﻤﻲ ﻝﺘﺼﻭﻴﺭ ﺍﻝﻭﺠﻪ ﺍﻝﺤﻀﺎﺭﻱ ﻝﻠﺩﻭﻝﺔ ﺍﻝﻴﻬﻭﺩﻴﺔ‪ ،‬ﻜﻤﺎ ﻜﺎﻨﺕ‬

‫ﺘﻭﺠﻪ ﺭﺴﺎﻝﺔ ﻝﻴﻬﻭﺩ ﺍﻝﻌﺎﻝﻡ ﺘﺤﺜﻬﻡ ﻝﻠﺭﺠﻭﻉ ﻭﺍﻝﻌﻴﺵ ﻓﻲ ﻜﻨﻑ ﺃﺭﺽ ﺍﻝﻤﻴﻌﺎﺩ‪ .‬ﻭﻓﻲ ﻤﻘﺎﻝﺔ ﻨـﺸﺭﺘﻬﺎ‬

‫ﻫﺂﺭﺘﺱ ‪ 12‬ﺘﻤﻭﺯ ‪" 1966‬ﺃﻥ ﺇﺴﺭﺍﺌﻴل ﺘﻭﺠﻪ ﻤﺎ ﻴﺯﻴﺩ ﻋﻥ ‪ 900.000‬ﺩﻭﻻﺭ ﺴﻨﻭﻱ ﻝﺩﻋﻡ ﺍﻝﻔـﻥ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻲ"‪ .‬ﻭﺒﻴﻨﻤﺎ ﻜﺎﻥ ﻴﺼﻭﺭ ﺍﻝﻌﺭﺒﻲ ﺒﺄﻨﻪ ﺠﺒﺎﻥ ﻭﺨﺎﺌـﻥ‪ ،‬ﻜﺎﻥ ﺍﻝﻴﻬﻭﺩﻱ ﻫﻭ ﺍﻝﺸﺠﺎﻉ ﺍﻝﺫﻱ ﻻ‬

‫ﻴﻘﻬﺭ‪ ،‬ﻭﻴﻀﺤﻲ ﺒﻨﻔﺴﻪ ﻋﻠﻰ ﺃﻥ ﻴﺘﺭﻙ ﻭﻁﻨﻪ ﻤﺜل ﻓﻴﻠﻡ )ﺍﻝﺨﺭﻭﺝ( ﻭ)ﻜﺎﻨﻭﺍ ﻋﺸﺭﺓ( ﻭﺍﻝﻌﺸﺭﺓ ﻫـﻡ‬

‫ﺘﺴﻊ ﺭﺠﺎل ﻭﺍﻤﺭﺃﺓ ﻤﻥ ﺍﻝﻴﻬﻭﺩ ﻭﻫﻡ ﻤﻥ ﻜﺎﻥ ﺒﺩﺍﻴﺔ ﻝﺘﺤﺭﻴﺭ ﺍﻷﺭﺽ‪ .‬ﺃﻤـﺎ ﻓـﻴﻠﻡ )ﻏﻴـﻭﻡ ﻓـﻭﻕ‬

‫ﺇﺴﺭﺍﺌﻴل( ﻓﻴﺼﻭﺭ ﺍﻝﻌﺩﻭﺍﻥ ﺍﻝﺜﻼﺜﻲ ﻋﻠﻰ ﻤﺼﺭ ﻭﻜﺄﻨﻬﺎ ﺤﺭﺏ ﺩﻓﺎﻉ ﻓﺭﻀﺕ ﻋﻠﻰ ﺇﺴﺭﺍﺌﻴل‪ .‬ﺃﻤـﺎ‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪75 ،‬‬ ‫‪1‬‬

‫ﻋﺒﻴﺩﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪35 ،‬‬ ‫‪2‬‬

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‫ﻓﻴﻠﻡ )ﻻ ﻝﻴﺱ ﻴﻭﻡ ﺍﻝﺴﺒﺕ( ﻓﻜﺎﻥ ﺭﺴﺎﻝﺔ ﻤﻭﺠﻬﺔ ﻴﻘﻨﻊ ﻓﻴﻬﺎ ﺍﻝﻴﻬﻭﺩ ﻝﻠﻬﺠﺭﺓ ﺇﻝـﻰ ﺃﺭﺽ ﺇﺴـﺭﺍﺌﻴل‪.‬‬

‫ﻭﻓﻴﻠﻡ )ﻝﻴﻠﺔ ﻓﻲ ﻁﺒﺭﻴﺎ( ﻭ)ﺜﻭﺍﺭ ﺍﻝﻀﻭﺀ( ﻭﺍﻝﻔﻴﻠﻡ ﺍﻝﺫﻱ ﺃﺜﺎﺭ ﺠﺩﻻ ﻜﺒﻴﺭﺍ ﺤﻭل ﺍﻝـﺼﺭﺍﻉ ﺍﻝﻌﺭﺒـﻲ‬

‫ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ﻭﻫﻭ )ﺍﻝﻅل ﺍﻝﻌﻤﻼﻕ( ‪.1 1966‬‬

‫ﺒﻌﺩ ﻋﺎﻡ ‪ 1967‬ﺒﺩﺕ ﺘﺤﻭﻻﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﺍﻝﺘﻲ ﺃﺨﺫﺕ ﺘﺒﺭﺭ ﺍﻻﺤﺘﻼل‪ ،‬ﺘﹸﻅﻬﺭ ﺩﻭﻝـﺔ‬

‫ﺍﻝﻜﻴﺎﻥ ﺒﻤﻅﻬﺭﻫﺎ ﺍﻝﺤﻀﺎﺭﻱ ﺍﻝﺫﻱ ﻴﺤﺎﺭﺏ ﻤﻥ ﺃﺠل ﺍﻝﺴﻼﻡ ﻭﺃﻤﻥ ﺍﻷﻓﺭﺍﺩ ﻜﺄﻓﻼﻡ )ﺭﺍﺸﻴل ﺭﺍﺸﻴل(‬

‫ﻭ)ﺍﻝﺤﺭﺏ ﻤﻥ ﺃﺠل ﺍﻝﺴﻼﻡ( ﻭ)ﺴﺘﺔ ﺃﻴﺎﻡ ﻤﻥ ﺃﺠل ﺍﻝﺨﻠﻭﺩ( ‪)،‬ﻝﻤﺎﺫﺍ ﺇﺴﺭﺍﺌﻴل(‪)،‬ﺴـﺠﻨﺎﺀ ﺍﻝﺤﺭﻴـﺔ(‬

‫ﻭ)ﺍﻫﻤﺱ ﺒﺈﺴﻤﻲ(‪ ،‬ﻭﺍﺴﺘﻤﺭﺕ ﻫﺫﻩ ﺍﻝﻤﺭﺤﻠﺔ ﻁﻴﻠﺔ ﺍﻝﺴﺒﻌﻴﻨﺎﺕ ﻭﺍﻝﺜﻤﺎﻨﻴﻨﺎﺕ ﺇﻀـﺎﻓﺔ ﺇﻝـﻰ ﺯﺨـﻡ‬

‫ﺍﻝﻤﺸﺎﺭﻜﺔ ﺒﺎﻝﻤﻬﺭﺠﺎﻨﺎﺕ ﺍﻝﻌﺎﻝﻤﻴﺔ ﻭﺍﻝﻤﺤﺎﻓل ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﺩﻭﻝﻴﺔ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝـﻰ ﺃﻥ ﻭﺯﺍﺭﺓ ﺍﻝـﺴﻴﺎﺤﺔ‬

‫ﺒﺩﺃﺕ ﺘﻘﺩﻡ ﺍﻝﻤﺯﻴﺩ ﻤﻥ ﺍﻝﺤﻭﺍﻓﺯ ﻝﺠﺫﺏ ﺍﻝﻤﻨﺘﺠﻴﻥ ﻭﺍﻝﻤﺨﺭﺠﻴﻥ ﻝﺘﺼﻭﻴﺭ ﻤﺸﺎﻫﺩ ﺴـﻴﻨﻤﺎﺌﻴﺔ ﺩﺍﺨـل‬

‫"ﺇﺴﺭﺍﺌﻴل"‪.2‬‬

‫ﺒﻌﺩ ﻋﺎﻡ ‪ 1973‬ﻝﻡ ﺘﻔﺕ ﻜل ﻤﻥ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﻭﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ ﺘﺸﻜﻴل "ﺭﺃﻱ ﻋﺎﻡ ﺴﻴﻨﻤﺎﺌﻲ"‬

‫ﺤﻭل ﻤﺸﻜﻠﺔ ﺍﻝﻁﺎﻗﺔ ﻭﺃﺯﻤﺔ ﺍﻝﻨﻔﻁ ﺍﻝﺘﻲ ﺍﻗﺘﺭﻨﺕ ﺒﺎﻝﺸﺨﺼﻴﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻓﻔﻲ ﻋﺎﻡ ‪ 1974‬ﺘﻡ ﺇﻨﺘﺎﺝ ﻓﻴﻠﻡ‬

‫)ﺍﻝﺒﺭﻋﻡ( ﻭﻫﻭ ﻴﺨﺕ ﺍﺨﺘﻁﻔﻪ ﻓﺩﺍﺌﻴﻭﻥ ﻓﻠﺴﻁﻴﻨﻴﻭﻥ‪ ،‬ﻭﻓﻲ ﺍﻝﻔﻴﻠﻡ ﻴﺘﻡ ﺍﻝﺩﻋﻭﺓ ﺇﻝﻰ ﺸﻥ ﺤﺭﺏ ﻤﻘﺩﺴﺔ‬

‫ﻀﺩ ﺇﺴﺭﺍﺌﻴل ﻤﻥ ﻗﺒل ﻤﺠﻤﻭﻋﺔ ﻤﻥ "ﺍﻝﺴﺎﺩﻴﻴﻥ" ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻴﻥ‪ ،‬ﻭﻝﻜﻥ ﻴﺘﻡ ﺇﺤﺒﺎﻁﻬﻡ ﺒﻔﻀل ﺠﻬـﻭﺩ‬

‫ﺠﻬﺎﺯ ﺍﻝﻤﻭﺴﺎﺩ ﺍﻝﺫﻱ ﺘﻠﻘﻰ ﺃﻴﻀﺎ ﻤﺴﺎﻋﺩﺓ ﻤﻥ ﻗﺒل ﺃﺠﻬﺯﺓ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ .‬ﺘﻼﻩ ﻓﻴﻠﻡ )ﻜـل‬

‫ﺍﻝﺤﻴﺎﺓ(‪ ،‬ﻝﺭﺠل ﻴﺤﺘﻔل ﺒﻌﻴﺩ ﻤﻴﻼﺩ ﺍﺒﻨﺘﻪ ﻭﻤﻴﻼﺩ ﻭﻁﻨﻪ ﺇﺴﺭﺍﺌﻴل‪ ،‬ﺇﺫ ﻴﻭﺼﻴﻬﺎ ﻭﻫﻭ ﻋﻠـﻰ ﻓـﺭﺍﺵ‬

‫ﺍﻝﻤﻭﺕ ﻝﺘﺠﻨﻴﺩ ﻗﻭﺍﻫﺎ ﻭﻁﺎﻗﺘﻬﺎ ﻝﺘﻌﺎﻭﻥ ﺇﺴﺭﺍﺌﻴل ﻓﻲ ﺤﺭﺒﻬﺎ ﻀﺩ ﺍﻝﻌﺭﺏ‪ .‬ﻓﻲ ﻋﺎﻡ ‪ 1975‬ﺘﻡ ﺇﻨﺘﺎﺝ‬

‫ﻓﻴﻠﻡ )ﺍﻝﺭﺠل ﻓﻲ ﺍﻝﻐﺭﻓﺔ ﺍﻝﺯﺠﺎﺠﻴﺔ( ﻭﻫﻭ ﻴﺘﻨﺎﻭل ﺜﺎﻨﻴﺔ ﻤﻭﻀﻭﻉ ﺍﻀﻁﻬﺎﺩ ﺍﻝﻴﻬﻭﺩ ﻓﻲ ﺍﻝﻤﻌﺴﻜﺭﺍﺕ‬

‫ﺍﻝﻨﺎﺯﻴﺔ ﻭﺭﺒﻁ ﺫﻝﻙ ﺒﻤﺒﺭﺭ ﺇﻨﺸﺎﺀ ﺍﻝﻜﻴﺎﻥ ﺍﻝﺼﻬﻴﻭﻨﻲ ﻋﻠﻰ ﺍﺭﺽ ﻓﻠﺴﻁﻴﻥ‪ ،‬ﺜﻡ ﺘﻼﻩ ﻓﻴﻠﻡ )ﺍﻝﺭﺠـل‬

‫‪ 1‬ﻓﺭﻴﺩ‪ ،‬ﺴﻤﻴﺭ‪ ،(1989).‬ﻤﺩﺨل ﺍﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺼﻬﻴﻭﻨﻴﺔ‪ ،‬ﺒﻐﺩﺍﺩ‪ :‬ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻌﺎﻤﺔ ﻝﻠﺴﻴﻨﻤﺎ ﻭﺍﻝﻤﺴﺭﺡ ‪50-45 ،‬‬
‫ﻋﺒﻴﺩﻭ‪ ،‬ﻤﺤﻤﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪67 ،‬‬ ‫‪2‬‬

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‫ﺴﺩ ﺍﻝﻔﻴﻠﻡ ﺸﺨﺼﻴﺔ ﻋﺭﺒﻴﺔ ﺘﺴﻌﻰ ﻝﺘﺤﻘﻴﻕ ﺍﻝﺴﻠﻡ ﻤﻊ ﺇﺴﺭﺍﺌﻴل‪ ،‬ﻝﻜﻥ ﺘﺒـﻭﺀ ﻤﺤﺎﻭﻻﺘﻬـﺎ‬
‫ﺍﻝﺘﺎﻝﻲ( ﻭﻴﺠ ‪‬‬

‫ﺒﺎﻝﻔﺸل ﺒﺴﺒﺏ ﺍﻝﺘﻌﻨﺕ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ‪ .‬ﻓﻴﻠﻡ )ﺸﻴﺵ ﻭﺸﻭﻨﻎ( ﻋﺎﻡ ‪ 1982‬ﻜﺎﻥ ﺍﻝﻔﻴﻠﻡ ﺍﻷﻜﺜﺭ ﺘﻭﺠﻬﺎ ﻨﺤﻭ‬

‫ﺴﻴﺎﺴﺔ ﻤﻌﻴﻨﺔ ﻋﻠﻰ ﺤﺩ ﺘﻌﺒﻴﺭ ﻋﺯ ﺍﻝﺩﻴﻥ ﺍﻝﻤﻨﺎﺼﺭﺓ ﺤﻴﺙ ﺃﻨﻪ ﻴﺘﻤﺤﻭﺭ ﺤﻭل ﺘﺸﻭﻴﻪ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ‬

‫ﻓﻴﻅﻬﺭ ﻗﺒﻴﺤﺎ ﺠﺎﻫﻼ ﻤﺘﺨﻠﻔﺎ ﻤﺴﻴﺌﺎ ﻝﻸﺩﺏ ﻭﺍﻷﺨﻼﻕ‪ ،‬ﻴﻘﻊ ﺘﺤﺕ ﺴﻴﻁﺭﺓ ﻏﺭﺍﺌﺯﻩ ﺍﻝﺠﻨﺴﻴﺔ ﻭﺍﻝﻤﺎﻝﻴﺔ‬

‫‪1‬‬
‫ﺒﻴﻨﻤﺎ ﺃﻨﺘﺠﺕ ﻫﻭﻝﻴﻭﺩ ﺃﻓﻼﻤﺎ ﺘﻅﻬﺭ ﻓﻴﻪ ﺒﺭﻴﻕ ﺍﻝﺸﺨﺼﻴﺔ ﺍﻝﻴﻬﻭﺩﻴﺔ ﻓﻲ ﻤﻘﺎﺒل ﻫﻤﺠﻴﺔ ﺍﻝﺸﺨـﺼﻴﺔ‬

‫ﺍﻝﻌﺭﺒﻴﺔ ﻜﻤﺎ ﻓﻲ ﺃﻓﻼﻡ )‪ (air force one‬ﺤﻴﺙ ﻴﻘﻭﻡ ﻤـﺴﻠﻤﻭﻥ ﺒﺎﺨﺘﻁـﺎﻑ ﻁـﺎﺌﺭﺓ ﺍﻝـﺭﺌﻴﺱ‬

‫ﺍﻷﻤﺭﻴﻜﻲ‪ ،‬ﺃﻤﺎ ﻓﻴﻠﻡ)‪ (voyage terror‬ﻭﻓﻴﻠﻡ )‪ (terrorist on trial‬ﻓﻴﻅﻬﺭ ﻓﻴﻬﻤـﺎ ﺍﻝﻌـﺭﺏ‬

‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺒﻠﻬﺎﺀ‪ .2‬ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﺍﺴﺘﻐﺭﻗﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺭﺒﻴﺔ ﻤﻭﻀﻭﻋﺎﺘﻬﺎ ﻋﺒﺭ ﺍﻝﻤﻴﻠﻭﺩﺭﺍﻤﺎ‬

‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﺒﻌﺽ ﺍﻝﻘﻠﻴل ﺍﻝﺫﻱ ﺘﻨﺎﻭل ﻗﻀﻴﺔ ﺍﻻﺤﺘﻼل ﻭﺍﻝﺤﺭﻴﺎﺕ‪ .3‬ﺒﻴﻨﻤﺎ ﻝـﻡ ﺘﺘﺒﻠـﻭﺭ ﺴـﻴﻨﻤﺎ‬

‫ﻤﻨﺎﺼﺭﺓ‪ ،‬ﻋﺯﺍﻝﺩﻴﻥ‪ (1999) .‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻹﺴﺭﺍﺌﻴﻠﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ‪ :‬ﻗﺭﺍﺀﺓ ﺘﻭﺜﻴﻘﻴﺔ‪ ،‬ﺒﻴﺭﻭﺕ‪ :‬ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻝﻠﺩﺭﺍﺴﺎﺕ‬ ‫‪1‬‬

‫ﻭﺍﻝﻨﺸﺭ‪153 .‬‬
‫‪ 2‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪155 ،‬‬
‫‪ 3‬ﺃﻭﺍﺌل ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺭﺒﻴﺔ ﻜﺎﻨﺕ ﺒﺩﺍﻴﺎﺘﻬﺎ ﺍﻝﺼﺎﻤﺘﺔ ﻋﺎﻡ ‪ 1927‬ﻓﻲ ﻤﺼﺭ ﻋﻥ ﻓﻴﻠﻡ "ﻗﺒﻠﺔ ﻓﻲ ﺍﻝﺼﺤﺭﺍﺀ" ﻝﻠﻤﺨﺭﺝ ﺇﺒﺭﺍﻫﻴﻡ ﻻﻤﺎ ﻭﺘﻠﺘﻬﺎ‬
‫ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺴﻭﺭﻴﺔ ﻭﺍﻝﻠﺒﻨﺎﻨﻴﺔ ﺜﻡ ﺍﻝﺠﺯﺍﺌﺭﻴﺔ ﻭﺍﻝﺴﻭﺩﺍﻨﻴﺔ ﻭﺍﻝﻠﻴﺒﻴﺔ ﻭﺴﺭﻋﺎﻥ ﻤﺎ ﻨﻁﻘﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺭﺒﻴﺔ ﻓﻲ "ﺃﻨﺸﻭﺩﺓ ﺍﻝﻔﺅﺍﺩ ﻤﻥ ﻋﺎﻡ ‪ .1932‬ﻝﻘﺩ‬
‫ﻜﺎﻨﺕ ﻓﻲ ﻤﺠﻤﻠﻬﺎ ﺒﺩﺍﻴﺎﺕ ﻤﺘﻭﺍﻀﻌﺔ ﺘﻌﺎﻨﻲ ﻓﻲ ﻤﻨﺎﻓﺴﺘﻬﺎ ﻝﻠﻔﻴﻠﻡ ﺍﻷﺠﻨﺒﻲ ﺍﻝﺒﺩﻴل ﻓﻲ ﺍﻝﺩﻭل ﺍﻝﻌﺭﺒﻴﺔ ﺒﺎﻻﻀﺎﻓﺔ ﺍﻝﻰ ﺴﻴﻁﺭﺓ ﺍﻝﻘﻁﺎﻉ ﺍﻝﺨﺎﺹ‬
‫ﻋﻠﻰ ﺩﻭﺭ ﺍﻝﻌﺭﺽ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ‪ ،‬ﻤﻤﺎ ﺯﺍﺩ ﻤﻥ ﺍﻨﺘﺸﺎﺭ ﺍﻷﻓﻼﻡ ﺍﻝﺘﺠﺎﺭﻴﺔ ‪.‬ﻫﺫﺍ ﻭﻗﺩ ﻋﺎﻨﻰ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻌﺭﺒﻲ ﺴﻭﺀ ﺍﻝﺘﻭﺯﻴﻊ ﺒﺴﺒﺏ ﻓﻘﺩﺍﻥ ﺍﻝﻠﻐﺔ‬
‫ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﻭﺍﺤﺩﺓ ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﺃﻥ ﻴﻔﻬﻤﻬﺎ ﻜل ﻋﺭﺒﻲ ﺃﻴﻨﻤﺎ ﻜﺎﻥ‪ .‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻗﻠﺔ ﺍﻝﻤﻭﺍﺭﺩ ﻭﺍﻻﻤﻜﺎﻨﺎﺕ ﺍﻝﺘﻲ ﺤﺎﻝﺕ ﺩﻭﻥ ﺘﻁﻭﺭ ﻤﺴﺘﻭﻯ ﺍﻝﻔﻴﻠﻡ‪.‬‬
‫ﺃﻤﺎ ﻤﻭﻀﻭﻋﺎﺕ ﻫﺫﻩ ﺍﻷﻓﻼﻡ ﻓﻘﺩ ﺍﺨﺘﻠﻔﺕ ﺒﺤﺴﺏ ﺍﻝﺒﻠﺩ ﻭﺍﻝﻔﺘﺭﺓ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ﺍﻝﻤﺭﺍﻓﻘﺔ ﻓﺒﻴﻥ ﺍﻝﺭﻴﻑ ﻭﺍﻹﻗﻁﺎﻉ ﻭﺍﻝﺼﺭﺍﻉ ﺍﻝﻁﺒﻘﻲ ﺇﻝﻰ ﺤﺭﺏ‬
‫ﺍﻝﺘﺤﺭﻴﺭ ﻭﺍﻝﺜﻭﺭﺓ ﻭﺍﻝﻨﻀﺎل ﺍﻝﺴﻴﺎﺴﻲ‪.‬ﺇﻻ ﺃﻥ ﺍﻝﺘﺄﺭﺠﺢ ﺒﻴﻥ ﺍﻝﺨﺎﺹ ﻭﺍﻝﻌﺎﻡ ﻓﻲ ﺼﻨﺎﻋﺔ ﺍﻝﺴﻴﻨﻤﺎ ﺃﺩﻯ ﻀﻴﺎﻉ ﺍﻝﻘﻴﻤﺔ ﺍﻝﻔﻨﻴﺔ ﻝﻠﺴﻴﻨﻤﺎ ﺤﻴﺙ‬
‫ﺴﺎﺩﺕ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺘﻨﺎﻭل ﺍﻝﺸﺎﺏ ﺍﻝﻔﻘﻴﺭ ﺍﻝﺫﻱ ﺃﺤﺏ ﺍﺒﻨﺔ ﺼﺎﺤﺏ ﺍﻝﻤﺯﺭﻋﺔ ﺃﻭ ﺍﻝﻤﻭﻅﻑ ﺍﻝﺫﻱ ﺃﺤﺏ ﺍﺒﻨﺔ ﺼﺎﺤﺏ ﺍﻝﻤﺼﻨﻊ ﺃﻭ ﺍﻝﺯﻭﺠﺔ‬
‫ﺍﻝﺘﻲ ﺘﺨﻭﻥ ﺯﻭﺠﻬﺎ ﺃﻭ ﺃﻓﻼﻡ ﺍﻝﺤﺎﺭﺍﺕ ﺍﻝﺸﻌﺒﻴﺔ ﻭﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻤﻴﻠﻭﺩﺭﺍﻤﺎ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‪ .‬ﻜﻤﺎ ﺃﻥ ﺍﻝﺠﻤﻬﻭﺭ ﺍﻝﻌﺭﺒﻲ ﻭﺼل ﺇﻝﻰ ﺤﺎﻝﺔ ﺇﺸﺒﺎﻉ ﻤﻥ‬
‫ﺃﻓﻼﻡ ﺴﺭﺩ ﻭﻗﺎﺌﻊ ﺍﻝﺜﻭﺭﺓ ﺃﻭ ﺘﺤﻜﻲ ﻗﺼﺔ ﺤﺏ ﺭﻭﻤﺎﻨﺴﻴﺔ‪ .‬ﻜﺎﻨﺕ ﺜﻤﺔ ﺤﺎﺠﺔ ﺇﻝﻰ ﻓﻴﻠﻡ ﻤﺜل "ﻭﻏﺩﺍ "ل ﺇﺒﺭﺍﻫﻴﻡ ﺒﺎﺒﻲ ﺍﻝﺫﻱ ﻴﺤﻜﻲ ﻜﻴﻑ ﻴﻤﻜﻥ‬
‫ﺃﻥ ﺘﺘﻤﺯﻕ ﺃﺤﻼﻡ ﻓﻼﺡ ﻋﻨﺩﻤﺎ ﻴﻐﺎﺩﺭ ﺇﻝﻰ ﺍﻝﻤﺩﻴﻨﺔ‪.‬ﻭﻓﻴﻠﻡ "ﺍﻝﺨﻤﺎﺱ"ﻝﻠﻁﻴﺏ ﺍﻝﻭﺤﻴﺸﻲ ﺤﻭل ﺃﺤﺎﺩﻴﺙ ﻋﺼﺭ ﺍﻝﺤﺩﺍﺜﺔ ﻭﻭﻝﻭﺝ ﻤﺭﺤﻠﺔ ﺠﺩﻴﺩﺓ‬
‫ﻭﻓﻴﻠﻡ "ﺃﻝﻑ ﻴﺩ ﻭﻴﺩ "ﻝﻠﺒﻥ ﺒﺭﻜﺔ ﻭﺃﻓﻼﻡ "ﻭﻗﺎﺌﻊ ﺴﻨﻭﺍﺕ ﺤﺭﺏ ﺍﻝﺠﻤﺭ"ﻭ"ﻋﺭﺱ ﺍﻝﺯﻴﻥ"ﻭ"ﺒﺱ ﻴﺎ ﺒﺤﺭ"‪ .‬ﺜﻡ ﺩﺨﻠﺕ ﺍﻝﺴﻴﻨﻤﺎ ﻋﻬﺩ ﺍﻝﻐﻨﺎﺌﻴﺔ‬
‫ﻭﺍﻝﻜﻭﻤﻴﺩﻴﺎ ﻤﺜل "ﺍﻝﺸﺭﻭﻕ ﻭﺍﻝﻐﺭﻭﺏ" ﻭﻤﺠﻨﻭﻥ ﻝﻴﻠﻰ "ﻫﺫﺍ ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻷﻓﻼﻡ ﺍﻝﺭﻭﺍﺌﻴﺔ ﺍﻝﻤﺄﺨﻭﺫﺓ ﻤﻥ ﺍﻝﻘﺼﺹ ﺍﻝﻌﺎﻝﻤﻴﺔ ﻤﺜل "ﺍﻝﺒﺅﺴﺎﺀ"‬
‫ﻭ "ﺭﻭﻤﻴﻭ ﻭﺠﻭﻝﻴﻴﺕ" "ﻭﺸﻬﺩﺍﺀ ﺍﻝﻐﺭﺍﻡ‪ .‬ﻤﺎ ﺒﻌﺩ ‪ 1952‬ﺸﻬﺩﺕ ﻤﺼﺭ ﻨﻭﻋﺎ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺨﻁﺕ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺇﻝﻰ ﺍﻝﻭﻁﻨﻴﺔ ﺍﻝﺸﻌﺒﻴﺔ ﻜﺄﻓﻼﻡ‬
‫"ﺍﻷﺴﻁﻰ ﺤﺴﻥ "ﻭ ﻝﻙ ﻴﻭﻡ ﻴﺎ ﻅﺎﻝﻡ "ﻭ ﺍﻝﻭﺤﺵ"ﻭ "ﺍﻝﻔﺘﻭﺓ" ﻭﻓﻲ ﺫﺍﺕ ﺍﻝﻔﺘﺭﺓ ﺃﺨﺫﺕ ﺍﻷﻓﻼﻡ ﺍﻝﻌﺭﺒﻴﺔ ﺘﻁﺭﺡ ﺍﻝﻘﻀﺎﻴﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻝﻘﻭﻤﻴﺔ ﻝﻜﻨﻬﺎ‬
‫ﺍﺒﺘﻌﺩﺕ ﻋﻥ ﺍﻝﺜﻭﺭﺓ ﻓﻲ ﺍﻝﻤﺭﺤﻠﺔ ﺍﻝﺘﻲ ﺃﺼﺒﺢ ﻓﻴﻬﺎ ﺍﻷﻓﻼﻡ ﺃﺠﻨﺒﻴﺎ ﻋﻠﻰ ﺍﻷﻏﻠﺏ ﻓﻅﻬﺭﺕ ﺃﻓﻼﻤﺎ ﺘﺠﺎﺭﻴﺔ ﺃﺨﺫﺕ ﺒﺎﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺭﺒﻴﺔ ﺇﻝﻰ‬
‫ﺍﻝﻬﺎﻭﻴﺔ ﺃﻤﺜﺎل‪ :‬ﺍﻨﺱ ﺍﻝﺩﻨﻴﺎ‪ ،‬ﺍﻝﺩﻨﻴﺎ ﺤﻠﻭﺓ‪ ،‬ﺃﻭﻉ ﺘﻔﻜﺭ‪ ،‬ﺍﻝﺼﺒﺭ ﻁﻴﺏ‪ ،‬ﺍﻝﺼﺒﺭ ﺠﻤﻴل‪ ،‬ﺤﻜﻡ ﺍﻝﺯﻤﺎﻥ‪ ،‬ﺍﻝﻤﻘﺩﺭ ﻭﺍﻝﻤﻜﺘﻭﺏ‪ ،‬ﻤﺎ ﺍﻗﺩﺭ‪ ،‬ﻓﻲ‬
‫ﺼﺤﺘﻙ‪ ،‬ﻴﺎ ﺨﺒﺭ ﺍﺒﻴﺽ‪ ،‬ﻓﻲ ﺍﻝﻬﻭﺍ ﺴﻭﺍ‪ ،‬ﺒﺤﺭ ﺍﻝﻐﺭﺍﻡ‪،‬ﺍﺒﻥ ﺍﻝﺤﻼل‪ ،‬ﻗﺩ ﺍﻝﺤﺎﻓﻜـ‪،‬ﺍﻝﻌﻘل ﺯﻴﻨﺔ‪.،‬ﻓﻴﻤﺎ ﺭﻓﺽ ﻓﻴﻠﻡ "ﺍﻝﻘﺎﻫﺭﺓ ﺍﻝﺠﺩﻴﺩﺓ "ﺍﻝﻤﺄﺨﻭﺫ‬
‫ﻋﻥ ﺭﻭﺍﻴﺔ ﻨﺠﻴﺏ ﻤﺤﻔﻭﻅ ﻝﻠﻤﺨﺭﺝ ﺼﻼﺡ ﺃﺒﻭ ﺴﻴﻑ ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﻤﻨﻊ ﻋﺭﺽ ﻓﻴﻠﻡ ﺍﻷﺴﻁﻰ ﺤﺴﻥ ﺇﻻ ﺇﺫﺍ ﺍﻨﺘﻬﻰ ﺍﻝﻔﻴﻠﻡ ﺒﻴﺎﻓﻁﺔ "ﺍﻝﻘﻨﺎﻋﺔ‬

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‫ﺍﻝﻘﻀﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﺇﻻ ﻤﻥ ﺨﻼل ﻗﺴﻡ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻔﻨﻴﺔ ﻝﻤﻨﻅﻤﺔ ﺍﻝﺘﺤﺭﻴﺭ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪ ،‬ﺇﻀـﺎﻓﺔ ﺇﻝـﻰ‬

‫ﺍﻝﻘﺴﻡ ﺍﻝﻔﻨﻲ ﻝﻠﺠﺒﻬﺔ ﺍﻝﺸﻌﺒﻴﺔ ﻭﻭﺤﺩﺓ ﺍﻷﻓﻼﻡ ﺍﻝﻭﺜﺎﺌﻘﻴﺔ ﻝﻠﺠﺒﻬﺔ ﺍﻝﺩﻴﻤﻘﺭﺍﻁﻴﺔ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝـﻰ ﻤﺅﺴـﺴﺔ‬

‫ﺼﺎﻤﺩ ﺍﻝﺘﺎﺒﻌﺔ ﻝﺤﺭﻜﺔ ﻓﺘﺢ ﺒﻤﺴﺎﻋﺩﺓ ﻋﺩﺩ ﻤﻥ ﺍﻝﻤﺨﺭﺠﻴﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﻭﺍﻝﻨﻘـﺎﺩ ﻭﺍﻷﺩﺒـﺎﺀ ‪.‬ﺇﻻ ﺃﻥ‬

‫ﺍﻝﺠﻬﻭﺩ ﻅﻠﺕ ﻤﺒﻌﺜﺭﺓ ﻭﻝﻡ ﺘﺤﺎﻙ ﺁﻤﺎل ﻭﻁﻤﻭﺡ ﻭﺃﺤﻼﻡ ﺍﻝـﺸﻌﺏ ﺍﻝﻔﻠـﺴﻁﻴﻨﻲ ﻭﻤﻌﺭﻜﺘـﻪ ﻀـﺩ‬

‫ﺍﻻﺤﺘﻼل ﺤﺘﻰ ﺃﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﻡ ﺇﻨﺘﺎﺠﻬﺎ ﻝﻡ ﺘﻜﻥ ﺃﻜﺜﺭ ﻤﻥ ﺘﺴﺠﻴﻼﺕ ﻝﺒﻌﺽ ﺍﻝﻌﻤﻠﻴﺎﺕ ﺍﻝﻌﺴﻜﺭﻴﺔ‬

‫ﻭﺍﻝﺠﻤﺎﻫﻴﺭﻴﺔ ﻋﻠﻰ ﺍﻝﺴﺎﺤﺔ ﺍﻷﺭﺩﻴﻨﺔ‪ ،‬ﻭﺍﻝﺴﻭﺭﻴﺔ‪ ،‬ﻭﺍﻝﻠﺒﻨﺎﻨﻴﺔ‪ ،‬ﻭﺃﺤـﺩﺍﺙ ﺃﻴﻠـﻭل ‪ 1970‬ﻭﻗـﺼﻑ‬

‫ﺍﻝﻤﺨﻴﻤﺎﺕ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪ ،‬ﻭﺃﺜﺭ ﺃﺤﺩﺍﺙ ﻤﻴﻭﻨﺦ ‪ .1972‬ﺨﻼل ﻓﺘﺭﺓ ﺍﻝﺜﻤﺎﻨﻴﻨﺎﺕ ﺘﺭﺍﺠﻌﺕ ﻨﺴﺒﺔ ﺍﻷﻓﻼﻡ‬

‫ﺍﻝﺘﻲ ﺘﻌﺎﻝﺞ ﺍﻝﻘﻀﺎﻴﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﻝﻭﻁﻨﻴﺔ ﻤﻨﻬﺎ ﻝﺤﺴﺎﺏ ﻗﻀﺎﻴﺎ ﺍﻝﻨﻘﺩ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻜـﺄﻓﻼﻡ )ﺴـﻭﺍﻕ‬

‫ﺍﻷﺘﻭﺒﻴﺱ( ﻭ)ﺃﻫل ﺍﻝﻘﻤﺔ( ‪ .1‬ﺜﻡ ﺘﺤﻭﻻﺕ ﺇﻝﻰ ﺍﻝﻔﺎﻨﺘﺎﺯﻴﺎ ﻭﺴﻴﻨﻤﺎ ﺍﻝﺘﺭﺍﺙ ﺇﻝﻰ ﺍﻝﺴﻴﺭ ﺍﻝﺫﺍﺘﻴﺔ‪ ،‬ﺤﺘـﻰ‬

‫ﺒﺩﺍﻴﺎﺕ ﺍﻝﻘﺭﻥ ﻤﻊ ﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﻗﻀﺎﻴﺎ ﺍﻝﻤﺭﺃﺓ‪ 2‬ﻭﺍﻻﻨﺘﻘﺎل ﺇﻝﻰ ﻤﻘﺎﺭﺒﺎﺕ ﺍﻝﻭﺍﻗﻊ ﺍﻝﺴﻴﺎﺴﻲ ﻜـﺎﻝﻔﻴﻠﻡ‬

‫ﺍﻝﺘﻭﻨﺴﻲ )ﺼﻔﺎﺌﺢ ﻤﻥ ﺫﻫﺏ( ﻭﺍﻝﻔﻴﻠﻡ ﺍﻝﺠﺯﺍﺌﺭﻱ )ﺃﺴﻁﻭﺭﺓ ﺍﻝﻨﺎﺌﻡ ﺍﻝﺴﺎﺒﻊ(‪ ،‬ﻭ)ﻝﻴﻠﺔ ﺍﻝﺴﻨﻭﺍﺕ ﺍﻝﻌﺸﺭ(‬

‫ﻝﻠﻤﺨﺭﺝ ﺍﻝﺘﻭﻨﺴﻲ ﺇﺒﺭﺍﻫﻴﻡ ﺒﺎﺒﺎﻱ‪ 3.‬ﻭﻻ ﺒﺩ ﻤﻥ ﺍﻝﺘﺫﻜﻴﺭ ﺒﺘﺠﺭﺒﺔ ﺍﻝﻌﻤل ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﻭﺍﻝﺘﻲ‬

‫ﻜﺎﻨﺕ ﻓﻲ ﻤﺠﻤﻠﻬﺎ ﺘﺘﺭﻜﺯ ﺤﻭل ﺘﺠﺭﺒﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺍﻝﻤﺤﺎﺼﺭ ﻭﺍﻝﻼﺠﺊ ﻭﺍﻷﺴـﻴﺭ ﻭﻴـﺭﻭﻱ ﻫـﺫﺍ‬

‫ﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﺨﺭﺝ ﺍﻝﻔﻠﺴﻁﻴﻨﻲ ﺭﺸﻴﺩ ﺍﻝﻤﺸﻬﺭﺍﻭﻱ ﻓﻲ ﻋﺩﺩ ﻤﻥ ﺃﻓﻼﻤﻪ ﻤﺜل )ﺤﺘﻰ ﺇﺸـﻌﺎﺭ ﺁﺨـﺭ( ﻭ‬

‫ﻤﺜل"ﻜﻨﺯ ﻻ ﻴﻔﻨﻰ " ﻭﺍﺴﺘﻤﺭﺕ ﻤﻭﺠﺔ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺴﻤﻴﺕ ﻭﻗﺘﺌﺫ ﺏ ﺃﻓﻼﻡ "ﺤﺭﻑ ﺏ " ﻭﻫﺫﻩ ﺩﻻﻝﺔ ﻋﻠﻰ ﺃﻨﻬﺎ ﺴﻴﺌﺔ ﺍﻝﺠﻭﺩﺓ‪ ،‬ﺍﻝﺘﻲ ﺭﺍﻓﻘﺘﻬﺎ‬
‫ﺃﻓﻼﻡ ﺇﺴﻤﺎﻋﻴل ﻴﺎﺴﻴﻥ ﺫﺍﺕ ﺍﻝﻁﺎﺒﻊ ﺍﻝﻜﻭﻤﻴﺩﻱ ﻭﺍﻝﺘﻲ ﺼﻨﻔﺕ ﻋﻠﻰ ﺃﻨﻬﺎ ﺭﺩﻴﺌﺔ ﺠﺩﺍ‪ .‬ﺘﻼ ﺘﻠﻙ ﻝﻤﺭﺤﻠﺔ ﺴﻴﻨﻤﺎ ﻤﺎ ﺒﻌﺩ ﺍﻝﻭﺍﻗﻌﻴﺔ ﺤﻴﺙ ﻅﻬﺭ‬
‫ﻴﻭﺴﻑ ﺸﺎﻫﻴﻥ ﻭﻋﺩﺩ ﻤﻥ ﺍﻻﻓﻼﻡ ﺍﻝﻤﺄﺨﻭﺫﺓ ﻋﻥ ﻨﺠﻴﺏ ﻤﺤﻔﻭﻅ ﻤﺜل "ﺯﻗﺎﻕ ﺍﻝﻤﺩﻕ ﻭ "ﺒﺩﺍﻴﺔ ﻭﻨﻬﺎﻴﺔ"‪ .‬ﺃﻤﺎ ﺴﻴﻨﻤﺎ ﺍﻝﻘﻀﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﻓﻘﺩ‬
‫ﺴﺎﻫﻤﺕ ﺴﻭﺭﻴﺎ ﻭﻝﺒﻨﺎﻥ ﺒﻌﺩﺩ ﻤﻥ ﺍﻷﻋﻤﺎل ﺍﻝﺘﻲ ﺘﺘﺤﺩﺙ ﻋﻥ ﺍﻝﺜﻭﺭﺓ ﻀﺩ ﺍﻻﻨﻜﻠﻴﺯ ﻤﺜل "ﻋﺎﺒﺭ ﺴﺒﻴل "ﻭ "ﺍﻝﻀﻭﺀ ﺍﻷﺨﻀﺭ"‪ .‬ﺜﻡ ﺜﻼﺜﻴﺔ ﺍﻝﻌﻤل‬
‫ﺍﻝﻔﺩﺍﺌﻲ ﻤﻥ ﻋﺎﻡ ‪ 1970‬ﻭﻫﻲ ﺍﻝﻤﻴﻼﺩ ل ﻤﺤﻤﺩ ﺸﺎﻫﻴﻥ ﻭﺍﻝﻠﻘﺎﺀ ﻝﻤﺭﻭﺍﻥ ﻤﺅﺫﻥ ﻭ ﺍﻝﻤﺨﺎﺽ ﻝﻨﺒﻴل ﺍﻝﻤﺎﻝﺢ ﺜﻡ ﺒﻌﺩ" ﻅﻠﻡ ﺍﻝﻤﺨﺩﻭﻋﻭﻥ" ﻭ"ﺭﺠﺎل‬
‫ﺘﺤﺕ ﺍﻝﺸﻤﺱ" ﻭﺃﻓﻼﻡ ﺘﺴﺠﻴﻠﻴﺔ ﻤﺜل "ﻜﻔﺭ ﻗﺎﺴﻡ ل ﺒﺭﻫﺎﻥ ﻋﻠﻭﻴﺔ ﻭﺃﻓﻼﻡ ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﻝﻬﻤﻭﻡ ﺍﻝﺴﻴﺎﺴﻴﺔ ﻭﺍﺠﺘﺭﺍﺭ ﺍﻝﻡ ﻫﺯﻴﻤﺔ ﺤﺯﻴﺭﺍﻥ ﻙ‬
‫"ﺍﻷﺤﻤﺭ ﻭﺍﻷﺒﻴﺽ ﻭﺍﻷﺴﻭﺩ"‪ 1977‬ﻭﺍﻷﺒﻁﺎل ﻴﻭﻝﺩﻭﻥ ﻤﺭﺘﻴﻥ‪ .‬ﺍﻨﻅﺭ‪ :‬ﺠﺎﻥ ﺍﻝﻜﺴﺎﻥ‪ ،(1982) .‬ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻋﺎﻝﻡ‬
‫ﺍﻝﻤﻌﺭﻓﺔ‪ ،‬ﺍﻝﻜﻭﻴﺕ‪25-7 ،‬‬
‫ﻤﺩﺍﻨﺎﺕ‪ ،‬ﻋﺩﻨﺎﻥ‪ .(2004) .‬ﺘﺤﻭﻻﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺭﺒﻴﺔ‪ :‬ﻗﻀﺎﻴﺎ ﻭﺍﻓﻼﻡ‪ ،‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﻜﻨﻌﺎﻥ‪25 ،‬‬ ‫‪1‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪65 ،‬‬ ‫‪2‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪95 ،‬‬ ‫‪3‬‬

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‫)ﺍﻝﻤﻠﺠﺄ( ﻭ )ﺘﺫﻜﺭﺓ ﺇﻝﻰ ﺍﻝﻘﺩﺱ(‪ .1‬ﻭﺃﻓﻼﻡ ﺃﺨﺭﻯ ﺘﻁﺭﺡ ﻗﻀﺎﻴﺎ ﺃﺨﺭﻯ ﻜﺈﺸﻜﺎﻝﻴﺔ ﺍﻝﺤـﺏ ﻭﺴـﻁ‬

‫ﺍﻻﺤﺘﻼل ﻤﺜل ﻓﻴﻠﻡ )ﺍﻝﻘﺩﺱ ﻓﻲ ﻴﻭﻡ ﺁﺨـﺭ( ﻝﻠﻌـﺎﻡ ‪ 2002‬ﻝﻠﻤﺨـﺭﺝ ﺇﻴﻠﻴـﺎ ﺴـﻠﻴﻤﺎﻥ‪ .‬ﻭﻫﻜـﺫﺍ‬

‫ﻓﺎﻝﻤﻭﻀﻭﻋﺎﺕ ﺍﻝﺘﻲ ﻁﺭﺤﺕ ﻜﺎﻨﺕ ﺒﻴﻥ ﺍﻝﺩﻭﺭﻴﺔ ﻭﺍﻹﺨﺒﺎﺭﻴـﺔ ﺃﻭ ﻗـﻀﻴﺔ ﺍﻻﺤـﺘﻼل ﻭﺍﻝـﺸﻌﺏ‬

‫ﻭﺍﻝﺜﻭﺭﺓ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺃﻓﻼﻡ ﺫﺍﺕ ﺃﻫﻤﻴﺔ ﺘﺎﺭﻴﺨﻴﺔ ﺒﻁﺎﺒﻌﻬﺎ ﺍﻝﺘﺴﺠﻴﻠﻲ ‪ .2‬ﺒﻴﻨﻤﺎ ﻏﺎﺒﺕ ﻓﻠﺴﻁﻴﻥ ﻋـﻥ‬

‫ﺴﻴﻨﻤﺎ ﺒﻌﺽ ﺍﻝﺩﻭل ﺍﻝﻌﺭﺒﻴﺔ ﻜﻤﺼﺭ ﻤﺜﻼ‪ ،‬ﺇﻻ ﻓﻲ ﺘﺠﺎﺭﺏ ﺴﻴﻨﻤﺎﺌﻴﺔ ﻗﻠﻴﻠﺔ ﻜﺎﻨﺕ ﻋﻠﻰ ﺍﻷﻏﻠﺏ ﺘﺒﺭﺯ‬

‫ﺩﻭﺭ ﺍﻝﻤﺼﺭﻱ ﻭﺘﻀﺤﻴﺘﻪ‪ ،‬ﻭﻋﻠﻰ ﺍﻝﻬﺎﻤﺵ ﺘﹸﻁﺭﺡ ﺍﻝﻘﻀﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ ﻭﺍﻝﺼﺭﺍﻉ ﻤـﻊ ﺍﻻﺤـﺘﻼل‬

‫ﻭﻨﺫﻜﺭ ﻤﻨﻬﺎ )ﻓﺘﺎﺓ ﻤﻥ ﻓﻠﺴﻁﻴﻥ( ﻭ)ﻨﺎﺩﻴﺔ( ﻭﻜﻼ ﺍﻝﻔﻴﻠﻤﻴﻥ ﻝﻡ ﻴﺘﺴﻤﺎ ﺒﺎﻝﻌﻤﻕ ‪ ،3‬ﺇﺫ ﻜﺎﻥ ﻁﺭﺤﻬﻤﺎ ﻓﻲ‬

‫ﻏﺎﻴﺔ ﺍﻝﺒﻌﺩ ﻋﻥ ﺍﻝﻘﻀﻴﺔ ﻭﻤﻁﺎﻝﺏ ﺍﻝﻤﻘﺎﻭﻤﺔ ﻓﻜﻼ ﺍﻝﺒﻁﻠﺘﻴﻥ ﺘﻬﺎﺠﺭﺍﻥ ﺍﺜﺭ ﺍﻝﻨﻜﺒﺔ ﻝﺘﺴﺘﻘﺭ ﻜل ﻭﺍﺤـﺩﺓ‬

‫ﻤﻨﻬﻤﺎ ﻓﻲ ﺒﻠﺩ ﻤﺎ ﻝﺘﺒﻘﻰ ﺍﻝﺫﻜﺭﻴﺎﺕ ﻭﻜﺫﻝﻙ ﺍﻝﻔﻀل ﻝﺒﻁﻭﻻﺕ ﺍﻝﺠﻴﺵ ﺍﻝﻤﺼﺭﻱ ﻓﻲ ﻨﻬﺎﻴﺔ ﺍﻝﻔﻴﻠﻤﻴﻥ ‪.4‬‬

‫ﻝﻘﺩ ﺒﺭﺯ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻝﺩﻭﺭ ﺍﻝﻜﺒﻴﺭ ﻭﺍﻝﻤﻬﻡ ﻓﻲ ﺍﺴﺘﻤﺭﺍﺭ ﺍﻝﻜﻴﺎﻥ ﺍﻝﺼﻬﻴﻭﻨﻲ‪ ،‬ﻭﺍﻜﺘـﺴﺎﺒﻪ ﺍﻝـﺸﺭﻋﻴﺔ‬

‫ﺍﻝﺩﻭﻝﻴﺔ‪ .5‬ﻜﻤﺎ ﺍﺴﺘﻁﺎﻋﺕ ﺘﺠﻨﻴﺩ ﻭﻜـﺴﺏ ﻋـﺩﺩ ﻻ ﺒـﺄﺱ ﺒـﻪ ﻤـﻥ ﺍﻝـﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﻤﺨـﺭﺠﻴﻥ‬

‫ﻭﻤﻤﺜﻠﻴﻥ‪..‬ﻝﺘﺭﻭﻴﺞ ﻓﻜﺭﺓ "ﻓﻠﺴﻁﻴﻥ ﺃﺭﺽ ﺒﻼ ﺸﻌﺏ"ﻭﻜﺴﺏ ﺍﻝﺘﻌﺎﻁﻑ ﺍﻝﺩﻭﻝﻲ ﻓﻲ ﺃﺤﻘﻴﺘﻬﻡ ﺒـﺄﺭﺽ‬

‫ﺍﻝﻤﻴﻌﺎﺩ ﺒﻌﺩ ﻤﺤﺎﻭﻝﺔ ﺇﺒﺎﺩﺘﻬﻡ ﻋﻠﻰ ﺃﻴﺩﻱ ﺍﻝﻨﺎﺯﻴﺔ ‪ .6‬ﻓﻬل ﺍﺴﺘﻁﺎﻋﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺭﺒﻴﺔ ﺃﻥ ﺘﺭﺘﻔﻊ ﺇﺫﻥ‬

‫ﺇﻝﻰ ﻤﺴﺘﻭﻯ ﺍﻝﻘﻀﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪ .‬ﺃﻭ ﺇﻝﻰ ﻤﺴﺘﻭﻯ ﺍﻝﻤﻭﺍﺠﻬﺔ ﺍﻝﻤﺅﺜﺭﺓ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴـﺔ ﻋﻠـﻰ‬

‫ﺍﻓﺘﺭﺍﺽ ﺃﻥ ﻝﺩﻴﻬﺎ ﻤﺎ ﺘﻘﻭﻝﻪ؟‬

‫ﻤﺩﺍﻨﺎﺕ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪216 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﺸﻤﻴﻁ‪ ،‬ﻭﻝﻴﺩ‪ .(2006).‬ﻓﻠﺴﻁﻴﻥ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ‪ ،‬ﻭﺯﺍﺭﺓ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪ :200 ،‬ﺩ‪.‬ﻡ‪ ،‬ﺹ‪45‬‬
‫‪ 3‬ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪122 ،‬‬
‫‪4‬ﺍﻝﺴﻴﺩ‪ ،‬ﺍﻨﺠﻲ ‪".(1998).‬ﺨﻤﺴﻭﻥ ﺴﻨﺔ‪ :‬ﻓﻠﺴﻁﻴﻥ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ "‪ .‬ﺼﺎﻤﺩ ﺍﻻﻗﺘﺼﺎﺩﻱ‪ ،‬ﻉ‪185 ،114‬‬
‫ﺩﺭﻭﻴﺵ‪ ،‬ﻫﻼل‪" .(2002).‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺭﺒﻴﺔ ﻭﺴﺭﺍﺏ ﺍﻝﻌﺎﻝﻤﻴﺔ"‪151 ،2000 .‬‬ ‫‪5‬‬

‫ﺍﻝﺴﻴﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪186،‬‬ ‫‪6‬‬

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 ‫ﺍﻝﻔﺼل ﺍﻝﺭﺍﺒﻊ‬

‫‪ .1‬ﺍﻝﺘﺴﻠﻴﻊ ﺍﻻﻴﺩﻭﻝﻭﺠﻲ ﺒﺎﻝﺴﻴﻨﻤﺎ ﺼﻨﺎﻋﺔ)ﻫﻭﻝﻴﻭﻭﺩ ﻨﻤﻭﺫﺠﺎ(‬

‫ﺇﻥ ﺍﻹﺩﻋﺎﺀ ﺍﻷﻴﺩﻝﻭﺠﻲ ﻭﺍﻝﻤﻤﺎﺭﺴﺔ ﺍﻝﺘﺠﺎﺭﻴﺔ‪ ،‬ﻫﻲ ﺫﺍﺕ ﺜﻨﺎﺌﻴﺔ ﺍﻝﺒﺙ ﺍﻷﻴـﺩﻝﻭﺠﻲ ﻭﺍﻝﻤﻤﺎﺭﺴـﺔ‬

‫ﺍﻝﺘﺠﺎﺭﻴﺔ‪ ،‬ﻭﻤﻥ ﺨﻼﻝﻬﺎ ﻴﻁﺭﺡ ﺘﺴﺎﺅل ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺘﻲ ﻗﺩ ﺘﺼﺭﻑ ﺍﻹﻨﺴﺎﻥ ﻋـﻥ ﻭﺍﻗﻌـﻪ ﺍﻝﻤـﺎﺩﻱ‬

‫ﻭﺍﻝﺭﻭﺤﻲ‪ ،‬ﻭﺘﻀﺎﻋﻑ ﺍﻝﻤﺴﺎﺤﺎﺕ ﺒﻴﻥ ﺍﻝﻤﺸﺎﻜل ﻭﺤﻠﻭﻝﻬﺎ‪ ،‬ﺒل ﺘﺩﻓﻊ ﺃﻏﻠﺏ ﺍﻷﺤﻴﺎﻥ ﺇﻝـﻰ ﺘﻔﺭﻴـﻎ‬

‫ﻁﺎﻗﺎﺕ ﻓﻲ ﻫﻭﺍﻤﺵ ﺍﻝﻌﺎﻝﻡ ﺍﻻﻓﺘﺭﺍﻀﻲ‪ .‬ﻭﻫﻨﺎ ﺇﺠﺭﺍﺀ ﺘﺤﻠﻴل ﻨﻭﻋﻲ ﻝﻠﻅﻭﺍﻫﺭ ﻭﺍﻝﺼﻴﺭﻭﺭﺓ ﺍﻝﻤـﺭﺍﺩ‬

‫ﺭﺼﺩﻫﺎ ﻓﻲ ﺴﻴﻨﻤﺎ ﻫﻭﻝﻴﻭﻭﺩ‪.‬‬

‫ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺘﻨﺎﻗﻀﺎﺕ ﺍﻝﺘﻲ ﻗﺩ ﺘﻜﺘﻨﻑ ﺍﻝﻘﺎﺭﺉ ﻋﻨﺩ ﻤﺸﺎﻫﺩﺓ ﻫﻭﻝﻴﻭﺩ‪ .‬ﻓﺄﻭﻝﺌﻙ ﻫﻡ ﺫﺍﺕ ﺍﻝﻔﺘﻴﺎﻥ‬

‫ﺍﻷﻤﺭﻴﻜﻴﻭﻥ ﺍﻝﺫﻴﻥ ﻴﺭﺘﺩﻭﻥ ﺒﺯﺍﺕ ﻋﺴﻜﺭﻴﺔ‪ ،‬ﺃﻨﺎﺱ ﺨﺎﺭﻗﻭﻥ‪ ،‬ﺘﻡ ﺘﻜﻴﻴﻔﻬﻡ ﻷﻱ ﺤﺭﺏ ﻝﻠﺤﺼﻭل ﻋﻠﻰ‬

‫ﺍﻝﻨﺼﺭ ﻭﻝﻠﺤﻔﺎﻅ ﻋﻠﻰ ﺸﺭﻑ ﺍﻷﻤﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،‬ﻓﻬل ﻨﺤﻥ ﺃﻤﺎﻡ ﺤﻘﺎﺌﻕ ﻤﻘﺎﺒل ﺍﻝﺫﻴﻥ ﻴﺩﻋﻭﻥ ﺒـﺴﻤﻭ‬

‫ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﻔﻨﻭﻥ ﻓﻭﻕ ﺍﻝﺼﺭﺍﻋﺎﺕ ﻭﺍﻻﻋﺘﺒﺎﺭﺍﺕ ﺍﻝﺴﻴﺎﺴﻴﺔ ‪1‬ﻜﻤﺎ ﻴﻘﻭل ﺍﻝﻜﺴﻨﺩﺭ ﻜﺎﺭﻏﺎﻓﻭﻑ ‪2‬؟‬

‫ﻴﻘﻊ ﻋﻠﻰ ﻋﺎﺘﻕ ﻤﺩﻴﺭﻱ ﺍﻷﺠﻬﺯﺓ ﺍﻹﻋﻼﻤﻴﺔ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻭﻀﻊ ﺃﺴﺱ ﻋﻤﻠﻴﺔ ﺘـﺩﺍﻭل‬

‫ﺍﻝﺼﻭﺭ ﻭﺍﻝﻤﻌﻠﻭﻤﺎﺕ‪ ،‬ﻜﻤﺎ ﻴﺸﺭﻓﻭﻥ ﻋﻠﻰ ﻋﻤﻠﻴﺔ ﻤﻌﺎﻝﺠﺘﻬﺎ ﻭﺘﻨﻘﻴﺤﻬﺎ‪ ،‬ﺇﻨﻬﺎ ﺍﻝﺼﻭﺭ ﻭﺍﻝﻤﻌﻠﻭﻤـﺎﺕ‬

‫ﺍﻝﺘﻲ ﺘﺤﺩﺩ ﺍﻝﻤﻌﺘﻘﺩﺍﺕ ﻭﺍﻝﻤﻭﺍﻗﻑ‪ ،‬ﻜﻤﺎ ﺘﺤﺩﺩ ﺍﻝﺴﻠﻭﻙ ﺃﻴﻀﺎ‪ ،‬ﺤﺘﻰ ﻭﺇﻥ ﻜﺎﻥ ﺍﻷﻤﺭ ﻴﺘﻌﻠﻕ ﺒﺎﺴﺘﺤﺩﺍﺙ‬

‫ﻤﻌﻨﻰ ﺯﺍﺌﻑ‪ ،‬ﺃﻭ ﺇﻨﺘﺎﺝ ﻭﻋﻲ ﻻ ﻴﺴﺘﻁﻴﻊ ﺃﻥ ﻴﺴﺘﻭﻋﺏ ﺸﺭﻭﻁ ﺍﻝﻭﺍﻗﻊ ﺍﻝﻔﻌﻠﻲ‪ .‬ﻝﻘﺩ ﺘﻤﺜﻠﺕ "ﺍﻝﻌﺒﻘﺭﻴﺔ‬

‫ﺍﻝﻤﺭﻋﺒﺔ" ﻝﻠﻘﻴﻤﺔ ﺍﻝﺴﻴﺎﺴﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻤﻨﺫ ﺍﻝﺒﺩﺍﻴﺔ‪ ،‬ﻗﺩﺭﺘﻬﺎ ﻋﻠﻰ ﺇﻗﻨﺎﻉ ﺍﻝﺸﻌﺏ ﺒﺎﻝﺘﺼﻭﻴﺕ ﻀﺩ ﺃﻜﺜﺭ‬

‫ﻤﺼﺎﻝﺤﻬﺎ ﺃﻫﻤﻴﺔ ‪.3‬‬

‫‪ 1‬ﻜﺎﺯﺍﻨﻭﻑ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪7 ،‬‬

‫ﻨﺎﻗﺩ ﺴﻴﻨﻤﺎﺌﻲ ﺭﻭﺴﻲ‪.‬‬ ‫‪2‬‬

‫ﺸﻴﻠﻠﺭ‪،‬ﻫﺭﺒﺭﺕ‪ .(1999).‬ﺍﻝﻤﺘﻼﻋﺒﻭﻥ ﺒﺎﻝﻌﻘﻭل‪ .‬ﻋﺒﺩﺍﻝﺴﻼﻡ ﺭﻀﻭﺍﻥ‪ .‬ﺍﻝﻜﻭﻴﺕ‪ :‬ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ‪. 9 ،‬‬ ‫‪3‬‬

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‫ﺇﻥ ﺍﻤﺘﻼﻙ ﻭﺴﺎﺌل ﺍﻹﻋﻼﻡ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺸﺄﻨﻪ ﺸﺄﻥ ﺃﺸﻜﺎل ﺍﻝﻤﻠﻜﻴﺔ ﺍﻷﺨﺭﻯ‪ ،‬ﻤﺘﺎﺡ ﻝﻤﻥ‬

‫ﻴﻤﻠﻜﻭﻥ ﺭﺃﺱ ﺍﻝﻤﺎل‪ ،‬ﻭﺍﻝﻨﺘﻴﺠﺔ ﺃﻥ ﺘﺼﺒﺢ ﻤﺤﻁﺎﺕ ﺍﻹﺫﺍﻋﺔ ﻭﺍﻝﺘﻠﻔﺯﺓ ﻭﺍﻝﺼﺤﻑ‪ ،‬ﻭﺼﻨﺎﻋﺔ ﺍﻝﺴﻴﻨﻤﺎ‬

‫ﻭ ﺩﻭﺭ ﺍﻝﻨﺸﺭ‪ ،‬ﻤﻤﻠﻭﻜﺔ ﻝﺸﺭﻜﺎﺕ ﻭﺘﻜﺘﻼﺕ ﺇﻋﻼﻤﻴﺔ‪ .‬ﺃﻤﺎ ﻋﻤﻠﻴﺔ ﺍﻝﺘﻀﻠﻴل ﺍﻹﻋﻼﻤﻴﺔ ﺘﺒﺩﺃ ﻜﻭﻨﻬـﺎ‬

‫ﻏﻴﺭ ﻤﻭﺠﻭﺩﺓ ﺒﺈﻨﻜﺎﺭ ﺘﺄﺜﻴﺭﻫﺎ‪ ،‬ﺒل ﺘﺒﺩﻭ ﺫﺍﺕ ﺴﻴﻁﺭﺓ ﺘﻭﺠﻴﻬﻴﺔ ﻓﻲ ﻅل ﺭﻋﺎﻴﺔ ﻋﺎﺩﻴـﺔ ﻭﻤﻌﺘﺩﻝـﺔ‪.‬‬

‫ﻋﻠﻰ ﺃﺴﺎﺱ ﺃﻥ ﺘﺩﻓﻕ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻓﻲ ﻤﺠﺘﻤﻊ ﻤﻌﺘﻘﺩ ﻫﻭ ﻤﺼﺩﺭ ﻝﺴﻠﻁﺔ ﻻ ﺘﻁﻬﻴﺭ ﻝﻬﺎ‪.‬‬

‫ﻴﺘﺤﺩﺙ ﻫﺭﺒﺭﺕ ﺸﻴﻠﺭ ﻋﻥ ﺃﺴﺎﻁﻴﺭ ﺨﻤﺱ ﺘﺅﺴﺱ ﻤﻀﻤﻭﻥ ﺍﻝﺘﻀﻠﻴل ﺍﻹﻋﻼﻤـﻲ ﻭﺍﻝـﻭﻋﻲ‬

‫ﺍﻝﻤﻌﻠﺏ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،‬ﻤﻥ ﺨﻼل ﺍﻝﺘﺭﻭﻴﺞ ﻝﻔﻜﺭﺓ ﺍﻝﻔﺭﺩﻴﺔ ﻭﺤﺭﻴـﺔ ﺍﻻﺨﺘﻴـﺎﺭ‬

‫ﺍﻝﺸﺨﺼﻲ‪.‬ﺤﻴﺙ ﺇﻀﻔﺎﺀ ﺘﺭﺘﻴﺒﺎﺕ ﻝﺘﺄﺴﻴﺴﻬﺎ ﻀﻤﻥ ﺍﻝﺸﺭﻋﻴﺔ ﺍﻝﻤﺘﻘﺒﻠﺔ‪ .‬ﺇﻥ ﻋﻤﻠﻴﺔ ﺘﻜﺭﻴﺱ ﻭﺘﺤﺩﻴـﺩ‬

‫ﻤﻔﻬﻭﻡ ﺍﻝﺤﺭﻴﺔ ﻭﺍﻝﻨﺯﻋﺔ ﺍﻝﻔﺭﺩﻴﺔ‪ ،‬ﺃﻤﺭﺍﻥ ﺃﻓﻀﻴﺎ ﺇﻝﻰ ﺒﺭﻭﺯ ﻗﻴﻤﺘﻴﻥ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ :‬ﺤﻤﺎﻴـﺔ‬

‫ﻻ‪ ،‬ﻭﺤﺭﺍﺴﺔ ﺭﻓﺎﻫﻴﺔ ﺍﻝﻔﺭﺩ ﺜﺎﻨﻴﺎ‪ ،‬ﻭﺍﻝﺜﺎﻨﻴﺔ ﻀﻤﻥ ﻫﺫﺍ ﺍﻝﺘﻌﺭﻴﻑ ﻻ ﺘﺘﺤﻘـﻕ ﺇﻻ‬
‫ﺍﻝﻤﻠﻜﻴﺔ ﺍﻝﺨﺎﺼﺔ ﺃﻭ ﹰ‬

‫ﻜﻭﻥ ﺍﻝﻘﻴﻤﺔ ﺍﻷﻭﻝﻰ ﻤﻭﺠﻭﺩﺓ‪ ،‬ﻤﻥ ﺫﻝﻙ ﻓﺭﺽ ﻨﻅﺎﻡ ﺍﻝﻤﺸﺭﻭﻉ ﺍﻝﺭﺃﺴﻤﺎﻝﻲ ﺒﻤﺼﺎﺤﺒﺔ ﺩﻋﺎﻭﻯ ﺤﺭﻴﺔ‬

‫ﺍﻻﺨﺘﻴﺎﺭ ﻭﺍﻝﺤﺭﻴﺔ ﺍﻝﻔﺭﺩﻴﺔ‪ ،‬ﻤﻤﺎ ﺃﺩﻯ ﺇﻝﻰ ﻗﺒﻭل ﻋﻔﻭﻱ ﻋﺎﻡ ﺒﺎﻝﺸﺭﻜﺎﺕ ﺍﻝﺭﺃﺴﻤﺎﻝﻴﺔ ﺍﻝﻌﻤﻼﻗﺔ‪ ،‬ﻋﻠﻰ‬

‫ﺃﻨﻬﺎ ﻤﺜﺎل ﺠﻬﺩ ﻓﺭﺩﻱ ﻭﺸﻴﻭﻉ ﻝﻠﻁﺎﺒﻊ ﺍﻝﺨﺼﻭﺼﻲ ‪ Privatized‬ﻓﻲ ﻜل ﺍﻝﻤﺠﺎﻻﺕ ﺍﻝﺤﻴﺎﺘﻴﺔ‪ ،‬ﻓﻲ‬

‫ﻜﺎﻓﺔ ﻤﺠﺎﻻﺕ ﺍﻝﺤﻴﺎﺓ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،1‬ﺃﻤﺎ ﻤﻥ ﻨﺎﺤﻴﺔ ﺘﺭﻜﻴﺯ ﺍﻝﺩﻭﺭ ﺍﻹﻋﻼﻤﻲ ﻓﻘﺩ ﺘﻤﻜﻨﺕ ﺒﻤﻬﺎﺭﺓ ﻏﻴﺭ‬

‫ﻤﺴﺒﻭﻗﺔ ﻤﻥ ﺇﺨﻔﺎﺀ ﺸﻭﺍﻫﺩ ﻤﻭﺠﻭﺩﺓ‪ ،‬ﻭ ﺃﻥ ﻤﺎ ﻫﻭ ﻤﻭﺠﻭﺩ ﺤﻘﺎ ﺇﻨﻤﺎ ﻫﻭ ﺤﺘﻤﻴﺔ ﻁﺒﻴﻌﻴـﺔ‪ ،‬ﺃﻱ "ﺃﻥ‬

‫ﺍﻝﺘﻀﻠﻴل ﺍﻹﻋﻼﻤﻲ ﻴﻘﺘﻀﻲ ﻭﺍﻗﻌﺎ ﺯﺍﺌﻔﺎ ﻭﻫﻭ ﺍﻹﻨﻜﺎﺭ ﺍﻝﻤﺴﺘﻤﺭ ﺒﻭﺠـﻭﺩﻩ ﺃﺼـﻼ "‪ ،2‬ﻭﺃﻥ ﻜـل‬

‫ﺍﻝﻨﺸﺎﻁﺎﺕ ﺍﻹﻋﻼﻤﻴﺔ ﺘﻘﻭﻡ ﻋﻠﻰ ﺤﻴﺎﺩ ﻤﺅﺴﺴﺎﺘﻪ‪ ،‬ﻋﻠﻰ ﺃﺴﺎﺱ ﺃﻥ ﺍﻹﻋﻼﻡ ﻭﺍﻝﺘﻌﻠـﻴﻡ ﻭﻤـﺼﺎﺩﺭﺓ‬

‫ﺍﻝﻤﻌﺭﻓﺔ ﺘﺒﻘﻰ ﺒﻌﻴﺩﺓ ﻋﻥ ﻤﻌﺘﺭﻙ ﺍﻝﻤﺼﺎﻝﺢ ﺍﻝـﺴﻴﺎﺴﻴﺔ ﻭﺍﻻﺠﺘﻤﺎﻋﻴـﺔ‪ ،‬ﻭﺘﺒﻘـﻰ ﺭﻜﻴـﺯﺓ ﺍﻝﺤﻴـﺎﺩ‬

‫ﺒﻌﻨﺎﺼﺭﻫﺎ‪ ،‬ﻓﺎﻝﺭﺌﻴﺱ ﻫﻭ ﺍﻝﻤﺴﺌﻭل ﺍﻷﻭل‪ ،‬ﻭﻴﺘﺼﺩﺭ ﻗﺎﺌﻤﺔ ﺍﻝﻬﺭﻡ ﺍﻝﻘﻴﺎﺩﻱ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤـﺩﺓ‪،‬‬

‫ﺸﻴﻠﻠﺭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪19،‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪20،‬‬ ‫‪2‬‬

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‫ﺇﻻ ﺃﻨﻪ ﻻ ﻴﻤﺜل ﺴﻭﻯ ﺠﻬﺔ ﺇﺩﺍﺭﻴﺔ ﻓﻲ ﺍﻝﺤﻜﻭﻤﺔ‪ .‬ﻭﻜﻤﺎ ﺘﺭﻭﺝ ﻭﺴـﺎﺌل ﺍﻹﻋـﻼﻡ ﺃﻥ ﺍﻝﻤﺒﺎﺤـﺙ‬

‫ﺍﻝﻔﺩﺭﺍﻝﻴﺔ ‪ FBI‬ﻫﻲ ﻭﻜﺎﻝﺔ ﻏﻴﺭ ﺴﻴﺎﺴﻴﺔ ﻋﺎﻝﻴﺔ ﺍﻝﻜﻔﺎﺀﺓ ﻓﻲ ﺘﻨﻔﻴﺫ ﺍﻝﻘﺎﻨﻭﻥ‪ ،‬ﻜﻤﺎ ﻴﻨﻁﺒﻕ ﺍﻷﻤﺭ ﻋﻠـﻰ‬

‫ﻤﺅﺴﺴﺎﺕ ﺍﻝﺘﻌﻠﻴﻡ ﻤﻊ ﺇﻨﻜﺎﺭ ﺘﺎﻡ ﻝﻭﺠﻭﺩ ﺃﻴﺩﻝﻭﺠﻴﺔ ﺘﻌﻤل ﻜﺂﻝﺔ ﺴﻴﻁﺭﺓ‪ ،‬ﺒل ﺴﻠﺴﻠﺔ ﻤـﻥ ﺍﻝﻤﻌـﺎﺭﻑ‬

‫ﺍﻝﻘﺎﺌﻤﺔ ﻋﻠﻰ ﺤﻘﺎﺌﻕ ﺃﻭ ﻤﻌﻠﻭﻤﺎﺕ ﻝﻴﺒﻘﻰ ﻤﻨﻬﺎ ﺍﻝﻌﺎﻝﻡ ﺍﻝﻤﺤﺎﻴﺩ ‪.1‬‬

‫ﻜﺎﻥ ﻝﻬﻭﻝﻴﻭﺩ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻝﻜﺒﻴﺭ ﻤﻨﺫ ﺍﻝﻜﺴﺎﺩ ﺍﻻﻗﺘﺼﺎﺩﻱ ﺍﻝﻜﺒﻴﺭ ﻋﺎﻡ ‪ 1934‬ﺤﻴﺙ ﺘﻤﻜﻥ ﺍﻝﻨﺎﺱ ﻤﻥ‬

‫ﺍﻝﻬﺭﻭﺏ ﻤﻥ ﻭﺍﻗﻊ ﺍﻝﺤﻴﺎﺓ ﺍﻻﻗﺘﺼﺎﺩﻱ ﺍﻝﻤﺘﺩﻫﻭﺭ‪ ،‬ﻭﺍﻝﺨﺭﻭﺝ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝـﺫﻫﺎﺏ ﺇﻝـﻰ ﻭﺍﻗـﻊ‬

‫ﺍﻓﺘﺭﺍﻀﻲ ﻤﺘﺨﻴل ﺘﺨﻠﻘﻪ ﻫﻭﻝﻴﻭﺩ‪ .‬ﻫﺫﺍ ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻝﻭﺍﻗﻌﻲ ﻜﻘﻨﺎﺓ ﺘﺴﻠﻴﺔ ﺘﺘﺴﻠل ﺇﻝﻰ ﺍﻝﺜﻘﺎﻓﺔ‬

‫ﺍﻝﺸﻌﺒﻴﺔ‪ .‬ﺜﻤﺔ ﻓﺭﻀﻴﺔ ﻗﺎﺌﻠﺔ ﺒﺄﻥ " ﺍﻝﺴﻠﻭﻙ ﺍﻹﻨﺴﺎﻨﻲ ﻻ ﻴﻨﻔﺼل ﻋﻥ ﺍﻝﻨﻅﺭﻴﺎﺕ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﺎﻝـﺴﻠﻭﻙ‬

‫ﺍﻹﻨﺴﺎﻨﻲ ﺍﻝﺫﻱ ﻴﺘﺒﻨﺎﻩ ﺍﻝﻨﺎﺱ‪ ،‬ﻓﻤﺎ ﻨﺅﻤﻥ ﺒﻪ ﻤﻥ ﺃﻓﻜﺎﺭ ﻴﺅﺜﺭ ﻓﻲ ﺍﻝﺴﻠﻭﻙ ﺍﻹﻨﺴﺎﻨﻲ ﻭﺫﻝﻙ ﻷﻨﻬﺎ ﺘﺤﺩﺩ‬

‫ﻤﺎ ﺍﻝﺫﻱ ﻴﺘﻭﻗﻌﻪ ﻜل ﺇﻨﺴﺎﻥ ﻤﻥ ﺍﻵﺨﺭ ‪.‬ﺇﻥ ﺍﻹﻴﻤﺎﻥ ﺃﻭ ﺍﻻﻋﺘﻘﺎﺩ ﻴﺴﺎﻋﺩ ﻋﻠﻰ ﺘﺸﻜﻴل ﺍﻝﻭﺍﻗﻊ "‪ ،2‬ﺇﻥ‬

‫ﺍﻝﻨﻅﺭﻴﺔ ﺍﻝﺘﻲ ﺘﺅﻜﺩ ﺜﺒﺎﺕ ﻁﺒﻴﻌﺔ ﺍﻹﻨﺴﺎﻥ ﻭﻋﺩﻡ ﻗﺎﺒﻠﻴﺘﻬﺎ ﻝﻠﺘﻐﻴﺭ‪ ،‬ﺘﻼﻗﻲ ﺘﺭﺤﻴﺒـﹰﺎ ﻓـﻲ ﺍﻝﻭﻻﻴـﺎﺕ‬

‫ﺍﻝﻤﺘﺤﺩﺓ ﻭﺃﻥ ﺃﻱ ﻭﺍﻗﻊ ﻝﻠﺼﺭﺍﻉ ﺍﻝﺸﺨﺼﻲ ﻭﺍﻻﺠﺘﻤﺎﻋﻲ ﻝﻬﺎ ﻤﺒﺭﺭﺍﺘﻪ ﺍﻝﻤﺸﺭﻭﻋﺔ‪ ،‬ﻓﻼ ﻋﻼﻗﺔ ﻝﻬـﺎ‬

‫ﺒﺎﻝﻅﺭﻭﻑ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ‪ ،‬ﻭﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺍﻝﻘﺎﺌﻤﺔ‪ ،‬ﺒل ﻫﻲ ﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﺼﺒﻐﺔ ﺍﻹﻨـﺴﺎﻨﻴﺔ ﺤﺘـﻰ ﻭﺇﻥ‬

‫ﺍﺭﺘﺒﻁ ﺍﻷﻤﺭ ﺒﺎﻝﻨﺯﻭﻉ ﺇﻝﻰ ﺍﻝﻌﻨﻑ ﻭﺍﻝﻌﺩﻭﺍﻨﻴﺔ ﻜﻭﻨﻬﺎ ﺍﺤﺘﻴﺎﺠﺎﺕ ﺇﻨﺴﺎﻨﻴﺔ ﻭﻝﻴﺴﺕ ﺭﺩﻭﺩ ﺃﻓﻌﺎل ﺒﻨـﺎﺀ‬

‫ﻋﻠﻰ ﺍﻝﻨﻅﺭﻴﺔ ﺍﻝﻤﺫﻜﻭﺭﺓ‪ ،‬ﺇﺫ ﻴﺘﻌﻴﻥ ﻋﻠﻰ ﺍﻝﻨﺎﺱ ﺒﻨﺎﺀ ﺫﻝﻙ ﺒﻭﺼﻔﻬﻡ ﻤﺘﻔﺭﺠﻴﻥ‪ ،‬ﻭﺃﻥ ﻴﺘﻜﻴﻔﻭﺍ ﻤﻊ ﻫﺫﺍ‬

‫ﺍﻝﻤﻌﻁﻰ‪.3‬‬

‫ﺸﻴﻠﻠﺭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪23 ،‬‬ ‫‪1‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪25.27،‬‬ ‫‪2‬‬

‫‪3‬‬
‫‪Barnett Lisa A. and Michael Patrick Allen. (2002).“Social Class, Cultural Repertoires, and Popular‬‬
‫‪Culture: The Case of Film”.Sociological Forum. Springer .145163.Stable‬‬
‫‪URL:http://www.jstor.org/stable/3070340.Retrived 2.12.2009‬‬

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‫ﻴﻨﻜﺭ ﺍﻝﻤﺘﺤﻜﻤﻭﻥ ﻓﻲ ﺘﺸﻜﻴل ﺍﻝﻼﻭﻋﻲ ﻭﺠﻭﺩ ﺍﻝﺼﺭﺍﻉ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻤﻥ ﺨﻼل ﺍﻝﺘﻠﻔﺯﺓ ﻭﺍﻝﺴﻴﻨﻤﺎ‪.‬‬

‫ﻓﺎﻝﺼﺭﺍﻉ ﺃﻭ ﺍﻝﻌﻨﻑ ﻫﻭ ﺃﺴﺎﺴﺎ ﻤﺴﺄﻝﺔ ﻓﺭﺩﻴﺔ‪ .‬ﻭﻫﺫﺍ ﻨﻬﺞ ﻤﺘﻔﻕ ﻋﻠﻴﻪ ﻭﻤﻌﻤﻭل ﺒﻪ‪ .‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ‬

‫ﺩﺍﺭﺴﻲ ﺴﻴﻜﻭﻝﻭﺠﻴﺎ ﺍﻝﺠﻤﻬﻭﺭ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻴﻌﺘﻘﺩﻭﻥ ﺃﻥ ﻋﺭﺽ ﺍﻝﻘـﻀﺎﻴﺎ ﺍﻻﺠﺘﻤﺎﻋﻴـﺔ‬

‫ﺘﺅﺩﻱ ﺇﻝﻰ ﺇﺜﺎﺭﺓ ﺍﻝﻘﻠﻕ ﻓﻲ ﻨﻔﻭﺱ ﺠﻤﺎﻫﻴﺭ ﺍﻝﻤﺸﺎﻫﺩﻴﻥ ﻭﺍﻝﻘﺭﺍﺀ‪.‬ﻜﻤـﺎ ﻨﺠـﺩ ﺃﻥ ﺃﻝـﻭﺍﻥ ﺍﻝﺘﺭﻓﻴـﺔ‬

‫ﻭﺍﻝﺘﺴﻜﻴﻥ ﺤﻘﻘﺕ ﻨﺠﺎﺤﹰﺎ ﻜﺒﻴﺭﺍ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ ،‬ﻜﻤﺎ ﻻﻗﺕ ﺭﻋﺎﻴﺔ ﻭﺩﻋﻤﺎ ﻜﺒﻴﺭﻴﻥ ‪ .1‬ﻭﻤـﻥ‬

‫ﺫﻝﻙ ﺍﻝﺼﺭﺍﻉ ﺍﻻﺠﺘﻤﺎﻋﻲ ﻓﻲ ﺃﻭﺍﺨﺭ ﺍﻝﺴﺘﻴﻨﺎﺕ ﻀﺩ ﺍﻝﺤﺭﺏ ﺍﻝﻔﻴﺘﻨﺎﻤﻴﺔ‪ .‬ﺤﻴﺙ ﺴـﺭﻋﺎﻥ ﻤـﺎ ﺘـﻡ‬

‫ﺘﺠﺎﻭﺯ ﺃﺯﻤﺔ ﺍﻝﻔﺸل ﺒﺭﺯﻤﺔ ﻤﻥ ﺃﻓﻼﻡ ﺍﻝﺸﺒﺎﺏ ﺫﺍﺕ ﺍﻝﻁﺎﺒﻊ ﺍﻝﺘﺭﻓﻴﻬﻲ‪ ،‬ﺤﻴﺙ ﻤﻸﺕ ﺩﻭﺭ ﺍﻝﻌـﺭﺽ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪.‬‬

‫ﺇﻥ ﻤﺴﺄﻝﺔ ﺤﺭﻴﺔ ﺍﻻﺨﺘﻴﺎﺭ ﺫﺍﻋﺕ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺍﻻﻤﺭﻴﻜﻴﺔ‪ ،‬ﻓﺄﺼﺒﺤﺕ ﻤﻥ ﺸﺭﻭﻁ ﺍﻝﺤﻴﺎﺓ‬

‫ﺤﻴﺙ ﻨﺠﺩ ﻋﺭﺽ ﺍﻝﻜﻡ ﺍﻝﻬﺎﺌل ﻤﻥ ﺍﻝﻘﻨﻭﺍﺕ ﺍﻝﻤﻌﻠﻭﻤﺎﺘﻴﺔ ﻭﺍﻝﻤﻌﺭﻓﻴﺔ ﻭﺃﺩﻭﺍﺕ ﺍﻝﺘﺭﻓﻴﻪ ﻭﺍﻝﺘﺴﻠﻴﺔ‪ ،‬ﻤﻤﺎ‬

‫ﻴﻭﺠﻪ ﺍﻝﺠﻤﻬﻭﺭ ﻨﺤﻭ ﺍﺘﺠﺎﻫﺎﺕ ﻤﻌﻴﻨﺔ ﻓﻲ ﻅل ﺍﻝﺘﻨﻭﻉ ﺍﻝﺜﻘﺎﻓﻲ ﻭﺍﻹﻋﻼﻤﻲ‪ ،‬ﻭﻝﻜﻥ ﻋﻨﺩ ﺍﻝﺨﻠﻁ ﺒـﻴﻥ‬

‫ﺍﻝﻜﻡ ﺍﻹﻋﻼﻤﻲ ﻭﺘﻨﻭﻉ ﺍﻝﻤﻀﻭﻥ‪ ،‬ﻴﻘﻊ ﺍﻝﻤﺸﺎﻫﺩ ﺘﺤﺕ ﻭﻁﺄﺓ ﺘﻀﻠﻴل ﻭﺍﻗﻊ ﻓﻌﻠﻲ ﺒﻭﻫﻡ ﺃﻥ ﺍﻻﺨﺘﻴﺎﺭ‬

‫ﺫﻭ ﻤﻌﻨﻰ‪ .‬ﻭﺍﻝﺤﻘﻴﻘﺔ ﺃﻥ ﺍﻝﻤﺠﺘﻤﻊ ﻤﺤﺼﻭﺭ ﺩﺍﺨل ﻨﻁﺎﻕ ﻤﺭﺴﻭﻡ ﻤﻥ ﺍﻹﻋـﻼﻡ ﻻ ﺍﺨﺘﻴـﺎﺭ ﻓﻴـﻪ‪،‬‬

‫ﻓﻀﻤﻥ ‪ 67‬ﻤﺤﻁﺔ ﺇﺫﺍﻋﻴﺔ‪ ،‬ﻭ‪ 700‬ﻤﺤﻁﺔ ﺘﻠﻔﺯﺓ‪ ،‬ﻭ‪ 1500‬ﺼﺤﻴﻔﺔ ﻴﻭﻤﻴﺔ‪ ،‬ﻭﻫﻨـﺎﻙ ﺍﻝـﺩﻭﺭﻴﺎﺕ‬

‫ﻭﺼﻨﺎﻋﺔ ﺴﻴﻨﻤﺎ ﺍﻝﺘﻲ ﺘﻨﺘﺞ ﺒﻤﻼﻴﻴﻥ ﺍﻝﺩﻭﻻﺭﺍﺕ ﺴﻨﻭﻴﹰﺎ‪ ،‬ﻭﻫﻭ ﻤﺎ ﻴﺤﻘﻕ ﺃﻫﺩﺍﻓﺎ ﻜﺎﻤﻨـﺔ ﻷﺼـﺤﺎﺏ‬

‫‪2‬‬
‫ﺇﻥ ﺸﺭﻁ ﺍﻝﺘﻌﺩﺩﻴﺔ ﺍﻻﺘﺼﺎﻝﻴﺔ ﻴﻭﻓﺭ ﺃﺴﺒﺎﺏ ﻗﻭﺓ ﺍﻝﻨﻅﺎﻡ ﻭ ﺃﺩﻭﺍﺕ‬ ‫ﺍﻝﻤﺼﺎﻝﺢ ﺍﻝﻤﺎﺩﻴﺔ ﻭﺍﻷﻴﺩﻝﻭﺠﻴﺔ‪.‬‬

‫ﺘﻌﻠﻴﺏ ﺍﻝﻭﻋﻲ ﻝﺩﻴﻪ‪ ،‬ﻭﺍﻝﻨﻘﻴﺽ ﺍﻹﻋﻼﻤﻲ ﺍﻝﻤﺘﺩﻓﻕ ﻋﺒﺭ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻘﻨﻭﺍﺕ ﻴﺨﻠﻕ ﺍﻝﺜﻘﺔ ﻓﻴﻪ‪ ،‬ﻜﻤـﺎ‬

‫ﻴﻭﻓﺭ ﺩﻋﻤﺎ ﻤﺴﺘﻤﺭﹰﺍ ﻝﻠﻭﻀﻊ ﺍﻝﻘﺎﺌﻡ‪ ،‬ﻤﺜﺒﺘﹰﺎ ﺩﻋﺎﺌﻡ ﻤﺠﺘﻤﻊ ﺍﻻﺴﺘﻬﻼﻙ ﻭﺭﺍﻓﻀﺎ ﻷﻋﺩﺍﺩ ﺃﻱ ﻤﺎﺩﺓ ﻨﻘﺩﻴﺔ‬

‫‪1‬ﻏﺎﺯﺍﻨﻭﻑ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪23 ،‬‬

‫‪@H ،0))#2‬ر &‪ e4‬ذآ‪35 ، 0‬‬

‫‪67‬‬
‫ﻤﻭﺠﻬﺔ ﺇﻝﻴﻪ ‪ ،1‬ﺇﻨﻬﺎ ﺘﻘﻨﻴﺎﺕ ﻴﺘﻡ ﺇﺩﺨﺎﻝﻬﺎ ﻝﺘﺴﻠل ﺍﻝﻤﺎﺩﺓ ﺍﻹﻋﻼﻤﻴﺔ ﺇﻝﻰ ﺍﻝﻌﻘل ﺍﻝﻼﻭﻋﻲ ﻋﻠـﻰ ﻨﺤـﻭ‬

‫ﻏﻴﺭ ﻤﺤﺴﻭﺱ ﻝﺘﺸﻜﻴل ﺍﻝﻭﻋﻲ ﺍﻝﺸﻌﺒﻲ ‪.‬‬

‫ﺇﻥ ﻜل ﻫﺫﺍ ﺍﻝﻤﺤﺘﻭﻯ ﺍﻝﻤﺫﻜﻭﺭ ﻓﻲ ﺁﻝﻴﺎﺕ ﺘﻘﻨﻴﺔ ﺍﻝﺴﻴﻁﺭﺓ ﻋﻠﻰ ﺍﻷﺠﻬﺯﺓ ﺍﻹﻋﻼﻤﻴﺔ ﻴﺅﺩﻱ ﺇﻝـﻰ‬

‫ﺤﺎﻝﺔ ﺍﻝﻘﺼﻭﺭ ﻓﻲ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ﻤﻤﺎ ﻴﺅﺩﻱ ﺇﻝﻰ ﺇﻋﺎﻗﺔ ﺍﻻﺴﺘﺠﺎﺒﺔ ﺍﻝﻔﻌﻠﻴﺔ ﻭﺇﻥ ﻜﺎﻥ ﻫﺫﺍ ﻫﻭ ﺍﻝﻬـﺩﻑ‬

‫ﻼ‪ ،‬ﺤﻴﺙ ﺃﻥ ﺤﺎﻝﺔ ﺍﻝﺴﻠﺒﻴﺔ ﹸﺘ ‪‬ﻌﺯ‪‬ﺯ ﻭﺘﺅﻜﺩ ﺍﻹﻝﻘﺎﺀ ﻋﻠﻰ ﺍﻝﻭﻀﻊ ﺍﻝﻘﺎﺌﻡ‪ ،‬ﺇﺫ ﺘﺘﻐﺫﻯ ﺍﻷﺨﻴﺭﺓ ﻋﻠـﻰ‬
‫ﺃﺼ ﹰ‬

‫ﺫﺍﺘﻬﺎ‪ ،‬ﻤﺩﻤﺭﺓ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺍﻝﻔﻌل ﺍﻻﺠﺘﻤﺎﻋﻲ‪ ،‬ﺍﻝﺫﻱ ﻴﻤﻜﻥ ﺃﻥ ﻴ‪‬ﻭﺼِل ﺇﻝﻰ ﺤﺎﻝﺔ ﺍﻹﻨﺠﺎﺯ ﺍﻝﺒﺸﺭﻱ‪،‬‬

‫ﻤﻥ ﺨﻼل ﺍﻷﺒﻌﺎﺩ ﺍﻝﺜﻘﺎﻓﻴﺔ ﻭﺍﻝﻔﻜﺭﻴﺔ ﻭﺍﻝﺒﺩﻨﻴﺔ‪ ،‬ﻝﺴﻬﻭﻝﺔ ﺘﺘﺠﺎﻭﺯ ﺍﻹﺴﺘﻠﻘﺎﺀ ﻋﻠﻰ ﺍﻷﺭﻴﻜـﺔ ﻭﺘـﺭﻙ‬

‫ﺍﻝﺼﻭﺭ ﺘﺸﻕ ﻁﺭﻴﻘﻬﺎ ﺩﻭﻥ ﺇﺫﻥ ﺇﻝﻰ ﺍﻝﺫﻫﻥ‪ ،‬ﺒﺠﻤﻭﺩ ﺠﺴﺩﻱ ﻭﻓﺘﻭﺭ ﻋﻘﻠﻲ‪ ،‬ﺩﻭﻥ ﺘﻨﺎﻭل ﻤﺒـﺩﻉ ﺃﻭ‬

‫ﻤﺸﺎﺭﻜﺔ ﻨﻘﺩﻴﺔ ﺨﻼﹼﻗﺔ ﺘﺴﺘﺤﺙ ﺍﻝﻭﻋﻲ‪.‬‬

‫ﻭﺤﻴﺙ ﺃﻥ ﺍﻝﻤﻌﺭﻓﺔ ﺃﺩﺍﺓ ﺴﻠﻁﺔ‪ ،‬ﻓﺘﺘﻤﺜل ﺍﻝﺩﻋﺎﻤﺔ ﺍﻷﺴﺎﺴﻴﺔ ﺍﻝﺘﻲ ﻴﻘﻭﻡ ﻋﻠﻴﻬﺎ ﺍﻝﻤﺠﺘﻤﻊ ﺍﻷﻤﺭﻴﻜﻲ‬

‫ﻓﻲ ﻨﻅﺎﻡ ﺼﻨﺎﻋﻲ ﻴﻜﻤﻥ ﻓﻲ ﺍﻝﻤﻠﻜﻴﺔ ﺍﻝﺨﺎﺼﺔ‪ ،‬ﻤﻨﻅﻤﺔ ﻋﻠﻰ ﻫﻴﺌﺔ ﻤﺅﺴﺴﺎﺕ‪ ،‬ﻭ ﺸﺭﻜﺎﺕ ﻤﺤﻤﻴـﺔ‬

‫ﺤﻜﻭﻤﻴﹰﺎ ﻭﻤﻨﺘﺸﺭﺓ ﻋﺎﻝﻤﻴﹰﺎ‪ ،‬ﺴﻭﺍﺀ ﺍﻋﺘﻤﺎﺩﻩ ﻋﻠﻰ ﺍﻝﻤﻭﺍﺩ ﺍﻷﻭﻝﻴﺔ ﻤﻥ ﺍﻝﺒﻼﺩ ﺍﻷﺠﻨﺒﻴـﺔ ﺃﻭ ﻋﻤﻠﻴـﺎﺕ‬

‫ﺍﻝﺘﻭﺯﻴﻊ ﻭﺍﻝﺘﺴﻭﻴﻕ ﻓﻲ ﺍﻝﺒﻼﺩ ﺍﻷﺠﻨﺒﻴﺔ ﺃﻴﻀﹰﺎ‪.‬‬

‫ﺇﻥ ﺍﻝﻤﺼﺎﻝﺢ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﺍﻝﺭﺃﺴﻤﺎﻝﻴﺔ ﻝﺩﻭل ﻤﺤﺩﺩﺓ ﺍﻝﻁﺎﺒﻊ ﺍﻝﻤﻤﻴﺯ ﻹﻨﺘﺎﺝ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻭﺘـﺩﻓﻘﻬﺎ‬

‫ﻭﺘﺸﻜﻴل ﺍﻝﺭﻗﺎﺒﺔ ﻋﻠﻴﻬﺎ‪ ،‬ﻝﺘﺤﻘﻴﻕ ﻤﺼﺎﻝﺢ ﻭﺃﻫﺩﺍﻑ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺍﻻﻤﺭﻴﻜﻴﺔ‪ ،‬ﻭﻴﺘﻭﺍﻓﻕ ﺫﻝﻙ ﻤﻊ‬

‫ﻤﻘﻭﻝﺔ ﺭﺌﻴﺱ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺠﻭﻨﺴﻭﻥ ﻋﺎﻡ ‪" :1963‬ﻋﻠـﻰ ﺍﻝﻭﻜﺎﻝـﺔ ﺍﻷﻤﺭﻴﻜﻴـﺔ‬

‫ﻝﻼﺴﺘﻌﻼﻤﺎﺕ ﺃﻥ ﺘﺴﺎﻋﺩ ﻋﻠﻰ ﺘﺤﻘﻴﻕ ﺃﻫﺩﺍﻑ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻤﻥ ﺨﻼل ﺘﺄﺜﻴﺭﻫﺎ ﻓﻲ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ‬

‫ﺩﺍﺨل ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻭﺨﺎﺭﺠﻬﺎ "‪ .2‬ﻭﻴﺼﻑ ﻤﺩﻴﺭ ﻹﺩﺍﺭﺓ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﻭﻜﺎﻝـﺔ ﺍﻻﺴـﺘﻌﻼﻤﺎﺕ‬

‫ﺍﻷﻤﺭﻴﻜﻴﺔ ﺍﻝﺨﺩﻤﺎﺕ ﺍﻝﺘﻲ ﺘﻘﺩﻤﻬﺎ ﺍﻝﻭﻜﺎﻝﺔ‪ :‬ﺇﻥ ﺇﺫﺍﻋﺔ ﺼﻭﺕ ﺃﻤﺭﻴﻜﺎ ﻻ ﻴﺴﻌﻰ ﺇﻻ ﻝﺸﻲﺀ ﻭﺍﺤﺩ ﻭﻫﻭ‬

‫ﺸﻴﻠﻠﺭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪38-36 ،‬‬ ‫‪1‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪65،‬‬ ‫‪2‬‬

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‫ﺇﻥ ﺘﻀﻊ ﺍﻝﻭﻗﺎﺌﻊ ﺍﻝﺘﻲ ﻗﺩ ﺘﺒﺩﻭ ﺴﻠﺒﻴﺔ ﻓﻲ ﺴﻴﺎﻗﺎﺕ ﺃﺨﺭﻯ" ‪ .1‬ﺇﻥ ﻭﻜﺎﻻﺕ ﺍﻝﺩﻋﺎﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻤﺘﻤﺜﻠﺔ‬

‫ﺒﺎﻝﻌﻼﻗﺎﺕ ﺍﻝﻌﺎﻤﺔ‪ ،‬ﻤﺴﺘﻌﻴﻨﺔ ﺒﺂﻻﻑ ﺍﻝﻭﻜﻼﺀ ﻭﻤﻨﻔﻘﺔ ﺍﻝﻤﻼﻴﻴﻥ ﻤﻥ ﺃﺠل ﺇﻗﻨﺎﻉ ﺍﻝﻤﻭﺍﻁﻥ ﺒﺄﻫﻤﻴﺔ ﺩﻭﺭ‬

‫ﺍﻝﺒﻨﻰ ﺍﻝﺘﻨﻅﻴﻤﻴﺔ ﻓﻲ ﺘﺄﻤﻴﻥ ﺍﻝﺤﻤﺎﻴﺔ ﻭﺍﻷﻤﻥ ﻤﺒﺭﺭﺓ ﺒﺫﻝﻙ ﺤﺠﻡ ﺍﻝﻤﺼﺭﻭﻓﺎﺕ ﺍﻝﻌﺎﻝﻴﺔ ﻋﻠﻰ ﺍﻝﻘﻁـﺎﻉ‬

‫ﺍﻝﻌﺴﻜﺭﻱ ‪.‬ﻜﻤﺎ ﺘﻌﻤل ﺒﺎﺴﺘﻤﺭﺍﺭ ﻋﻠﻰ ﺘﻐﻁﻴﺔ ﺍﻷﺨﻁﺎﺀ ﺍﻝﻌﺴﻜﺭﻴﺔ ﻭﺍﻝﺩﻓﺎﻋﻴﺔ‪ ،‬ﻜﺎﻝﻌﺭﺽ ﺍﻝﻤـﺴﺘﻤﺭ‬

‫ﻝﻸﻓﻼﻡ ﺍﻝﺘﻲ ﺘﻘﺩﻡ ﺼﻭﺭﺓ ﻤﺭﻀﻴﺔ ﻝﻠﻌﻤﻠﻴﺎﺕ ﺍﻝﻌﺴﻜﺭﻴﺔ ﻓﻲ ﺃﻨﺤﺎﺀ ﻤﺨﺘﻠﻔﺔ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺍﻝﻜﺜﻴـﺭ ﻤـﻥ‬

‫ﺍﻝﺘﺴﻬﻴﻼﺕ ﺍﻝﻌﺴﻜﺭﻴﺔ ﺘﻘﺩﻡ ﻹﻨﺘﺎﺝ ﺃﻓﻼﻡ ﺘﺼﻭﺭ ﺍﻝﻘﻭﺍﺕ ﺍﻝﻤﺴﻠﺤﺔ ﺒﻤﻅﻬﺭ ﻻﺌﻕ‪ .‬ﻜﻤﺎ ﺘﺴﻌﻰ ﻝﻜﺴﺏ‬

‫ﺍﻝﺘﺄﻴﻴﺩ ﺍﻝﺸﻌﺒﻲ ﺍﻝﻌﺎﻡ ﻝﻤﺨﺘﻠﻑ ﺍﻝﻤﺸﺭﻭﻋﺎﺕ ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﺎﻝﻁﺎﻗﺔ ﺍﻝﻨﻭﻭﻴﺔ ﻭﺍﻝﻭﻜﺎﻝﺔ ﺍﻝﻘﻭﻤﻴﺔ ﻝﻠﻔـﻀﺎﺀ‬

‫ﻭﺍﻝﻁﻴﺭﺍﻥ‪ ،‬ﻭﺍﻝﺘﺭﻜﺯ ﻋﻠﻰ ﺍﻝﺠﻭﺍﻨﺏ ﺍﻝﺴﻠﻤﻴﺔ ﺍﻝﺘﻲ ﺘﻬﺩﻑ ﺇﻝﻰ ﺤﻴﺎﺓ ﺃﻓﻀل ﻭﻤﻥ ﺫﻝﻙ ﺍﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ‬

‫ﺭﻭﺍﺩ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺫﻴﻥ ﻴﻤﺜﻠﻭﻥ ﺒﺼﻭﺭﺓ ﺨﺎﺭﻗﺔ‪ ،‬ﻹﻨﻌﺎﺵ ﺍﻻﻫﺘﻤﺎﻡ ﺍﻝﺸﻌﺒﻲ ﺒﺄﻤﻭﺭ ﺍﻝﻔﻀﺎﺀ ﻤﻥ ﻭﻗـﺕ‬

‫ﻵﺨﺭ‪.2‬‬

‫ﺘﻌﺩ ﻫﻭﻝﻴﻭﺩ ﻤﺼﻨﻊ ﺍﻝﺘﺴﻠﻴﺔ ﻭﺍﻝﺘﺭﻓﻴﻪ ﺒﺎﻝﻜﻠﻤﺔ ﻭﺍﻝﺼﻭﺭﺓ ﺒﺘﻨﻭﻉ ﻫﺎﺌل‪ ،‬ﻜﻤﺎ ﺘﻌﺩ ﻭﺍﻝﺕ ﺩﻴﺯﻨﻲ ﻤﻥ‬

‫ﺃﻫﻡ ﻭﺃﻜﺒﺭ ﺍﻝﻤﺸﺎﺭﻴﻊ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺒﺤﺠﻡ ﻤﺒﻴﻌﺎﺕ ﻴﺘﺠﺎﻭﺯ ‪ 300‬ﻤﻠﻴـﻭﻥ ﺩﻭﻻﺭ ﺴـﻨﻭﻴﺎ‪،‬‬

‫ﺒﻤﻨﺘﺠﺎﺕ ﻤﺨﺘﻠﻔﺔ ﺘﺯﺨﺭ ﺒﻬﺎ ﺃﺴﻭﺍﻕ ﺍﻝﻌﺎﻝﻡ ﻭﻗﻨﻭﺍﺘﻪ ﺍﻹﻋﻼﻤﻴﺔ‪ ،‬ﻫﺫﺍ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺤﺩﺍﺌﻕ ﺍﻝﻤﻼﻫـﻲ‬

‫ﻭﺍﻵﻻﻑ ﺍﻝﻤﻨﺘﺠﺎﺕ ﺍﻝﺘﺠﺎﺭﻴﺔ ﺍﻝﺘﺎﺒﻌﺔ ﻝﻬﺎ‪ ،‬ﺤﻴﺙ ﻭﺍﻝﺕ ﺩﻴﺯﻨﻲ ﻫﻲ ﺍﻝﺘﻌﻠﻴﻡ ﻭﺍﻝﺘﻌﻠﻡ ﻭﻫـﻲ ﺍﻝﺘـﺴﻠﻴﺔ‬

‫ﺃﻴﻀﺎ‪ ،‬ﻜﻤﺎ ﺘﻘﻭل ﻓﻲ ﻋﺎﻝﻡ ﺨﺎل ﻤﻥ ﺍﻝﺼﺭﺍﻋﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ‪ :‬ﺜﻤﺔ ﺃﺸﺭﺍﺭ ﻓﻲ ﺍﻝﻌﺎﻝﻡ ﺇﻻ ﺃﻨﻬﻡ ﻝﻴﺴﻭ‬

‫ﺴﻭﻯ ﺃﻓﺭﺍﺩ‪ ،‬ﻻ ﻴﻤﺜﻠﻭﻥ ﺘﻘﺴﻴﻤﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﺫﺍﺕ ﺃﻫﻤﻴﺔ ‪.‬ﺇﻥ ﺍﻝﻌﺎﻝﻡ ﻤﻠﻲﺀ ﺒﺎﻝـﺴﻌﺎﺩﺓ ﻭﺍﻝﻁﺒﻘـﺔ‬

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‫ﺍﻝﻤﺘﻭﺴﻁﺔ ﺘﻌﻴﺵ ﺃﻓﻀل ﺤﺎﻻﺘﻬﺎ‪.‬‬

‫ﺸﻴﻠﻠﺭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪66،‬‬ ‫‪1‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪114،‬‬ ‫‪2‬‬

‫ﺍﻝﻤﺼﺩﺭ ﺍﻝﺴﺎﺒﻕ‪153،‬‬ ‫‪3‬‬

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 ‫‪ 2.1‬ﺼﻨﺎﻋﺔ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ‬
‫ﻴﻤﺜل ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ ﻭﺴﻴﻠﺔ ِﻝﻠﺘﺤﻘﱡﻕ ﻤﻥ ﺃﻭﻝﻭﻴﺎﺕ ﻭﻋﺎﺩﺍﺕ ﺍﻷﻓﺭﺍﺩ‪ ،‬ﻜﻤﺎ ﺃﻨﻬﺎ ﻤﺭﺘﺒﻁﺔ ﺒﺎﻝـﺴﻠﻭﻙ‬

‫ﺍﻹﻨﺴﺎﻨﻲ‪ ،‬ﻭﺍﻻﺨﺘﻴﺎﺭ ﺍﻝﻔﺭﺩﻱ‪ ،‬ﻭﺍﻝﻭﻋﻲ ﺍﻝﺠﻤﺎﻋﻲ‪ .‬ﻭﻫﻭ ﻤﻭﺠ‪‬ﻪ ﻝﻤﺴﺎﻋﺩﺓ ﺼﻨﹼﺎﻉ ﺍﻝﻘﺭﺍﺭ ﻭﺍﻝﺴﻴﺎﺴﺎﺕ‬

‫ﻋﻠﻰ ﺍﻝﻤﺴﺘﻭﻯ ﺍﻝﺤﻜﻭﻤﻲ‪ ،‬ﻭﺍﻝﺴﻴﺎﺴﻲ‪ ،‬ﺍﻻﻗﺘﺼﺎﺩﻱ‪ ،‬ﻭﻗـﺩ ﺍﺴـﺘﺨﺩﻤﺕ ﺫﺍﺕ ﺍﻝﺘﻘﻨﻴـﺔ ﻝﻤﻭﺍﺠﻬـﺔ‬

‫ﺍﻻﺤﺘﻴﺎﺠﺎﺕ ﺍﻝﺘﺠﺎﺭﻴﺔ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﺨﺘﻴﺎﺭ ﺍﻝﺭﺃﻱ ﺍﻝﻘﻭﻤﻲ ﺒﺼﺩﺩ ﺍﻝﻤﻭﻀﻭﻋﺎﺕ‪ ،‬ﻭﺘﻘﻭﻡ ﺒﻬﺫﺍ ﺍﻝﻌﻤل‬

‫ﺠﻤﺎﻋﺔ ﺒﺤﺙ ﺃﻜﺎﺩﻴﻤﻴﺔ‪ ،‬ﻭﻤﺜﺎل ﺫﻝﻙ ﺇﺠﺭﺍﺀ ﺃﺒﺤﺎﺙ ﺍﺴﺘﻁﻼﻉ ﺨﻼل ﺍﻝﺤﺭﺏ ﺍﻝﺒﺎﺭﺩﺓ‪ ،‬ﻤـﻥ ﺨـﻼل‬

‫ﺍﻻﺨﺘﻴﺎﺭ ﺍﻝﻤﺴﺒﻕ ﻝﻸﻓﻜﺎﺭ ﺍﻝﺩﻋﺎﺌﻴﺔ ﻭﻗﻴﺎﺱ ﻨﺠﺎﺤﻬﺎ ﻋﻨﺩ ﺍﻝﻤﻤﺎﺭﺴﺔ‪ ،‬ﺜﻡ ﺍﺴـﺘﺨﺩﺍﻤﻬﺎ ﻓـﻲ ﺘﻭﺠﻴـﻪ‬

‫ﺍﻝﻭﻋﻲ ﺍﻝﺸﻌﺒﻲ ﻝﺨﺩﻤﺔ ﺍﻷﻫﺩﺍﻑ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ ،‬ﻋﻠﻰ ﺃﺴﺎﺱ ﺍﻝﺘﻜﺎﻓﺅ ﻓﻲ ﺘﺒﺎﺩل ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺒﻴﻥ ﺍﻝﺠﻤﻬﻭﺭ‬

‫ﻭﺼﻨﺎﻉ ﺍﻝﻘﺭﺍﺭ ﺃﻭ ﻋﻠﻰ ﺍﻷﻗل ﺘﺤﻘﻴﻕ ﺍﻝﺘﻜﺎﻓﺅ ﺍﻝﺘﻘﺭﻴﺒﻲ ﺃﻭ ﺍﻝﻨﺴﺒﻲ ﺒﻴﻥ ﻁﺭﻓﻲ ﺍﻝﻌﻼﻗـﺔ‪ ،‬ﺃﻤـﺎ ﺇﺫﺍ‬

‫ﻭﺠﺩﺕ ﻋﻭﺍﻤل ﺘﻀﻌﻑ ﻫﺫﺍ ﺍﻝﺘﺒﺎﺩل‪ ،‬ﻓﺈﻥ ﻫﺫﺍ ﺍﻝﺘﺩﻓﻕ ﻴﺼﺒﺢ ﺃﺩﺍﺓ ﻝﺘﻌﻠﻴـﺏ ﺍﻝـﻭﻋﻲ‪ ،‬ﻭﺘـﻀﻠﻴل‬

‫ﺍﻝﻌﻘﻭل‪ ،‬ﺃﻱ ﺘﺄﺜﻴﺭ ﺃﺤﺎﺩﻱ ﺍﻝﺠﺎﻨﺏ‪ ،‬ﻤﻤﺎ ﻴﺤﻭل ﺍﺴﺘﻁﻼﻉ ﺍﻝﺭﺃﻱ ﺇﻝﻰ ﻤﺠﺭﺩ ﺼﻨﺎﻋﺔ ﻝﻠﺭﺃﻱ ﻭﻫﻭ ﻤﺎ‬

‫ﻴﺤﺼل ﻓﻌﻼ‪.‬‬

‫ﺇﻥ ﺍﻝﻤﻬﻤﺔ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻠﻌﻼﻗﺎﺕ ﺍﻝﻌﺎﻤﺔ ﺍﻝﻤﻤﻭﻝﺔ ﻤﻥ ﺍﻝﺸﺭﻜﺎﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺍﻝﻌﻤﻼﻗﺔ ﺘﺘﻤﺜـل ﻓـﻲ‬

‫ﺍﻝﺘﻐﻠﺏ ﻋﻠﻰ ﻤﻨﺎﻫﻀﺔ ﺃﺸﻜﺎل ﺍﻝﺘﻐﻠﻐل ﺍﻷﻤﺭﻴﻜﻲ ﻓﻲ ﺍﻗﺘﺼﺎﺩ ﺩﻭل ﺍﻝﻌـﺎﻝﻡ ﺍﻝﺜﺎﻝـﺙ ﻭﻤﻭﺭﺩﺍﻫـﺎ‪.‬‬

‫ﻭﺍﻝﺘﻼﻋﺏ ﺒﺎﻝﺭﻤﻭﺯ ﻤﻥ ﺃﺠل ﺘﺤﻘﻴﻕ ﻫﺫﺍ ﺍﻝﻬﺩﻑ ﻴﻤﺎﺭﺱ ﺒﻤﻬﺎﺭﺓ ﻓﺎﺌﻘﺔ ﻋﻠﻰ ﻨﺤﻭ ﻏﻴـﺭ ﻤﻠﻤـﻭﺱ‬

‫ﻋﻠﻰ ﺃﻴﺩﻱ ﺨﺒﺭﺍﺀ ﻤﺘﺨﺼﺼﻴﻥ ﻓﻲ ﺼﻨﺎﻋﺔ ﺍﻹﻋﻼﻡ‪ ،1‬ﺤﻴﺙ ﻴﺼﺒﺢ ﺘﻐﻠﻐـل ﺍﻝﻨـﺸﺎﻁ ﺍﻝﺘﺠـﺎﺭﻱ‬

‫ﻝﻠﺸﺭﻜﺎﺕ ﺍﻝﻌﻤﻼﻗﺔ ﺴﺎﺌﻐﺎ ﻭﻤﻘﺒﻭﻻ ﻭ ﺃﻥ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺭﺴﻡ ﺤﺩﻭﺩ ﺍﻝﻭﺍﻗـﻊ‪ ،‬ﻫـﻲ ﺍﻝﻘـﺩﺭﺓ ﻋﻠـﻰ‬

‫ﺍﻝﺴﻴﻁﺭﺓ‪ .‬ﻭﻓﻲ ﺤﺎل ﺍﻤﺘﻼﻙ ﻜﻤﻴﺔ ﻫﺎﺌﻠﺔ ﻤﻥ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ‪ ،‬ﻭﺍﻝﺴﻴﻁﺭﺓ ﻋﻠﻴﻬﺎ‪ ،‬ﻴﻌﻨﻲ ﺃﻥ ﻤﺎ ﻴـﺸﺎﻫﺩﻩ‬

‫ﺸﻴﻠﻠﺭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪212 ،‬‬ ‫‪1‬‬

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‫ﺍﻝﻨﺎﺱ ﻭﻤﺎ ﻴﻘﺭﺃﻭﻭﻨﻪ‪ ،‬ﻭﻤﺎ ﻴﺴﺘﻤﻌﻭﻥ ﺇﻝﻴﻪ‪ ،‬ﻭﻤﺎ ﻴﺄﻜﻠﻭﻨﻪ‪ ،‬ﻭﻤﺎ ﻴﻘﹼﺭﻭﻥ ﺒﻪ‪ ،‬ﻜل ﺫﻝﻙ ﻴـﺼﺒﺢ ﻤـﻥ‬

‫ﻭﻅﺎﺌﻑ ﺍﻝﺠﻬﺎﺯ ﺍﻹﻋﻼﻤﻲ ﺍﻝﺫﻱ ﻴﻘﺭ ﺍﻷﺫﻭﺍﻕ ﻭﺍﻝﻘﻴﻡ ﺍﻝﺘﻲ ﺘﺘﻔﻕ ﻭﻤﻌﺎﻴﻴﺭ ﻭﻤﻘﺘﻀﻴﺎﺕ ﺍﻝﺴﻭﻕ‪.‬‬

‫ﺃﺨﻴﺭﺍ ﻓﺈﻥ ﺍﻝﻨﻅﺭ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺒﺎﻋﺘﺒﺎﺭﻫﺎ ﻓﻨﺎ ﻻ ﻴﻨﻔﻲ ﻋﻨﻬﺎ ﺼﻔﺔ ﺍﻝﺭﺒﺤﻴﺔ ﻭﻴﺘﻌﺩﻯ ﺍﻷﻤﺭ ﻤـﻥ‬

‫ﺍﻝﺭﺒﺢ ﺍﻝﻤﺎﺩﻱ ﺇﻝﻰ ﺍﻝﻔﻜﺭﻱ ﺃﻴﻀﺎ‪ ،‬ﻓﻬﻭﻝﻴﻭﺩ ﻤﺜﻼ ﺘﻌﻤل ﻋﻠﻰ ﺘﺤﻘﻴﻕ ﻫﺩﻓﻴﻥ ‪:‬ﺍﻝﻤﺎل ﺍﻝﻭﻓﻴﺭ ﻭﺍﻝﺘﺄﺜﻴﺭ‬

‫ﺍﻝﻌﻤﻴﻕ‪.‬‬

‫‪ 3.1‬ﺍﻝﻘﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻤﻴﺔ ﻓﻲ ﺍﻹﺨﺭﺍﺝ ﻭﺍﻝﺴﻴﻨﺎﺭﻴﻭ‪) ،‬ﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ(‬

‫ﺘﻁﺭﺡ ﺍﻝﺴﻴﻨﻤﺎ ﻋﺎﻝﻤﺎ ﻤﺜﻴﺭﺍ ﻭﻤﺴﻠﻴﺎ‪ .‬ﺘﺭﻭﻱ ﻝﻠﻨﺎﺱ ﻗﺼﺼﺎ ﻭﺤﻜﺎﻴﺎﺕ ﻭﺘﺭﻴﻬﻡ ﻤﻨﺎﻅﺭ ﻭﺼﻭﺭﺍ‬

‫ﻤﺘﻌﺩﺩﺓ ﻭﻤﻭﺴﻴﻘﻰ‪ ،‬ﻭﻭﺴﻁ ﻫﺫﺍ ﺍﻝﺯﺨﻡ ﺘﻁﺭﺡ ﺍﻝﺴﻴﻨﻤﺎ ﺃﻓﻜﺎﺭﺍ ‪ ،1‬ﻭﺘﻜﻭﻥ ﻫﺫﻩ ﺍﻷﻓﻜﺎﺭ ﺃﺤﻴﺎﻨﺎ ﺴﻴﺎﺴﻴﺔ‬

‫‪،‬ﻤﺒﺎﺸﺭﺓ ﻭﻏﻴﺭ ﻤﺒﺎﺸﺭﺓ‪ ،‬ﺴﻬﻠﺔ ﻋﻠﻰ ﺍﻝﻔﻬﻡ‪ ،‬ﻭﺼﻌﺒﺔ‪ ،‬ﻜﻭﻨﻬﺎ ﻤﻭﺠﻭﺩﺓ‪ ،‬ﻭﻏﻴﺭ ﻤﻭﺠﻭﺩﺓ‪ .‬ﻭﻫﻲ ﺒﻬﺫﺍ‬

‫ﺘﻁﺭﺡ ﺘﺴﺎﺅﻻﺕ ﺒﺤﺴﺏ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻨﻬﺎ ﻭﺒﻴﻥ ﺍﻝﺠﻤﻬﻭﺭ‪ ،‬ﻭﻫﻲ ﺘـﺴﺎﺅﻻﺕ ﺫﺍﺕ ﻁﺒﻴﻌـﺔ ﻤﺒﺩﺌﻴـﺔ‬

‫ﻭﻤﻨﻬﺠﻴﺔ ﺃﻴﻀﺎ‪ ،‬ﻜﺄﻥ ﻨﻘﻭل ﻤﺎﺫﺍ ﻴﻘﺼﺩ ﺍﻝﻤﺨﺭﺝ ﺒﻬﺫﺍ ﺍﻝﻤﺸﻬﺩ؟ ﻭﺇﻻﻡ ﻴﺭﻤﻲ ﻫﺫﺍ ﺍﻝﺭﻤﺯ؟ ﻭﺒﻤـﺎ ﺃﻥ‬

‫ﺍﻝﺴﻴﻨﻤﺎ ﻓﻥ ﺘﺭﻜﺒﻴﻨﻲ ﻴﺸﻤل ﺍﻝﻔﻥ ﻭﺍﻷﺩﺏ ﻭﺍﻝﻤﻭﺴﻴﻘﻰ‪ ،‬ﻓﺈﻥ ﻝﻬﺫﻩ ﺍﻷﻫﻤﻴﺔ ﺤﻘﻴﻘﺔ ﺨﺎﺼﺔ ﻓـﻲ ﻓﻬـﻡ‬

‫ﺒﻌﺽ ﺍﻝﺘﺴﺎﺅﻻﺕ ﺍﻝﺘﻲ ﻴﻁﺭﺤﻬﺎ ﺍﻝﺠﻤﻬﻭﺭ ﺤﻭل ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺇﻻ ﺃﻥ ﻫﺫﻩ ﺍﻝﺘﺴﺎﺅﻻﺕ ﺘﺨﺘﻠﻑ ﺒـﺎﺨﺘﻼﻑ‬

‫ﺍﻝﻤﺴﺘﻭﻴﺎﺕ ﺍﻝﺤﺴﻴﺔ ﻭﺍﻝﺜﻘﺎﻓﻴﺔ ﻝﺩﻯ ﺍﻝﺠﻤﻬﻭﺭ‪ ،‬ﻋﻠﻰ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻫﻲ ﺍﻨﻌﻜﺎﺱ ﺠﻤﺎﻝﻲ ﻭﻓﻜﺭﻱ ﻝﻠﻭﺍﻗﻊ‬

‫ﻤﻥ ﺨﻼل ﻓﻨﺎﻥ‪ ،‬ﺴﻭﺍﺀ ﻜﺎﻥ ﺍﻝﻤﺨﺭﺝ ﺃﻭ ﺍﻝﻤﻤﺜل ﺃﻭ ﺃﻱ ﻋﻨﺼﺭ ﺁﺨﺭ‪.‬‬

‫ﺇﻥ ﺘﺤﺩﻴﺩ ﺍﻝﻘﻀﺎﻴﺎ ﻭﺍﻷﻓﻜﺎﺭ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻭﺍﻝﺜﺎﻨﻭﻴﺔ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ ،‬ﺇﻀـﺎﻓﺔ ﺇﻝـﻰ ﺍﻷﻓﻜـﺎﺭ‬

‫ﺍﻝﻤﺴﻘﻁﺔ ﻋﻠﻴﻪ ﻤﻥ ﺍﻝﻤﺤﻴﻁ ﺘﺒﺩﺃ ﻋﺎﺩﺓ ﺒﻔﻜﺭﺓ‪ ،‬ﻭﻴﻜﻭﻥ ﺍﻝﻬﺩﻑ ﺍﻝﻨﻬﺎﺌﻲ ﻤﻥ ﺍﻝﻔـﻴﻠﻡ ﺘﻭﻀـﻴﺢ ﻫـﺫﻩ‬

‫ﺍﻷﻓﻜﺎﺭ ﻀﻤﻥ ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺘﺒﺎﺩﻝﻴﺔ ﻝﻸﺸﺨﺎﺹ ﻭﺍﻝﺼﻭﺭ ﻭﺒﺎﻗﻲ ﺍﻝﻌﻨﺎﺼﺭ‪.‬‬

‫‪ 1‬ﻜﺎﺯﻨﻭﻑ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪.215 ،‬‬

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‫ﺘﻔﺭﺽ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻗﻌﺎ ﻤﺘﺤﺭﻜﺎ ﻭﺴﻁ ﺍﻝﻘﻭﺍﻨﻴﻥ ﺍﻝﺠﺩﻝﻴﺔ ﻤﻥ ﺨﻼل ﺍﻝﻤﻨﻬﺞ ﺍﻝﻔﻜﺭﻱ ﻭﺍﻝﻔﻨـﻲ‪ ،‬ﻷﻥ‬

‫ﺍﻝﺴﻴﻨﻤﺎ ﻓﻥ ﻤﺭﺌﻲ ﻭﻤﺴﻤﻭﻉ‪ ،‬ﻓﻬﻲ ﺘﻀﻊ ﺃﻤﺎﻡ ﻜل ﻤﻥ ﺍﻝﻤﺘﻔﺭﺝ ﻭﺍﻝﻨﻘﺎﺩ ﺍﺤﺘﻤﺎﻻﺕ ﻜﺜﻴﺭﺓ ﻝﺘﺤﻠﻴـل‬

‫ﺍﻷﻓﻜﺎﺭ‪ .‬ﺇﻥ ﺇﺩﺭﺍﻙ ﻜل ﻤﻥ ﺍﻝﻔﻜﺭﺓ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻭﺍﻝﺜﺎﻨﻭﻴﺔ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﻴﺤﺘﺎﺝ ﺒﺩﺍﻴﺔ ﺇﻝﻰ ﺇﺩﺭﺍﻙ ﺍﻝﻔﻜـﺭﺓ‬

‫ﺍﻷﺴﺎﺴﻴﺔ ﺍﻝﻌﺎﻤﺔ ﺍﻝﺘﻲ ﺘﺩﻭﺭ ﺤﻭﻝﻬﺎ ﺍﻷﺤﺩﺍﺙ ﻭﺍﻝﻌﻼﻗﺎﺕ‪ 1،‬ﻜﻤﺎ ﺃﻥ ﻤﺴﺘﻭﻯ ﻭﻋﻲ ﺍﻝﻘﺎﺭﺉ‪ ،‬ﻭﻨﻭﻋﻴﺘﻪ‬

‫‪،‬ﻭ ﺍﻫﺘﻤﺎﻤﺎﺘﻪ ﻭﻤﺴﺘﻭﺍﻩ ﺍﻝﺜﻘﺎﻓﻲ‪ ،‬ﻭﺍﻝﻤﻌﺭﻓﻲ‪ ،‬ﻭﺘﺭﻜﻴﺒﺘﻪ ﺍﻝﻨﻔﺴﻴﺔ‪ ،‬ﺘﻠﻌﺏ ﺃﺩﻭﺍﺭﺍ ﺃﺨﺭﻯ ﻓـﻲ ﻗـﺭﺍﺀﺓ‬

‫ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪. 2‬‬

‫ﺘﻨﻘﺴﻡ ﻋﻨﺎﺼﺭ ﺍﻝﺘﻌﺒﻴﺭ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺇﻝﻰ ﺜﻼﺙ ﻭﺤﺩﺍﺕ ﺭﺌﻴﺴﻴﺔ‪ :‬ﺃﻭﻝﻬﺎ ﻭﺤﺩﺓ ﺍﻝﺒﻨـﺎﺀ ﺍﻝـﺩﺭﺍﻤﻲ‬

‫ﺍﻝﺴﺭﺩﻱ ﺃﻱ ﺍﻝﺤﺒﻜﺔ ‪،‬ﺍﻝﺘﻲ ﺘﻤﺘﺩ ﻋﻠﻰ ﻁﻭل ﺍﻝﻔﻴﻠﻡ ﻭﺘﺤﺩﺩ ﺍﻝﺒﻨﺎﺀ ﺍﻝﻌﺎﻡ‪ ،‬ﺃﻤﺎ ﺍﻝﻘﺴﻡ ﺍﻝﺜﺎﻨﻲ ﻓﻬﻭ ﺍﻝﺠﺎﻨﺏ‬

‫ﺍﻝﺘﺸﻜﻴﻠﻲ‪ ،‬ﺃﻱ ﺘﺸﻜﻴل ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ‪:‬ﺍﻝﻠﻭﻥ ﻭﺍﻝﻀﻭﺀ ﻭﺍﻝﻅل ﻭﺍﻝﺘﻜﻭﻴﻥ ﻭﺍﻝﺩﻴﻜﻭﺭ ﻭﺍﻝﻠﺒـﺎﺱ‬

‫‪..‬ﺍﻝﺦ‪ .‬ﺃﻤﺎ ﺍﻝﻭﺤﺩﺓ ﺍﻝﺜﺎﻝﺜﺔ ﻭﺍﻻﻫﻡ ﻓﻬﻲ ﺍﻝﻤﻭﻨﺘﺎﺝ‪ 3.‬ﻴﻘﻭل ﺍﻴﺯﻨﺸﺘﺎﻴﻥ "ﺍﻝﻌﻤل ﺍﻝﻔﻨﻲ ﻻ ﻴﺼﺒﺢ ﻋﻤـﻼ‬

‫ﻋﻀﻭﻴﺎ‪ ،‬ﻭﻻ ﻴﺼل ﺇﻝﻰ ﻓﻬﻡ ﺍﻻﻨﻔﻌﺎل ﺍﻝﺤﻘﻴﻘﻲ ﺇﻻ ﻋﻨﺩﻤﺎ ﻴﺼﺒﺢ ﻤﻭﻀﻭﻉ ﻭﻤـﻀﻤﻭﻥ ﻭﻓﻜـﺭﺓ‬

‫ﺍﻝﻌﻤل ﻜﻼ ﻋﻀﻭﻴﺎ ﻤﺴﺘﻤﺭﺍ ﺒﺄﻓﻜﺎﺭ ﻭﺃﺤﺎﺴﻴﺱ ﺍﻝﻤﺅﻝﻑ ﺒل ﻭﺃﻨﻔﺎﺴﻪ ﺃﻴﻀﺎ"‪ .4‬ﺃﻤﺎ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺠﻐﺭﺍﻓﻲ‬

‫ﻓﻬﻭ ﺃﺤﺩ ﻋﻨﺎﺼﺭ ﺍﻝﺘﺤﻠﻴل ﺍﻝﻔﻴﻠﻤﻲ‪ ،‬ﻭﻨﻘﺼﺩ ﺒﻪ ﺍﻷﺭﺽ ﻭﺍﻝﺒﻴﺌﺔ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻝﺫﻱ ﻴﺼﻭﺭ ﻓﻴﻬﻤﺎ ﺍﻝﻔﻴﻠﻡ‪.‬‬

‫ﻜﻐﻴﺭﻫﺎ ﻤﻥ ﺃﺸﻜﺎل ﺍﻝﺘﻌﺒﻴﺭ ﺍﻝﻔﻨﻲ ﻤﻥ ﺍﻷﺩﺏ ﻭﺍﻝﻔﻨﻭﻥ ﺍﻝﺠﻤﻴﻠﺔ ﻭﺍﻝﺘﺼﻭﻴﺭ ﺍﻝﻔـﻭﺘﻐﺭﺍﻓﻲ ﻭﺍﻝﻨﺤـﺕ‬

‫ﻭﺒﺎﻗﻲ ﺍﻷﺸﻜﺎل ﺍﻷﺨﺭﻯ‪ ،‬ﻓﺈﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻥ ﻫﺎﺌل ﺍﻝﻘﺩﺭﺍﺕ‪ ،‬ﻏﻨﻲ ﺒﻠـﻭﺍﺯﻡ ﺍﻝـﺼﻭﺭﺓ ﻭﻭﻅﺎﺌﻔﻬـﺎ‪،‬‬

‫ﻭﺘﻌﺘﺒﺭ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻝﺠﻐﺭﺍﻓﻴﺔ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺇﺤﺩﻯ ﻋﻨﺎﺼﺭ ﺍﻝﻭﻓﺭﺓ ﺍﻝﺘﻲ ﻴﻘﺩﻤﻬﺎ ﺍﻝﻔﻴﻠﻡ ﺤﻴﺙ ﺘﺭﺘﺒﻁ ﺍﻝﺴﻴﻨﻤﺎ‬

‫ﺒﻌﻼﻗﺘﻬﺎ ﺍﻝﻘﻭﻴﺔ ﻭﺍﻝﻤﺘﻨﻭﻋﺔ‪ ،‬ﻤﺎﺩﻴﺔ ﻭﺭﻤﺯﻴﺔ‪ ،‬ﻤﻊ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺠﻐﺭﺍﻓـﻲ‪ .‬ﻴﻤﻜـﻥ ﺘﺤﻠﻴـل ﺍﻝﻤـﺸﻬﺩ‬

‫‪1‬‬
‫‪Baumann. Shyon . ( 2001).”Intellectualization and Art World Development: Film in the United‬‬
‫‪States”: American Sociological Review, American Sociological Association. 404-426Stable‬‬
‫‪URL: http://www.jstor.org/stable/3088886.Retrivied 15.12.2009‬‬

‫ﻨﻴﻭﻜﻠﺯﻨﺒﻴل‪ ".(2005) .‬ﺍﻓﻼﻡ ﻭﻤﻨﺎﻫﺞ"‪ .‬ﺤﺴﻴﻥ ﺒﻴﻭﻤﻲ ‪.‬ﺝ‪ .1‬ﺍﻝﻘﺎﻫﺭﺓ‪ :‬ﺍﻝﻤﺠﻠﺱ ﺍﻻﻋﻠﻰ ﻝﻠﺜﻘﺎﻓﺔ‪25 ،‬‬ ‫‪2‬‬

‫‪ 3‬ﺍﻝﻤﺼﺩﺭ ﻨﻔﺴﻪ‪53،‬‬
‫ﺠﻭﺘﻴﺭﺍﻥ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪11 ،‬‬ ‫‪4‬‬

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‫ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﺒﺎﻝﻨﺴﺒﺔ ﺇﻝﻰ ﺍﻻﺘﺠﺎﻫﺎﺕ ﺍﻝﺠﻐﺭﺍﻓﻴﺔ ﻓﻲ ﺨﻠﻕ ﺍﻝﺼﻭﺭﺓ ﻭﺇﻤﻜﺎﻨﺎﺕ ﺍﻝﻌﻨﺎﺼـﺭ ﺍﻝﻁﺒﻴﻌـﺔ‬

‫ﺍﻝﻤﺤﻴﻁﺔ ﺃﻴﻀﺎ‪ ،‬ﺃﻀﻑ ﺇﻝﻰ ﺫﻝﻙ ﺼﻠﺘﻬﺎ ﺒﺎﻝﻘﻴﻡ ﺍﻝﺠﻤﺎﻝﻴﺔ ﺍﻝﺘﻲ ﺘـﺼﻨﻌﻬﺎ ﺍﻝﺠﻐﺭﺍﻓﻴـﺔ‪ .‬ﺇﻥ ﺍﻝﻤﻜـﺎﻥ‬

‫ﺍﻝﺠﻐﺭﺍﻓﻲ ﻴﺤﻴل ﺇﻝﻰ ﺍﻝﻔﻴﻠﻡ ﺴﻴﺎﻗﺎﺘﻪ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﺍﻝﺘﺎﺭﻴﺨﻴﺔ ‪،‬ﻜﻤﺎ ﺃﻥ ﻝﻠﻤﺴﺎﺤﺎﺕ ﺍﻝﺠﻐﺭﺍﻓﻴﺔ ﺃﺜﺭﺍ ﻓﻲ‬

‫ﺨﻠﻕ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺤﻘﻴﻘﻲ ﻭﻓﻀﺎﺀ ﺍﻝﺨﻴﺎل ﺒﺎﻝﻨﺴﺒﺔ ﻝﻠﻤﺸﻬﺩ ﺍﻝـﺴﻴﻨﻤﺎﺌﻲ‪ 1.‬ﻻ ﺯﺍل ﺼـﺎﻨﻌﻭ ﺍﻷﻓـﻼﻡ‬

‫ﻴﺤﺭﺼﻭﻥ ﻋﻠﻰ ﺍﺴﺘﺨﺩﺍﻡ ﻋﻨﺎﺼﺭ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻝﺤﻘﻴﻘﻴﺔ ﺍﻝﻤﺤﻴﻁﺔ ﺭﻏﻡ ﺍﻝﺼﻌﻭﺒﺎﺕ ﺍﻝﺘﻲ ﻴﻭﺍﺠﻬﻭﻨﻬﺎ ﻓﻲ‬

‫ﺍﻝﺘﻌﺎﻤل ﻤﻊ ﺍﻝﻤﺸﺎﻫﺩ ﺍﻝﺨﺎﺭﺠﻴﺔ ﻓﻲ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺠﻐﺭﺍﻓﻲ‪ ،‬ﻜﻤﺤﺩﻭﺩﻴﺔ ﻋﺩﺩ ﺴﺎﻋﺎﺕ ﺍﻝﺸﻤﺱ ﺍﻝﻤﺘﺎﺤﺔ‪،‬‬

‫ﻭﻁﺒﻴﻌﺔ ﺍﻝﻁﺒﻭﻏﺭﺍﻓﻴﺎ‪ ،‬ﻭﻨﺩﺭﺓ ﺍﻝﺒﻨﻴﺔ ﺍﻝﺘﺤﺘﻴﺔ‪ ،‬ﻭﺍﺭﺘﻔﺎﻉ ﺘﻜﻠﻔﺔ ﺍﻝﺴﻔﺭ ﻭﺍﻝﺘﻨﻘل‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺃﺴـﺒﺎﺏ‬

‫ﺴﻴﺎﺴﻴﺔ ﻭﺇﺩﺍﺭﻴﺔ ﻜﺎﻝﺤﺭﺏ ﻤﺜﻼ‪ ،‬ﺃﻭ ﺃﻥ ﺘﻜﻭﻥ ﺍﻝﻤﻨﻁﻘﺔ ﻤﺤﻤﻴﺔ ﻁﺒﻴﻌﺔ ﻴﻤﻨﻊ ﺩﺨﻭﻝﻬـﺎ‪ ،‬ﺃﻭ ﺃﻤـﺎﻜﻥ‬

‫ﺩﻴﻨﻴﺔ ﻤﻘﺩﺴﺔ ﻴﺤﺩ ﺃﻭ ﻴﺤﻅﺭ ﺍﻝﺘﺼﻭﻴﺭ ﻓﻴﻬﺎ‪ ،‬ﻤﻤـﺎ ﻴـﻀﻁﺭ ﺍﻝﻤﺨـﺭﺠﻴﻥ ﺇﻝـﻰ ﺍﻝﻠﺠـﻭﺀ ﺇﻝـﻰ‬

‫ﺍﻻﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻻﺴﺘﻌﺎﻀﺔ ﻋﻥ ﺍﻝﺒﻴﺌﺔ ﺍﻝﻁﺒﻴﻌﻴﺔ ﺒﺄﺨﺭﻯ ﺼﻨﺎﻋﻴﺔ‪ ،‬ﻭﻝﻜﻥ ﺭﻏﻡ ﺘﺤـﺴﻥ‬

‫ﺍﻝﺸﺭﻭﻁ ﺍﻝﺘﻘﻨﻴﺔ ﻓﺈﻥ ﺍﻝﻔﻀﺎﺀ ﺍﻝﺠﻐﺭﺍﻓﻲ ﻻ ﺯﺍل ﻴﺤﻘﻕ ﻤﺼﺩﺍﻗﻴﺔ ﺃﻜﺒﺭ ﻝﻠﺼﻭﺭﺓ ﺒﻌﻨﺎﺼـﺭﻩ ﺍﻝﺘـﻲ‬

‫ﺘﺸﻤل ﺍﻝﻠﻭﻥ ﻭﺍﻻﻀﺎﺀﺓ ﺤﻴﺙ ﺘﺤﺴﻥ ﻤﻥ ﻨﻭﻉ ﺍﻝﻔﻴﻠﻡ‪ ،‬ﻭﻴﺨﻠﻕ ﺒﺎﺴﺘﻤﺭﺍﺭ ﺃﺸﻜﺎﻻ ﻭﺃﺴﺎﻝﻴﺏ ﺠﺩﻴـﺩﺓ‬

‫ﻝﻠﻘﻁﺎﺕ‪ ،‬ﺤﻴﺙ ﻻ ﺯﺍل ﺍﻝﻤﺨﺭﺠﻭﻥ ﻴﻭﻝﻭﻥ ﺍﻝﻤﻨﻅﺭ ﺍﻝﻁﺒﻴﻌﻲ ﺃﻫﻤﻴﺔ ﺨﺎﺼﺔ ﻓـﻲ ﺍﻝﻌﺜـﻭﺭ ﻋﻠـﻰ‬

‫ﺍﻝﺨﻠﻔﻴﺎﺕ ﺍﻝﻤﻭﺍﺘﻴﺔ ﻝﻤﺸﻬﺩ ﻤﺎ‪ ،‬ﻤﻤﺎ ﻴﻔﺴﺢ ﺍﻝﻤﺠﺎل ﻹﻋﻁﺎﺀ ﺃﻫﻤﻴﺔ ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﺩﺭﺠﺎﺕ ﺍﻨﻔﻌﺎﻝﻴـﺔ‬

‫ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺍﺩﺭﻤﺔ ﻋﻨﺼﺭ ﺍﻝﺤﻜﺎﻴﺔ‪ ،‬ﺇﻀﺎﻓﺔ ﺍﻝﻰ ﺍﻋﻁﺎﺀ ﺍﻝﺨﺼﺎﺌﺹ ﺍﻝﻨﻔﺴﻴﺔ ﻝﻠﺸﺨﺼﻴﺎﺕ‪ ،‬ﻭﺘﻭﻓﻴﺭ‬

‫ﺍﻝﺴﻴﺎﻗﺎﺕ ﺍﻝﻤﻨﺎﺴﺒﺔ ﻝﻠﻔﻴﻠﻡ‪ 2.‬ﺇﻥ ﺍﺴﺘﻐﻼل ﺍﻝﻔﻀﺎﺀ ﺍﻝﺠﻐﺭﺍﻓﻲ ﻝﻠﻔﻴﻠﻡ ﻴﺅﺩﻱ ﺃﻴﻀﺎ ﺍﻝﻰ ﻤﺠﻤﻭﻋﺔ ﻤـﻥ‬

‫ﺍﻻﻨﻌﻜﺎﺴﺎﺕ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻹﻗﻠﻴﻤﺔ ﻓﻲ ﺼﻨﺎﻋﺔ ﺍﻝﻔﻴﻠﻡ ﺤﻴﺙ ﻴﻨﻁﻭﻱ ﻋﻠﻰ ﺩﻻﻻﺕ ﻭﺍﻀـﺤﺔ ﻤـﻥ‬

‫ﻭﺠﻬﺔ ﻨﻅﺭ ﺼﻨﺎﻋﻴﺔ‪ ،‬ﺨﺎﺼﺔ ﻓﻲ ﺒﻠﺩﺍﻥ ﺭﺍﺌﺩﺓ ﻓﻲ ﻫﺫﻩ ﺍﻝﺼﻨﺎﻋﺔ ﻜﺎﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺍﻻﻤﺭﻴﻜﻴـﺔ‪،‬‬

‫ﻓﺎﻝﺴﻴﻨﻤﺎ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺇﺤﺎﻝﺔ ﺍﻝﺼﻭﺭ ﻤﻥ ﺴﻴﺎﻗﺎﺕ ﻤﺨﺘﻠﻔﺔ‪ ،‬ﻝﺫﺍ ﻜﺎﻨﺕ ﻝﻬﺎ ﺍﻝﻤﺴﺎﻫﻤﺔ ﺍﻝﻜﺒﻴﺭﺓ ﻓﻲ ﻨﻤـﻭ‬

‫‪1‬‬
‫‪Baumann, ibid,426‬‬
‫‪2‬‬
‫‪Ibid, 428‬‬

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‫ﺍﻝﺴﻴﺎﺤﺔ‪ ،‬ﻭﻨﺫﻜﺭ ﺇﻥ ﺜﻤﺔ ﺃﻓﻼﻤﺎ ﺃﻨﺘﺠﺕ ﺒﻐﺭﺽ ﺘﻨﺸﻴﻁ ﺍﻝﺤﺭﻜﺔ ﺍﻝﺴﻴﺎﺤﻴﺔ ﻤـﻥ ﺨـﻼل ﺘﻁـﻭﻴﺭ‬

‫ﺍﺴﺘﺭﺍﺘﻴﺠﻴﺎﺕ ﺘﺴﻭﻴﻕ ﺍﻝﺴﻴﺎﺤﺔ‪ ،‬ﻭﺘﻭﻝﻴﺩ ﺍﻝﻤﻨﺘﺠﺎﺕ ﻭﺍﻝﺨﺩﻤﺎﺕ ﺍﻝﺘﻲ ﺘﺸﺠﻊ ﻋﻠﻰ ﻤـﺸﺎﻫﺩﺓ ﻤﻌـﺎﻝﻡ‬

‫‪1‬‬
‫ﺍﻝﻤﺩﻴﻨﺔ‪ ،‬ﺨﺭﻴﻁﺔ ﺍﻝﻔﻴﻠﻡ ﻋﻠﻰ ﺴﺒﻴل ﺍﻝﻤﺜﺎل‪.‬‬

‫‪ 4.1‬ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ‪ :‬ﺒﻁﺎﻗﺘﻪ‪ ،‬ﺤﻘﻴﻘﺘﻪ‬

‫ﺒﻁﺎﻗﺔ ﺍﻝﻔﻴﻠﻡ ﺘﺸﻤل ﻜﻼ ﻤﻥ ﺍﻹﺨﺭﺍﺝ‪ ،‬ﺍﻝﺴﻴﻨﺎﺭﻴﻭ‪ ،‬ﺍﻹﻨﺘﺎﺝ‪ ،‬ﺴﻨﺔ ﺍﻹﻨﺘﺎﺝ‪ ،‬ﺍﻝﻤﻴﺯﺍﻨﻴـﺔ‪ ،‬ﻜﺎﺴـﺕ‬

‫ﺍﻝﺘﻤﺜﻴل‪ ،‬ﻤﺩﺓ ﺍﻝﻔﻴﻠﻡ‪ ،‬ﻭﻋﻨﺼﺭ ﺍﻝﺤﻜﺎﻴﺔ‪ .2‬ﻭﻫﻲ ﻀﺭﻭﺭﻴﺔ ﻝﻠﺘﻌﺭﻴﻑ ﺒﺎﻝﻔﻴﻠﻡ ﻗﺒل ﺃﻱ ﻗﺭﺍﺀﺓ ﺘﺄﻭﻴﻠﻴﺔ ﺃﻭ‬

‫ﺘﺤﻠﻴﻠﻴﺔ‪.‬‬

‫ﻴﻘﻭل ﺍﻝﻨﺎﻗﺩ ﺠﺎﻥ ﻝﻭﻙ ﻜﻭﻤﻠﻠﻲ ‪" :‬ﻜل ﻓﻴﻠﻡ ﻫﻭ ﻓﻴﻠﻡ ﺴﻴﺎﺴﻲ ﻷﻨﻪ ﻤﺤﺩﺩ ﺒﺎﻷﻴﺩﻭﻝﻭﺠﻴﺎ ﺍﻝﺘﻲ ﺘﻨﺘﺠﻪ‬

‫ﺃﻭ ﺍﻝﺘﻲ ﺘﻨﺘﺞ ﻓﻲ ﻨﻅﺎﻤﻬﺎ ﺍﻝﺫﻱ ﻴﻨﺸﺄ ﻤﻥ ﺍﻝﺸﻲﺀ ﺫﺍﺘﻪ‪ ،‬ﺍﻝﺴﻴﻨﻤﺎ ﻫﻲ ﺍﻝﺸﻲﺀ ﺍﻝﻤﺤﺩﺩ ﻜﻠﻴـﺔ‪ ،‬ﻷﻨﻬـﺎ‬

‫ﺨﻼﻴﺎ ﻝﻔﻨﻭﻥ ﻭﻨﻅﻡ ﺃﺨﺭﻯ‪ ،‬ﺘﺤﺸﺩ ﺘﺼﻨﻴﻌﻬﺎ ﺍﻝﻔﻌﻠﻲ ﻗﻭﻯ ﺍﻗﺘﺼﺎﺩﻴﺔ ﻀﺨﻤﺔ ﺒﺄﺴﻠﻭﺏ ﻻ ﻴﺤﺩﺙ ﻓﻲ‬

‫ﺇﻨﺘﺎﺝ ﺍﻷﺩﺏ"‪ .3‬ﺇﻥ ﺃﻱ ﺍﺒﺘﻌﺎﺩ ﻋﻥ ﺤﻘﻴﻘﺔ ﺘﺎﺭﻴﺨﻴﺔ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻴﺼﺒﺢ ﺠﺎﺌﺯﺍ ﻓﻘـﻁ ﺤـﻴﻥ‬

‫ﻴﻁﻭﺭ ﺇﻝﻰ ﻤﺴﺘﻭﻯ ﺍﻝﻐﺭﻴﺏ ﻭﺍﻝﺨﻴﺎﻝﻲ‪ ،‬ﻭﻻ ﻴﻌﺩ ﻤﻨﺎﺴﺒﺎ ﺒﻌﺩ ﺫﻝﻙ ﺃﻥ ﻨﺘﺴﺎﺀل ﻋﻥ ﻤﺩﻯ ﻤﻁﺎﺒﻘﺔ ﻫﺫﺍ‬

‫ﺍﻻﺒﺘﻌﺎﺩ ﻋﻥ ﺃﻱ ﻭﺍﻗﻊ‪ .‬ﻭﺤﻴﻥ ﻻ ﻴﻘﺎﺭﺏ ﺍﻻﺒﺘﻌﺎﺩ ﻋﻥ ﺃﻱ ﺤﻘﻴﻘﺔ ﺘﺎﺭﻴﺨﻴﺔ ﺍﻝﻐﺭﻴﺏ ﻭﺍﻝﺨﻴﺎﻝﻲ‪ ،‬ﺒـل‬

‫ﻴﻅل ﻓﻲ ﻤﻜﺎﻥ ﻤﺎ ﻓﻲ ﻤﻨﺘﺼﻑ ﺍﻝﻁﺭﻴﻕ‪ .‬ﺁﻨﺫﺍﻙ ﺘﻜﻭﻥ ﺍﻝﻨﺘﻴﺠﺔ ﻫﻲ ﺍﻝﻜـﺫﺏ ﺍﻝﺘـﺎﺭﻴﺨﻲ ﺍﻷﺸـﺩ‬

‫ﺍﺒﺘﺫﺍﻻ‪ .4‬ﻻ ﻴﻨﻅﺭ ﺍﻴﺯﻨﺸﺘﺎﻴﻥ ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﻋﻠﻰ ﺃﻨﻬﺎ ﻭﺴﻴﻠﺔ ﻝﺘـﺼﻭﻴﺭ ﺍﻝﻭﺍﻗـﻊ ﺇﺫ ﺃﻨـﻪ ﻴﻁﺎﻝـﺏ‬

‫ﺒﻤﺴﺎﺤﺎﺕ ﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻠﺴﻔﻴﺔ ﻭﺍﻝﻰ ﻤﺎ ﻫﻭ ﺃﺒﻌﺩ ﺤﻴﺙ ﺍﻝﺭﻤﺯﻴﺔ ﺍﻝﺘﺼﻭﻴﺭﻴﺔ ‪ ،5‬ﻭﺭﻏﺒﺔ ﺠﻭﺩﺍﺭ‪ 6‬ﻓـﻲ‬

‫‪1‬‬
‫‪Madrid.Carlos.(2007).Cinema and geography:geograghic space.landscape.and territory in the film‬‬
‫‪industry.407-410‬‬
‫‪ 2‬ﻗﺎﺴﻡ‪ ،‬ﺤﻭل‪ .(1975) .‬ﺜﻼﺙ ﺍﻓﻼﻡ ﻋﻥ ﺍﻝﻘﻀﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻔﺎﺭﺍﺒﻲ‪13 ،‬‬
‫ﻨﻴﻜﻭﻝﺯ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪198 ،‬‬ ‫‪3‬‬

‫‪ 4‬ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪43 ،‬‬

‫ﺍﻴﺯﻨﺸﺘﺎﻴﻥ‪ ،‬ﺴﻴﺭﺠﻲ‪" .(1975) .‬ﺍﻻﺤﺴﺎﺱ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ .‬ﺴﻬﻴل ﺠﺒﺭ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻔﺎﺭﺍﺒﻲ‪23 .‬‬ ‫‪5‬‬

‫‪"6‬ن ك دار‪0T :‬ج ‪. K806‬‬

‫‪74‬‬
‫ﺍﻝﺘﻭﻗﻑ ﻋﻥ ﺍﻝﻌﻤل ﺩﺍﺨل ﻨﻅﺎﻡ ﻝﻡ ﻴﺄﺨﺫ ﻓﻲ ﺍﻋﺘﺒﺎﺭﻩ ﺤﻘﻴﻘﺔ‪ ،‬ﺇﻥ ﺃﻱ ﻨﻅﺎﻡ ﺁﺨﺭ ﻤﻘﻴﺩ ﻜﻭﻨﻪ ﺍﻨﻌﻜﺎﺴﺎ‬

‫ﻝﻠﻨﻅﺎﻡ ﺍﻝﺫﻱ ﻴﺭﻏﺏ ﺠﻭﺩﺍﺭ ﺘﺤﺎﺸﻴﻪ ﻓﺎﻝﺠﻤﻴﻊ ﻤﺜل ﻝﻌﺒﺔ ﺍﻝﺼﻭﺭ ﺍﻝﻤﺒﻌﺜـﺭﺓ‪ ،‬ﻜـل ﻝﺩﻴـﻪ ﻤﻜﺎﻨـﺔ‬

‫ﺍﻝﻤﺨﺼﺹ ﻭﺍﻝﻨﻅﺎﻡ ﺃﻋﻤﻰ ﺒﺤﺴﺏ ﻁﺒﻴﻌﺘﻪ ﻭﺤﻴﻥ ﺘﻭﻓﻕ ﺍﻝﻘﻁﻊ ﻭﺍﻷﺠﺯﺍﺀ ﻤﻌﺎ ﻓﻲ ﺼﻭﺭﺓ ﺒﺎﻝﻐـﺔ‬

‫ﺍﻝﻭﻀﻭﺡ ‪.‬‬

‫ﺍﻝﻔﻴﻠﻡ ﺒﺸﻜل ﺃﻜﺜﺭ ﻭﻀﻭﺤﺎ ﻴﻨﺘﺞ ﻭﺍﻗﻌﺎ‪ ،‬ﻭﻫﺫﺍ ﻤﺎ ﺘﻘﻭﻡ ﺒﻪ ﺁﻝﺔ ﺍﻝﺘﺼﻭﻴﺭ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻭﻫﻜﺫﺍ ﺘﺘﻜﻠﻡ‬

‫ﺍﻷﻴﺩﻝﻭﺠﻴﺔ‪ ،‬ﻓﺎﻝﻭﺍﻗﻊ ﻝﻴﺱ ﺇﻻ ﺘﻌﺒﻴﺭﺍ ﻋﻥ ﺍﻷﻴﺩﻭﻝﻭﺠﻴﺎ ﺍﻝﺴﺎﺌﺩﺓ ‪ ،1‬ﻭﻤﺎ ﺘﺼﻭﺭﻩ ﺁﻝﺔ ﺍﻝﺘﺼﻭﻴﺭ ﻫـﻭ‬

‫ﺍﻝﻌﺎﻝﻡ ﺍﻝﻐﺎﻤﺽ ﻏﻴﺭ ﺍﻝﻤﺼﻭﻍ ﻭﺍﻝﻤﻨﻅﻭﺭ‪ ،‬ﻭﺤﻴﺕ ﻴﺸﺭﻉ ﻓﻲ ﻋﻤل ﺍﻝﻔﻴﻠﻡ ﻓﺈﻨﻨﺎ ﻤﻨﺫ ﺍﻝﻠﻘﻁﺔ ﺍﻷﻭﻝﻰ‬

‫ﻨﻁﻠﻊ ﻤﻥ ﺠﺩﻴﺩ ﻋﻠﻰ ﺃﺸﻴﺎﺀ ﻝﻴﺴﺕ ﻜﻤﺎ ﻫﻲ ﺒﺎﻝﻔﻌل‪ ،‬ﻜﻤﺎ ﺘﺒﺩﻭ ﺤﻴﻥ ﺘﻨﻜﺴﺭ ﻤﻥ ﺨـﻼل ﻤﺭﻭﺭﻫـﺎ‬

‫ﺒﺎﻷﻴﺩﻭﻝﻭﺠﻴﺎ‪ .‬ﺍﻝﻔﻴﻠﻡ ﻓﻲ ﺤﻘﻴﻘﺘﻪ‪ :‬ﺴﻠﻌﺔ‪ ،‬ﻤﻌﺭﻓﺔ‪ ،‬ﻗﻭﺓ ﺍﺠﺘﻤﺎﻋﻴﺔ‪.‬‬

‫ﺍﻝﺴﻴﻨﻤﺎ ﺃﻴﺩﻝﻭﺠﻴﺎ ﺘﻘﺩﻡ ﻨﻔﺴﻬﺎ ﺒﻨﻔﺴﻬﺎ‪ .‬ﻭﺤﺎﻝﻤﺎ ﺘﺩﺭﻙ ﺃﻥ ﻁﺒﻴﻌﺔ ﺍﻝﻨﻅﺎﻡ ﺘﺘﺤﻭل ﺍﻝﺴﻴﻨﻤﺎ ﺇﻝـﻰ ﺃﺩﺍﺓ‬

‫ﺃﻴﺩﻝﻭﺠﻴﺔ ﻓﺈﻨﻨﺎ ﻴﻤﻜﻥ ﺃﻥ ﻨﻔﻬﻡ ﺃﻥ ﺍﻝﻤﻬﻤﺔ ﺍﻷﻭﻝﻰ ﻝﺼﺎﻨﻊ ﺍﻝﻔﻴﻠﻡ ﻫﻲ ﺃﻥ ﻴﻔﻀﺢ ﻤـﺎ ﻴ‪‬ـﺯﻋﻡ ﺒﺄﻨـﻪ‬

‫ﺘﺼﻭﻴﺭ ﻝﻠﻭﺍﻗﻊ ﺴﻴﻨﻤﺎﺌﻴﺎ‪ .‬ﻭﺇﻥ ﺍﺴﺘﻁﺎﻉ ﺼﺎﻨﻊ ﺍﻝﻔﻴﻠﻡ ﻓﻌل ﻫﺫﺍ ﻓﻬﻨﺎﻙ ﻓﺭﺼﺔ ﺒﺄﻥ ﻴﺼﺒﺢ ﺍﻝﺠﻤﻬﻭﺭ‬

‫‪2‬‬
‫ﻗﺎﺩﺭﺍ ﻋﻠﻰ ﺘﻤﺯﻴﻕ ﺃﻭ ﻗﻁﻊ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻭﻭﻅﻴﻔﺘﻬﺎ ﺍﻷﻴﺩﻝﻭﺠﻴﺔ‪.‬‬

‫ﺇﻥ ﻓﺌﺎﺕ ﺍﻷﻓﻼﻡ ﻤﻥ ﻫﺫﺍ ﺍﻝﻤﻨﻅﻭﺭ ﻫﻲ‪:‬‬

‫‪ -‬ﺍﻝﻔﺌﺔ ﺍﻷﻭﻝﻰ ﻭﻫﻲ ﺍﻝﻔﺌﺔ ﺍﻷﻜﺒﺭ ﻭﺘﺸﻤل ﺘﻠﻙ ﺍﻷﻓﻼﻡ ﺍﻝﻤﺸﺭﺒﺔ ﺘﻤﺎﻤﺎ ﺒﺎﻷﻴـﺩﻭﻝﻭﺠﻴﺎ ﺍﻝـﺴﺎﺌﺩﺓ‪،‬‬

‫ﺩﻭﻥ ﺃﻥ ﻴﺸﺘﺭﻁ ﺍﺴﺘﻴﻌﺎﺏ ﺼﺎﻨﻌﻴﻬﺎ ﺘﻠﻙ ﺍﻝﺤﻘﻴﻘﺔ‪ ،‬ﺒﻐﺽ ﺍﻝﻨﻅﺭ ﺃﻜﺎﻥ ﺍﻝﻔﻴﻠﻡ ﺘﺠﺎﺭﻴﺎ ﺃﻡ ﻁﻤﻭﺤﺎ‬

‫ﺃﻡ ﻋﺼﺭﻴﺎ ﺃﻡ ﺘﻘﻠﻴﺩﺍ‪ .‬ﻭﻋﻠﻰ ﺇﻓﺘﺭﺍﺽ ﺃﻥ ﻫﺫﺍ ﺍﻝﻔﻴﻠﻡ ﻤﺎ ﻴﺭﻴﺩﻩ ﺍﻝﺠﻤﻬﻭﺭ ﺤﻘﻴﻘﺔ ﻫﻭ ﻤﺎ ﺘﺭﻴـﺩﻩ‬

‫ﺍﻴﺯﻨﺸﺘﺎﻴﻥ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪54 ،‬‬ ‫‪1‬‬

‫‪2‬‬
‫‪Mauer.BarryJ.(2001).“FilmStills Methodologies:APedagogical Assignment‬‬
‫‪“CinemaJournal,University of Texas Press on behalf of the Society for Cinema & Media‬‬
‫‪Studies .91-108.Stable URL: http://www.jstor.org/stable/1225563.Retrived 1201102009‬‬

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‫ﺍﻷﻴﺩﻝﻭﺠﻴﺔ ﺍﻝﺴﺎﺌﺩﺓ ‪،‬ﺤﻴﺙ ﺃﻥ ﺍﻝﻔﻜﺭﺓ ﺍﻝﻐﺎﻤﻀﺔ ﺍﻝﻤﺘﻌﻠﻘﺔ ﺒﺎﻝﺠﻤﻬﻭﺭ‪ ،‬ﻫﻲ ﻤﺎ ﺨﻠﻔﺘﻬﺎ ﺍﻷﻴﺩﻭﻝﻭﺠﻴﺎ‬

‫ﻝﺘﺒﺭﻴﺭ ﻨﻔﺴﻬﺎ ‪. 1‬‬

‫‪ -‬ﻓﺌﺔ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﻬﺎﺠﻡ ﺍﺴﺘﻴﻌﺎﺒﻬﺎ ﺍﻷﻴﺩﻝﻭﺠﻲ ﺒﺎﻝﻔﻌل ﺍﻝـﺴﻴﺎﺴﻲ ﺍﻝﻤﺒﺎﺸـﺭ‪ ،‬ﺃﻱ ﺃﻨﻬـﺎ ﺘﻌـﺎﻝﺞ‬

‫ﻤﻭﻀﻭﻋﺎ ﺴﻴﺎﺴﻴﺎ ﺒﺼﻭﺭﺓ ﻤﺒﺎﺸﺭﺓ ﺒﺎﻝﻔﻌل ﺍﻝﻌﻤﻠﻲ‪ .‬ﻫﻲ ﻻ ﺘﻨﺎﻗﺵ ﺃﻭ ﺘﺤﻠل ﺃﻭ ﺘﻘﻴﺩ ﺍﻝﺼﻴﺎﻏﺔ‪،‬‬

‫ﺒل ﺘﺴﺘﺨﺩﻤﻬﺎ ﻝﻤﻬﺎﺠﻤﺔ ﺍﻷﻴﺩﻭﻝﻭﺠﻴﺎ ﻭﻴﺼﺒﺢ ﻫﺫﺍ ﻤﺅﺜﺭﺍ ﻓﻲ ﺍﻝﻔﻌل ﺍﻝﺴﻴﺎﺴﻲ‪.‬‬

‫‪ -‬ﻓﺌﺔ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﻴﻜﻭﻥ ﻓﻴﻬﺎ ﺍﻝﻌﻤل ﻤﺯﺩﻭﺠﺎ ﻭﻤﺅﺜﺭﺍ‪ ،‬ﻭﻝﻜﻨﻪ ﻀﺩ ﻁﺒﻴﻌﺘﻪ‪ ،‬ﻓﺎﻝﻤﻀﻤﻭﻥ ﻝﻴﺱ‬

‫ﺴﻴﺎﺴﻴﺎ ﻭﻝﻜﻨﻪ ﻴﺼﺒﺢ ﻜﺫﻝﻙ ﻤﻥ ﺨﻼل ﺸﻜﻠﻪ‪.‬‬

‫‪ -‬ﺍﻝﻔﺌﺔ ﺍﻝﺭﺍﺒﻌﺔ ﻭﻫﻲ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺘﻜﺎﺜﺭ ﻋﻠﻰ ﻨﺤﻭ ﻤﻀﻁﺭﺩ ﻭﺘﺤﻭﻱ ﻤﻀﻤﻭﻨﺎ ﺴﻴﺎﺴﻴﺎ ﺼﺭﻴﺤﺎ ‪.‬‬

‫‪ -‬ﻓﺌﺔ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﻗﺩ ﺘﻅﻬﺭ ﺃﻴﺩﻝﻭﺠﻴﺔ ﺘﻤﺎﻤﺎ‪ ،‬ﻭﻗﺩ ﺘﺒﺩﻭ ﺼـﺭﻴﺤﺔ‪ ،‬ﻤﻌﺘﺩﻝـﺔ‪ ،‬ﻤـﺭﻭﺭﺍ ﺒـﺎﻝﻨﻤﻁ‬

‫ﺍﻹﺴﺘﺭﻀﺎﺌﻲ‪ .‬ﻨﻭﻉ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﺠﺎﺭﻴﺔ ﺍﻝﺘﻲ ﺘﻔﻌل ﻓﻌل ﺍﻝﺸﺭﺍﺏ ﺍﻝﻤﻬﺩﻱﺀ‪ :‬ﻭﻤﺎ ﻋﺴﺎﻫﺎ ﺘﻜﻭﻥ‬

‫ﺍﻝﻔﺎﺌﺩﺓ ﻤﻥ ﺍﻝﺘﻔﻜﻴﺭ ﺒﺎﻝﻤﺴﺅﻭﻝﻴﺔ ﺍﻝﺘﻲ ﻴﺘﺤﻤﻠﻬﺎ ﺍﻝﻤﺭﺀ ﺘﺠﺎﻩ ﺍﻝﺤﻴﺎﺓ ﻭﺍﺘﺠﺎﻩ ﺍﻝﻌﺼﺭ ﻁﺎﻝﻤﺎ ﺃﻥ ﺍﻝﻔﻨﺎﻥ‬

‫ﻋﺎﺠﺯ ﻋﻠﻰ ﻜل ﺤﺎل ؟‪. 2‬‬

‫‪ -‬ﺃﻓﻼﻡ ﺫﺍﺕ ﻁﺎﺒﻊ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﺠﻤﺎﻫﻴﺭﻴﺔ ﺍﻝﻤﺘﺠﺭﺓ ﺃﻱ ﺍﻝﻤﻜﺘﺴﺒﺔ ﻁﺎﺒﻌﺎ ﺠﻤﺎﻫﻴﺭﻴﺎ‪ ،‬ﺤﻴﺙ ﻴﻤﻜـﻥ ﺃﻥ‬

‫ﻴﺘﻌﺎﻁﻰ ﻤﻊ ﺍﻝﻔﻥ ﻜﺴﻠﻌﺔ‪ ،‬ﻤﻤﺎ ﻗﺩ ﻴﺴﺒﺏ ﺍﻨﺤﺩﺍﺭﺍ ﻓﻲ ﺍﻝﻘﻴﻡ ﺍﻝﺠﻤﺎﻝﻴﺔ ﻝﻠﻌﻤل ﺍﻹﺒﺩﺍﻋﻲ ﺍﻝﻔﻨﻲ ﻋـﻥ‬

‫ﻁﺭﻴﻕ ﺃﺴﺎﻝﻴﺏ ﺍﻝﺘﺴﻠﻴﺔ ﻭﺍﻝﺩﻋﺎﺒﺔ ﻭﺨﻠﻕ ﻗﻭﺍﻝﺏ ﺘﻨﻤﻴﻁﻴﺔ ‪ Stereotypes Patterns‬ﻤﺘﻜـﺭﺭﺓ‬

‫ﺒﺎﺴﺘﻤﺭﺍﺭ‪ ،‬ﻜﻤﺎ ﻨﺎﻓﺴﺕ ﺃﻓﻼﻡ ﺠﻴﻤﺱ ﺒﻭﻨﺩ ﺴﻴﻨﻤﺎ ﺸﺎﺭﻝﻲ ﺸﺎﺒﻠﻥ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺫﺍﺕ ﺍﻝﻘﻭﺍﻝـﺏ ﺍﻝﺘـﻲ‬

‫ﺘﺘﻜﺭﺭ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺘﻘﻨﻴﺎﺕ ﺨﻁﺎﺏ ﻷﻤﺭ ﻴﻘﻀﻴﻪ ﺸﺒﺎﻙ ﺍﻝﺘﺫﺍﻜﺭ ﻭ ﺍﻝﻤﺼﻠﺤﺔ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ .‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ‬

‫ﺘﻘﻨﻴﺔ ﺃﺨﺭﻯ ﻓﻲ ﺘﺭﻭﻴﺞ ﺍﻝﺨﻁﺎﺏ ﺒﺎﺴﺘﺨﺩﺍﻡ ﺫﺍﺕ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺘﻔﺴﻴﺭﺍ ﻝﻠﺤﻘﻴﻘﺔ ﺍﻝﻘﺎﺌﻠﺔ ﺒﺄﻥ ﺍﻻﺴﺘﻬﻼﻙ‬

‫‪1‬‬
‫‪Ibid, 55‬‬
‫ﻏﺎﺭﺍﻏﺎﻨﻭﻑ‪ ،‬ﺍﻝﻜﺴﻨﺩﺭ‪) .‬ﺩﺕ(‪".‬ﺍﻝﺴﻴﻨﻤﺎ ﺒﻴﻥ ﺍﻻﻴﺩﻝﻭﺠﻴﺎ ﻭﺸﺒﺎﻙ ﺍﻝﺘﺫﺍﻜﺭ"‪ .‬ﺘﺭﺠﻤﺔ ﺴﺎﻤﻲ ﺍﻝﻜﻌﻜﻲ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻁﻠﻴﻌﺔ‪9 ،‬‬ ‫‪2‬‬

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‫ﺍﻝﺠﻤﺎﻫﻴﺭﻱ ﻫﻭ ﺍﻝﺤﻜﻡ ﺍﻷﻫﻡ ﺍﻝﺫﻱ ﻻ ﺴﺒﻴل ﺇﻝﻰ ﺘﺠﺎﻫﻠﻪ‪ ،‬ﻭﻫﻨﺎ ‪‬ﻴﻌﺭﻑ ﻤﻥ ﺃﻴﻥ ﺘﺅﻜـل ﺍﻝﻜﺘـﻑ‬

‫ﻜﺩﻋﻭﺓ ﻴﺨﺘﺎﺭ ﻤﺎ ﻴﺸﺎﺀ ﺍﻨﻪ ﺩﻴﻤﻘﺭﺍﻁﻲ ﻭﻤﺭﺒﺢ ﻋﻠﻰ ﺤﺩ ﺴﻭﺍﺀ ‪.‬‬

‫ﻴﺭﻯ ﺍﻝﻨﺎﻗﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻜﺎﺭﺍﻏﺎﻨﻭﻑ ﺃﻥ ﺍﻝﺴﻴﻨﻤﺎ ﻗﺩ ﺘﻠﺒﺱ ﻝﻐﺘﻬﺎ ﺒﺄﺴﺎﻁﻴﺭ ﻭﺯﺨﺎﺭﻑ ﻋﻠﻰ ﻨﺤـﻭ‬

‫ﺒﺎﺭﻉ ﺒﺤﻴﺙ ﻴﺼﺒﺢ ﺍﻝﻤﺘﻠﻘﻲ ﻋﺎﺠﺯﺍ ﻋﻥ ﺍﻝﺘﻔﻜﻴﺭ‪ ،‬ﺇﺫ ﺘﻜﻴﻔﻪ ﺒﺒﺴﺎﻁﻪ ﻋﻥ ﻋﺎﻝﻡ ﺍﻝﺘﻨﺎﻗﻀﺎﺕ ﺍﻝﺤﻘﻴﻘﻲ‬

‫ﻓﻴﺭﻓﺽ ﺃﻱ ﺩﻋﻭﺓ ﻝﻠﺴﻴﻨﻤﺎ ﻤﻥ ﻨﻭﻉ ﺁﺨﺭ ﻗﺩ ﻻ ﺘﺘﻜﻴﻑ ﻭﺫﻭﻗﻪ ﺍﻝﺫﻱ ﻴﺤﺘﻡ ﺍﻨﻪ ﺃﺼﺒﺢ ﻓﺎﺴﺩﺍ ‪ .1‬ﺇﻥ‬

‫ﺍﻝﺤﻴﺎﺓ ﻨﻔﺴﻬﺎ ﻭﺘﺎﺭﻴﺦ ﺍﻝﺼﺭﺍﻉ ﺍﻷﻴﺩﻝﻭﺠﻲ ﻓﻲ ﻋﺎﻝﻡ ﺍﻝﻔﻥ ﻴﻁﺭﺤﻬﺎ ﻓﻲ ﻤﻘﺎﻴﻴﺱ ﺫﺍﺕ ﻁﺒﻴﻌﺔ ﺴﻴﺎﺴﻴﺔ‬

‫ﻭﺍﺠﺘﻤﺎﻋﻴﺔ‪ ،‬ﻓﻼ ﻴﻤﻜﻥ ﻭﻀﻊ ﺍﻝﻤﻜﺎﻥ ﺍﻝﺠﻤﺎﻝﻲ ﻓﻲ ﺘﻌﺎﺭﺽ ﻤﻊ ﺍﻝﻤﻜـﺎﻥ ﺍﻝـﺴﻴﺎﺴﻲ‪ ،‬ﺴـﻴﻤﺎ ﻭﺍﻥ‬

‫ﺍﻝﻀﺭﻭﺭﺓ ﺍﻝﺠﺩﻝﻴﺔ ﺒﻴﻥ ﺍﻝﺸﺄﻨﻴﻥ ﺘﻤﺜل ﺃﺤﺩ ﺍﻝﺤﻘﺎﺌﻕ ﺍﻝﻔﻨﻴﺔ‪ .‬ﻝﻘﺩ ﺃﺼﺒﺤﺕ ﻤﻌﺎﻝﺠﺔ ﺍﻷﻤﻭﺭ ﻭﺍﻝﻘﻀﺎﻴﺎ‬

‫ﺍﻝﺴﻴﺎﺴﻴﺔ ﺫﺍﺕ ﺍﻝﻌﻼﻗﺔ ﺒﺎﻷﺤﺩﺍﺙ ﺃﻤﺭﺍ ﺠﻠﻴﺎ ﻴﻘﺼﺩ ﻝﻠﺤﺎﺠﺎﺕ ﺍﻷﻴﺩﻝﻭﺠﻴﺔ‪.‬‬

‫ﺇﻥ ﻫﻭﻝﻴﻭﺩ ﺍﻝﻴﻭﻡ ﺘﻁﻠﻕ ﻋﻠﻰ ﻨﻔﺴﻬﺎ ﻝﻘﺏ "ﻤﺼﻨﻊ ﺍﻝﺘﺴﻠﻴﺔ "‪ ،‬ﻝﻘﺩ ﺴﺎﻫﻤﺕ ﻓﻲ ﺍﻝﻤﺯﺍﻭﺠـﺔ ﺒـﻴﻥ‬

‫ﻏﺽ ﺍﻝﻨﻅﺭ ﻋﻥ ﺍﻝﺘﻨﺎﻗﻀﺎﺕ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ ﻭﻁﺭﺡ ﺍﻝﻘﻀﺎﻴﺎ ﻭﺍﻝﺠﺩﻝﻴﺎﺕ ﺍﻝﺘﻲ ﺘﻁﺭﺤﻬﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ ‪ .‬ﻭ‬

‫ﺠﻤﻊ ﺃﻜﺒﺭ ﻤﻥ ﺍﻻﻭﺩﻴﻡ ﺒﺎﻝﺘﺭﻜﻴﺯ ﻋﻠﻰ ﻓﻴﻠﻡ ﺍﻝﺘﺴﻠﻴﺔ ﻓﻲ ﻤﻭﻀﻭﻉ ﻤﻌﻴﻥ‪ .‬ﺇﻀـﺎﻓﺔ ﺇﻝـﻰ ﺍﻹﻫﺘﻤـﺎﻡ‬

‫ﺍﻝﺸﺩﻴﺩ ﺒﻘﻀﺎﻴﺎ ﺘﺘﻌﻠﻕ ﺒﺎﻝﺴﻴﺎﺴﺔ ﺍﻝﺨﺎﺭﺠﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ ،‬ﻭﻴﺭﻯ ﺒﻌﺽ ﺍﻝﻨﻘﺎﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﺃﻥ ﻫﻭﻝﻴﻭﺩ‬

‫ﺭﻤﺯ ﻝﻠﻌﻘﻠﻴﺔ ﺍﻝﺘﺠﺎﺭﻴﺔ ﻭ ﺨﺼﺎﺌﺼﻬﺎ ﺘﻤﺜل ﺍﺴﺘﺒﺩﺍﺩﺍ‪ ،‬ﻓﺎﺸﻴﺔ ﻤﺴﺘﺘﺭﺓ ﻭﺩﺍﻋﻴﺔ ﺇﻝﻰ ﺃﺨﺭ ﺃﻜﺜﺭ ﺘﻔﺴﺨﺎ‬

‫‪ .2‬ﻭﻤﺎﺩﺓ ﻏﻨﻴﺔ ﺒﺎﻝﺩﻋﺎﻴﺔ ﺍﻝﺯﺍﺌﻔﺔ‪.‬‬

‫‪ 5.1‬ﺍﻝﻤﻭﻨﺘﺎﺝ‪ ،‬ﺍﻹﻝﻜﺘﺭﻭﻨﻴﻙ‪ ،‬ﺍﻷﺩﺭﻤﺔ‪ :‬ﻁﺭﻴﻘﺔ ﻓﻬﻡ ﺍﻝﺘﺸﻜﻼﺕ ﻭﺘﺤﺩﻴﺩ ﺍﻝﻭﺴﺎﺌل ﻓـﻲ‬

‫ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‬
‫ﺇﻥ ﻗﺭﺍﺀﺓ ﺍﻝﺼﻭﺭﺓ ﻋﻤل ﺘﺼﻨﻴﻔﻲ ﻴﻨﺼﺭﻑ ﺇﻝﻰ ﺍﻝﺒﺤﺙ ﻓـﻲ ﺍﻝﺤـﺩﻭﺩ ﻭﻴﻨـﺸﻐل ﺒﺎﺴـﺘﺠﻼﺀ‬

‫ﺍﻝﻤﻜﻭﻨﺎﺕ ﻭﺍﻝﻘﻴﻡ ﻭﺍﻝﻭﻅﺎﺌﻑ‪.‬ﺇﻨﻪ ﺘﻤﺜﻴل ﻝﺨﺒﺭﺍﺕ ﺍﻝﻭﻋﻲ ﻓﻲ ﺘﻤﻴﻴﺯ ﺍﻷﺜﺭ ﺍﻝﺠﻤﺎﻝﻲ ﻭﺇﻓﺭﺍﻍ ﻝﻪ ﻓـﻲ‬

‫ﻜﺎﺭﺍﻨﻭﻑ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪14 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﻨﻴﻭﻜﻠﺯﻨﺒﻴل‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪35 ،‬‬

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‫ﻤﻔﺎﻫﻴﻡ ﻭﺤﺩﻭﺩ‪.‬ﺃﻤﺎ ﺍﻝﺘﺄﻭﻴل ﻓﻔﻌل ﻴﺘﻌﻠﻕ ﺒﺎﻝﻤﻌﻨﻰ ﻴﺘﺠﺎﻭﺯ ﺍﻵﻝﺔ ﺇﻝﻰ ﻤﺎ ﺘﻨﻘﻠﻪ ﻤﻥ ﺭﻤـﻭﺯ ﻭﺃﻓﻜـﺎﺭ‬

‫ﻭﺩﻻﻻﺕ‪.1‬‬

‫ﺘﻤﻠﻙ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺍﻝﺘﻭﺍﺼل ﺒﺄﻜﺜﺭ ﻤﻥ ﻝﻐﺔ‪ ،‬ﺒﺈﻤﻜﺎﻨﻴﺎﺕ ﻤﺘﻌﺩﺩﺓ ﻤـﻥ ﻓﻨـﻭﻥ ﺍﻝـﺴﻤﻌﻲ‬

‫ﺍﻝﺒﺼﺭﻱ‪ ،‬ﻓﻬﻲ ﺘﻨﻬﺽ ﺒﺎﻷﺴﺎﺱ ﻋﻠﻰ ﺍﺴﺘﺜﻤﺎﺭ ﻤﺠﻤل ﺍﻝﻭﺴﺎﺌﻁ ﻭ ﺍﻹﻤﻜﺎﻨﺎﺕ ﺍﻝﺘﻌﺒﻴﺭﻴﺔ ﻝﻠﻤﺭﺌـﻲ‬

‫ﻤﻨﻬﺎ ﻭﺍﻝﺫﻫﻨﻲ ﺍﻝﻤﺤﺴﻭﺱ‪ ،‬ﻭﺍﻝﻤﺠﺭﺩ ﺍﻝﻭﺍﻗﻌﻲ‪ ،‬ﻭﺍﻝﺘﺨﻴﻠﻲ‪ .‬ﻭﻝﻤﺎ ﻜﺎﻨﺕ ﺘﻨﻁﻭﻱ ﻋﻠﻰ ﻫﺫﺍ ﺍﻝﺜﺭﺍﺀ ﻓﻘﺩ‬

‫ﺸﻜﻠﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺁﻝﺔ ﻓﺭﻴﺩﺓ ﻝﺘﺤﻘﻴﻕ ﺍﻝﻤﺘﻌﺔ ﺍﻝﺫﻫﻨﻴﺔ ﻭﻓﺘﻨﺔ ﺍﻝﺤﻭﺍﺱ ﻭﺘﺤﺭﻴﺭ ﺍﻝﻭﺴﺎﺌل ‪ . 2...‬ﻭﻫﻲ ﻗﻴﻡ‬

‫ﻗﺎﺒﻠﺔ ﻝﻠﺘﻌﺭﻴﻑ ﻭﺍﻝﻜﺸﻑ‪ ،‬ﻭﻝﻬﺎ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﺍﻻﻗﻨﺎﻉ ﻭﺍﻹﺸﺒﺎﻉ ﺍﻝﺫﻫﻨﻲ ﻭﺍﻝﺒﺼﺭﻱ ﻀـﻤﻥ ﺘﺠﺭﺒـﺔ‬

‫ﺨﺎﺼﺔ ﻭﺭﺅﻯ ﺠﻤﺎﻝﻴﺔ ﻓﻲ ﺘﻔﺎﻋﻼﺘﻬﺎ ﻤﻊ ﻤﺤﻴﻁ ﺍﻝﻔﻌل ﺍﻹﻨﺴﺎﻨﻲ ﻭﻤﻨﺎﺤﻲ ﺍﻝﺘﺠﺭﺒﺔ ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‪.‬‬

‫ﺇﻥ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺘﻌﻤل ﻤﻥ ﺨﻼل ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺭﻤﻭﺯ ﻭﺍﻝﻤﺠﺎﺯﺍﺕ ﻭﺍﻝﺼﻴﻎ ﺍﻻﺴﺘﻌﺎﺭﻴﺔ‬

‫ﻭﺍﻝﻜﻨﺎﺌﻴﺔ‪ ،‬ﻭﻝﻜﻥ ﻝﻴﺴﺕ ﺒﺎﻝﻤﻔﻬﻭﻡ ﺍﻷﺩﺒﻲ ﺍﻝﺒﻼﻏﻲ ‪ .3‬ﻭ ﻴﺘﻡ ﺍﻝﺘﺤﻠﻴل ﻋﻠـﻰ ﺃﺴـﺎﺱ ﺃﻥ ﺍﻝـﺼﻭﺭﺓ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻤﻨﺘﺞ ﺜﻘﺎﻓﻲ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻜﻭﻨﻬﺎ ﺨﺒﺭﺓ ﺃﺴﻠﻭﺒﻴﺔ‪.4‬‬

‫ﻭﻝﻨﺎ ﻓﻲ ﻤﺭﺍﺤل ﻗﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻡ ﻓﻬﻡ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﻹﺨﺭﺍﺠﻴﺔ‪ ،‬ﺍﻝﺘﻲ ﺘﺘﻡ ﻋﺒﺭ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻝﻤﻭﻨﺘﺎﺝ‪:‬‬

‫‪ -‬ﺍﻝﺴﻴﻨﺎﺭﻴﻭ‪ :‬ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻝﻔﻅ ﺇﻴﻁﺎﻝﻲ ﻴﻌﻨﻲ "ﻋﺭﺽ ﻭﺼﻔﻲ ﻝﻜل ﺍﻝﻤﻨﺎﻅﺭ ﺍﻝﺘﻲ ﺴﻭﻑ ﻴﺘﻜـﻭﻥ‬

‫ﻤﻨﻬﺎ ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺤﻴﺙ ﻴﻌﺎﻝﺞ ﻫﺫﺍ ﺍﻝﻨﺹ‪ ،‬ﻭﻴﻜﺘﺏ ﻝﻪ ﺍﻝﺤﻭﺍﺭ ﻭﻴﻌﺩ ﻝﻠﺘﺼﻭﻴﺭ ﻓﻴﻜﻭﻥ ﻤـﺎ ﻴـﺴﻤﻲ‬

‫ﺒﺎﻝﺴﻴﻨﺎﺭﻴﻭ ﺍﻝﻨﻬﺎﺌﻲ"‪ .5‬ﻭﻜﺘﺎﺒﺔ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻋﻤﻠﻴﺔ ﻴﺘﻡ ﻤﻥ ﺨﻼﻝﻬﺎ ﺘﺤﻭﻴل ﺍﻝﻠﻐﻭﻱ ﺇﻝﻰ ﺒـﺼﺭﻱ‬

‫ﻤﺭﺴﻭﻡ‪ ،‬ﺃﻱ ﺘﺤﻭﻴل ﺍﻝﻘﺼﺔ ﺍﻝﻠﻔﻅﻴﺔ ﺇﻝﻰ ﻤﺸﺎﻫﺩ ﻭﻝﻘﻁﺎﺕ ﻤﺭﺴﻭﻤﺔ ﻋﻠﻰ ﺍﻝﻭﺭﻕ ﻓﻲ ﻋﻤﻠﻴـﺔ‬

‫ﺘﺴﻤﻰ ﺍﻝﺩﻴﻜﻭﺒﻼﺝ‪ ،‬ﻭﻓﻴﻬﺎ ﻴﺤﺩﺩ ﺭﻗﻡ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﺤﺠﻤﻬﺎ‪ ،‬ﻤﻜﺎﻨﻬﺎ‪ ،‬ﻭﺼﻔﻬﺎ‪ ،‬ﻤﺩﺘﻬﺎ‪ ،‬ﻭﺍﻝـﺩﻴﻜﻭﺭ‬

‫ﻤﺎﺠﺩﻝﻭﻴﻥ‪ .‬ﺸﺭﻑ ﺍﻝﺩﻴﻥ‪ .(2006) .‬ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﺭﺩﻴﺔ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ ﻭﺍﻝﻘﺼﺔ ﺍﻝﻘﺼﺭﺓ ﻭﺍﻝﺴﻴﻨﻤﺎ‪ ،‬ﺍﻝﻘﺎﻫﺭﺓ‪ :‬ﺭﺅﻴﺔ‪1 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪13 ،‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪139 ،‬‬ ‫‪3‬‬

‫ﺭﻴﻤﻭﻨﺩ ﻭﻝﻴﺎﻏﺭ‪" .(2005) .‬ﻁﺭﺍﺌﻕ ﺍﻝﺤﺩﺍﺜﺔ ﻀﺩ ﺍﻝﻤﺘﻭﺍﺌﻤﻭﻥ ﺍﻝﺠﺩﺩ" ‪.‬ﻓﺎﺭﻭﻕ ﻋﺒﺩﺍﻝﻘﺎﺩﺭ‪ .‬ﺍﻝﻜﻭﻴﺕ‪:‬ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ‪253 ،‬‬ ‫‪4‬‬

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‫ﺠﻭﺘﻴﺭﺍﻥ‪ ،‬ﻓﺭﺍﻨﻙ‪" .(2001) .‬ﻓﻨﻭﻥ ﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﻋﺒﺩﺍﻝﻘﺎﺩﺭ ﺍﻝﺘﻠﻤﺴﺎﻨﻲ‪ .‬ﺍﻝﻘﺎﻫﺭﺓ ‪:‬ﺍﻝﻤﺠﻠﺱ ﺍﻻﻋﻠﻰ ﻝﻠﺜﻘﺎﻓﺔ‪113 ،‬‬

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‫ﺍﻝﻤﺼﺎﺤﺏ ﻝﻬﺎ‪ .‬ﻭﺍﻝﻌﺩﺴﺔ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻲ ﺘﺼﻭﻴﺭﻫﺎ‪ .‬ﻴﺘﺒﻊ ﺫﻝـﻙ ﺍﻝﻤﺭﺤﻠـﺔ ﺍﻝﺘﻁﺒﻴﻘﻴـﺔ ﻤـﻥ‬

‫ﺍﻝﺘﺼﻭﻴﺭ‪.1‬‬

‫‪ -‬ﺍﻝﻤﻭﻨﺘﺎﺝ‪ :‬ﻭﻫﻲ ﺍﻝﻤﺭﺤﻠﺔ ﺍﻷﻜﺜﺭ ﺃﻫﻤﻴﺔ ﻓﻲ ﺼﻨﺎﻋﺔ ﺍﻝﻔﻴﻠﻡ ﺤﻴﺙ ﺃﻨﻬﺎ ﺘﻌﻁﻲ ﺍﻝﻔـﻴﻠﻡ ﺇﻴﻘﺎﻋـﻪ‬

‫ﻭﻨﺒﻀﻪ ﺍﻝﺩﺍﺨﻠﻲ ﻭﻤﻌﻨﺎﻩ‪ .‬ﻭﻫﻭ ﺃﻴﻀﺎ "ﺘﺭﻜﻴﺏ ﻝﻘﻁﺎﺕ ﺍﻝﻔﻴﻠﻡ ﻭﻓﻕ ﺸﺭﻭﻁ ﻤﻌﻴﻨﺔ ﻝﺘﺘﺎﺒﻊ ﺍﻝﺯﻤﻥ"‬

‫ﻭﺘﻜﻤﻥ ﺒﻼﻏﺔ ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﻏﺭﻓﺔ ﺍﻝﻤﻭﻨﺘﺎﺝ‪ .‬ﺇﻨﻪ ﺍﻝﻌﻤل ﺍﻝﺘﻁﺒﻴﻘﻲ ﺃﻭ ﺍﻝﻔﻌل ﺍﻝﻤﺎﺩﻱ ﺍﻝﺫﻱ ﻴﻭﻝﻑ‬

‫ﺍﻝﻌﻨﺎﺼﺭ ﻗﻁﻌﺔ ﻗﻁﻌﺔ‪ ،‬ﻤﻊ ﺘﻨﺴﻴﻕ ﻝﻤﺨﺘﻠﻑ ﺍﻝﻠﻘﻁﺎﺕ ﻭﺍﻝﺘﺨﻠﺹ ﻤﻥ ﺍﻝﺼﻭﺭ ﻏﻴﺭ ﺍﻝﻀﺭﻭﺭﻴﺔ‪.‬‬

‫ﻭﺍﻝﻠﻘﻁﺔ‪ :‬ﻫﻲ ﺍﻝﻭﺤﺩﺓ ﺍﻷﺴﺎﺴﻴﺔ ﺍﻝﺘﻲ ﺘﺸﻜل ﺍﻝﺴﺭﺩ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ "ﻭﺍﻝﺨﻠﻴﺔ ﺍﻷﻭﻝﻰ ﻝﻠﻤﻭﻨﺘﺎﺝ" ﻜﻤﺎ‬

‫ﺃﺸﺎﺭ ﺍﻴﺯﻨﺘﺸﺘﺎﻴﻥ‪ .2‬ﺤﻴﺙ ﺘﺘﻐﻠﺏ ﺍﻝﻠﻘﻁﺔ ﻋﻠﻰ ﻋﺯﻝﺘﻬﺎ ﻋﻥ ﻁﺭﻴـﻕ ﺍﻝﺘﺘـﺎﻝﻲ ﺍﻝﺯﻤﻨـﻲ ﻓـﻲ‬

‫ﺍﻨﺩﻤﺎﺠﻬﻤﺎ ﻓﻲ ﻭﺤﺩﺓ ﺩﻻﻝﻴﺔ ﻤﺭﺌﻴﺔ‪ .‬ﻜﻤﺎ ﻴﻘﺎﺱ ﺍﻝﻌﺎﻤل ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻝﻠﻔﻴﻠﻡ ﻓﻲ ﻀـﻭﺀ ﻓﺎﻋﻠﻴـﺔ‬

‫ﺍﻝﺘﻘﻁﻴﻊ ﺃﻭ ﺍﻝﻤﻭﻨﺘﺎﺝ ﻭﻫﻭ ﻤﺎ ﻴﺴﻤﻰ ﺒﺎﻝﺘﻭﻝﻴﻑ ‪.‬‬

‫ﺃﻨﻭﺍﻉ ﺍﻝﻤﻭﻨﺘﺎﺝ ‪:3‬‬

‫‪ -‬ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﻤﺘﺴﺎﺭﻉ ‪ :Accelerated Montage‬ﻭﻴﺴﺘﺨﺩﻡ ﻫﺫﺍ ﺍﻝﻨﻭﻉ ﻤـﻥ ﺃﺠـل ﺘﺠـﺴﻴﺩ‬

‫ﺍﻝﻤﺒﺎﻝﻐﺔ ﻓﻲ ﺇﺤﺩﺍﺙ ﺘﺄﺜﻴﺭ ﺨﺎﺹ ﺒﺎﻝﺴﺭﻋﺔ ﺍﻝﻤﺘﺯﺍﻴﺩﺓ ﻓﻲ ﺤﺭﻜﺔ ﺍﻝﺼﻭﺭﺓ ﻭﺯﻴﺎﺩﺓ ﻭﺇﻨﻘﺎﺹ ﻁﻭل‬

‫ﺍﻝﻠﻘﻁﺎﺕ ﺒﺸﻜل ﻤﺘﺘﺎﺒﻊ ‪.‬‬

‫‪ -‬ﻤﻭﻨﺘﺎﺝ ﻫﻭﻝﻴﻭﺩ ‪ :Hollywood Montage‬ﻭﻫﻭ ﺍﺴﺘﺨﺩﺍﻡ ﻝﻘﻁﺔ ﺴﺭﻴﻌﺔ ﻝﻺﻴﺤﺎﺀ ﺒﻔﺘﺭﺓ ﺯﻤﻨﻴﺔ‬

‫ﻗﺼﻴﺭﺓ ‪.‬‬

‫ﻋﺒﺩﺍﻝﺤﻤﻴﺩ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪165-159 ،‬‬ ‫‪1‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪267 ،‬‬ ‫‪2‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪270-268 ،‬‬ ‫‪3‬‬

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‫‪ -‬ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﺘﺼﻭﺭﻱ ‪ :Conceptual Montage‬ﺤﻴﺙ ﺍﻝﻘﻁﻊ ﻝﻌﺩﺩ ﻤﻥ ﺍﻝﻠﻘﻁﺎﺕ ﻤـﻥ ﺃﺠـل‬

‫ﺨﻠﻕ ﺒﻌﺽ ﺍﻝﻤﻌﺎﻨﻲ ﺍﻝﺘﻲ ﺘﺘﺸﻜل ﻤﻥ ﺨﻼل ﺘﻨﻅﻴﻡ ﺨﺎﺹ‪ ،‬ﻜﺎﻝﺘﺸﻭﻴﻪ ﺍﻝﻤﺘﻌﻤﺩ ﻝﻠﺯﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ‪،‬‬

‫ﻭﻁﺭﻴﻘﺔ ﺍﻻﺴﺘﺭﺠﺎﻉ‪ ،‬ﻭﺍﻝﺨﻠﻁ ﺒﻴﻥ ﺍﻝﻠﻘﻁﺎﺕ ﻋﻠﻰ ﻨﺤﻭ ﻏﻴﺭ ﻤﻨﻁﻘﻲ‪.‬‬

‫‪ -‬ﻤﻭﻨﺘﺎﺝ ﻝﻔﺕ ﺍﻻﻨﺘﺒﺎﻩ ‪ :Montage Of Attention‬ﺤﻴﺙ ﺍﻝﺘﻭﻝﻴﻑ ﺍﻝﻤﺠﺎﺯﻱ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺘﺭﺘﺒﻁ‬

‫ﺼﻭﺭﺘﺎﻥ ﻤﺘﺸﺎﺒﻬﺘﺎﻥ ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ ﻜﺎﻝﺘﺸﺎﺒﻪ ﺍﻝﺒﺼﺭﻱ ﻭﺍﻝﺴﻴﺎﻗﻲ ‪.‬‬

‫‪ -‬ﻤﻭﻨﺘﺎﺝ ﺍﻝﻌﻼﻗﺔ ‪ Relation Montage:‬ﻤﻭﻨﺘﺎﺝ ﺴﺭﺩﻱ ﻤﻥ ﺨﻼل ﻝﻘﻁﺘﻴﻥ ﺃﻭ ﺃﻜﺜﺭ ﻹﻨﺘـﺎﺝ‬

‫ﻤﻌﻨﻰ ﺨﺎﺹ‪ ،‬ﻓﻘﺩ ﺘﻭﻀﺢ ﺍﻷﻭﻝﻰ ﻤﻌﻨﻰ ﺍﻝﺜﺎﻨﻴﺔ ﻭﺘﺨﻠﻕ ﺍﻹﺤﺴﺎﺱ ﺍﻻﻨﻔﻌﺎﻝﻲ ﻝﻬﺎ‪.‬‬

‫‪ -‬ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻝﺴﺭﺩﻱ ‪ :Narrative Montage‬ﺃﻱ ﺘﻭﻝﻴﻑ ﻝﻘﻁﺎﺕ ﻭﻤﺸﺎﻫﺩ ﺭﺘﺒﺕ ﻤﻥ ﺨـﻼل‬

‫ﻨﻅﺎﻡ ﺘﺘﺎﺒﻌﻲ ﺯﻤﻨﻲ ﺨﺎﺹ‪ ،‬ﻝﺘﻜﻭﻴﻥ ﺘﺩﻓﻕ ﺴﺭﺩﻱ ﺨﺎﺹ ﻝﻠﻔﻴﻠﻡ ﺤﻴﺙ ﺍﻻﻫﺘﻤﺎﻡ ﺒﺎﻝﺘﻭﺼل ﻝﻠﺫﺭﻭﺓ‬

‫ﻭﺇﻅﻬﺎﺭ ﺍﻝﻌﻨﺼﺭ ﺍﻻﻴﺤﺎﺌﻲ ﻝﻠﻘﺼﺔ‪.‬‬

‫‪ -‬ﺍﻝﻤﻭﻨﺘﺎﺝ ﺍﻹﻴﻘﺎﻋﻲ ‪ :Rhythmic Montage‬ﺤﻴﺙ ﻴﺤﺩﺙ ﺍﻝﺘﻭﻝﻴﻑ ﻤﻥ ﺃﺠل ﺍﻝﻭﺼﻭل ﺇﻝـﻰ‬

‫ﺘﺒﺎﻴﻥ ﻓﻲ ﺍﻹﻴﻘﺎﻉ ﻴﺤﺩﺙ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻝﺨﺎﺹ‪ ،‬ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﻤﻘﺎﺼﺩ ﺍﻝﻤﻭﻀﻭﻉ ﺍﻝﺭﺌﻴﺱ ﻝﻠﻔﻴﻠﻡ ﻓﺎﻝﻁﻭل‬

‫ﺍﻝﻔﻌﻠﻲ ﻝﻠﻘﻁﺔ ﻴﺤﺩﺩ ﺍﻹﻴﻘﺎﻉ ﺍﻝﺨﺎﺭﺠﻲ ‪.‬‬

‫ﻓﻲ ﺍﻝﺘﻘﺎﻨﺔ ﻭﺍﻷﺩﺭﻤﺔ‪:‬‬

‫ﻴﻘﻭل ﺍﻝﻤﺨﺭﺝ ﻜﻭﺒﺭﻴﻙ‪ " 1‬ﻜل ﺸﻲﺀ ﻴﺘﻌﺩﻯ ﺤﺩﻭﺩ ﺍﻝﻔﻬﻡ ﺍﻝﺒﺸﺭﻱ ﻫﻭ ﻤﻌﺠﺯﺓ ﺘﻘﻨﻴـﺔ‪ ،‬ﻭﻝـﻴﺱ‬

‫ﺍﻹﻝﻜﺘﺭﻭﻨﻴﻙ ﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ ﻜﻤﺎ ﺃﻱ ﺘﻘﺎﻨﺔ ﺃﺨﺭﻯ‪ .‬ﺒل ﻫﻭ ﺍﻤﺘﺩﺍﺩ ﻝﻠﺤﻭﺍﺱ ﻭﺘـﻀﺨﻴﻡ ﻝﻠﻌـﻴﻥ‬

‫ﻭﺍﻷﻴﺩﻱ ﻭﺍﻝﺠﻬﺎﺯ ﺍﻝﻌﺼﺒﻲ ﻭﺍﻝﺩﻤﺎﻍ‪ ،‬ﻭﻝﻴﺴﺕ ﺍﻝﻜﺘﺎﺒﺔ ﺍﻝﺴﻤﻌﻴﺔ ﺍﻝﺒﺼﺭﻴﺔ ﺘﻌﺴﻔﺎ ﻤـﺼﻤﻤﺎ ﺒﻔـﻀل‬

‫ﺘﺠﺭﻴﺩﻫﺎ‪ ،‬ﺒل ﻫﻲ ﻏﺎﺭﻗﺔ ﻓﻲ ﻗﻠﺏ ﺍﻷﺸﻴﺎﺀ‪ ،‬ﺍﻷﺼﻭﺍﺕ‪ ،‬ﻭﺍﻷﺸﺨﺎﺹ‪ .‬ﻝﺫﺍ ﻓﻬﻭ ﻤﺭﺘﺒﻁ ﺒﻤﺎ ﻴـﺴﻤﻰ‬

‫‪1‬ﺴﺘﺎﻨﻠﻰ ﻜﻭﺒﺭﻴﻙ ﻭﻝﺩ ﻓﻰ ‪ 26‬ﻴﻭﻝﻴﻭ ‪ - 1928‬ﻤﺎﺕ ﻓﻰ ‪ 7‬ﻤﺎﺭﺱ ‪ ،1999‬ﻭﻫﻭ ﻤﺨﺭﺝ ﻭﻤﺅﻝﻑ ﻭﻤﻨﺘﺞ ﻭﻤﺼﻭﺭ‬
‫ﺴﻴﻨﻤﺎﺌﻰ ﺍﻤﺭﻴﻜﻰ‪.‬‬

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‫ﺒﺎﻝﻬﺎﻝﺔ ﺍﻝﺭﻭﺤﻴﺔ ﻭﻫﻲ ﺍﻷﺴﺎﺱ ﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ ﻭﺃﺼل ﺍﻝﻜﺘﺎﺒﺔ ﺍﻝﻀﻭﺌﻴﺔ‪ ،‬ﺇﻨﻬﺎ ﺨﻠﻔﻴﺔ ﺍﻷﺸﺨﺎﺹ‬

‫ﻭﺍﻷﺸﻴﺎﺀ ﺍﻝﻤﻭﺤﻴﺔ ﻭﻤﻭﻀﻭﻉ ﺍﻝﺼﻭﺭﺓ ﻫﻭ ﺍﻝﻤﻘﺩﻤﺔ‪ .1‬ﺍﻝﻬﺎﻝﺔ ﺍﻝﺭﻭﺤﻴﺔ ﻭﻤﻭﻀﻭﻉ ﺍﻝﺼﻭﺭﺓ ﻴﺸﻴﺭﺍﻥ‬

‫ﺇﻝﻰ ﻭﺍﻗﻊ ﺫﺍﺘﻲ ﻴﻤﻜﻨﻪ ﺍﻝﺘﻐﻴﺭ ﻭﺍﻝﺘﻨﻭﻉ ﺒﻴﻥ ﻝﺤﻅﺔ ﻭﺃﺨﺭﻯ‪ ،‬ﻭﺇﻤﻜﺎﻨﻴﺔ ﺍﻻﻨﺘﻘﺎل ﺒﻴﻥ ﺍﻝﻤﻘﺩﻤـﺔ ﺇﻝـﻰ‬

‫ﺍﻝﺨﻠﻔﻴﺔ ﻭﺍﻝﻌﻜﺱ‪ .‬ﺇﻥ ﺍﻝﻬﺎﻝﺔ ﺍﻝﺭﻭﺤﻴﺔ ﺘﻌﻴﻥ ﻋﻠﻰ ﻓﻬﻡ ﺍﻝﻌﻼﻗﺔ ﺒﻤﻭﻀﻭﻉ ﺍﻝـﺼﻭﺭﺓ‪ ،‬ﻭﻗـﺩ ﺘﻜـﻭﻥ‬

‫ﻤﻼﺌﻤﺔ ﺃﻭ ﻏﻴﺭ ﻤﻼﺌﻤﺔ‪ ،‬ﻭﺴﻴﻘﺎل ﺇﻨﻬﺎ ﻤﻼﺌﻤﺔ ﺇﺫﺍ ﻀﺨﹼﻤﺕ ﻭﻋﻅﹼﻤﺕ ﻤﻭﻀﻭﻉ ﺍﻝـﺼﻭﺭﺓ ﻋﻨـﺩﻤﺎ‬

‫ﺘﻤﻨﺤﻪ ﺍﻫﺘﺯﺍﺯﺍﺕ ﺍﻝﺤﻴﺎﺓ ﻭﺍﻝﺭﻭﺡ‪ ،‬ﺇﻨﻬﺎ ﻤﺭﺘﺒﻁﺔ ﺒﻘﻨﺎﺓ ﺍﻝﻼﻭﻋﻲ ﻭﻤﻥ ﺨﻼﻝﻬﺎ‪ :‬ﻻ ﺃﻓﻜﺭ ﺒل ﺃﺸـﻌﺭ‪،‬‬

‫ﻻ ﺃﺴﺘﺩل ﺒل ﺃﺘﺄﺜﺭ‪ ،‬ﻻ ﺃﻫﻴﻤﻥ ﺒل ﺃﻨﺒﻬﺭ‪ ،‬ﻻ ﺃﺸﻬﺩ ﺒل ﺃُﺸﺎﻫﺩ‪ ،‬ﻻ ﺃﻨﺎﻗﺵ ﺒل ﺃُﺒﻠﻎ‪ ،‬ﻻ ﺃﺒﺤﺭ ﺒﺎﺘﺠـﺎﻩ‬

‫ﺤﺭ ﺒل ﺃُﻭﻀﻊ ﻓﻲ ﻤﻨﺎﺥ ﻤﺎ‪ ،‬ﻋﻠﻰ ﻋﻜﺱ ﺫﺍﺕ ﺍﻝﺼﻭﺭﺓ ﺍﻝﻤﺭﺘﺒﻁ ﺒﺎﻝﺫﻫﻥ ﻭﺍﻝﺼﻭﺭﺓ ﺍﻝﻌﻘﻠﻴﺔ‪ .2‬ﺒﻴﻨﻤﺎ‬

‫ﺍﻝﻬﺎﻝﺔ ﻝﻴﺴﺕ ﺘﻔﻜﻴﺭﺍ ﺒل ﺇﻏﻭﺍﺀ ﻭﻝﻜل ﻫﺎﻝﺘﻪ ﺍﻝﻤﺅﺜﺭﺓ ﻓﺨﺎﺼﺔ ﺍﻝﻤﺭﺃﺓ ﻝﻴﺴﺕ ﻜﺎﻝﺘﻲ ﻋﻨﺩ ﺍﻝﺭﺠل‪ ،‬ﺃﻤﺎ‬

‫ﻤﺅﺜﺭﺍﺘﻬﺎ ﻓﺘﺨﺘﻠﻑ ﺒﺤﺴﺏ ﻋﻨﺎﺼﺭ ﺍﻝﻤﻜﺎﻥ ﻭﺍﻝﺒﻴﻨﻴﺔ ﺍﻝﻔﻀﺎﺌﻴﺔ‪ ،‬ﺍﻹﻴﻘﺎﻉ ﺍﻝﺯﻤﻨﻲ‪ ،‬ﺍﻝﺼﻭﺕ‪ ،‬ﺍﻝﻠﺤـﻥ‪،‬‬

‫ﻭﺍﻝﻀﻭﺀ‪ ..‬ﻭﻝﻜﻨﻬﺎ ﺘﺴﺘﺩﻋﻲ ﺍﻝﻁﺎﻗﺔ ﻋﻨﺩﻤﺎ ﺘﻜﻭﻥ ﻗﻭﻴﺔ ﻭﻫﻲ ﻋﻨﺩﺌﺫ ﻻ ﺘﻐﺘﺎل ﺍﻝﻌﻘل ﺒل ﺘﺨﻀﻌﻪ‪ .‬ﻻ‬

‫ﺘﺸﻜﻠﻨﺎ ﺒل ﺘﺠﻌﻠﻨﺎ ﻨﺘﻠﻭﻯ ﺒﻁﺭﻴﻘﺔ ﻤﺎ‪.‬‬

‫ﺇﻥ ﺍﻝﻤﺨﺭﺠﻴﻥ ﻭﺍﻹﻋﻼﻤﻴﻴﻥ ﺍﻝﺫﻴﻥ ﻴﻌﻭﻥ ﺍﻝﻬﺎﻻﺕ ﺍﻝﺭﻭﺤﻴﺔ ﻭﻴﻌﺭﻓﻭﻥ ﻗﻭﺍﻨﻴﻨﻬـﺎ ﺇﻨﻤـﺎ ﺘﻜـﻭﻥ‬

‫ﺼﻭﺭﺘﻬﻡ ﻫﻲ ﺍﻝﻁﺎﻏﻴﺔ ﻭﺍﻝﻤﺅﺜﺭﺓ‪.‬‬

‫ﻭﻓﻲ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺴﻨﻥ ﺍﻝﻬﺎﻻﺕ ﺍﻝﺭﻭﺤﻴﺔ ﺘﺘﻤﺜل ﻓﻲ‪ :‬ﺍﻷﺭﺽ‪ :‬ﺍﻝﺤﻤﺎﻴﺔ‪ ،‬ﺍﻷﻤﺎﻥ‪ ،‬ﺘﺤﺩﻴﺩ‬

‫ﺍﻝﻤﻭﻗﻊ ﻭﺍﻻﺘﺠﺎﻩ‪ .‬ﺍﻝﺒﻨﻴﺔ ﺍﻝﻔﻀﺎﺌﻴﺔ ﺍﻝﺘﻲ ﺘﺸﻤل ﺍﻝﻤﻨﺎﺥ‪ ،‬ﺍﻝﻤﻜﺎﻥ‪ ،‬ﺍﻝﻀﻭﺀ ﺍﻝﻤﻨﺒﻌﺙ ﻓﻲ ﺩﺭﺠﺎﺕ ﺃﻝﻭﺍﻥ‬

‫ﻤﺨﺘﻠﻔﺔ‪ ،‬ﺍﻝﻤﺴﺎﺤﺎﺕ ﻤﻥ ﺤﻴﻁﺎﻥ ﻭﺃﺭﻭﻗﺔ‪ ،‬ﻁﺭﻕ‪..‬ﺃﻤﺎ ﺍﻹﻴﻘﺎﻉ ﻓﻴﺭﺘﺒﻁ ﺒﻨﻤﻁ ﺍﻝﻌﻴﺵ‪ ،‬ﺍﻨﻔﻌﺎل ﺍﻝﺭﻭﺡ‪،‬‬

‫ﻭ ﻀﺭﺒﺎﺕ ﺍﻝﻘﻠﺏ‪ .‬ﻭﺍﻝﺼﺩﻯ ﺫﻝﻙ ﺍﻻﻨﻔﻌﺎل ﺍﻝﻤﺤﺴﻭﺱ ﺍﻝﺫﻱ ﻗﺩ ﻴﻜﻭﻥ ﻀﺠﻴﺠﺎ‪ .‬ﻭﺍﻝـﻀﻭﺀ ﻭﻻﺩﺓ‬

‫ﻭﺨﺭﻭﺝ ﺃﻭل‪ ،‬ﻭﻫﻭ ﺍﻝﻌﺎﻤل ﺍﻷﻜﺜﺭ ﻤﻼﺌﻤﺔ ﻝﺘﺤﺩﻴﺩ ﺍﻷﺸﻴﺎﺀ‪ ،‬ﻭﻤﻭﺍﻗﻊ ﺍﻝﺘﻔﻜﻴﺭ‪ ،‬ﻭﺍﻝﻴﻘﻅﺔ ﺍﻝﺠـﺴﺩﻴﺔ‪.‬‬

‫ﺒﺎﺒﺎﻥ‪ ،‬ﺒﻴﻴﺭ‪) .‬ﺩﺕ(‪" .‬ﻝﻐﺔ ﻭﺜﻘﺎﻓﻰ ﻭﺴﺎﺌل ﺍﻻﺘﺼﺎل ﺒﻴﻥ ﺍﻻﺒﺠﺩﻱ ﻭﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ"‪ .‬ﺍﺩﺭﻴﺱ ﺍﻝﻘﺭﺒﻲ‪ .‬ﺍﻝﻤﻐﺭﺏ‪ :‬ﺍﻝﻔﺎﺭﺍﺒﻲ‪33 ،‬‬ ‫‪1‬‬

‫ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪34 ،‬‬ ‫‪2‬‬

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‫ﻭﺍﻝﺠﺴﺩ ﻓﻴﻬﺎ ﺍﻝﻬﺎﻝﺔ ﺍﻝﺭﻭﺤﻴﺔ ﺍﻷﻜﺜﺭ ﺘﻌﻘﻴﺩﺍ‪ ،‬ﺍﻝﻤﻨﺩﻤﺞ ﺒﻴﻥ ﺍﻹﻴﻘﺎﻉ ﻭﺍﻝﻔﻀﺎﺀ ﻭﺍﻝـﻀﻭﺀ ﻭﺍﻹﻴﻤـﺎﺀﺓ‬

‫ﻭﺍﻝﺤﻴﻭﻴﺔ‪ .‬ﻭﻜﻤﺜل ﻫﺫﺍ ﺘﻘﺩﻡ ﺃﺠﺴﺎﺩ ﺍﻝﻨﺠﻭﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﻜﻬﺎﻻﺕ ﻤﺅﺜﺭﺓ ﻤﻀﺨﻤﺔ ﺃﻜﺜـﺭ ﻝـﻀﻤﺎﻥ‬

‫ﺍﺴﺘﺠﺎﺒﺔ ﺍﻝﺠﻤﻬﻭﺭ‪ ،‬ﻝﺫﺍ ﻴﺘﻡ ﻤﻥ ﺍﻷﺼل ﺍﺨﺘﻴﺎﺭ ﺍﻝﻤﻤﺜﻠﻴﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﻴﻥ ﻋﻠﻰ ﺃﺴﺎﺱ ﺍﻝﺼﻭﺭ ﺍﻝﻀﻭﺌﻴﺔ‬

‫ﻝﻠﻭﺠﻪ‪ ،‬ﻭﻫﻲ ﺍﻷﻜﺜﺭ ﺘﻌﺒﻴﺭﺍ ﻋﻥ ﺍﻝﺭﻭﺡ‪ 1.‬ﻜﻤﺎ ﺍﻹﻴﻤﺎﺀﺍﺕ ﺍﻷﻓﻘﻴﺔ ﺍﻝﺒﻁﻴﺌﺔ ﻫـﻲ ﺍﻴﺠﺎﺒﻴـﺔ‪ ،‬ﺒﻴﻨﻤـﺎ‬

‫ﺍﻝﺭﺃﺴﻴﺔ ﻭﺍﻷﻤﺎﻤﻴﺔ ﺍﻝﻤﺘﻘﻁﻌﺔ ﺍﻝﺤﺎﺩﺓ ﻭﺍﻝﺴﺭﻴﻌﺔ ﻫﻲ ﺇﻴﺤﺎﺀﺍﺕ ﺴﻠﺒﻴﺔ‪.‬‬

‫ﺇﻥ ﻨﻘﺎﺵ ﺍﻝﻬﺎﻝﺔ ﺍﻝﺭﻭﺤﻴﺔ ﻤﺘﻤﻭﻀﻊ ﺩﺍﺨل ﺜﻘﺎﻓﺔ ﺇﻋﻼﻤﻴﺔ ﻤﺤﺘﻤﻠﺔ ﻫﻲ ﺜﻘﺎﻓﺔ ﺍﻝﻌﻬﺩ ﺍﻝﺠﺩﻴﺩ‪ .‬ﺜﻘﺎﻓﺔ‬

‫ﺍﻝﻔﻌل ﻭﺍﻝﺴﻠﻭﻙ ﺤﻴﺙ ﺍﻻﻨﺠﺎﺯ ﺃﻜﺜﺭ ﺃﻫﻤﻴﺔ ﻤﻥ ﺍﻝﻨﻘﺎﺵ‪.‬‬

‫ﺇﻥ ﻤﻥ ﻁﺒﻴﻌﺔ ﺍﻝﺠﺴﺩ ﺍﻝﺘﻌﺒﻴﺭ ﻋﻥ ﺍﻝﺭﻭﺡ ﺍﻝﺘﻲ ﻻ ﺘﺅﺩﻱ ﺇﻋﺎﻗﺘﻬﺎ ﻋﻥ ﺍﻹﺘﺼﺎل ﺇﻝﻰ ﻋﻠﻰ ﺤﺠﺏ‬

‫ﺍﻝﺭﻭﺡ ﻭﺍﻝﺭﺴﺎﻝﺔ‪ ،‬ﻤﺘﻤﺜﻠﺔ ﻓﻲ ﻭﺴﺎﺌل ﺍﻹﺘﺼﺎل ﺍﻷﻤﺭ ﺍﻝﺫﻱ ﻴ‪‬ﻜﺴﺏ ﻭﻋﻴﺎ ﺒﻨﻭﻉ ﻤﻌﻴﻥ ﻤﻥ ﺍﻝﺘﻔﻜﻴﺭ‪،‬‬

‫ﺘﻔﻜﻴﺭ ﻴﻘﻊ ﺒﻴﻥ ﺍﻝﺤﺩﺱ ﻭﺍﻝﺼﻭﺭﺓ‪ ،‬ﺒﻴﻥ ﺍﻝﺤﻠﻡ ﻭﺍﻻﻨﻔﻌﺎل‪ ،‬ﺒﻴﻥ ﺤﺭﻜﻴﺔ ﺍﻝﻔﻌل ﻭﺍﻹﺭﺍﺩﺓ‪ .‬ﺇﻨﻬﺎ ﺜﻘﺎﻓـﺔ‬

‫ﺘﻨﻐﺭﺯ ﻓﻴﻬﺎ ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺼﻭﺕ ﺜﻘﺎﻓﺔ ﺘﺩﻭﻡ ﻓﻬﻲ ﺘﻤﺘﻠﻙ ﺫﺍﻜﺭﺓ ‪.‬‬

‫ﻭﺍﻷﺩﺭﻤﺔ‪ :‬ﺨﻠﻴﻁ ﻤﻥ ﺍﻹﺨﺭﺍﺝ ﻭﺍﻝﻠﻐﺔ ﺍﻝﻤﺄﻝﻭﻓﺔ ﻤﻥ ﺍﻝﻤﺄﺴﺎﺓ ﻭﺍﻝﻬﺯل‪ ،‬ﻭﻝﻜﻨﻬﺎ ﻗﺒل ﺫﻝـﻙ ﺇﻴﻘـﺎﻉ‬

‫ﻤﺘﺼﺎﺭﻉ ﻤﻥ ﺍﻹﻨﻔﻌﺎل ﻭﺍﻝﺤﺭﻜﺔ‪ ،‬ﻭﻫﻲ ﺘﻌﺒﻴﺭ ﺍﻹﻨﻔﻌﺎل ﻭﺘﺸﻜﻠﻬﺎ ﺍﻷﻭل‪ .‬ﺃﻥ ﺘـﺅﺩﺭﻡ‪ :‬ﻤﻌﻨـﺎﻩ ﺃﻥ‬

‫ﺘﻜﺜﻑ ﺍﻻﻨﻔﻌﺎل ﻓﻲ ﺘﻭﺘﺭ ﻭﺒﻬﺫﺍ ﻴﻜﻭﻥ ﺍﻝﻌﻨﻑ ﻭﺍﻝﺠﻨﺱ ﺃﻓﻌﺎﻻ ﺩﺭﺍﻤﻴﺔ‪.‬‬

‫ﺇﻥ ﺍﻷﺩﺭﻤﺔ ﻤﻌﺎﻝﺠﺔ ﺨﺎﺼﺔ ﻝﻠﻐﺔ ﻫﺩﻓﻬﺎ ﺇﺜﺎﺭﺓ ﺘﻭﺘﺭ ﺍﻨﻔﻌﺎﻝﻲ ﻤﺘﺒﻭﻉ ﺒﺎﺴﺘﺭﺨﺎﺀ‪ .‬ﻭﻫﺫﺍ ﺍﻝﻤـﺭﻭﺭ‬

‫ﻤﻥ ﺍﻝﺘﻭﺘﺭ ﺇﻝﻰ ﺍﻻﺴﺘﺭﺨﺎﺀ ﺩﺍﻓﻊ ﺃﺴﺎﺴﻲ ﻝﻠﻤﺘﻌﺔ‪ ،‬ﺃﻱ ﻤﻥ ﺍﻷﺩﺭﻤﺔ ﺇﻝﻰ ﺍﻝﻤﺘﻌﺔ ﺇﻝﻰ ﺍﻻﻫﺘﻤﺎﻡ‪ .‬ﻭﻴﺒﻨﻰ‬

‫ﻫﺫﺍ ﻋﻠﻰ ﺍﻝﺒﻨﺎﺀ ﺍﻝﻤﻭﻨﺘﺎﺠﻲ ﻭﻋﻤﻠﻴﺎﺕ ﺍﻹﺨﺭﺍﺝ ﺒﺭﻤﺘﻬﺎ ‪ .2‬ﺇﻥ ﺃﺴﺎﺱ ﻋﻤﻠﻴﺔ ﺍﻷﺩﺭﻤﺔ ﻫﻭ ﺍﻻﺨﺘﻴﺎﺭ‬

‫ﺩﺍﺨل ﺍﻝﺨﻁ ﺍﻷﺤﻤﺭ ﻏﻴﺭ ﺍﻻﻋﺘﻴﺎﺩﻱ ﻤﻥ ﺍﻷﻤﻭﺭ‪ :‬ﻴﺘﻡ ﺍﻝﺒﺤﺙ ﻋﻥ ﻤﻭﻀﻭﻉ ﺼﺎﺩﻡ ﺜـﻡ ﻴ‪‬ﺤـﺭﻑ‬

‫ﻭﻴ‪‬ﻜﺒ‪‬ﺭ‪ ،‬ﺃﻱ ﺘﻀﻔﻰ ﻋﻠﻴﻪ ﻗﻴﻤﺘﺔ ﻭﻫﺫﺍ ﻴﻌﻨﻲ ﺍﻨﺘﺼﺎﺒﺎ ﻭﺘﺠﺎﻭﺯﺍ ﻝﻠﺒﻌﺩ ﻓﻲ ﺍﻻﺭﺘﻔﺎﻉ ‪ .‬ﻭﻤﺜل ﻫﺫﺍ ﻓـﻲ‬

‫ﺒﺎﺒﺎﻥ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪39 ،‬‬ ‫‪1‬‬

‫ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪53-49 ،‬‬ ‫‪2‬‬

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‫ﺍﻝﺴﻴﻨﻤﺎ ﺘﺒﺄﻴﺭ ﻝﻠﻜﺎﻤﻴﺭﺍ ﻋﻠﻰ ﺍﻝﻨﻘﻁﺔ ﺍﻝﻤﺭﻜﺯﻴﺔ‪ ،‬ﻭﺍﻝﺒﻘﻴﺔ ﻝﻥ ﺘﺒﺩﻭ ﻭﺍﻀﺤﺔ‪ .‬ﻓﺎﻷﺩﺭﻤـﺔ‪ :‬ﺍﺨﺘﻴـﺎﺭ‪،‬‬

‫ﺘﻌﺎﺭﺽ‪ ،‬ﺘﻜﺒﻴﺭ‪ ،‬ﺘﻀﺨﻴﻡ‪ .‬ﺘﺘﻡ ﺍﻷﺩﺭﻤﺔ ﻋﺒﺭ ﻋﻤﻠﻴﺎﺕ ﺘﺘﻤﺜل ﺃﻭﻝﻬﺎ‪ ،‬ﺒﺎﻝﺘﻌﺎﺭﺽ‪ ،‬ﻭﺍﻝﻤﺨﺭﺝ ﻫﻭ ﺫﺍﻙ‬

‫ﺍﻝﺫﻱ ﻴﻤﻠﻙ ﺤﺱ ﺒﺎﻝﺭﻭﺍﺒﻁ ﺍﻝﺘﻲ ﺘﺅﺩﺭﻡ ﻭﺍﻝﺘﻌﺎﺭﺽ ﻷﻋﻠﻰ ﻭﻷﺴﻔل‪ ،‬ﻜﺎﻝﻴﻘﻅﺔ ﻭﺍﻝﻨﻌﺎﺱ ﻭﺍﻝﺴﻜﻭﻥ‪،‬‬

‫ﻭﺍﻝﺤﺭﻜﺔ ﺍﻝﺼﻤﺕ ﻭﻭﻗﻊ ﺍﻝﺨﻁﻰ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺘﻀﺨﻴﻡ ﺍﻻﻨﻔﻌﺎﻝﻲ ﺤﻴﺙ ﻴﻨﻘل ﺍﻝﻤﻤﺜل ﻓﻲ ﻝﺤﻅﺎﺘـﻪ‬

‫ﺍﻻﻨﻔﻌﺎﻝﻴﺔ ﻋﻤﺎ ﺒﺩﺍﺨﻠﻪ ﺒﺸﻐﻑ‪ ،‬ﺇﻨﻬﺎ ﺍﻝﻘﺩﺭﺓ ﺍﻝﻀﺭﻭﺭﻴﺔ ﻋﻠﻰ ﺍﻝﺘﺄﺜﻴﺭ ﻭﻫﻲ ﺸـﺭﻁ ﺍﻝﺘﻨـﺎﻫﻲ ﻤـﻊ‬

‫ﺍﻝﺸﺨﺼﻴﺔ‪ ،‬ﻭﻴﺘﻡ ﺘﺤﻘﻴﻕ ﻫﺫﺍ ﺍﻝﻬﺩﻑ ﻓﻲ ﺍﻝﺼﻨﺎﻋﺔ ﺍﻝﺩﺭﺍﻤﻴﺔ ﻤﻥ ﺨﻼل ﺍﻝﻌﻨﺼﺭ ﺍﻻﻝﻜﺘﺭﻭﻨﻲ‪ ،‬ﻜﻤـﺎ‬

‫ﻴﺴﺘﺨﺩﻡ ﺍﻝﻤﺨﺭﺝ ﺃﻜﺜﺭ ﻓﺄﻜﺜﺭ ﺍﻵﻻﺕ ﺍﻝﺘﻲ ﻴﻌﻠﻡ ﺃﻥ ﺇﻤﻜﺎﻨﺎﺘﻬﺎ ﻏﻴﺭ ﻤﺤﺩﻭﺩﺓ‪ :‬ﺇﻨﻬﺎ ﺍﻷﻗﻭﻯ ﻭﺍﻷﺴﺭﻉ‪،‬‬

‫ﺭﻏﺒﺔ ﻓﻲ ﺍﻝﻤﺭﻭﺭ ﻭﺴﺭﻋﺔ ﺒﺎﻻﻨﺘﻘﺎل ﺒﻴﻥ ﺍﻝﺘﻭﺘﺭ ﺇﻝﻰ ﺍﻻﺴﺘﺭﺨﺎﺀ‪ ،‬ﺒﺈﻴﻘﺎﻉ ﻤﺘﻭﺍﺯﻥ‪ ،‬ﻭﺃﻱ ﺨﻠل ﻗﺩ‬

‫ﻴﻘﻊ‪ ،‬ﻴﺅﺩﻱ ﺇﻝﻰ ﺍﺨﺘﻼل ﺍﻨﻔﻌﺎﻝﻴﺔ ﺘﺨﺘﻠﺱ ﺍﻝﻔﻌل ﻭﺍﻝـﺯﻤﻥ‪ ،‬ﻭﺍﻷﺩﺭﻤـﺔ ﻫﻨـﺎ ﺍﻨﻘﻁـﺎﻉ ﺍﻝﻤﻌﻬـﻭﺩ‬

‫ﻭﺍﻝﻼﺘﻭﺍﺯﻥ " ﺯﻴﻎ ﺍﻝﻘﻁﺎﺭ ﻋﻥ ﺍﻝﺴﻜﺔ " ‪ ،1‬ﻭﺫﻝﻙ ﺒﺎﻻﺴﺘﻌﺎﻨﺔ ﺒﺎﻝﻌﻨﺼﺭ ﺍﻷﻫﻡ ﻭﻫﻭ ﺍﻹﻝﻜﺘﺭﻭﻨﻴـﻙ‪،‬‬

‫ﺇﻨﻪ ﺍﻹﻓﺭﺍﻁ ﺍﻝﻤﻤﻜﻥ ﺩﻭﻥ ﻜﻭﺍﺒﺢ ﺃﻭ ﺤﺩﻭﺩ ﺤﻴﺙ ﺍﻝﺘﺴﺭﻴﻊ ﻭﺍﻝﺘﻘﻠﻴﺹ ﻭﺍﻝﺘﻀﺨﻴﻡ ﻭﺍﻝﻌﻨﻑ‪ ،‬ﺤﻴـﺙ‬

‫ﻴﺼﺒﺢ ﺒﺈﻤﻜﺎﻥ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺇﻅﻬﺎﺭ ﻓﺭﻭﻕ ﻻﻤﺘﻨﺎﻫﻴﺔ‪ ،‬ﻝﺫﺍ ﻜﺎﻥ ﻴﺠـﺏ ﺃﻥ ﺘﻨﻤـﻲ ﺍﻝﻬﺎﻝـﺔ‬

‫ﺍﻝﺭﻭﺤﻴﺔ ﻭﻋﻤﻠﻴﺎﺕ ﺍﻷﺩﺭﻤﺔ ﺍﻝﻌﻘﻼﻨﻴﺔ ﻭﺘﻭﺴﻊ ﺍﻵﻓﺎﻕ ﻭﺘﻁﻠﻕ ﻋﻨﺎﻥ ﺍﻝﻤﺩﺍﺭﻙ ﻭﻓﻲ ﺤـﺎل ﺃﺤـﺴﻥ‬

‫ﺍﻹﻋﻼﻤﻴﻭﻥ ﺇﺩﺭﺍﻜﻬﺎ ﻹﺤﻜﺎﻡ ﺍﻝﺴﻴﻁﺭﺓ‪ ،‬ﻭﻫﻨﺎ ﺘﻜﻤﻥ ﺨﻁﻭﺭﺘﻬﺎ ﻓﺎﻝﻌﻘل ﺤﺘﻰ ﻓﻲ ﺍﻝﺒﻠﺩﺍﻥ ﺍﻝﺩﻴﻤﻘﺭﺍﻁﻴﺔ‬

‫ﺇﻨﻜﻔﺄ ﺘﺤﺕ ﻀﻐﻁ ﺃﻤﻭﺍﺝ ﺍﻝﺼﻭﺭ ﻭﺍﻝﻤﺸﺎﻋﺭ ﻭﺍﻷﻫﻭﺍﺀ ﻓﻴﻤﺎ ﻴﻘﻭﺩ ﺇﻝﻰ ﺫﻫـﺎﻥ ﺍﺠﺘﻤـﺎﻋﻲ‪ ،‬ﻭﻗـﺩ‬

‫ﺍﻨﻌﻜﺴﺕ ﺭﺩﺍﺕ ﺍﻝﻔﻌل ﻓﻲ ﺍﻝﺒﻠﺩﺍﻥ ﺍﻝﻌﺭﺒﻴﺔ‪ ،‬ﺇﺫ ﻝﻸﻫﻭﺍﺀ ﺠﺫﻭﺭ ﺃﻜﺜﺭ ﻗﻭﺓ ﻤﻥ ﻗﻭﺓ ﺍﻝﻌﻘل ﺍﻝﺫﻱ ﻴﻤﻨﺢ‬

‫ﺤﺭﻴﺔ ﻤﻌﻴﻨﺔ ﺍﺘﺠﺎﻩ ﺍﻹﺤﺩﺍﺙ‪ ،‬ﻭﺒﺎﻋﺘﺒﺎﺭ ﺃﻨﻪ ﻴﻨﺘﻘﺩ ﻓﺈﻨﻪ ﻴﺴﺎﻋﺩ ﻓﻲ ﺍﻝﺤﺭﺏ ﻜﻤﺜل ﻓﺭﺠـﺔ ﺇﻋﻼﻤﻴـﺔ‬

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‫ﺃﻜﺜﺭ ﺘﻬﺩﻴﺩﺍ ﻝﻺﻨﺴﺎﻥ‪ ،‬ﻭﺃﻜﺜﺭ ﺨﻁﻭﺭﺓ ﻤﻥ ﺍﻷﻝﻡ ﺍﻝﺫﻱ ﻴﺘﺭﻜﻪ ﺍﻝﻌﻨﻑ ﺍﻝﻤﺎﺩﻱ‪.‬‬

‫‪ 1‬ﺒﺎﺒﺎﻥ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪56 ،‬‬

‫‪ 2‬ا‪@H.‬ر ا‪58 ،e<"K‬‬

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‫ﺇﻥ ﺍﻝﺸﺭ ﺍﻷﻜﺒﺭ ﻝﻸﺩﺭﻤﺔ ﻫﻭ ﺘﺠﻤﻴﺩ ﻝﻠﻌﻘﻼﻨﻴﺔ ﻭﻫﻭ ﺍﻻﻨﻐﻤﺎﺱ ﻓﻲ ﺍﻹﺤـﺴﺎﺱ‪ .‬ﺇﻀـﺎﻓﺔ ﺇﻝـﻰ‬

‫ﺍﻝﻤﺘﻌﺔ ﺍﻝﺘﻲ ﻴﺨﻠﻘﻬﺎ ﺇﺫ ﺘﻭﻗﻊ ﺍﻝﻤﺘﻠﻘﻲ ﻓﻲ ﺸﺭﺍﻜﻬﺎ ﻓﺘﺸل ﺍﻨﺘﺒﺎﻫﻪ ﻭﻁﺎﻗﺎﺘﻪ‪ .‬ﺭﻏﺒﺔ ﻓـﺫﺭﻭﺓ ﻓـﺴﻜﻴﻨﺔ‬

‫ﻜﺎﻝﺠﻨﺱ ﻓﻲ ﻤﺭﺍﺤﻠﻪ‪.‬‬

‫ﺜﻤﺔ ﺍﺭﺘﺒﺎﻁ ﺤﻤﻴﻤﻲ ﺒﻴﻥ ﺍﻝﻤﺘﻌﺔ ﻭﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ ﺤﻴﺙ ﺃﻥ ﻝﻐﺔ ﺍﻝﺘﻔﺨﻴﻡ ﺘﻤﺱ ﺘﻤﺎﻤﺎ ﺍﻝﺠﻬـﺎﺯ‬

‫ﺍﻝﻌﺼﺒﻲ‪ ،‬ﺇﻨﻬﺎ ﺘﺜﻴﺭ ﺍﻝﺘﻭﺘﺭ ﻭﺍﻻﺴﺘﺭﺨﺎﺀ ﺇﻴﻘﺎﻋﻴﺔ‪ .‬ﺇﻨﻬﺎ ﺃﺩﻭﺍﺕ ﺘﺤﺭﻴﻙ ﺍﻝﺤﻭﺍﺱ ﺍﻝﺘﻲ ﺘﺫﻫﺏ ﺇﻝـﻰ‬

‫‪1‬‬
‫ﺍﻝﻤﺘﻌﺔ‪.‬‬

‫ﻻ ﺸﻙ ﺃﻥ ﺍﻷﺩﺭﻤﺔ ﺍﻹﺴﺘﺭﺍﺘﻴﺠﻴﺔ ﻓﻌﺎﻝﺔ ﺒﺎﻻﺘﺼﺎل ﻓﻴﻤﺎ ﻴﺘﻌﻠـﻕ ﺒﻜـﻼ ﺍﻝﺨﻁـﺎﺒﻴﻥ ﺍﻝـﺴﺭﺩﻱ‬

‫ﻭﺍﻹﻋﻼﻤﻲ ﻤﻭﻀﻭﻋﺎ ﻋﻠﻰ ﻤﺴﺎﺤﺎﺕ ﺼﻨﺎﻋﺔ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻤﻥ ﺤﻴﺙ ﻫﺎﻝﺘﻬﺎ ﻭﻤﻭﻀﻭﻋﻬﺎ‪ ،‬ﺤﻴﺙ ﺇﻥ‬

‫ﺘﻜﻭﻴﻥ ﺍﻝﺸﻜل ﻤﻨﻬﺎ ‪ % 30‬ﺍﻝﺼﻭﺭﺓ ﻤﻭﻀﻭﻋﺎ‪ %70 ،‬ﻤﻨﻬﺎ ﻫﺎﻝﺔ ﺭﻭﺤﻴﺔ‪ ،‬ﺒﻴﻥ ﻋﻨﺎﺼﺭ ﻭﺼـﻔﻴﺔ‬

‫ﻭﻋﻨﺎﺼﺭ ﺤﺴﺎﺴﺔ ﻤﺤﻴﻁﺔ‪.2‬‬

‫ﺃﻤﺎ ﺍﻹﻝﻜﺘﺭﻭﻨﻴﻙ ﻓﻬﻭ ﻤﺤﻭل ﺍﻝﺭﺴﻡ ﺇﻝﻰ ﺘﺼﻭﻴﺭ ﻀﻭﺌﻲ‪ ،‬ﻭﻫﻭ ﺘﻐﻁﻴﺔ ﺍﻝﻤـﺴﺎﺤﺔ ﺒﺎﻝﻌﻼﻤـﺎﺕ‬

‫ﻭﺍﻷﻝﻭﺍﻥ‪ ،‬ﺇﺫ ﺃﻥ ﺍﻝﺘﺼﻭﻴﺭ ﺍﻝﻀﻭﺌﻲ ﻜﺘﺎﺒﺔ ﺒﺎﻝﻀﻭﺀ‪ ،‬ﻴﻔﺨﻡ ﺍﻝﺨﻭﺍﺹ ﺍﻝﺤﻤﺎﺴـﻴﺔ ﻭ ﻴﺠﻌـل ﻤـﻥ‬

‫ﺍﻝﻔﻀﺎﺀ ﺼﻭﺭﺓ ﺸﺎﺴﻌﺔ ﺍﻝﻤﺴﺎﺤﺎﺕ‪ ،‬ﻤﻤﺎ ﻴﻘﻭﺩ ﺇﻝﻰ ﺤﺎﻝﺔ ﺍﻝﺘﻤﺎﻫﻲ ﻤﻊ ﺍﻝﺼﻭﺭﺓ ﺒﺤﻴﺙ ﻴﻘﻭﺩ ﺍﻝﻤﺸﺎﻫﺩ‬

‫‪3‬‬
‫ﺇﻝﻰ ﺘﺒﻨﻲ ﺃﺴﻠﻭﺏ ﻤﺸﺎﺒﻪ ﻝﻠﻤﻭﺼﻭﻑ ﻓﻲ ﺍﻝﻤﺴﻠﺴﻼﺕ ﻭﺍﻷﻓﻼﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻭﺍﻝﺒﺭﺍﻤﺞ ﺍﻝﺸﻌﺒﻴﺔ‪.‬‬

‫ﻴﺘﺠﻠﻰ ﺘﻜﻭﻴﻥ ﺍﻝﺼﻭﺭﺓ ﻓﻲ ﺇﻨﺘﺎﺝ ﺍﻝﻠﻐﺔ ﺍﻝﺘﻲ ﺘﺤﻔﺯ ﻭﺘﻐﺫﻱ ﺍﻝﻜﺎﻤﻥ ﺍﻝﺘﺨﻴﻠﻲ ﻝﻠﺠﻤﻬﻭﺭ‪ ،‬ﻭﺫﻝﻙ ﻋﻥ‬

‫ﻁﺭﻴﻕ ﺒﻨﻴﺘﻬﺎ ﻭﺸﻜﻠﻬﺎ ﻭﺇﻴﻘﺎﻋﺎﺘﻬﺎ‪ .‬ﺇﻨﻬﺎ ﺇﺜﺎﺭﺓ ﺘﻤﺜﻴل ﺫﻫﻨﻲ ﻝﻠﻭﺍﻗﻊ ﻴﻤﺱ ﻜل ﺍﻝﺤﻭﺍﺱ ﻭﺍﻝﺒﺼﺭ ﻤﻨﻬﺎ‬

‫ﺒﺼﻔﺔ ﺨﺎﺼﺔ ﻹﻅﻬﺎﺭ ﺼﻭﺭﺓ ﺨﺎﺭﺠﻴﺔ ﻋﻠﻰ ﺍﻝﺸﺎﺸﺔ‪ ،‬ﻭﺩﺍﺨﻠﻴﺔ ﺘﺘﻭﺍﻝﺩ ﺒﺩﻭﺍﺨل ﺍﻝﻨﻔﺱ ﺍﻝﺒـﺸﺭﻴﺔ‪،‬‬

‫ﺇﻨﻬﺎ ﺍﻝﻘﺩﺭﺓ ﻋﻠﻰ ﻨﻘل ﻓﻜﺭﺓ ﻤﻥ ﺨﻼل ﺭﺼﺩ ﺇﻴﻤﺎﺀﺓ ﻓﻲ ﻝﺤﻅﻪ ﺘﺭﺩﺩ‪ ،‬ﻭﺤﺭﻜـﺔ ﻋﻴﻨـﻴﻥ‪ .‬ﺤﻴـﺙ‬

‫‪ 1‬وا>;ك‪>03 ،‬ر‪ .(2005).‬ا

رة   ا 
‪ .‬إ>‪".‬ن *‪@4‬ا‪ .L>L9‬ا‪"F‬ه‪0‬ة‪ :‬ا‪ =)W.‬ا‪96 ،%6"F[) X)*$‬‬
‫‪"<"< 2‬ن‪@H ،‬ر &‪ e4‬ذآ‪55 ، 0‬‬
‫‪ 3‬ا‪@H.‬ر ا‪59 ،e<"K‬‬

‫‪84‬‬
‫ﺍﻝﺴﻤﻌﻲ ﺍﻝﺒﺼﺭﻱ ﺃﺸﺒﻪ ﺒﺎﻻﺨﺘﺯﺍل ﺍﻝﺘﺎﺜﻴﺭﻱ ﻝﺨﻠﻕ ﻤﺯﺍﺝ ﻨﻔﺴﻲ‪ ،‬ﻭﻓﻲ ﻗﺭﺍﺀﺘﻨﺎ ﺍﻝﻔﻴﻠﻤﻴﺔ ﺘـﺸﻜﻴﻼﺕ‬

‫ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﺍﻷﺨﺭﻯ‪ :‬ﺇﻴﺤﺎﺀ ﺍﻝﺩﻴﻜﻭﺭ ﻭﺍﻝﻤﻭﻗﻊ ﻤﻭﺍﺌﻤﺔ ﻝﻠﻤﻭﻀﻭﻉ ﻭﺍﻷﺩﺍﺀ‪ .‬ﺒﺤﻴﺙ ﻴﺼﺒﺢ ﺍﻝﻠﻴل ﺃﻜﺜﺭ‬

‫ﻤﻥ ﻜﻭﻨﻪ ﻏﻴﺎﺒﺎ ﻝﻠﺸﻤﺱ‪ ،‬ﺇﺤﺴﺎﺱ ﻤﻀﺎﻋﻑ ﺒﺎﻝﺯﻤﻥ‪ ،‬ﺯﻤﻥ ﺍﻝﺘﺸﻭﻴﺵ ﻭﻋﺩﻡ ﺍﻷﻤـﺎﻥ‪ ،‬ﻭﺍﻝـﺼﺒﺎﺡ‬

‫ﺇﻤﻜﺎﻨﻴﺔ ﻝﺒﺩﺍﻴﺔ ﺠﺩﻴﺩﺓ ﻭﺭﺤﻠﺔ ﺒﺤﺙ ﻓﻲ ﺍﻝﻤﻭﻀﻭﻉ‪ ،‬ﺃﻤﺎ ﺍﻝﻔﺠﺭ ﻓﻬﻲ ﺍﻝﺒﺩﺍﻴﺔ ﺍﻝﻔﻌﻠﻴﺔ ﻝﻠﻴﻭﻡ‪ ،‬ﺍﻷﻤﺎﻜﻥ‬

‫ﺍﻝﻤﺩﺭﻜﺔ ﻝﻬﺎ ﻗﻴﻤﺔ ﺒﻨﺎﺌﻴﺔ‪ ،‬ﻜﻤﺎ ﻗﻴﻤﺘﻬﺎ ﺍﻝﻤﺜﻴﺭﺓ ﻝﻠﺫﻜﺭﻴﺎﺕ ﻭﺍﻝﻌﻭﺍﻁـﻑ ﺒﺎﻹﻀـﺎﻓﺔ ﺇﻝـﻰ ﻗﻴﻤﺘﻬـﺎ‬

‫ﺍﻝﻤﺭﻜﺯﻴﺔ‪ ،‬ﺍﻝﺨﻁﻭﻁ ﺘﻜﻭﻴﻨﺎﺕ ﺘﺠﻌل ﺍﻝﻤﻔﺎﻫﻴﻡ ﺍﻝﻤﻠﻤﻭﺴﺔ ﻤﺠـﺭﺩﺓ‪ ،‬ﻜﺎﻝﻘـﺩﺭ ﻭﺍﻝﺤﺭﻴـﺔ ‪..‬ﺍﻝﻘﻁـﻊ‬

‫ﺍﻝﻤﻔﺎﺠﺊ ﻴﺅﺩﻱ ﺇﻝﻰ ﺸﻌﻭﺭ ﺒﺎﻝﺘﺸﻭﻴﺵ ﻭﻋﺩﻡ ﺍﻻﻨﺴﺠﺎﻡ‪ ،‬ﺍﻝﻠﻘﻁﺎﺕ ﺍﻝﻤﻘﺭﺒﺔ ﻭﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻌﺩﻴـﺩ ﻤـﻥ‬

‫ﺯﻭﺍﻴﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻴﻭﻝﺩ ﺍﻝﻤﺯﻴﺩ ﻤﻥ ﺍﻻﻨﻔﻌﺎﻻﺕ ﻭﺍﻝﺘﻭﺘﺭﺍﺕ‪ ،‬ﺍﻝﻤﺸﺎﻫﺩ ﺍﻝﻘﺼﻴﺭﺓ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺨﻠﻕ ﺇﺜﺎﺭﺓ‬

‫ﻜﺒﻴﺭﺓ‪ .‬ﻜﺘﺏ ﺒﻭﺩ ﻓﻜﻴﻥ ﻗﺎﺌﻼ "ﺁﻝﺔ ﺍﻝﺘﺼﻭﻴﺭ ﺘﺠﺎﻫﺩ ﺩﺍﺌﻤﺎ ﻓﻲ ﻋﻤﻕ ﺃﻋﻤﺎﻕ ﺍﻝﺤﻴﺎﺓ‪ ،‬ﺇﻨﻬﺎ ﺘﻜﺎﻓﺢ ﺒﺸﺩﺓ‬

‫ﻝﻠﻨﻔﺎﺫ‪ ،‬ﺒﺤﻴﺙ ﻻ ﻴﺴﺘﻁﻴﻊ ﺍﻝﻤﺸﺎﻫﺩ ﺍﻝﻌﺎﺩﻱ ﺃﻥ ﻴﻔﻌل‪ ،‬ﺇﻨﻬﺎ ﺘـﺴﻌﻰ ﻭﺭﺍﺀ ﺍﻷﻋﻤـﻕ"‪ .1‬ﻭﺍﻷﻝـﻭﺍﻥ‬

‫ﻤﺴﺎﻫﻤﺔ ﺃﻜﺜﺭ ﻓﻲ ﺍﻝﺘﺄﺜﻴﺭ ﺍﻝﻌﺎﻁﻔﻲ‪ :‬ﺍﻨﺴﺠﺎﻤﺎ‪ ،‬ﺇﺠﻬﺎﺩﺍ‪ ،‬ﺍﺭﺘﺠﺎﻻ‪ ،‬ﺼـﻔﺎﺀ‪ ،‬ﻁﻬـﺎﺭﺓ‪ ،‬ﺃﻭ ﻀـﻴﺎﻋﺎ‬

‫ﻭﻏﻴﺎﺏ‪ .‬ﺤﻴﺙ ﺘﻜﺴﺏ ﺍﻝﺼﻭﺭﺓ ﺃﺒﻌﺎﺩﻫﺎ ﺍﻹﻨﺴﺎﻨﻴﺔ ﻭﻴﺒﺩﺩ ﺍﻝﺸﻌﻭﺭ ﺍﻝﻀﺎﻏﻁ ﺒﺎﻝﻌﻘﻡ ﻭﺍﻝﻼﺠﺩﻭﻯ‪ .‬ﻝﻌﺒﺔ‬

‫ﺒﻼﻏﻴﺔ ﻤﺘﻘﻨﺔ ﺍﻝﺤﺒﻙ‪ ،‬ﺘﺸﺩ ﺍﻝﻤﺸﺎﻫﺩ ﺇﻝﻰ ﺒﺅﺭﺘﻬﺎ ﺍﻝﺴﺤﺭﻴﺔ‪.‬‬

‫‪ 6.1‬ﻨﻤﺎﺫﺝ ﺩﺭﺍﺴﺔ ﻨﻅﺭﻴﺔ ﻝﻘﺭﺍﺀﺍﺕ ﺘﺄﻭﻴﻠﻴﺔ‪،‬ﻷﻓﻼﻡ ﺴﻴﻨﻤﺎﺌﻴﺔ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ‬

‫ﺇﻥ ﺘﺄﻭﻴل ﺍﻝﺨﻁﺎﺏ ﺴﻴﺭﻭﺭﺓ ﻓﻲ ﺍﻝﺘﻜﻭﻴﻥ ﻭﻓﺭﻀﻴﺔ ﻝﻠﻘﺭﺍﺀﺓ ﻭﺇﺠﺭﺍﺀ ﺘﺤﻠﻴﻠﻲ‪ .‬ﻓﻼ ﺤﺩﻴﺙ ﻋﻥ‬

‫ﺘﺄﻭﻴل ﺠﺎﻫﺯ‪ ،‬ﺒل ﻴﻌﻭﺩ ﺍﻷﻤﺭ ﺇﻝﻰ ﻓﺭﻀﻴﺎﺕ ﻝﻠﺘﺄﻭﻴل‪ ،‬ﻭﻝﻴﺱ ﻫﻨﺎﻙ ﺘﺄﻭﻴل ﻤﻁﻠﻕ‪ ،‬ﺒل ﻴﺘﻌﻠﻕ ﺍﻷﻤﺭ‬

‫ﺒﺄﺒﻌﺎﺩ ﺘﺄﻭﻴﻠﻴﺔ ﻤﺭﺘﺒﻁﺔ ﺒﻨﺴﻕ ﺜﻘﺎﻓﻲ‪ ،‬ﻭﻫﻨﺎ ﺠﻤﻊ ﻝﻠﻭﺤﺩﺍﺕ ﺍﻝﺩﻻﻝﻴﺔ ﻭﻜﺸﻑ ﻋﻥ ﺴﻴﺎﻗﺎﺘﻬﺎ ﻭﺘﻔﺎﻋﻼﺘﻬﺎ‬

‫ﺒﺎﻝﻨﺴﺒﺔ ﻝﻤﻭﻀﻭﻉ ﺍﻝﺒﺤﺙ‪ ،‬ﻭﺭﺒﻁ ﺫﻝﻙ ﺒﺎﻝﻨﻤﻭﺫﺝ ﺍﻝﺫﻱ ﻗﺩﻤﺘﻪ ﺘﻘﺎﻨﺔ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ ﻝﻠﻌﺭﺒﻲ ﺒﻌﺩ‬

‫ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺍﻴﻠﻭل‪ ،2001‬ﺤﻴﺙ ﺘﻘﺴﻴﻡ ﺍﻝﻭﺤﺩﺍﺕ ﺍﻝﺩﻻﻝﻴﺔ ﺒﺤﺴﺏ ﻭﺭﻭﺩﻫﺎ ﻓﻲ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﻡ‬

‫ﺒﺎﺒﺎﻥ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪111 ،‬‬ ‫‪1‬‬

‫‪85‬‬
‫ﺘﻨﺎﻭﻝﻬﺎ ﻭﻫﻲ‪ :‬ﺨﻁﺎﺏ ﺍﻝﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ‪ ،‬ﺼﻭﺭﺓ "ﺍﻹﺭﻫﺎﺒﻲ"‪ ،‬ﻨﻅﺭﺓ ﺍﻝﻌﺭﺒﻲ ﺇﻝﻰ ﺍﻝﻐﺭﺒﻲ " ﻤﻥ‬

‫ﻤﻨﻅﻭﺭ ﻏﺭﺒﻲ"‪ ،‬ﻭﻨﻅﺭﺓ ﺍﻝﻐﺭﺒﻲ ﺇﻝﻰ ﺍﻝﻌﺭﺒﻲ ﻤﻥ "ﻤﻨﻅﻭﺭ ﻏﺭﺒﻲ"‪ .‬ﻭﻓﻴﻤﺎ ﻴﻠﻲ ﻨﻤﻭﺫﺝ ﺘﻁﺒﻴﻘﻲ‬

‫ﻝﻌﺩﺩ ﻤﻥ ﺍﻷﻓﻼﻡ‪ ،‬ﻓﻲ ﻗﺭﺍﺀﺓ ﻝﻠﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ‪.‬‬

‫‪ 1.6.1‬ﻓﻴﻠﻡ ‪)The Kingdom‬ﺍﻝﻤﻤﻠﻜﺔ( ‪:1‬‬

‫ﺒﻁﺎﻗﺔ ﺍﻝﻔﻴﻠﻡ ‪ :‬ﻓﻴﻠﻡ ﻫﻭﻝﻴﻭﺩﻱ ﻤﻥ ﻨﻭﻉ ﺍﻝﺩﺭﺍﻤﺎ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ .2‬ﻤﺴﺘﻭﺤﻰ ﻤﻥ ﺘﻔﺠﻴـﺭﺍﺕ ﻤﺠﻤـﻊ‬

‫ﺍﻝﺭﺤﻤﺔ ﻓﻲ ﺍﻝﺭﻴﺎﺽ ﻤﻥ ﺍﻝﻌﺎﻡ ‪ ،2003‬ﻴﺘﺎﺒﻊ ﺍﻝﻔﻴﻠﻡ ﻗﺼﺔ ﻓﺭﻴﻕ ﺘﺤﻘﻴﻕ ﻤﻥ ﻤﻜﺘـﺏ ﺍﻝﺘﺤﻘﻴﻘـﺎﺕ‬

‫ﺍﻝﻔﻴﺩﺭﺍﻝﻲ ﻻﻜﺘﺸﺎﻑ ﻤﺭﺘﻜﺒﻲ ﺍﻝﻬﺠﻭﻡ‪ .‬ﺍﻝﻔﻴﻠﻡ ﻤﻥ ﺇﺨﺭﺍﺝ ﺒﻴﺘﺭ ﺒﻴﺭﻍ‪ ،‬ﻜﺎﺘﺏ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻤﺎﺜﻴﻭ ﻤﻴﺸﻴل‬

‫‪ .‬ﻭﻤﻥ ﺒﻁﻭﻝﺔ ﻨﺠﻭﻡ ﻫﻭﻝﻴﻭﺩ ﻭﻤﻤﺜﻠﻴﻥ ﺴﻌﻭﺩﻴﻴﻥ‪ ،‬ﻫﻡ‪ :‬ﺠﻴﻤﻲ ﻓﻭﻜﺱ‪ ،‬ﺃﺸﺭﻑ ﺒﺭﻫـﻭﻡ‪ ،‬ﻜـﺭﻴﺱ‬

‫ﻜﻭﺒﺭ ‪،‬ﺠﻴﻨﻴﻔﺭ ﻜﺎﺭﻨﺭ‪ ،‬ﺠﺎﻨﺴﻭﻥ ﺒﻴﺕ ﻤﺎﻥ‪ ،‬ﺭﻴﺘﺸﺎﺭﺩ ﺠﻴﻨﻜﺯ‪ ،‬ﻜﻴل ﺸﺎﻨﺩﺭ‪ ،‬ﺠﻴﺭﻤﻲ ﺒﻴﻔﻥ‪ ،‬ﻭﻋﻠـﻲ‬

‫ﺴﻠﻴﻤﺎﻥ‪. 3‬ﺃﻤﺎ ﺍﻝﻤﻭﺴﻴﻘﻰ ﺍﻝﺘﺼﻭﻴﺭﻴﺔ ﻓﻘﺩ ﺃﺠﺭﺍﻫﺎ ﺩﺍﻨﻲ ﺍﻝﻔﻤﺎﻥ‪ ،‬ﺃﻤـﺎ ﺍﻝﺘﻭﺯﻴـﻊ ﻓﻜـﺎﻥ ﺒﻭﺍﺴـﻁﺔ‬

‫ﺍﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﻴﻭﻨﻴﻔﻴﺭﺴﺎل ﺒﻜﺸﺭﺯ‪ .Universal Pictures‬ﺍﺴﺘﺨﺩﻡ ﺍﻝﻔـﻴﻠﻡ ﺍﻝﻠﻐـﺔ ﺍﻻﻨﺠﻠﻴﺯﻴـﺔ‬

‫ﺒﺎﻹﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻌﺭﺒﻴﺔ‪ .‬ﻓﻴﻠﻡ ﺍﻝﻤﻤﻠﻜﺔ ﺃﻁﻠﻕ ﻓﻲ ‪ 28‬ﺃﻴﻠﻭل ‪ 2007‬ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻝﻤﻴﺯﺍﻨﻴـﺔ‬

‫ﺘﺠﺎﻭﺯﺕ‪ 80‬ﻤﻠﻴﻭﻥ ﺩﻭﻻﺭ ﺃﻤﺭﻴﻜﻲ ﺒﺤﺼﻴﻠﺔ ﺇﻴﺭﺍﺩﺍﺕ ﺇﺠﻤﺎﻝﻴﺔ ﺒﻠﻐﺕ ‪ 86‬ﻭﻨﺼﻑ ﻤﻠﻴـﻭﻥ ﺩﻭﻻﺭ‬

‫ﺃﻤﺭﻴﻜﻲ‪ .‬ﻤﺩﺓ ﺍﻝﻔﻴﻠﻡ ﺴﺎﻋﺔ ﻭﺘﺴﻊ ﺩﻗﺎﺌﻕ ‪.4‬‬

‫ﺃﻤﻀﻰ ﺒﻴﺘﺭ ﺒﻴﺭﻍ ﺃﺴﺒﻭﻋﻴﻥ ﻓﻲ ﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ﻹﺠﺭﺍﺀ ﺃﺒﺤﺎﺙ ﺤﻭل ﻤﻭﻀـﻭﻉ‬

‫ﺍﻝﻔﻴﻠﻡ‪ .‬ﺤﻴﺙ ﺒﺩﺃ ﺍﻝﺘﺼﻭﻴﺭ ﻓﻲ ﺍﻝﻌﺎﺸﺭ ﻤﻥ ﻴﻭﻝﻴﻭ ‪ ،2006‬ﻭﻝﻜﻥ ﻝﻡ ﻴﺴﻤﺢ ﺒﺄﺨﺫ ﺃﻱ ﻤـﺸﻬﺩ ﻋﻠـﻰ‬

‫‪1‬‬
‫‪The Kingdom.Dir .Peter Berg .Auth.Mattew Carnhan.Jamie Foxx.Ashraf barhom.Chris Cooper and‬‬
‫‪others.Universal pictures.Septemper 28.2007‬‬
‫‪2‬‬
‫‪NY times. The Kingdom’ Gambles That Entertainment Can Trump Politics.19.6.2007.‬‬
‫‪http://www.nytimes.com/2007/06/19/movies/19king.html?_r=1 retrieved 25.10.2009‬‬
‫‪ 3‬ﻤﻤﺜل ﻓﻠﺴﻁﻴﻨﻲ ﻭﻫﻭ ﺫﺍﺕ ﺒﻁل ﻓﻴﻠﻡ ﺍﻝﺠﻨﺔ ﺍﻻﻥ ﻤﻥ ﺍﺨﺭﺍﺝ ﻫﺎﻨﻲ ﺍﺒﻭ ﺍﺴﻌﺩ ‪.‬‬
‫‪4‬‬
‫‪http://www.imdb.com/title/tt0431197/ .Retrieved 25.10.2009‬‬

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‫ﺃﺭﺽ ﺍﻝﻤﻤﻠﻜﺔ‪ ،‬ﻓﺎﺴﺘﺒﺩﻝﺕ ﺒﺒﻴﺌﺔ ﻤﺸﺎﺒﻬﺔ ﺒﺎﻻﺴﺘﻌﺎﻨﺔ ﺒﺎﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﻓﻲ ﺩﺒﻲ‪ ،‬ﻜﻤﺎ ﺍﻝﺘﻘﻁﺕ ﻋﺩﺩﺍ ﻤﻥ‬

‫ﺍﻝﻤﺸﺎﻫﺩ ﻓﻲ ﺃﺒﻭ ﻅﺒﻲ ﻭﺍﻝﺒﺎﻗﻲ ﻓﻲ ﺃﺭﻴﺯﻭﻨﺎ ‪.1‬‬

‫ﻋﻨﺼﺭ ﺍﻝﺤﻜﺎﻴﺔ‪ :‬ﻴﺤﻜﻲ ﺍﻝﻔﻴﻠﻡ ﻗﺼﺔ ﻓﺭﻴﻕ ﻤﻥ )ﺃﻑ ﺒﻲ ﺃﻱ( ﻴﺄﺘﻭﻥ ﺇﻝـﻰ ﺍﻝﻤﻤﻠﻜـﺔ ﺍﻝﻌﺭﺒﻴـﺔ‬

‫ﺍﻝﺴﻌﻭﺩﻴﺔ ﻝﻠﺘﺤﻘﻴﻕ ﻓﻲ ﺘﻔﺠﻴﺭﺍﺕ ﻤﺠﻤﻊ ﺍﻝﺭﺤﻤﺔ ﻓﻲ ﺍﻝﺭﻴﺎﺽ‪ ،‬ﻭﻫﻭ ﻤﺠﻤﻊ ﺘﺴﻜﻥ ﻓﻴـﻪ ﻋـﺎﺌﻼﺕ‬

‫ﺃﻤﺭﻴﻜﻴﺔ ﺘﻌﻤل ﻓﻲ ﺤﻘﻭل ﺍﻝﻨﻔﻁ ﻓﻲ ﺍﻝﻤﻤﻠﻜﺔ‪ .‬ﻴﻤﻨﻊ ﺍﻝﻔﺭﻴﻕ ﻓﻲ ﺍﻝﺒﺩﺍﻴﺔ ﻤﻥ ﺃﺩﺍﺀ ﻋﻤﻠﻬﻡ ﻭﺃﺨﺫ ﺍﻷﺩﻝﺔ‬

‫ﻜﻤﺎ ﻴﺠﺏ‪ ،‬ﻭﻝﻜﻥ ﻭﺒﻤﺴﺎﻋﺩﺓ ﺃﺤﺩ ﻋﻨﺎﺼﺭ ﺍﻝﺸﺭﻁﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ﻴﺒﺩﺃﻭﻥ ﻋﻤﻠﻬﻡ ﻝﻠﻘﺒﺽ ﻋﻠﻰ ﻤﺭﺘﻜﺒﻲ‬

‫ﺍﻝﺘﻔﺠﻴﺭﺍﺕ ﺒﺤﻴﺙ ﺘﺩﻭﺭ ﺍﻝﺸﺒﻬﺎﺕ ﺤﻭل ﺃﺒﻭ ﺤﻤﺯﺓ ﻭﻫﻭ ﺃﺤﺩ ﺃﻋﻀﺎﺀ ﺍﻝﻘﺎﻋﺩﺓ ﻓﻲ ﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ‬

‫ﺍﻝﺴﻌﻭﺩﻴﺔ‪ ،‬ﺇﺫ ﻴﻘﻭﻡ ﻭﺨﻠﻴﺘﻪ ﺒﺼﻨﺎﻋﺔ ﻗﻨﺎﺒل ﻭﺃﺤﺯﻤﺔ ﻨﺎﺴﻔﺔ ﻭﻴﺴﺘﻬﺩﻓﻭﻥ ﺍﻷﻤﺭﻴﻜﻴﻥ ﺃﻴﻨﻤﺎ ﻭﺠـﺩﻭﺍ‪.‬‬

‫ﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ﻴﺴﺘﺩل ﻓﺭﻴﻕ ﺍﻝﺒﺤﺙ ﻋﻠﻰ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻷﻋﻀﺎﺀ‪ ،‬ﻭﻝﻜﻥ ﻴﺘﺒﻴﻥ ﺃﻨﻬـﺎ ﻤﺠـﺭﺩ ﺨﻠﻴـﺔ‬

‫ﺼﻐﻴﺭﺓ ﺘﺘﻜﻭﻥ ﻤﻥ ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺸﺒﺎﻥ ﺍﻝﻤﺭﺍﻫﻘﻴﻥ‪ ،‬ﻭﺴﺭﻋﺎﻥ ﻤﺎ ﻴﺘﻌﻘﺏ ﺃﻓﺭﺍﺩ ﺍﻝﺒﺤـﺙ ﻤﻜـﺎﻥ‬

‫ﺍﻝﺨﻠﻴﺔ ﺍﻝﺭﺌﻴﺴﻲ ﻭﻴﻘﻭﻤﻭﻥ ﺒﺘﺼﻔﻴﺘﻬﻡ ﺨﻼل ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻷﺤﺩﺍﺙ ﻭﺍﻝﻤﺸﺎﻫﺩ ﺍﻝﺘﻲ ﺘﺴﻴﻁﺭ ﻋﻠﻴﻬـﺎ‬

‫ﺍﻹﻨﻔﻌﺎﻻﺕ‪ ،‬ﻭﺍﻝﺩﻻﻻﺕ ﺍﻝﺭﻤﺯﻴﺔ‪ ،‬ﻭﺍﻹﺸﺎﺭﺍﺕ ﺍﻹﻴﺤﺎﺌﻴﺔ‪ ،‬ﺍﻝﺘﻲ ﺘﺩل ﻋﻠﻰ ﺃﻜﺜﺭ ﻤﻤﺎ ﻴﻌﺭﻀﻪ ﺍﻝﻔـﻴﻠﻡ‬

‫ﻭﺴﻨﺘﻌﺭﺽ ﺘﻔﺼﻴﻼ ﻓﻲ ﻗﺭﺍﺀﺘﻨﺎ ﺍﻝﺘﺄﻭﻴﻠﻴﺔ ﻝﻤﺸﺎﻫﺩ ﺍﻝﺫﺭﻭﺓ ﻤﻥ ﺍﻝﻔـﻴﻠﻡ ﻤـﻥ ﺨـﻼل ﺍﻝـﺴﻴﻨﺎﺭﻴﻭ‬

‫ﻭﺍﻹﺨﺭﺍﺝ‪.‬‬

‫ﻗﺭﺍﺀﺓ ﻝﻠﻤﺸﺎﻫﺩ‪) :‬ﺍﻝﺴﻴﻨﺎﺭﻴﻭ‪ ،‬ﺍﻹﺨﺭﺍﺝ (‬

‫ﺸﺭﺡ ﺍﻝﻤﺸﻬﺩ ﺍﻻﻓﺘﺘﺎﺤﻲ ﻝﻠﻔﻴﻠﻡ ﺒﻁﺭﻴﻘﺔ ﻭﺜﺎﺌﻘﻴﺔ‪ ،‬ﺘﺎﺭﻴﺨﻴﺔ‪ ،‬ﺍﻝﻌﻼﻗﺎﺕ ﺒﻴﻥ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤـﺩﺓ‬

‫ﺍﻷﻤﺭﻴﻜﻴﺔ ﻭﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ﻤﻨﺫ ﺘﺄﺴﻴﺴﻬﺎ ﻋﺎﻡ ‪ ،1930‬ﻤﺭﻭﺭﺍ ﺒﺎﻜﺘﺸﺎﻑ ﺍﻝـﻨﻔﻁ ﻋـﺎﻡ ‪1933‬‬

‫ﻭﺭﺼﺩ ﺃﻭل ﺘﻌﺎﻭﻥ ﺃﻤﺭﻴﻜﻲ ﺴﻌﻭﺩﻱ ﻋﺎﻡ ‪ 1938‬ﻓﻴﻤﺎ ﻴﺨﺹ ﺍﻝﺼﻨﺎﻋﺎﺕ ﺍﻝﻨﻔﻁﻴﺔ ﺤﺘـﻰ ﺃﺯﻤـﺔ‬

‫ﺍﻝﻨﻔﻁ ‪ .1973‬ﹸﺘﺫﻜﺭ ﺃﻭﻝﻭﻴﺎﺕ ﺍﻷﻤﻥ ﺍﻝﻘﻭﻤﻲ ﺍﻷﻤﺭﻴﻜﻲ ﻭﺍﻝﻨﻔﻁ ﻋﻠﻰ ﺭﺃﺴﻬﺎ‪ ،‬ﺜﻡ ﺘﻌﺭﺽ ﺍﻝﻤـﺸﺎﻫﺩ‬

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‫‪Ibid. .Retrieved 25.10.2009‬‬

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‫ﻗﻴﺎﻡ ﺍﻝﻭﻫﺎﺒﻴﻴﻥ ﺒﺎﻝﻀﻐﻁ ﻋﻠﻰ ﺁل ﺴﻌﻭﺩ ﻝﺤﺠﺯ ﺍﻝﻨﻔﻁ ﻋﻥ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺠﺯﺍﺀﺍ ﻝﻬﺎ ﻋﻠﻰ ﺩﻋﻤﻬﺎ‬

‫ﻹﺴﺭﺍﺌﻴل ﻓﻲ ﺼﺭﺍﻋﻬﺎ ﻤﻊ ﺍﻝﻌﺭﺏ ﻓﻲ ﻤﻁﻠﻊ ﺍﻝﺴﺒﻌﻴﻨﺎﺕ‪ ،‬ﺒﻴﻨﻤﺎ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺘﻌـﺭﺏ ﻋـﻥ‬

‫ﻨﻭﺍﻴﺎﻫﺎ ﻝﺤﻤﺎﻴﺔ ﺍﻷﻤﻥ ﺍﻝﺨﻠﻴﺠﻲ‪ ،‬ﻭﺍﻝﻤﺼﺎﻝﺢ ﺍﻝﻨﻔﻁﻴﺔ ﻋﻨﺩﻤﺎ ﺴﺎﻫﻤﺕ ﻓﻲ ﻁﺭﺩ ﺍﻝﺠﻴﺵ ﺍﻝﻌﺭﺍﻗﻲ ﺇﺒﺎﻥ‬

‫ﺤﺭﺒﻪ ﻋﻠﻰ ﺍﻝﻜﻭﻴﺕ‪ .‬ﺜﻡ ﻴﻁﺭﺡ ﺍﻝﺘﺴﺎﺅل ﺍﻝﻜﺒﻴﺭ‪ :‬ﻝﻡ ﻴﻘﻭﻡ ﺨﻤﺴﺔ ﻋﺸﺭ ﺸﺎﺒﺎ ﺴﻌﻭﺩﻴﺎ ﻤـﻥ ﺃﺼـل‬

‫ﺘﺴﻌﺔ ﻋﺸﺭ ﺒﺘﻔﺠﻴﺭﺍﺕ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺍﻻﻤﺭﻴﻜﻴﺔ‪.‬‬

‫ﺍﻝﻤﺸﻬﺩ ﺍﻷﻭل ‪ :‬ﻤﻭﺴﻴﻘﻰ ﺼﺎﺨﺒﺔ ﺘﺸﻴﻊ ﺍﺠﻭﺍﺀﺍ ﻤﻥ ﺍﻝﻨﺸﺎﻁ ﻭﺍﻝﻔﺭﺡ ‪..‬ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻫـﻭ ﻤﺠﻤـﻊ‬

‫ﺍﻝﺭﺤﻤﺔ ﻓﻲ ﺍﻝﻌﺎﺼﻤﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ﺍﻝﺭﻴﺎﺽ‪ ،‬ﻤﻜﺎﻥ ﺴﻜﻥ ﻝﻌﺎﺌﻼﺕ ﺃﻤﺭﻴﻜﻴﺔ ﺘﻌﻤـل ﻓـﻲ ﺍﻝـﺼﻨﺎﻋﺔ‬

‫ﺍﻝﻨﻔﻁﻴﺔ ﻓﻲ ﺍﻝﺴﻌﻭﺩﻴﺔ‪ ،‬ﻤﺒﺎﺭﺍﺓ ﺒﻴﺴﺒﻭل‪ ،‬ﺃﻡ ﺘﺭﺍﻗﺏ ﺍﻝﻤﺒﺎﺭﺍﺓ ﺒﻴﻨﻤﺎ ﺘﺭﻀﻊ ﻁﻔﻠﻬـﺎ‪ ،‬ﺸـﻭﺍﺀ ﻨﻘـﺎﻨﻕ‬

‫ﻭﺃﻁﻔﺎل ﻴﺼﺭﺨﻭﻥ‪ ،‬ﻝﻘﻁﺎﺕ ﻤﺼﺎﺤﺒﺔ ﻝﺸﺭﻁﺔ ﺍﻷﻤﻥ ﺍﻝﺴﻌﻭﺩﻱ ﺘﺸﺩﺩ ﺍﻝﺤﺭﺍﺴـﺔ ﻋﻠـﻰ ﺍﻝﻤﻜـﺎﻥ‬

‫‪،‬ﺘﻜﺭﺍﺭ ﻝﻤﺸﺎﻫﺩ ﺍﻝﻤﺒﺎﺭﺍﺓ ﻫﺎﻝﺔ ﻓﺭﺡ ﻭﺃﺠﻭﺍﺀ ﻨﺸﻁﺔ‪ .‬ﻴﺭﺍﻗﺏ ﻤﻥ ﺍﻝﺸﺭﻓﺔ ﺭﺠل ﻴﻀﻊ ﻝﺜﺎﻤﺎ ﻭﻴﺭﺘﺩﻱ‬

‫ﻨﻅﺎﺭﺍﺕ ﺴﻭﺩﺍﺀ ﻴﻤﺴﻙ ﺭﺃﺱ ﺤﻔﻴﺩﻩ ﺒﺎﺘﺠﺎﻩ ﺍﻝﻤﺒﺎﺭﺍﺓ‪ ،‬ﺃﺤﺩﻫﻡ ﻴﺤﻤل ﻜﺎﻤﻴﺭﺍ ﻓﻴـﺩﻴﻭ ﻤﻭﺠـﻪ ﻨﺤـﻭ‬

‫ﺍﻝﻘﺎﻋﺩﺓ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻭﻴﻘﻭﻡ ﺍﺴﺘﻌﺩﺍﺩﺍ ﻝﻠﺘﺼﻭﻴﺭ‪ .‬ﺘﻭﻝﻑ ﺍﻝﻤﺸﺎﻫﺩ ﺴﺭﻴﻌﺎ ﺒﺤﻴﺙ ﺘﺸﻴﻊ ﺠـﻭﺍ ﺍﻨﻔﻌﺎﻝﻴـﺎ‬

‫ﺃﻜﺜﺭ ﺸﺩﺓ‪ 1.‬ﺇﻁﻼﻕ ﻫﺎﺌل ﻝﻠﺭﺼﺎﺹ‪ ،‬ﺸﺨﺼﺎﻥ ﺒﺯﻱ ﺍﻝﺸﺭﻁﺔ ﻴﻁﻠﻘﺎﻥ ﺍﻝﺭﺼﺎﺹ ﺒﻐﺯﺍﺭﺓ ﻋﻠﻰ ﻜل‬

‫ﺤﻲ ﺃﻤﺎﻤﻬﻡ‪ ،‬ﺍﻝﻜل ﻴﻬﺭﻉ ﺒﺎﺘﺠﺎﻩ ﺭﺠل ﻴﺭﺘﺩﻱ ﺯﻱ ﺍﻝﺸﺭﻁﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ﻴﺭﺸﺩﻫﻡ ﺇﻝﻰ ﻤﻜـﺎﻥ ﺁﻤـﻥ‬

‫ﻴﺭﻓﻊ ﺍﻷﺨﻴﺭ ﻴﺩﻴﻪ‪ :‬ﺘﻌﺎﻝﻭﺍ ﺍﻝﻲ ‪،‬ﻫﻠﻤﻭﺍ‪،‬ﻻ ﺘﺨﺎﻓﻭﺍ ‪،‬ﺍﷲ ﺍﻜﺒﺭ ﺍﷲ ﺍﻜﺒﺭ‪ ،‬ﺍﺸﻬﺩ ﺃﻥ ﻻ ﺍﻝﻪ ﺍﷲ‪ ،‬ﻴﻀﻐﻁ‬

‫ﺯﻨﺎﺩﺍ ﻭﻴﻔﺠﺭ ﻨﻔﺴﻪ ﻓﻲ ﺍﻝﺠﻤﻭﻉ ‪ ،2‬ﻴﺠﺒﺭ ﺍﻝﺠﺩ ﻋﻠﻰ ﺃﻥ ﻴﺒﻘﻲ ﺤﻔﻴﺩﻩ ﺒﺎﺘﺠﺎﻩ ﻤﺒﺎﺭﺍﺓ ﺍﻝﺒﻴﺴﺒﻭل ﺍﻝﺘـﻲ‬

‫ﺘﺤﻭل ﻻﻋﺒﻭﻫﺎ ﺇﻝﻰ ﺃﺸﻼﺀ ﻤﺘﻁﺎﻴﺭﺓ ﻓﻲ ﺃﺭﺠﺎﺀ ﺍﻝﻤﻜﺎﻥ! ﺃﻁﻔﺎل ﻭﻨﺴﺎﺀ ﻭﺭﺠﺎل‪ ،‬ﺸﻅﺎﻴﺎ‪ ،‬ﻗﺒﻌﺔ ﻁﻔل‬

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‫ﺍﻻﺩﺭﻤﺔ ﺘﺸﺘﺩ ﻤﻥ ﺍﻝﻠﺤﻅﺔ ﺍﻷﻭﻝﻰ ﻝﻠﻤﺸﻬﺩ‪،‬ﺍﻷﺠﻭﺍﺀ ﺍﻝﻌﺎﻤﺔ ﺘﺸﻴﺭ ﺇﻝﻰ ﺴﻜﺎﻥ ﻤﺴﺎﻝﻤﻴﻥ ﻴﻘﻭﻤﻭﻥ ﺒﻨﺸﺎﻁﺎﺘﻬﻡ ﺒﺸﻜل ﺍﻋﺘﻴﺎﺩﻱ‪.‬ﻤﻘﺎﺒل ﺍﻷﺨﺭ‬
‫ﺍﻝﺫﻱ ﻴﺴﺘﻌﺩ ﻤﻥ ﻋﻠﻰ ﺸﺭﻓﺘﻪ ﺍﻗﺘﻨﺎﺼﻬﻡ ﺠﻤﻴﻌﺎ ﻤﺴﺠﻼ ﻫﺫﻩ ﺍﻝﻠﺤﻅﺎﺕ ﻋﻠﻰ ﺸﺭﻴﻁ ﻓﻴﺩﻴﻭ‪.‬ﻭﺍﻻﻫﻡ ﻤﻥ ﺫﻝﻙ ﺤﺭﺼﻪ ﻋﻠﻰ ﺘﻐﺫﻴﺔ ﺍﻝﻁﻔل‬
‫ﺒﻬﺫﻩ ﺍﻝﻤﺸﺎﻫﺩ ﻓﻲ ﺇﺸﺎﺭﺓ ﺇﻝﻰ ﺍﻝﺤﺭﺹ ﻋﻠﻰ ﺘﻭﺭﻴﺙ ﻫﺫﺍ ﺍﻝﻔﻌل ﺇﻝﻰ ﻋﻘﻠﻪ ﺍﻝﺒﺎﻁﻥ‪.‬‬
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‫ﺜﻤﺔ ﺤﺭﺹ ﻋﻠﻰ ﺘﻤﺜﻴل ﺼﻭﺭﺓ ﺍﻻﻨﺘﺤﺎﺭﻱ ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﻬﻴﺌﺔ‪ ،‬ﺍﻝﻜﻠﻤﺎﺕ ﺍﻝﺘﻲ ﻴﻨﻁﻘﻬﺎ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻋﺘﻤﺎﺭﻩ ﺤﺯﺍﻤﺎ ﻨﺎﺴﻔﺎ‪ ،‬ﺤﺭﺼﻪ ﻋﻠﻰ‬
‫ﻗﺘل ﺍﻝﻌﺩﺩ ﺍﻷﻜﺒﺭ ﻤﻥ ﺍﻝﻨﺎﺱ‪ ،‬ﻀﻐﻁﻪ ﻋﻠﻰ ﻴﻨﻤﻭ ﻴﺩﻭﻱ‪.‬ﻴﻔﺠﺭ ﺍﻝﻤﻜﺎﻥ ﺒﺼﻭﺭﺓ ﻤﺭﻋﺒﺔ‪.‬ﻤﻊ ﻤﻼﺤﻅﺔ ﺘﻜﺭﺍﺭ ﻫﺫﺍ ﺍﻝﻤﺸﻬﺩ ﻓﻲ ﻤﺠﻤﻭﻉ‬
‫ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺘﻨﺎﻭل ﺫﺍﺕ ﺍﻝﻘﻀﻴﺔ‪.‬‬

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‫ﻋﻠﻰ ﺍﻷﺭﺽ ﺃﺸﻼﺀ ﻭﺩﻤﺎﺀ‪ ،‬ﺍﻨﻔﻌﺎل ﺁﺨﺭ‪ ،‬ﺇﻨﻔﺠﺎﺭ ﻜﺒﻴﺭ ﺁﺨﺭ ﻝﺴﻴﺎﺭﺓ ﺇﺴﻌﺎﻑ ﺘﻭﺩﻱ ﺒﺤﻴﺎﺓ ﺍﻝﻤﺯﻴﺩ‪.‬‬

‫ﻝﻘﻁﺔ ﻋﺎﻤﺔ ﻝﻤﻜﺎﻥ ﺍﻝﺘﻔﺠﻴﺭ‪ .‬ﻀﻭﺀ ﺃﺒﻴﺽ ﻴﻨﻬﻲ ﺍﻝﻤﺸﻬﺩ‪ .‬ﺨﻼل ﻤﺸﻬﺩ ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺍﻝﻀﺎﺒﻁ ﻫﻴﺜﻡ ﻴﺠﻠﺱ‬

‫ﻤﻜﺒﻼ ﻋﻠﻰ ﻜﺭﺴﻲ ﺼﻐﻴﺭ ﺴﻴﺎﻁ ﻤﺘﻼﺤﻘﺔ ﺘﺄﻜـل ﺃﺠـﺯﺍﺀ ﻭﺠﻬـﻪ‪ ،‬ﺼـﺭﺨﺎﺕ ﺒـﻴﻥ ﺍﻝﺤـﻴﻥ‬

‫ﻭﺍﻵﺨﺭ‪.‬ل‪.‬ﻙ‪ 1‬ﻝﻭﺠﻬﻪ ﺍﻝﻨﺎﺯﻑ – ﻤﺎ ﻋﻼﻗﺘﻙ ﺒﺎﻝﺘﻔﺠﻴﺭ؟ ﺃﻨﺕ ﻤﺘﺭﺒﻲ ﻓﻲ ﺍﻝﺴﻭﻴﺩ ﻫﺎ؟ ﻭﺃﺨﻭﻙ ﻗﺘـل‬

‫ﻭﻫﻭ ﻴﺤﺎﺭﺏ ﺍﻷﻤﺭﻴﻜﺎﻥ ﻫﺎﺍ؟ﻤﺎ ﻋﻼﻗﺘﻙ ﺒﺎﺒﻭ ﺤﻤﺯﺓ ؟‪-‬ﻫﻴﺜﻡ ﻤﺘﺭﻨﺤﺎ! ﻻ ﺃﻋﺭﻑ ﻻ ﺃﻋـﺭﻑ! ‪-‬‬

‫ل‪.‬ﻙ‪ -‬ﻝﻭﺠﻪ ﺍﻝﻤﺤﻘﻕ‪-، 2‬ﺤﺎﻨﻘﺎ ﻤﺴﻭﺩﺍ ‪ :-‬ﻝﻘﻴﻨﺎ ﻓﻲ ﺨﺯﺍﻨﺘﻙ ﺴﺕ ﺒﺩﻻﺕ ﻋﺴﻜﺭﻴﺔ ﻤﺎ ﺘﻔﻌل ﺒﻬـﺎ‪،‬‬

‫ﻭﺵ ﺘﺴﻭﻱ ﺒﻴﻬﺎ ﻫﺎ؟‪ -‬ﻫﻴﺜﻡ‪ :‬ﻤﺘﺭﺩﺩﺍ ﻭﺒﺼﻭﺕ ﻤﺘﻘﻁﻊ‪ ،‬ﺃﻨﺎ ﺃﻋﺭﻕ ﻜﺜﻴﺭ ﺃﺒﺩل ﺒﻴﻥ ﺍﻝﺤﻴﻥ ﻭﺍﻝﺜﺎﻨﻲ‪.‬‬

‫ﺸﻭﻓﻬﺎ ‪ -.‬ﺁﺨﺭ ﻤﺎ ﻴﻬﻤﻨﻲ ﻋﺭﻗﻙ‪-،‬ﻀﺭﺒﺔ ﺃﺨﺭﻯ ﺘﺴﺒﺏ ﻨﺯﻴﻔﺎ ﺸﺩﻴﺩﺍ ﻓﻲ ﻭﺠﻬﻪ – ﻴﻘﻭﻡ ﺍﻝﻀﺎﺒﻁ‬

‫ﻏﺎﺯﻱ ﺒﻔﺤﺹ ﺒﺩﻻﺕ ﻫﻴﺜﻡ ﺍﻝﻌﺴﻜﺭﻴﺔ ﻓﻴﺭﻯ ﺃﻨﻬﺎ ﻤﺘﻌﺭﻗﺔ ﻓﻌﻼ‪ -‬ﻀﺎﺒﻁ ﻫﻴﺜﻡ ﻝﻥ ﺘﻘﻭل ﺸﻴﺌﺎ ﻤﻤـﺎ‬

‫ﺘﻌﺭﻀﺕ ﻝﻪ ﻫﻨﺎ ﺴﺘﻘﻭل ﺃﻨﻙ ﺘﻌﺭﻀﺕ ﻝﻺﺼﺎﺒﺔ ﻭﺃﻨﺕ ﺘﺩﺍﻓﻊ ﻋﻥ ﺩﻴﺭﺘﻙ! –ﻴﻭﻤﺊ ﻫﻴﺜﻡ ‪...‬‬

‫ﻭﺍﺸﻨﻁﻥ‪ :‬ﻨﻘﺎﺸﺎﺕ ﻓﻲ ﻤﻜﺘﺏ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ ﺍﻝﻔﻴﺩﺭﺍﻝﻴﺔ ﺒﻴﻥ ﻋﺩﺩ ﻤﻥ ﺍﻝﻌﻤﻼﺀ ‪-‬ل ‪.‬ﻡ‪ .3-‬ﻤﻘـﺎﻁﻊ‬

‫ﻝﻤﺸﺎﻫﺩ ﺍﻝﺘﻔﺠﻴﺭﺍﺕ ﻋﻠﻰ ﺸﺎﺸﺔ ﺍﻝﺘﻠﻔﺎﺯ ‪-‬ل‪.‬ﻙ‪ -‬ﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ‪ -‬ﺃﺴﻭﺩ ﺍﻝﺒﺸﺭﺓ ‪ -‬ﻴﺩﻴﺭ ﻤﻜﺘـﺏ‬

‫ﺍﻝﺘﺤﻘﻴﻘﺎﺕ‪ ،‬ﻴﻁﻠﺏ ﺤﺎﻻ ﺘﻘﺭﻴﺭﺍ ﺒﻌﻤﻠﻴﺎﺕ ﺍﻝﻬﺠﻭﻡ‪ ،‬ﻭﺍﻝﺴﻼﺡ ﺍﻝﻤﺴﺘﺨﺩﻡ‪ ،‬ﻭﻨﻭﻋﻴﺔ ﺍﻝﻘﻨﺎﺒل‪ ،‬ﻴﺨﺒـﺭﻫﻡ‬

‫ﺃﻥ ﺃﺤﺩ ﻋﻤﻼﺀ ﺍﻝﻤﻜﺘﺏ ﻭﻴﺩﻋﻰ ﻓﺭﺍﻥ ﻗﺘل ﻓﻲ ﺍﻝﻬﺠﻭﻡ‪ ،‬ﺘﻨﻬﺎﺭ ﺩﻤﻭﻉ ﻤﻴﺯ‪ -‬ﺍﻝﺯﻤﻴﻠﺔ ﻓـﻲ ﻤﺠـﺎل‬

‫ﺍﻝﻔﺤﺹ ﺍﻝﺠﻨﺎﺌﻲ ﻓﻲ ﻤﻜﺘﺏ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ ﺍﻝﻔﻴﺩﺭﺍﻝﻲ‪ -‬ﻴﻘﺘﺭﺏ ﻓﻠﻭﺭﻱ ﻭﻴﻬﻤﺱ ﻝﻬﺎ ﺒﻜﻠﻤﺎﺕ ﺘﻬﺩﻯﺀ ﻤﻥ‬

‫ﺭﻭﻋﻬﺎ! ﺜﻡ ﻴﺨﺒﺭﻫﻡ ﺃﻨﻪ ﻤﻥ ﻏﻴﺭ ﺍﻝﻤﻤﻜﻥ ﺇﺠﺭﺍﺀ ﺘﺤﻘﻴﻘﺎﺕ ﻋﻠﻰ ﺃﺭﺽ ﺍﻝﺠﺭﻴﻤﺔ ﻓﻲ ﺍﻝﺴﻌﻭﺩﻴﺔ ﻷﻥ‬

‫ﺫﻝﻙ ﻴﻤﺱ ﺍﻝﺴﻴﺎﺩﺓ ﺍﻝﺴﻌﻭﺩﻴﺔ!‬

‫ل‪.‬ﻙ = ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‬ ‫‪1‬‬

‫‪ 2‬ﻴﻅﻬﺭ ﺍﻝﻤﺤﻘﻕ ﻋﺒﺩﺍﻝﻤﻠﻙ ﺸﺨﺼﺎ ﺫﻭ ﻤﻼﻤﺢ ﺤﺎﺩﺓ‪ ،‬ﻗﺎﺴﻴﺎ‪ .‬ﻝﻴﺴﺕ ﻝﺩﻴﻪ ﺨﺒﺭﻩ ﻓﻲ ﺃﺩﺍﺀ ﺍﻷﻋﻤﺎل ﺍﻝﺘﻲ ﺘﺨﺹ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ ﺍﻝﺠﻨﺎﺌﻴﺔ‪ .‬ﺃﻤﺎ‬
‫ﻗﻀﻴﺔ ﺍﻝﺘﻌﺫﻴﺏ ﻓﺘﻜﺭﺍﺭ ﻤﺸﻬﺩﻱ ﻝﻌﺩﺩ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺴﺘﻌﺭﺽ ﻻﺤﻘﺎ ﻓﻲ ﺘﻌﺯﻴﺯ ﻝﻬﺫﻩ ﺍﻝﻘﻴﻤﺔ‪.‬‬
‫ل‪.‬ﻡ = ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‬ ‫‪3‬‬

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‫ﻤﺸﻬﺩ‪ :‬ﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ ﻴﻠﺘﻘﻲ ﺒﺎﻝﺴﻔﻴﺭ ﺍﻝﺴﻌﻭﺩﻱ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻴﻁﻠﺏ ﻤﻨﻪ ﺍﻹﺫﻥ ﺒـﺴﻔﺭ‬

‫ﺍﻝﻔﺭﻴﻕ ﺍﻷﻤﺭﻴﻜﻲ ﻝﻠﺘﺤﻘﻴﻕ ﻓﻲ ﺍﻝﺤﺎﺩﺙ – ﺃﺤﺘﺎﺝ ﺇﻝﻰ ﺸﻬﺭ – ﺃﻤﺎﻤﻙ ﺍﺤﺘﻤﺎل ﺁﺨﺭ‪ :‬ﻝﻤﺎﺫﺍ ﺃﺭﺴﻠﺕ‬

‫ﺍﻝﺴﻌﻭﺩﻴﺔ ﻤﻠﻴﻭﻨﻲ ﺩﻭﻻﺭ ﺃﻤﺭﻴﻜﻲ ﻝﺠﻤﻌﻴﺎﺕ ﺇﺴﻼﻤﻴﺔ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ .‬ﻫﺎﺍ؟‪-‬ﻤﺎﺫﺍ ﺘﺭﻴـﺩ؟‪-‬‬

‫ﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ ‪-‬ﺤﺎﺯﻤﺎ ‪-‬ﺍﻝﺴﻔﺭ ﺍﻵﻥ ‪.‬‬

‫ﻤﺸﻬﺩ‪ :‬ﺍﻝﺠﺩ ﺍﻝﻤﻠﺜﻡ ﺜﺎﻨﻴﺔ‪ ،‬ﻴﺩ ﻹﺼﺒﻌﻴﻥ ﻤﺒﺘﻭﺭﻴﻥ‪ ،‬ﻜﺎﻤﻴﺭﺍ ﻓﻴﺩﻴﻭ ﺘﺴﺘﻌﺩ ﻝﺘﺴﺠﻴل ﺍﻝﺨﻁﺎﺏ‪-‬ل‪.‬ﻡ‪-‬‬

‫ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﺭﺠﺎل ﺍﻝﺫﻴﻥ ﻴﺴﺘﻤﻌﻭﻥ ﺒﺎﻨﺘﺒﺎﻩ‪ :‬ﻜﺎﻨﺕ ﺍﻝﺒﺩﺍﻴﺔ ﻓﻲ ﻋﻤﻠﻴﺔ ﺍﻝﺭﺤﻤﺔ ﺴـﻭﻑ ﻨﻁـﺭﺩ‬

‫ﺍﻝﻜﻔﺎﺭ ﻤﻥ ﺍﺭﺽ ﺍﻹﺴﻼﻡ‪ .‬ﺒﺎﺭﻙ ﺍﷲ ﻓﻴﻜﻡ ﻴﺎ ﺃﻭﻻﺩﻱ‪ ،‬ﻭﺍﻝﻨﺼﺭ ﻤﻥ ﺍﷲ‪.‬ﻭﺍﷲ ﺍﻜﺒﺭ‪.‬ﻴـﺭﺩﺩﻭﻥ‪ ،‬ﺍﷲ‬

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‫ﺍﻜﺒﺭ‪.‬‬

‫ﻤﺸﻬﺩ ‪ :‬ﻤﻭﻗﻊ ﺍﻝﺤﺎﺩﺜﺔ‪ ،‬ﻭﺼﻭل ﻓﺭﻴﻕ ﺍﻝﺘﺤﻘﻴﻕ ﺍﻝﻤﻜﻭﻥ ﻤﻥ ﺨﻤﺴﺔ ﺃﺸﺨﺎﺹ ﺒﺭﺌﺎﺴﺔ ﺍﻝﻌﻤﻴـل‬

‫ﻓﻠﻭﺭﻱ‪ ،‬ﻴﺸﺭﻑ ﻋﻠﻰ ﺃﻤﻨﻬﻡ ﻓﻲ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﻨﻘﻴﺏ ﻏﺎﺯﻱ‪ ،‬ﻴﻌﻠﻤﻬﻡ ﺒﺎﻝﻘﻭﺍﻋﺩ ﺍﻝﻭﺍﺠﺏ ﺇﺘﺒﺎﻋﻬﺎ‪ ،‬ﻴﻤﻨـﻊ‬

‫ﻝﻤﺱ ﺍﻷﺩﻝﺔ‪ ،‬ﻴﻤﻨﻊ ﺍﻝﺨﺭﻭﺝ ﺇﻝﻰ ﺍﻝﻤﻨﻁﻘﺔ ﺇﻻ ﺒﺈﺫﻥ‪ .‬ﺍﻝﻬﺎﻝﺔ ﻝﺸﻤﺱ ﺤﺎﺭﻗﺔ‪ ،‬ﻋﺩﺩ ﻤﻥ ﺃﻓﺭﺍﺩ ﺍﻷﻤـﻥ‬

‫ﺍﻝﺴﻌﻭﺩﻱ‪ ،‬ﺁﺨﺭﻭﻥ ﻴﺼﻠﻭﻥ‪- ،‬ل‪.‬ﻙ‪ -‬ﻷﺤﺩ ﺃﻓﺭﺍﺩ ﺍﻷﻤﻥ ﻻ ﺘﻅﻬﺭ ﺇﻻ ﻋﻴﻨﺎﻥ ﻏﺎﻀﺒﺘﺎﻥ ﺘﺭﻤﻘـﺎﻥ‬

‫ﺍﻻﻤﺭﻴﻜﻴﻥ ﺒﺤﻘﺩ ‪-‬ﻤﻭﻀﻭﻉ ﺍﻝﺼﻭﺭﺓ ﻝﻬﺎﻝﺔ ﻤﺸﻭﺸﺔ ‪-‬ﻭﺁﺨﺭ ﻴﺘﻭﺠﻪ ﻝﻠﻨﻘﻴﺏ ﻏﺎﺯﻱ – ﻫل ﺴﺘﻤﻭﺕ‬

‫ﻭﺃﻨﺕ ﺘﺩﺍﻓﻊ ﻋﻥ ﻋﺩﻭﻙ؟‪ -‬ﻴﻭﻤﺊ ﺴﺎﺨﺭﺍ‪ 2!-‬ﺼﻭﺕ ﻀﺠﻴﺞ ﻝﻁﺎﺌﺭﺓ ﻫﻭﻝﻴﻜﺎﺒﺘﺭ ﺘﺤـﻁ ﻓـﻲ ﺫﺍﺕ‬

‫ﺍﻝﻤﻜﺎﻥ‪ .‬ﺃﻤﻴﺭ ﺸﺎﺏ ﻤﺼﺤﻭﺏ ﺒﻜﺎﻤﻴﺭﺍﺕ ﺘﺼﻭﻴﺭ ﻓﻭﺘﻭﻏﺭﺍﻓﻲ‪ :‬ﻝﻘﺩ ﺠﺌﻨﺎ ﺒﺎﻷﻤﺭﻴﻜﻴﻥ ﻻ ﻝﻠﻘـﺒﺽ‬

‫ﻭﺍﻻﻋﺘﻘﺎل ﺒل ﻷﺨﺫ ﺍﻝﻤﺸﻭﺭﺓ ﻭﺍﻝﻨﺼﻴﺤﺔ ﻓﻲ ﻋﻤﻠﻴﺎﺕ ﺍﻝﺘﺤﻘﻴﻕ ﺍﻝﺠﺎﺭﻴﺔ‪ -.‬ﻴﻘﻭﻡ ﺃﺤـﺩﻫﻡ ﺒﻭﻀـﻊ‬

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‫ﺃﺒﻭ ﺤﻤﺯﺓ ﺍﺤﺩ ﺭﺠﺎل ﺍﻝﻘﺎﻋﺩﺓ ﻓﻲ ﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ‪.‬ﻭﻫﺫﺍ ﺍﺤﺩ ﺃﻭل ﺨﻁﺎﺒﺎﺘﻪ ﺍﻝﻤﻬﻨﺌﺔ ﺒﺎﻝﻌﻤﻠﻴﺔ‪.‬ﺍﻝﻭﻗﻔﺔ ﺍﻷﻭﻝﻰ ﻤﻊ ﺍﻝﺨﻁﺎﺏ‬
‫ﺍﻝﺴﺭﻴﻊ ﺍﻝﺫﻱ ﺴﻴﻠﻴﻪ ﺨﻁﺎﺒﺎﺕ ﺃﺨﺭﻯ ﻝﻠﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ ﺍﻝﺘﻲ ﺘﻘﻭﻡ ﺒﺎﻝﺘﻔﺠﻴﺭﺍﺕ ﻨﻔﻲ ﺇﺸﺎﺭﺍﺕ ﻤﺘﻜﺭﺭﺓ ﺍﻝﺘﻲ ﺘﺩل ﻋﻠﻰ ﻫﺩﻑ ﻫﺫﻩ‬
‫ﺍﻝﺠﻤﺎﻋﺎﺕ ﺍﻝﺫﻱ ﻴﻨﺼﺏ ﻓﻲ ﻁﺭﺩ ﺍﻝﻌﺩﻭ ﺍﻷﻤﺭﻴﻜﻲ ﻤﻥ ﺍﺭﺽ ﺍﻹﺴﻼﻡ‪.‬‬
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‫ﺘﺒﺎﻴﻥ ﻓﻲ ﺍﻝﻤﻭﺍﻗﻑ ﺍﺘﺠﺎﻩ ﺍﻝﺸﺨﺹ ﺍﻷﻤﺭﻴﻜﻲ‪ ،‬ﻏﺎﺯﻱ ﻴﺭﺍﻩ ﺸﺭﻴﻜﺎ ﻝﻠﻭﺼﻭل ﺇﻝﻰ ﺤﺎﻝﺔ ﺍﻷﻤﻥ ﻜﻤﺎ ﻴﻤﻜﻥ ﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﺨﺒﺭﺍﺘﻪ ﻓﻲ ﻫﺫﺍ‬
‫ﺍﻝﻤﺠﺎل‪ .‬ﺃﻤﺎ ﺍﻝﻀﺎﺒﻁ ﺍﻵﺨﺭ ﻓﻠﻡ ﻴﺭﻯ ﻓﻴﻪ ﺇﻻ ﻋﺩﻭﺍ ﻴﺠﺏ ﻤﺤﺎﺭﺒﺘﻪ ﻝﻴﺼﺒﺢ ﻏﺎﺯﻱ ﺨﺎﺌﻨﺎ ﻓﻲ ﻨﻅﺭﻩ‪.‬‬

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‫ﻋﺒﺎﺀﺓ ﻋﻠﻰ ﻜﺘﻔﻲ ﺍﻝﻌﻤﻴﻠﺔ ﻤﻴﺯ ﻭﻴﻁﻠﺏ ﻤﻨﻬﺎ ﻋﺩﻡ ﻤﺼﺎﻓﺤﺔ ﺍﻷﻤﻴﺭ‪ -‬ﺍﻝﻬﻭﻝﻴﻜـﺎﺒﺘﺭ ﺜﺎﻨﻴـﺔ ﺘـﺸﻴﻊ‬

‫ﻀﺠﻴﺠﺎ ﻜﺒﻴﺭﺍ ﺤﻴﺙ ﻴﻐﺎﺩﺭ ﺍﻷﻤﻴﺭ ‪...‬‬

‫ﻤﺸﻬﺩ –ﻝﻘﻁﺎﺕ ﻋﺎﻤﺔ ﺘﻅﻬﺭ ﺸﻜل ﺍﻝﺤﻴﺎﺓ ﺍﻝﺴﻌﻭﺩﻴﺔ‪ ،‬ﻤﺂﺫﻥ‪ ،‬ﻗﺼﻭﺭ ﻓﺎﺭﻫﺔ‪ ،‬ﻓﺘﻴـﺎﺕ ﻤﻨﻘﺒـﺎﺕ‪.‬‬

‫ﺇﺸﺎﺭﺓ ﺇﻝﻰ ﺤﻴﺎﺓ ﺍﻝﻨﻘﻴﺏ ﻏﺎﺯﻱ ﻭﺍﻝﻀﺎﺒﻁ ﻫﻴﺜﻡ‪ ،‬ﻝﺩﻯ ﻋﻭﺍﺌﻠﻬﻡ‪ ،‬ﺃﻁﻔﺎﻝﻬﻡ‪ ،‬ﺤﻴﺎﺘﻬﻡ ﺍﻝﻌﺎﺩﻴﺔ ﺤﺭﺼﻬﻡ‬

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‫ﻋﻠﻰ ﺍﻝﺼﻼﺓ‪ ،‬ﻤﺩﺍﻋﺒﺔ ﺍﻷﻁﻔﺎل ﻭﺒﺭ ﺍﻝﻭﺍﻝﺩﻴﻥ‬

‫ﻤﺸﻬﺩ –ﻓﺭﻴﻕ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ ﺍﻷﻤﺭﻴﻜﻲ ﻓﻲ ﻤﻜﺎﻥ ﻤﻜﻭﺜﻪ )ﻗﺎﻋﺔ ﺠﻴﻡ ﺭﻴﺎﻀﻴﺔ ﻤﺠﻬﺯﺓ ﺒﺨﻤﺴﺔ ﺃﺴﺭﺓ‬

‫–ﺍﻝﻌﻤﻴل ﻝﻔﻴﺕ ‪:‬ﻜﻡ ﻤﻥ ﺍﻝﻌﺫﺍﺭﻯ ﺴﻴﺤﺼل ﻤﻥ ﻴﻘﻭﻡ ﺒﻬﺫﺍ ﺍﻝﻌﻤل )ﻴﻘﺭﺃ ﻜﺘﺎﺒـﺎ( –ﺍﻝﻌﻤﻴﻠـﺔ ﻤﻴـﺯ‪:‬‬

‫ﺴﺒﻌﻭﻥ‪... !2‬ﻴﻘﻁﻊ ﺍﻝﺤﺩﻴﺙ ﺤﻀﻭﺭ ﺍﻝﻨﻘﻴﺏ ﻏﺎﺯﻱ ﻻﺼﻁﺤﺎﺒﻬﻡ ﺇﻝﻰ ﻤﻜﺎﻥ ﺍﻝﺤﺎﺩﺜﺔ ‪.‬‬

‫ﻤﺸﻬﺩ‪ :‬ل‪.‬ﻉ‪- 3‬ﻻ ﺯﺍﻝﺕ ﺍﻷﺸﻼﺀ ﻋﺎﻝﻘﺔ ﻓﻲ ﺃﺭﺠﺎﺀ ﺍﻝﻤﻜﺎﻥ ‪-‬ﻋﺩﺩ ﻤﻥ ﺍﻝﻤﺤﻘﻘـﻴﻥ ﺍﻝـﺴﻌﻭﺩﻴﻴﻥ‬

‫ﺍﻝﺫﻴﻥ ﻻ ﻴﻘﻭﻤﻭﻥ ﺒﺄﻱ ﺸﻲﺀ ﺴﻭﻯ ﺍﻝﺼﺭﺍﺥ! ﻴﺭﺍﻗﺏ ﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ ﺍﻝﻤﻜﺎﻥ ﻭﻴﻁﻠـﺏ ﺍﺴـﺘﺠﻭﺍﺏ‬

‫ﺍﻝﺸﻬﻭﺩ‪ ،‬ﻭﺍﻝﺘﺤﻘﻕ ﻤﻥ ﺃﺒﻨﻴﺔ ﻤﺠﺎﻭﺭﺓ ﺍﻝﺘﻲ ﻴﻤﻜﻥ ﺍﻝﺘﻘﺎﻁ ﺼﻭﺭ ﻤﻨﻬﺎ ﺒﻭﻀﻭﺡ‪ ،‬ﻜﺘﻠﻙ ﺍﻝﺘﻲ ﺸﺎﻫﺩﻫﺎ‬

‫ﻋﻠﻰ ﺃﺤﺩ ﺍﻝﻤﻭﺍﻗﻊ ﻝﻭﻗﺎﺌﻊ ﺤﺎﺩﺜﺔ ﺍﻝﺘﻔﺠﻴﺭ ﺍﻝﺘﻲ ﺃﻋﻠﻥ ﺃﺒﻭ ﺤﻤﺯﺓ ﻤﺴﺅﻭﻝﻴﺘﻪ ﻋﻨﻬﺎ ﻋﻠﻰ ﺃﺤﺩ ﺍﻝﻤﻭﺍﻗﻊ‬

‫ﺍﻻﻝﻜﺘﺭﻭﻨﻴﺔ ﺍﻝﺘﺎﺒﻌﺔ ﻝﻠﻘﺎﻋﺩﺓ‪-‬ﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ ﻴﻁﺭﻕ ﺒﺎﺒﺎ ﻤﺠﺎﻭﺭﺍ –ﺃﺭﻴﺩ ﺃﻥ ﺃﺴﺎﻝﻙ ﺒﻌﺽ ﺍﻷﺴﺌﻠﺔ‪.‬‬

‫‪-‬ﻷﺤﺩ ﺍﻝﺴﻜﺎﻥ‪ -‬ﺍﻻﻤﺭﻴﻜﻴﻥ ﺍﻝﺫﻴﻥ ﻴﻘﻁﻨﻭﻥ ﻤﺠﻤﻊ ﺍﻝﺭﺤﻤﺔ‪ -‬ل‪.‬ﻡ ‪-‬ﺭﺠل ﺃﻤﺭﻴﻜﻲ ﻏﺎﻀﺏ ﻴﺭﻤﻕ‬

‫ﺍﻝﻨﻘﻴﺏ ﻏﺎﺯﻱ‪ :‬ﺃﺒﻌﺩﻩ ﻋﻨﻲ‪ ،‬ﻫﺅﻻﺀ ﻗﺘﻠﻭﻨﺎ‪ ،‬ﻗﺘﻠﻭﻨﺎ‪ ،‬ﻤﺎﺫﺍ ﺘﺭﻴﺩ ﻫﺎ ﻤﺎﺫﺍ ﺘﺭﻴﺩ ﺃﻥ ﺘﺴﺄل ﺃﻁﻔﺎﻝﻲ ﻋـﻥ‬

‫ﻤﺸﺎﻫﺩﺘﻬﻡ ﻷﻤﻬﻡ ﻭﻫﻲ ﺘﻨﺯﻑ ﺤﺘﻰ ﺍﻝﻤﻭﺕ؟‪ -‬ﻴﺘﻭﺠﻪ ﺇﻝﻰ ﻏﺎﺯﻱ ﺒﺎﻝﺤﺩﻴﺙ‪ :-‬ﻫل ﻴﺭﻴﺩ ﺭﺒﻙ ﻫﺫﺍ؟‬

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‫ﺍﻝﺤﻴﺎﺓ ﺍﻻﻋﺘﻴﺎﺩﻴﺔ ﺍﻝﺘﻲ ﻴﺤﻴﺎﻫﺎ ﺍﻝﻌﺭﺏ ﻓﻲ ﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ‪،‬ﺍﻝﻠﺒﺎﺱ‪،‬ﺠﺯﺀ ﻤﻥ ﺍﻝﻌﺎﺩﺍﺕ‪.‬ﺍﻝﻬﺎﻝﺔ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺸﻬﺩ ﺍﻴﺠﺎﺒﻴﺔ ﻓﻲ‬
‫ﺇﺸﺎﺭﺍﺕ ﺇﻝﻰ ﻋﺎﺌﻠﺘﻲ ﻏﺎﺯﻱ ﻭﻫﻴﺜﻡ ﺘﻅﻬﺭ ﺒﺼﻭﺭﺓ ﺤﻤﻴﻤﻴﺔ‪.‬‬
‫‪ 2‬ﺍﺩﺭﻤﺔ ﺴﺭﻴﻌﺔ ﺘﻅﻬﺭ ﻤﺒﺭﺭﺍﺕ ﻗﻴﺎﻡ ﺍﻝﻤﺴﻠﻡ ﺒﺘﻔﺠﻴﺭ ﻨﻔﺴﻪ ﻭﺫﻝﻙ ﺒﻐﻴﺔ ﺍﻝﺠﻨﺔ ﻭﺸﻔﺎﻋﺘﻪ ﻷﻫﻠﻪ ﻓﻭﺯﺓ ﺒﺴﺒﻌﻴﻥ ﻤﻥ ﺍﻝﺤﻭﺭ ﺍﻝﻌﻴﻥ‪.‬‬
‫‪ 3‬ل‪.‬ﻉ = ﻝﻘﻁﺔ ﻋﺎﻤﺔ‬

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‫ﻫل ﻴﺭﻴﺩ ﺍﷲ ﻤﻭﺕ ﺯﻭﺠﺘﻲ؟ ﻫل ﻴﺤﺏ ﺍﷲ ﺯﻭﺠﺘﻙ ﺃﻜﺜﺭ ﻤﻥ ﺯﻭﺠﺘـﻲ‪..‬؟ ﻴـﺼﺭﺥ ‪..‬ﺍﺫﻫﺒـﻭﺍ‬

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‫‪...‬ﺍﺫﻫﺒﻭﺍ ‪...‬‬

‫ﻤﺸﻬﺩ‪ :‬ﻫﺩﻭﺀ‪ ،‬ﻏﺭﻑ ﻤﻐﻠﻘﺔ ﻝﻬﺎﻝﺔ ﻤﻨﺫﺭﺓ ﺒﺸﺅﻡ ﻤﺎ‪ ،‬ﺍﻝﺫﺍﺕ ﻷﻜﻑ ﻤﺸﻐﻭﻝﺔ‪ ،‬ﺨﻴﺎﻁﺔ ﻝـﺼﺩﺭﻴﺔ‬

‫ﺒﻴﻀﺎﺀ‪ ،‬ﻤﺴﺎﻤﻴﺭ ﻭﺤﺠﺎﺭﺓ ﺭﺨﺎﻤﻴﺔ ﻤﻌﺩﺓ ﻗﻨﺎﺒل ﻴﺩﻭﻴﺔ‪ ،‬ﻫﻭﺍﺘﻑ ﺩﻴﻨﺎﻤﻴﺕ‪ ،‬ﺼﻭﺭ ﻝﻔﺭﻴﻕ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ‬

‫ﺍﻷﻤﺭﻴﻜﻲ ﻤﻌﻠﻘﺔ ﻋﻠﻰ ﺍﻝﺤﺎﺌﻁ ‪،‬ﺘﻌﺒﺊ ﺍﻝﻘﻨﺎﺒل ﺩﺍﺨل ﺍﻝﺼﺩﺭﻴﺔ ﺍﻝﺒﻴﻀﺎﺀ ﻭﺘﻭﻀﻊ ﺠﺎﻨﺒـﺎ ‪..2‬ﻴﻘﻁـﻊ‬

‫ﺍﻝﻤﺸﻬﺩ ﻝﻘﺎﻓﻠﺔ ﺍﻝﺴﻴﺎﺭﺍﺕ ﺘﻘل ﻓﺭﻴﻕ ﺍﻝﺘﺤﻘﻴﻕ ﺇﻝﻰ ﻗﺼﺭ ﺍﻷﻤﻴﺭ‪ ،‬ﺠﻤﺎل ﻋﻠـﻰ ﻗﺎﺭﻋـﺔ ﺍﻝﻁﺭﻴـﻕ‪،‬‬

‫ﺃﺤﺩﻫﻡ ﻴﺼﻠﻲ ﺇﻝﻰ ﺠﺎﻨﺏ ﺍﻹﺴﻔﻠﺕ‪ ،‬ﻗﺒﺎﺏ –ﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ ل ﻏﺎﺯﻱ‪ :‬ﻜﻡ ﺃﻤﻴـﺭﺍ ﻫﻨـﺎ ‪5000-‬‬

‫ﺃﻤﻴﺭﺍ‪-.‬ﻭﻝﺩﻴﻬﻡ ﻗﺼﻭﺭ ﻜﻬﺫﺍ؟ ‪ -‬ﻫﻬﻪ ﻫﺫﺍ ﺃﺼﻐﺭ ﻗﺼﺭ! ﻴﺩﺨل ﺍﻝﺠﻤﻴﻊ ﺇﻝﻰ ﻗﺎﻋﺔ ﺍﺴﺘﻘﺒﺎل ﻀﺨﻤﺔ‪،‬‬

‫ﺘﻠﺘﻘﻁ ﺍﻝﺼﻭﺭ – ‪‬ﻴﻁﻠﺏ ﻤﻥ ﺍﻝﻌﻤﻴﻠﺔ ﻤﻴﺯ ﻋﺩﻡ ﺍﻝﺤﻀﻭﺭ‪ ،‬ﻷﻥ ﺍﻝﻌﺎﺩﺍﺕ ﺘﻘـﻀﻲ ﺒﻌـﺩﻡ ﺤـﻀﻭﺭ‬

‫ﺍﻝﻨﺴﺎﺀ‪ 3.‬ﺼﻘﺭ ﻤﻘﻁﻭﻉ ﺍﻝﻤﺨﺎﻝﺏ ﻓﻲ ﻤﻘﺩﻤﺔ ﺍﻝﻘﺎﻋﺔ ‪-‬ﺍﻷﻤﻴﺭ‪ :‬ﺭﺒﻤﺎ ﺘﺤﺒﻭﻥ ﺃﻥ ﺍﺼﻁﺤﺒﻜﻡ ﻝﺭﺤﻠـﺔ‬

‫ﺼﻴﺩ ﻜﺒﻴﺭﺓ ﻤﺎ ﺭﺃﻴﻜﻡ‪ -‬ﻓﻠﻭﺭﻱ‪:‬ﺴﻴﺩﻱ‪.....‬‬

‫ﻤﺸﻬﺩ‪ :‬ﺒﻌﺩ ﺴﻤﺎﺡ ﺍﻷﻤﻴﺭ ﻝﻬﻡ ﺘﺒﺩﺃ ﻤﺭﺤﻠﺔ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ ﺍﻝﺠﺩﻴﺔ ﻝﻠﻔﺭﻴﻕ ﺍﻷﻤﺭﻴﻜﻲ ﺒﺼﺤﺒﺔ ﺍﻝﻨﻘﻴﺏ‬

‫ﻏﺎﺯﻱ ﻭﺍﻝﻀﺎﺒﻁ ﻫﻴﺜﻡ‪ .‬ﺍﻝﻌﻤﻴل ﺴﺎﻴﻜﺱ ﻴﻘﻭﻡ ﺒﺠﻤﻊ ﺍﻷﺩﻝﺔ ﻤﻥ ﻤﻜﺎﻥ ﺍﻹﻨﻔﺠﺎﺭ ﻫﺎﻝﺔ ﺸﻤﺱ ﺤﺎﺭﻗﺔ‬

‫‪-‬ل‪.‬ﻉ‪ -‬ﻭﻤﺘﻭﺴﻁﺔ ﺒﻬﺅﻻﺀ‪ .‬ﺘﺘﺎﺒﻊ‪ :‬ﻋﻠﻴﻨﺎ ﺠﻤﻊ ﺍﻷﺩﻝﺔ‪ ،‬ﺍﻝﻤﻌﺩﺍﺕ‪ ،‬ﻻ ﺘﺨﺎﻓﻭﺍ ﻋﻠﻰ ﺃﻨﻔـﺴﻜﻡ ﻤـﻥ‬

‫ﺍﻝﻘﺫﺍﺭﺓ ﺃﺨﺭﺠﻭﺍ ﺍﻝﻤﻴﺎﻩ ﻤﻥ ﻫﻨﺎ‪ .‬ﻴﺎ ﺍﻝﻬﻲ ﻤﺎ ﻫﺅﻻﺀ‪ ..‬ﻴﺒﺩﻭ ﻋﻠﻴﻬﻡ ﺃﻨﻬﻡ ﻝﻡ ﻴﻔﻬﻤﻭﻥ ﺃﻱ ﻜﻠﻤﺔ ﻜﻤـﺎ‬

‫ﺃﻨﻬﻡ ﻏﻴﺭ ﻤﺘﻤﻜﻨﻴﻥ ﻤﻥ ﺃﺩﺍﺀ ﻋﻤﻠﻬﻡ ‪!4‬‬

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‫ﻴﻅﻬﺭ ﺍﻝﻤﺸﻬﺩ ﺍﻻﻨﻌﻜﺎﺱ ﺍﻹﻨﺴﺎﻨﻲ ﻝﻤﺜل ﻫﺫﻩ ﺍﻝﺤﻭﺍﺩﺙ ﺒﺘﻌﺎﺭﻀﻬﺎ ﻤﻊ ﺍﻝﻘﻴﻤﺔ ﺍﻝﺩﻴﻨﻴﺔ‪.‬ﺇﺫ ﺃﺭﺍﺩ ﺃﻥ ﻴﻘﻭل ﻫﺫﺍ ﺍﻝﻤﻭﺍﻁﻥ ﺍﻷﻤﺭﻴﻜﻲ ﺍﻝﺫﻱ‬
‫ﻤﺎﺘﺕ ﺯﻭﺠﺘﺔ ‪:‬ﺍﻥ ﺍﷲ ﻝﻡ ﻴﻜﻥ ﻝﻴﺭﻏﺏ ﺒﻤﺜل ﻫﺫﻩ ﺍﻷﻋﻤﺎل‪.‬‬
‫‪ 2‬ﺍﻝﻬﺎﻝﺔ ﺘﺜﻴﺭ ﺩﺭﺍﻤﺎ ﻤﺭﻋﺒﺔ ﺘﻅﻬﺭ ﻓﻴﻬﺎ ﻋﻤﻠﻴﺎﺕ ﺍﻝﺘﺠﻬﻴﺯ ﻷﺤﺯﻤﺔ ﻨﺎﺴﻔﻪ‪.‬‬
‫‪ 3‬ﺍﻝﺤﺭﺹ ﻋﻠﻰ ﺇﻅﻬﺎﺭ ﻫﺫﻩ ﺍﻝﻘﻴﻤﺔ ﻓﻲ ﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ﺇﺫ ﻴﺘﻡ ﺘﻜﺭﺍﺭﻫﺎ ﻝﺜﻼﺙ ﻤﺭﺍﺕ ﻓﻴﻤﺎ ﻴﺨﺹ ﺇﻗﺼﺎﺀ ﺍﻝﻌﻤﻴﻠﺔ ﻤﻴﺯ ﻋﻥ ﺃﻱ‬
‫ﻤﻜﺎﻥ ﻴﺘﻭﺍﺠﺩ ﻓﻴﻪ ﺭﺠﺎل ﺴﻌﻭﺩﻴﻭﻥ‪.‬‬
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‫ﺒﺩﺍ ﺍﻝﻌﻤﺎل ﺍﻝﺴﻌﻭﺩﻴﻭﻥ ﻤﻨﺩﻫﺸﻴﻥ ﻝﻤﺎ ﻴﻘﻭﻡ ﺒﻪ ﺍﻝﻤﺤﻘﻕ ﺍﻷﻤﺭﻴﻜﻲ ﻭﻁﺭﻴﻘﺘﻪ ﻓﻲ ﺠﻤﻊ ﺍﻷﺩﻝﺔ ﻭﺇﺠﺭﺍﺀ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ‪ .‬ﻜﻤﺎ ﺒﺩﺍ ﺩﻭﺭﻫﻡ ﺴﻠﺒﻴﺎ‬
‫ﺠﺩﺍ‪.‬‬

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‫ﺍﻝﻌﻤﻠﻴﺔ ﻤﻴﺯ ﺘﻘﻭﻡ ﺒﺎﺴﺘﺨﺭﺍﺝ ﺍﻝﺸﻅﺎﻴﺎ ﻤﻥ ﺍﻝﻘﺘﻠﻰ‪ ،‬ﺘﻤﺴﻙ ﻴﺩ ﺃﺤﺩ ﺍﻝﺠﺜـﺙ ﻷﺨـﺫ ﺍﻝﺒـﺼﻤﺎﺕ‪.‬‬

‫ﺃﺤﺩﻫﻡ‪ :‬ﺤﺭﺍﻡ ‪-‬ﺼﺎﺭﺨﺎ ‪-‬ﻫﺫﺍ ﺤﺭﺍﻡ ﺇﻨﻪ ﻤﺴﻠﻡ‪ .‬ﺍﻝﺭﻗﻴﺏ ﻫﻴﺜﻡ‪ :‬ﻤﺎ ﻋﻠﻴﻙ ﻤﺎ ﻋﻠﻴﻙ‪ .‬ﺴﻴﺩﺘﻲ ﻤﻤﻨﻭﻉ‬

‫ﻝﻤﺱ ﺠﺜﺔ ﻤﺴﻠﻡ! ﺃﺭﺠﻭﻙ ﻗﻭﻝﻲ ﻝﻲ ﻤﺎ ﺃﻓﻌل ﻭﺴﺄﻓﻌل‪ .‬ﺘﻭﻤﺊ ﺒﺎﻝﻤﻭﺍﻓﻘﺔ‪ .‬ﺘﻘﻭﻡ ﺒﺎﺴﺘﺨﺭﺍﺝ ﺸـﻅﺎﻴﺎ‬

‫ﺤﺩﻴﺩﻩ ﻭﺃﺨﺭﻯ ﺼﺨﺭﻴﺔ ‪ -‬ﻫﻴﺜﻡ‪ :‬ﺃﻨﻬﺎ ﻜﺭﺍﺕ ﺭﺨﺎﻤﻴﺔ!‬

‫ﻤﺸﻬﺩ‪ :‬ﺍﻝﺭﻗﻴﺏ ﻏﺎﺯﻱ ﻭﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ ﻴﺘﺤﺩﺜﺎﻥ ﺃﺜﻨﺎﺀ ﺘﻭﺠﻬﻬﻤﺎ ﻷﺤﺩ ﻤﻌﺎﺭﻑ ﻏﺎﺯﻱ ﻝﺘﻔﺤﺹ‬

‫ﺃﻤﺭ ﻗﻁﻌﺔ ﺤﺩﻴﺩﻴﺔ ﺃﺨﺫﺍﻫﺎ ﻤﻥ ﻤﻜﺎﻥ ﺍﻝﺤﺎﺩﺙ – ﻝﻡ ﺘﻔﻌل ﻫﺫﺍ ﻏﺎﺯﻱ ؟‪-‬ﻝﺩﻱ ﺃﻁﻔـﺎل! ﺃﺭﻴـﺩ ﺃﻥ‬

‫ﺃﺤﻔﻅ ﺃﻤﻥ ﺍﻵﻻﻑ! ﺃﺘﺩﺭﻱ ﺇﺫﺍ ﻭﺠﺩﺕ ﺍﻝﻤﺠﺭﻡ ﻝﻥ ﺃﺴﺄﻝﻪ ﺃﻱ ﺴﺅﺍل ﺴﺄﻗﻭﻡ ﺒﻘﺘﻠﺔ ﻓﻘﻁ‪ .‬ﻫل ﺘﻔﻬـﻡ‪.‬‬

‫ﻴﻭﻤﺊ ﻓﻠﻭﺭﻱ ﺒﺎﻹﻴﺠﺎﺏ‪.‬‬

‫ﻴﺘﺠﻪ ﻜﻼﻫﻤﺎ ﺇﻝﻰ ﻤﻜﺎﻥ ﻤﻁل ﻴﻌﺞ ﺒﺎﻷﻁﻔﺎل ﺍﻝﺫﻴﻥ ﻴﻠﻌﺒﻭﻥ ﺍﻝﻌﺎﺒﺎ ﺍﻝﻜﺘﺭﻭﻨﻴﺔ ﺒﻭﻝﻴﺴﻴﺔ ﻭﺤﺭﺒﻴﺔ‪-.‬‬

‫ﺍﻝﻬﺎﻝﺔ ﻤﺨﺘﻠﻁﺔ‪ -‬ﺘﻤﺎﻤﺎ ﻭﺍﻝﺨﺭﺩﺓ ﻓﻲ ﻜل ﻤﻜﺎﻥ‪-.‬ﺇﻨﻪ ﻋﺯ ﺍﻝﺩﻴﻥ ﺃﺤﺩ ﺃﻋﻀﺎﺀ ﺍﻝﻘﺎﻋﺩﺓ ﻭﻝﻜﻨﺔ ﺭﺠـﻊ‬

‫ﻓﻲ ﺴﻨﺔ ﺍﻝﻌﻔﻭ ﺍﻝﻤﻠﻜﻲ‪.‬‬

‫ﻤﺸﻬﺩ – ﺘﻌﻘﺏ ﻋﺩﺩ ﻤﻥ ﺍﻝﺸﺒﺎﻥ ﻭﻗﺘﻠﻬﻡ ﻭﺍﻜﺘﺸﺎﻑ ﺃﻨﻬﺎ ﻝﻴﺴﺕ ﺇﻻ ﺭﺍﻓﺩﺍ ﺼﻐﻴﺭﺍ ﻝﻠﻘﺎﻋﺩﺓ‪.‬‬

‫ﻤﺸﻬﺩ – ﺍﻝﻘﺎﻓﻠﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻤﺘﺠﻬﺔ ﺇﻝﻰ ﺍﻝﻤﻁﺎﺭ ﻝﻠﻤﻐﺎﺩﺭﺓ‪.‬ﻤﺯﺍﺡ ﻭﻀﺤﻙ ﺒﻴﻥ ﺃﻓـﺭﺍﺩ ﺍﻝﻔﺭﻴـﻕ‬

‫ﻭﺍﻝﻨﻘﻴﺏ ﻏﺎﺯﻱ‪ .‬ﺍﻝﺤﺩﻴﺙ ﻋﻥ ﺍﺤﺘﻔﺎﻻﺕ ﻭﻜﺅﻭﺱ ﺍﻝﺒﻴﺭﺓ ﺍﻝﺘﻲ ﻴﻨﻭﻱ ﺍﻷﺼﺩﻗﺎﺀ ﺍﻝﻘﻴﺎﻡ ﺒﺎﺤﺘـﺴﺎﺌﻬﺎ‬

‫ﻋﻨﺩ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ – ﻏﺎﺯﻱ‪ :‬ﻫﺫﻩ ﺃﺸﻴﺎﺀ ﻤﻤﻨﻭﻋﺔ ﻝﺩﻴﻨﺎ‪ .‬ﺘﻘﺎﺭﺏ ﺒـﻴﻥ ﺍﻝﻠﻘﻁـﺎﺕ‬

‫ﺍﻝﻌﺎﻤﺔ ﻝﻠﺴﻴﺎﺭﺍﺕ‪ .‬ﺍﻝﻬﺎﻝﺔ ﻤﺘﻭﺘﺭﺓ ﺸﻴﺌﺎ ﻓﺸﻴﺌﺎ‪ .‬ﺘﻘﺘﺭﺏ ﺴﻴﺎﺭﺓ ﻤﻥ ﺍﻝﻘﺎﻓﻠﺔ ﻴﺴﺘﻌﺩ ﺍﻝﻔﺭﻴﻕ‪...‬ﺜﻡ ﺍﻨﻔﺠﺎﺭ‬

‫ﻫﺎﺌل ﻭﻤﻭﺠﺔ ﻜﺒﻴﺭﺓ ﻤﻥ ﺍﻝﺭﺼﺎﺹ‪ ،‬ﺍﻨﻘﻼﺏ ﻝﻠﺴﻴﺎﺭﺍﺕ ﻭﺘﻨﺘﺸﺭ ﺍﻝﺸﻅﺎﻴﺎ ﻓﻲ ﻜل ﻤﻜﺎﻥ ﻭﻴﺨﻁـﻑ‬

‫ﺍﻝﻌﻤﻴل ﻝﻴﻔﺕ! ﺤﺭﻜﺔ ﺴﺭﻴﻌﺔ ﺃﺠﻭﺍﺀ ﺍﻨﻔﻌﺎل ﻋﺎﻤﺔ‪ ،‬ﺤﻀﻭﺭ ﻝﻠﻤﺸﻬﺩ‪ .‬ﺘﻌﻘﺏ ﺍﻝﺴﻴﺎﺭﺓ ﺍﻝﻤﻌﺎﺩﻴﺔ ﺒﻌـﺩ‬

‫ﺇﺼﺎﺒﺔ ﻋﺩﺩ ﻤﻥ ﺃﻓﺭﺍﺩﻫﺎ‪ ،‬ﺇﺫ ﺘﻘﻭﺩﻫﻡ ﺍﻝﺴﻴﺎﺭﺓ ﻓﻲ ﻭﻀﻊ ﻤﻁﺎﺭﺩﺓ ﺼﺎﺨﺒﺔ ﺇﻝﻰ ﻗﺎﻋـﺩﺓ ﺍﻨﻁﻼﻗﻬـﻡ‪،‬‬

‫ﻤﺒﻨﻰ ﻗﺩﻴﻡ‪ ،‬ﺘﺒﺎﺩل ﻹﻁﻼﻕ ﺍﻝﻨﺎﺭ ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﻤﻨﻁﻘﺔ ﺁﻤﻨﺔ‪ .‬ﺃﺤﺩﻫﻡ ﺼﺎﺭﺨﺎ ﺒﻐﻀﺏ ﻓﻲ ﻏﻤـﺭﺓ‬

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‫ﺍﻝﻀﺠﻴﺞ ﻭﺍﻝﺘﻭﺘﺭ‪ :‬ﻝﻴﺵ ﺠﻴﺕ ﻫﺎﻥ ﺤﻴﻭﺍﻥ‪ ،‬ﺤﻴﻭﺍﻥ! – ﻫﺫﺍ ﺃﺨﻲ ﺃﻨﺼﺎﺏ ﻭﻩ ﻴﻨﺯﻑ – ﻤﺎ ﻴﻬﻡ ﻫﻡ‬

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‫ﺃﺠﻭ ﻫﺎﻥ ﻝﺤﻘﻭﻕ ﺤﻴﻭﺍﻥ ﺃﻨﺕ ﻤﺎ ﺘﻔﻬﻡ؟!‪...‬ﺩﻝﻴﺘﻬﻡ ﻋﻠﻰ ﻤﻜﺎﻨﺎ؟!‬

‫ﻴﺩﺨل ﺒﺎﻗﻲ ﺍﻝﻔﺭﻴﻕ ﺇﻝﻰ ﺍﻝﻤﺒﻨﻰ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﺭﻗﻴﺏ ﻏﺎﺯﻱ ﻭﻫﻴﺜﻡ‪ ،‬ﺍﻝﺘﺭﻗﺏ‪ ،‬ﺍﻝﺨﻭﻑ‪ ،‬ﻝﻘﻁـﺎﺕ‬

‫ﻜﺒﻴﺭﺓ ﺘﺭﺼﺩ ﻭﺠﻭﻫﻬﻡ‪.‬ﺃﻁﻔﺎل ﻓﻲ ﺍﺤﺩﻯ ﺍﻝﻐﺭﻑ‪ .‬ﻫﻨﺎﻙ ﺸﺎﺏ ﻭﺃﻡ ﺘﺤﻀﻥ ﺃﻁﻔﺎﻻ ﻭﻁﻔﻠﺔ ﺘﺒﻜـﻲ‪.‬‬

‫ﻤﻴﺯ ﺘﺼﺭﺥ‪ :‬ﻤﻌﻠﺵ ﻤﻌﻠﺵ ‪-‬ﺒﺎﻝﻌﺭﺒﻴﺔ‪ !-‬ﺘﻬﺩﺃ ﺍﻝﻁﻔﻠﺔ ﺍﻝﺘﻲ ﺃﺜﺎﺭﺕ ﺠﻭﺍ ﻗﻠﻘﺎ – ﻤﺼﺎﺹ؟ ﺘـﻭﻤﺊ‬

‫ﻝﻬﺎ ﺇﻻﻡ ﺒﻘﺒﻭﻝﻪ ﻭﺘﻌﻁﻴﻬﺎ ﺍﻝﻁﻔﻠﺔ ﺒﺎﻝﻤﻘﺎﺒل ﻜﺭﺓ ﺭﺨﺎﻤﻴﺔ‪ .‬ﺘﺩﺭﻙ ﻤﻴﺯ ﺇﻥ ﻫﺫﺍ ﺘﺠﻬﻴﺯ ﺍﻝﻘﻨﺎﺒل ﻭﻤﻌﺩﺍﺕ‬

‫ﺍﻝﺘﻔﺠﻴﺭ ﻫﺫﻩ ﺍﻝﻜﺭﺓ ﻫﻲ ﺫﺍﺘﻬﺎ ﺍﻝﺘﻲ ﺘﻨﺎﺜﺭﺕ ﺸﻅﺎﻴﺎﻫﺎ ﺨﻼل ﺃﺠﺴﺎﺩ ﺍﻝﻘﺘﻠﻰ! ‪..‬ﺘﺒﺎﺩل ﺇﻁﻼﻕ ﺍﻝﻨـﺎﺭ‬

‫‪..‬ﺸﺎﺏ ﻓﻲ ﻤﻘﺘﺒل ﺍﻝﻌﻤﺭ ﻴﺤﻤل ﻤﺴﺩﺴﺎ ‪...‬ﺘﺭﺩﻴﻪ ﻤﻴﺯ ﻗﺘﻴﻼ‪.‬‬

‫ﻴﺘﻡ ﺇﻋﺩﺍﺩ ﻝﻔﻴﺕ ﻝﻠﺫﺒﺢ ﺃﻤﺎﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ ،‬ﺍﻻﺴﺘﻌﺩﺍﺩ‪ ،‬ﺘﻔﺎﻭﺕ ﻓﻲ ﻝﻘﻁﺎﺕ ﺇﺜﺎﺭﺓ ﺠﻭ ﻤـﻥ ﺍﻝﺭﻋـﺏ‪،‬‬

‫ﺍﻝﻬﺎﻝﺔ ﻋﻨﻑ ﺨﺎﻝﺹ ﻝﻬﺎﺙ ﻝﻔﻴﺕ ﻫﻭ ﺍﻝﺼﻭﺕ ﺍﻝﻁﺎﻏﻲ‪ .‬ﺍﻝﺨﻠﻔﻴﺔ ﺃﻜﻑ ﺘﺤﻤل ﺴﻴﻔﺎ ﻋﻠﻰ ﻋﻨﻕ ﻝﻔﻴﺕ‪.‬‬

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‫ﺃﺤﺩﻫﻡ ﻤﻠﺜﻤﺎ‪ ،‬ﻴﻘﺭﺃ ﺨﻁﺎﺒﺎ‪ ،‬ﺍﻝﺫﺒﺢ ﻋﻠﻰ ﻋﺠل ‪.......:‬‬

‫ﺘﻭﻝﻑ ﺍﻝﻤﺸﺎﻫﺩ ﺘﺎﺭﺓ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‪ ،‬ﺍﻝﺘﺯﺍﻭﺝ ﺒﻴﻥ ﻜل ﺍﻝﻤﺸﻬﺩﻴﻥ ﻭﺩﺨﻭل ﺍﻷﺒﻭﺍﺏ ﺍﻝﻤﻐﻠﻘﺔ! ﻓـﻲ‬

‫ﻝﺤﻅﺔ ﻜﺎﺩ ﺭﺃﺱ ﻝﻔﻴﺕ ﻴﻘﻁﻊ ﺘﻁﻠﻕ ﺭﺼﺎﺼﺎﺕ ﻤﺘﺘﺎﺒﻌﺔ ﻓﺘﻨﻘﺫ ﻋﻨﻘﻪ ﺍﻝﻨﺎﺯﻑ‪...‬ﻝﻡ ﻴﻜﻤـل ﺍﻝﺭﺠـل‬

‫ﺨﻁﺎﺒﻪ! –ﻏﺎﺯﻱ‪ :‬ﻫﺎﺕ ﻴﺩﻙ ﺃﺴﺎﻋﺩﻙ ﻝﻠﺠﺩ ﺫﻭ ﺍﻝﻠﺤﻴﺔ ﺍﻝﺒﻴﻀﺎﺀ – ﻴﺒﺘﺴﻡ ﻭﻴﻨﻅﺭ ﺍﻝﻴﺩ ﺒﻠﻘﻁﺔ ﻜﺒﻴﺭﺓ‬

‫ﺫﺍﺕ ﺍﻷﺼﺎﺒﻊ ﺍﻝﻤﺒﺘﻭﺭﺓ‪ ،‬ﺘﺤﻤل ﺭﺸﺎﺸﺎ! – ﺃﺒﻭ ﺤﻤﺯﺓ ؟! ﻴﺤﺎﻭل ﺍﻹﺠﺎﺒﺔ ﺒﺭﺸﺎﺸﻪ ﻝﻜﻥ ﺭﺼﺎﺼﺎﺕ‬

‫ﻏﺎﺯﻱ ﺘﺭﺩﻴﻪ ﻗﺘﻴﻼ!ﻏﺎﺯﻱ ﻴﻤﻭﺕ ﺃﻴﻀﺎ‪ ،‬ﻭﺍﻝﺠﺩ ﻴﻬﻤﺱ ﻝﺤﻔﻴﺩﻩ ﺍﻝﺼﻐﻴﺭ ﺸﻴﺌﺎ ﻤﺎ‪.‬‬

‫ﻤﻭﺴﻴﻘﻰ – ﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ ﻓﻲ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻴﺼﺎﻓﺢ ﻭﺍﻝﺩ ﻏﺎﺯﻱ ﻤﻌﺯﻴﺎ ﻭﻴﻠﻘﻲ ﻨﻅـﺭﺓ ﻋﻠـﻰ‬

‫ﺃﻁﻔﺎﻝﻪ!‬

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‫ﺨﻁﺎﺏ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻓﻲ ﻫﺫﺍ ﺍﻝﻤﺸﻬﺩ ﻴﻅﻬﺭ ﺍﻝﻘﺴﻭﺓ ﺍﻝﺸﺩﻴﺩﺓ ﻓﻲ ﺍﻝﺘﻌﺎﻤل ﻤﻊ ﺍﻝﺠﺴﺩ ﺍﻝﻤﺼﺎﺏ ﻭ ﺍﻝﻤﻴﺕ ﻝﻠﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ‪،‬‬
‫ﺤﻴﺙ ﺘﻜﻤﻥ ﺍﻷﻫﻤﻴﺔ ﻓﻲ ﻋﺩﻡ ﺘﻌﻘﺒﻬﻡ ﻤﻬﻤﺎ ﻜﺎﻨﺕ ﺍﻝﻌﻭﺍﻗﺏ‪.‬‬
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‫ﺍﺩﺭﻤﺔ ﺒﺄﺠﻭﺍﺀ ﺍﻨﻔﻌﺎﻝﻴﺔ ﺸﺩﻴﺩﺓ ﻴﻅل ﺍﻝﻤﺸﺎﻫﺩ ﻤﺘﺭﻗﺒﺎ ﻓﻴﻬﺎ ﻝﺤﺎﻝﺔ ﺍﻻﺴﺘﺭﺨﺎﺀ‪.‬ﻗﻴﻤﺔ ﺇﻨﺴﺎﻨﻴﺔ ﺘﺨﺎﻁﺏ ﺍﻝﻌﻘل ﺍﻝﺒﺸﺭﻱ ﻵﺨﺭ ﻤﻌﺭﺽ ﻝﻠﺫﺒﺢ‬
‫ﺤﺎﻻ ﺃﻤﺎﻡ ﻜﺎﻤﻴﺭﺍ ﺍﻝﻔﻴﺩﻴﻭ‬

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‫ﺴﺎﻴﻜﺱ ‪ :‬ﻤﻴﺯ‪ ،‬ﺍﺨﺒﺭﻴﻨﻲ ‪.‬ﻤﺎ ﺍﻝﺫﻱ ﻫﻤﺱ ﻝﻙ ﺒﻪ ﺍﻝﻌﻤﻴل ﻓﻠﻭﺭﻱ ﻭﻗﺕ ﺍﻝﺤﺎﺩﺙ ﻋﻨﺩﻤﺎ ﺒﻜﻴﺕ ؟‪-‬‬

‫ﻗﺎل ﻝﻲ ﻻ ﺘﺨﺎﻓﻲ‪ ،‬ﺴﻨﻘﺘﻠﻬﻡ ﺠﻤﻌﻴﺎ!‬

‫ﻝﻠﻁﻔل‪ :‬ﻓﺩﻴﺘﻙ ﻋﻤﺘﻙ ﻭﺵ ﻫﻤﺱ ﺠﺩﻙ ﻗﺒل ﻻ ﻴﻤﻭﺕ ﻭﻗﺕ ﻜﻨﺕ ﺘﺒﻜﻲ – ﻗﺎﻝﻲ ﻤﺎ ﺘﺨﺎﻑ ﻴـﺎ‬

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‫ﻭﻝﻴﺩﻱ ﺭﺍﺡ ﻨﻘﺘﻠﻬﻡ … ﻜﻠﻬﻡ‬

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‫‪ (Body of Lies) 2.6.1‬ﺠﺴﺩ ﺍﻷﻜﺎﺫﻴﺏ‪:‬‬
‫ﺘﻘﺩﻴﻡ ‪ :‬ﺃﺨﺫ ﻓﻴﻠﻡ ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ ﻋﻥ ﺭﻭﺍﻴﺔ ﺩﻴﻔﻴﺩ ﺍﻏﻨـﺎﻁﻴﻭﺱ "ﺍﻹﺨﺘـﺭﺍﻕ"‪ .‬ﺘﺤـﺎﻭل‬

‫ﺍﻝﺭﻭﺍﻴﺔ ﺘﺴﻠﻴﻁ ﺍﻝﻀﻭﺀ ﻓﻲ ﺴﻴﺎﻗﺎﺕ ﻤﺘﻌﺩﺩﺓ ﺤﻭل ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ﻭﺍﻹﺭﻫﺎﺏ‪ .‬ﺍﻝﻔﻴﻠﻡ ﻤـﻥ ﺇﻨﺘـﺎﺝ‬

‫ﻭﺇﺨﺭﺍﺝ ﺭﻴﺩﻝﻲ ﺴﻜﻭﺕ ﻝﺼﺎﺤﺏ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﻝﻴﻡ ﻤﻭﻨﻬﺎﻥ‪ .‬ﻝﻌـﺏ ﺩﻭﺭ ﺍﻝﺒﻁﻭﻝـﺔ ﺍﻷﻭل ﺍﻝـﻨﺠﻡ‬

‫ﺍﻝﻬﻭﻝﻴﻭﺩﻱ ﻝﻴﻭﻨﺎﺭﺩﻭ ﺩﻱ ﻜﺎﺒﺭﻴﻭ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺭﺍﺴﻴل ﻜﺭﻭ‪،‬ﻤﺎﺭﻙ ﺴﺘﺭﻭﻨﺞ‪ .‬ﺍﻝﻔﻴﻠﻡ ﻤـﻥ ﺘﻭﺯﻴـﻊ‬

‫ﺍﺴﺘﻭﺩﻴﻭﻫﺎﺕ ﻭﺭﻨﺭ ﺒﺭﻭﺱ ‪ Worner Bros‬ﺤﻴﺙ ﺃﻁﻠﻕ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻓﻲ ﺍﻝﻌﺎﺸﺭ ﻤـﻥ‬

‫ﺃﻜﺘﻭﺒﺭ ‪2008‬ﻡ‪ .‬ﻭﻗﺕ ﺍﻝﻔﻴﻠﻡ ﻤﺌﺔ ﻭﺜﻤﺎﻥ ﻭﻋﺸﺭﻴﻥ ﺩﻗﻴﻘﺔ ‪.‬ﺃﻤﺎ ﺍﻝﻠﻐﺔ ﺍﻝﻤﺴﺘﺨﺩﻤﺔ ﻓﻬﻲ ﺍﻹﻨﺠﻠﻴﺯﻴـﺔ‬

‫ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻠﻐﺔ ﺍﻝﻌﺭﺒﻴﺔ‪ .‬ﺘﻜﻠﻔﺔ ﺍﻝﻔﻴﻠﻡ ﺘﺠﺎﻭﺯﺕ ﺴﺒﻌﻴﻥ ﻤﻠﻴﻭﻥ ﺩﻭﻻﺭ ﺃﻤﺭﻴﻜﻲ ﺃﻤـﺎ ﺍﻹﻴـﺭﺍﺩﺍﺕ‬

‫ﺍﻹﺠﻤﺎﻝﻴﺔ ﻓﻘﺩﺭﺕ ﺒﻤﺌﺔ ﻭﺨﻤﺴﺔ ﻋﺸﺭ ﻤﻠﻴﻭﻥ ﺩﻭﻻﺭ ﺃﻤﺭﻴﻜﻲ ‪ .3‬ﺼﻭﺭ ﺍﻝﻔـﻴﻠﻡ ﻓـﻲ ﺍﻝﻌﺎﺼـﻤﺔ‬

‫ﻭﺍﺸﻨﻁﻥ‪ ،‬ﺍﻨﺎﺒﻭﻝﻴﺱ‪ ،‬ﻤﻴﺭﻻﻨﺩ‪ ،‬ﻭﻤﻨﺎﻁﻕ ﺃﻭﺭﻭﺒﺎ‪ :‬ﺍﻨﺠﻠﺘﺭﺍ‪ ،‬ﻤﻴﻭﻨﺦ‪ .‬ﺃﻤﺎ ﺍﻝﻤﺸﺎﻫﺩ ﺍﻝﺘﻲ ﻴﻔﺘـﺭﺽ ﺃﻥ‬

‫ﺘﺼﻭﺭ ﻓﻲ ﺍﻷﺭﺩﻥ ﻭﺍﻹﻤﺎﺭﺍﺕ ﻓﻘﺩ ﻤﻨﻊ ﻓﻴﻬﺎ ﺍﻝﺘﺼﻭﻴﺭ ﺒﺄﻤﺭ ﻤﻥ ﺍﻝﻤﺠﻠﺱ ﺍﻝﻭﻁﻨﻲ ﺍﻷﻋﻠﻰ ﻝﻺﻋﻼﻡ‬

‫ﺒﺴﺒﺏ ﺤﺴﺎﺴﻴﺔ ﺍﻝﻤﻭﺍﻀﻴﻊ ﺍﻝﻤﻁﺭﻭﺤﺔ! ﻓﺎﺘﺨﺫ ﺍﻝﻤﺨﺭﺝ ﺍﻝﻤﻐﺭﺏ ﻓﻀﺎﺀ ﺠﻐﺭﺍﻓﻴﺎ ﻴﺤﺎﻜﻲ ﺒﻴﺌﺔ ﻜل‬

‫ﻤﻥ ﺍﻷﺭﺩﻥ ﻭﺍﻹﻤﺎﺭﺍﺕ ﺍﻝﻌﺭﺒﻴﺔ‪ .‬ﻤﻭﺴﻴﻘﻰ ﺍﻝﻔﻴﻠﻡ ﻤﻥ ﺘﺄﻝﻴﻑ ﻤﺎﺭﻙ ﺴﺘﻴﺭﺘﻔﻴﻠﺩ ‪.4‬‬

‫ﺍﻝﻘﻴﻤﺔ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻠﻔﻴﻠﻡ ﺘﺘﻠﺨﺹ ﻓﻲ ﺍﻝﺤﺎﺩﺜﺔ ﺍﻷﺨﻴﺭﺓ‪ .‬ﺒﺭﻭﺯ ﺍﻝﺜﻨﺎﺌﻴﺔ ‪ :‬ﺍﻝﺭﻏﺒﺔ ﻓﻲ ﺇﻓﻨﺎﺀ ﺍﻵﺨﺭ‪.‬‬ ‫‪1‬‬

‫‪2‬‬
‫‪Body of Lies.Dir.Ridley Scot.Auth.William Monahan.Leonardo Dicaprio.Russel Crow.Mark‬‬
‫‪ston.Warner Bros.October 9.2008‬‬
‫‪.retrieved 25.10.2009http://www.boxofficemojo.com/movies/?id=bodyoflies.htm3‬‬
‫‪.retrieved 29.10.2009http://www.imdb.com/title/tt0758774/news#ni05869144‬‬

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‫ﻋﻨﺼﺭ ﺍﻝﺤﻜﺎﻴﺔ ‪ :‬ﻴﺤﻜﻲ ﺍﻝﻔﻴﻠﻡ ﻗﺼﺔ ﻋﻤﻴل ﺨﺎﺹ ﻝﻠﻌﻤﻠﻴﺎﺕ ﺍﻝﺸﻌﺒﻴﺔ ﻤﻥ ﻭﻜﺎﻝﺔ ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ‬

‫ﺍﻷﻤﺭﻴﻜﻴﺔ )‪ ،(CIA‬ﺃﻤﺎ ﻤﻬﻤﺘﻪ ﻓﺘﻜﻤﻥ ﻓﻲ ﻤﻼﺤﻘﺔ ﺍﻹﺭﻫﺎﺒﻴﻴﻥ ﺍﻝﻤﺸﺘﺒﻪ ﺒﻬﻡ ﻭﺘﻭﺭﻁﻬﻡ ﻓﻲ ﻋﻤﻠﻴﺎﺕ‬

‫ﺘﻔﺠﻴﺭ ﺘﻌﻠﻥ ﺍﻝﻘﺎﻋﺩﺓ ﻤﺴﺅﻭﻝﻴﺎﺘﻬﺎ ﻋﻨﻬﺎ ﻓﻲ ﺍﻝﻌﺭﺍﻕ‪ .‬ﻴﺴﺎﻨﺩ ﺭﻭﺠﺭ ﻓﺭﻴﺱ ﻤﻥ ﻭﺍﺸـﻨﻁﻥ ﺍﻝﻌﻤﻴـل‬

‫ﻫﻭﻓﻤﺎﻥ ﻤﻥ ﺨﻼل ﺍﻷﻗﻤﺎﺭ ﺍﻝﺼﻨﺎﻋﻴﺔ ﻭﺍﻝﺭﺴﺎﺌل ﺍﻻﻝﻜﺘﺭﻭﻨﻴﺔ ﻭﺍﻝﻬﻭﺍﺘﻑ ﺍﻝﻨﻘﺎﻝﺔ‪ ،‬ﻭﻤـﻥ ﺍﻝﻌـﺭﺍﻕ‬

‫ﻴﺴﺎﻨﺩﻩ ﻤﻭﺍﻁﻥ ﻋﺭﺍﻗﻲ ﻴﺠﻴﺩ ﺍﻹﻨﺠﻠﻴﺯﻴﺔ‪ ،‬ﻜﻤﺎ ﺃﻨﻪ ﻤﺨﻠﺹ ﻓﻲ ﺃﺩﺍﺀ ﻋﻤﻠﻪ ﻤﻊ ﻓﺭﻴﺱ‪ .‬ﺘﻘـﻊ ﻓـﻲ‬

‫ﺍﻝﺴﻴﺎﻕ ﻋﺩﺩ ﻤﻥ ﺍﻝﻌﻤﻠﻴﺎﺕ ﺍﻝﺘﻔﺠﻴﺭﻴﺔ ﻓﻲ ﻤﺎﻨﺸﺴﺘﺭ ﻭﺃﻤﺴﺘﺭﺩﺍﻡ ﻭﻴﻌﻠﻥ ﺁل ﺴـﻠﻴﻡ‪-‬ﺃﺤـﺩ ﺭﺠـﺎل‬

‫ﺍﻝﻘﺎﻋﺩﺓ‪ -‬ﻤﺴﺅﻭﻝﻴﺘﻪ ﻋﻨﻬﺎ‪ .‬ﻓﺘﺤﺩﺩ ﻤﻬﻤﺔ ﻓﺭﻴﺱ ﻓﻲ ﺍﻝﺘﻭﺼل ﺇﻝﻰ ﺁل ﺴﻠﻴﻡ ﺒﺎﻝﺘﻌﺎﻭﻥ ﻤﻊ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ‬

‫ﺍﻷﺭﺩﻨﻴﺔ ﻭﻴﺘﻡ ﺍﻝﻘﺒﺽ ﻋﻠﻰ ﺁل ﺴﻠﻴﻡ ﻓﻲ ﺨﻀﻡ ﻋﺩﺩ ﻤﻥ ﺍﻝﻤﺸﺎﻫﺩ ﻭﺍﻷﺤﺩﺍﺙ ﺍﻝﺩﺭﺍﻤﻴﺔ‪ ،‬ﻓﻲ ﺩﻻﻻﺕ‬

‫ﺭﻤﺯﻴﺔ ﻋﺩﻴﺩﺓ‪ ،‬ﺴﺎﻫﻤﺕ ﻓﻲ ﺘﺸﻜﻼﺕ ﺫﻫﻨﻴﺔ ﻭﻨﻤﺎﺫﺝ‪ ،‬ﻤﻥ ﺨﻼل ﺘﻘﻨﻴﺎﺕ ﻓﻨﻴﺔ ﻨﺘﺤﺩﺙ ﻋﻨﻬﺎ ﺨـﻼل‬

‫ﻗﺭﺍﺀﺘﻨﺎ ﺍﻝﺘﺄﻭﻴﻠﻴﺔ ﻝﻠﻔﻴﻠﻡ ‪.‬‬

‫ﺍﻹﺨﺭﺍﺝ ﻭﺍﻝﺴﻴﻨﺎﺭﻴﻭ‪:‬‬

‫ﺍﻝﻤﺸﻬﺩ ﺍﻷﻭل‪-‬ﻤﺎﻨﺸﺴﺘﺭ –ﺍﻨﺠﻠﺘﺭﺍ ‪ :‬ﺃﺤﺩ ﺭﺠﺎل ﺍﻝﻘﺎﻋﺩﺓ ﻴﺘﺤﺩﺙ ﻭﻗﺩ ﺍﻋﺘﻠﻰ ﻜﺭﺴـﻴﺎ ﻋﺒـﺭ‬

‫ﺸﺎﺸﺔ ﺍﻝﺘﻠﻔﺎﺯ‪" :‬ﻭﻜﻤﺎ ﻓﺠﺭﻨﺎ ﻨﺎﻗﻠﺔ ﺍﻝﺭﻜﺎﺏ ﻓﻲ ﺤﻲ ﺸﻴﻔﻠﺩ ﺍﻷﺴﺒﻭﻉ ﺍﻝﻤﺎﻀﻲ‪ ،‬ﺴﻨﻜﻭﻥ ﻋﻠﻰ ﺍﺴﺘﻌﺩﺍﺩ‬

‫ﺘﺎﻡ ﻝﻠﻘﻴﺎﻡ ﺒﻌﻤﻠﻴﺎﺕ ﺃﺨﺭﻯ ﻓﻲ ﺒﺭﻴﻁﺎﻨﻴﺎ‪ ،‬ﺴﻭﻑ ﻨﻨﺘﻘﻡ ﻤﻥ ﺤﺭﺏ ﺃﻤﺭﻴﻜﺎ ﺍﻝﺘﻲ ﺘﺸﻥ ﺤﺭﺒﻬﺎ ﻋﻠـﻰ‬

‫ﺍﻝﻌﺎﻝﻡ ﺍﻹﺴﻼﻤﻲ‪ ،‬ﺴﻨﻜﻭﻥ ﻝﻬﻡ ﺒﺎﻝﻤﺭﺼﺎﺩ ﺃﻴﻨﻤﺎ ﻜﺎﻨﻭﺍ ‪ - .1‬ﺘﺘﺤﺭﻙ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻤﻥ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﺇﻝـﻰ‬

‫ﻋﺎﻤﺔ ﻝﻐﺭﻓﺔ ﻫﺎﺩﺌﺔ ﺃﺭﻜﺎﻨﻬﺎ‪ -‬ﺍﻝﻬﺎﻝﺔ ﻤﻅﻠﻤﺔ ﻭﺍﻝﺤﺭ ﺴﺎﻜﻥ ﻓﻲ ﺍﻝﺯﻭﺍﻴﺎ‪ ،‬ﺸﺎﺏ ﻴﺘﺼﺒﺏ ﻋﺭﻗﺎ‪ ،‬ﻴﻨﻬﻤﻙ‬

‫ﻓﻲ ﺇﻋﺩﺍﺩ ﺃﻤﺭ ﻤﺎ ﻏﻴﺭ ﻅﺎﻫﺭ‪ ،‬ﻭﺁﺨﺭ ﻴﻘﻭﻡ ﺒﺄﻋﻤﺎل ﻓﻲ ﺍﻝﻤﻁﺒﺦ ﻭﻤﻥ ﺃﻤﺎﻤـﻪ ﺸﺎﺸـﺎﺕ ﺍﻝﺘﻠﻔـﺎﺯ‪،‬‬

‫ﺨﻁﺎﺏ ﺍﻝﺸﻴﺦ ﻤﺭﺓ ﺃﺨﺭﻯ‪":‬ﺴﻨﻘﻭﻡ ﺒﻀﺭﺒﺎﺕ ﻋﺸﻭﺍﺌﻴﺔ‪ ،‬ﻴﺭﻓﻊ ﻴﺩﻩ ﻤﻬﺩﺩﺍ‪ ،‬ﺴـﻨﻨﺯﻑ ﻭﻴﻨﺯﻓـﻭﻥ"‪.‬‬

‫‪1‬‬
‫ﺨﻁﺎﺏ ﺁل ﺴﻠﻴﻡ ﺍﺤﺩ ﺭﺠﺎل ﺍﻝﻘﺎﻋﺩﺓ ﻨﺘﻘﺎﻁﻊ ﻏﺒﺘﻪ ﻜﻤﺎ ﺨﻁﺎﺏ ﺍﻝﻘﺎﻋﺩﺓ ﻓﻲ ﻓﻴﻠﻡ ﺍﻝﻤﻤﻠﻜﺔ ﺒﺩﺤﺭ ﺍﻻﻤﺭﻴﻜﻴﻥ ﻭﻤﻼﺤﻘﺘﻬﻡ ﻓﻲ ﺃﻤﺎﻜﻥ‬
‫ﺘﻭﺍﺠﺩﻫﻡ ﻭﻗﺘﻠﻬﻡ‬

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‫ﻴﺯﺩﺍﺩ ﻫﺩﻭﺀ ﺍﻝﻬﺎﻝﺔ ﺘﻭﺘﺭﺍ ﻭﺘﻅﻬﺭ ﺃﻜﺜﺭ ﻅﻼﻤﺎ ﻭﻗﺘﺎﻤﻪ‪ ،‬ﺘﺨﺘﺭﻗﻬﺎ ﺃﺼﻭﺍﺕ ﻝﻜﻼﺏ ﺘﻨـﺒﺢ‪ ،‬ﺼـﻭﺕ‬

‫ﻝﺯﺠﺎﺠﺎﺕ ﺤﻠﻴﺏ ﺘﺘﻤﺎﻴل ﺩﺍﺨل ﺴﻴﺎﺭﺓ ﻗﺎﺩﻤﺔ ‪،‬ﺘﺯﺩﺍﺩ ﺤﺩﺓ ﺍﻝﺘﻭﺘﺭ ﻭﻻ ﺯﺍل ﺍﻝﻬﺩﻭﺀ ﺴﺎﻜﻨﺎ ﻤﺎ ﻋـﺩﺍ‬

‫ﺘﻠﻙ ﺍﻝﺯﺠﺎﺠﺎﺕ ‪-‬ل‪.‬ﻡ ‪-‬ﺠﻨﻭﺩ ﻴﺭﺘﺩﻭﻥ ﺍﻝﺒﺯﺍﺕ ﺍﻝﻌﺴﻜﺭﻴﺔ ﻴﺨﺘﺭﻕ ﻨﺒﺎﺡ ﺍﻝﻜﻼﺏ ﻤﺴﻴﺭﻫﻡ ﺍﻝﻬـﺎﺩﺉ‬

‫ﺜﺎﻨﻴﺔ ﻴﻘﺘﺭﺒﻭﻥ ﻤﻥ ﺍﻝﺒﻴﺕ – ﺍﻝﺸﺎﺏ ‪:‬ﺼﻪ ‪،‬ﻴﻬﻤﺱ "ﻋﻠﻲ"!! ﺒﺴﻡ ﺍﷲ‪ ،‬ﺒﺴﻡ ﺍﷲ‪ ،‬ﺍﷲ ﺃﻜﺒﺭ ﻴﻔﻠﺕ ﺸﻴﺌﺎ‬

‫ﻤﻥ ﻴﺩﻩ‪ -‬ل‪.‬ﻙ‪ -‬ﺇﻨﻔﺠﺎﺭ ﻫﺎﺌل ﻴﻨﺴﻑ ﻜل ﺸﻲﺀ‪..‬ﻤﻭﺴﻴﻘﻰ ﺘﺼﺎﻋﺩﻴﺔ‪ ،‬ﺩﺨﺎﻥ ﺃﺴﻭﺩ‪ ،‬ﻨﻴﺭﺍﻥ ﺘﺄﻜـل‬

‫ﺒﻌﻀﻬﺎ‪..‬ﺜﻡ ﻫﺩﻭﺀ ﺘﺎﻡ!‬

‫ﺘﻭﻝﻴﻑ ﻝﻤﺸﻬﺩ ﺁﺨﺭ ‪.‬‬

‫ﻤﺸﻬﺩ ‪ :‬ﺴﺎﻤﺭﺍﺀ‪-‬ﺍﻝﻌﺭﺍﻕ‪ : -‬ل‪.‬ﻉ ﻝﻠﻤﺩﻴﻨﺔ ﺍﻝﻬﺎﻝﺔ ﻝﻐﺭﻭﺏ ﺸﻤﺱ‪ ،‬ﺼﻭﺕ ﺁﺫﺍﻥ‪.‬ﺍﻨﺘﻘﺎل ﺒﻁـﻲﺀ‬

‫ﻝﻠﻘﻁﺔ ﻜﺒﻴﺭﺓ‪..‬ﺭﺠل ﻴﺘﻤﺩﺩ ﻋﻠﻰ ﺃﺭﻴﻜﺔ‪ ،‬ﺸﻌﺭ ﻤﺘﻨﺎﺜﺭ‪ ،‬ﻝﺤﻴﺔ ﻜﺜﺔ‪ ،‬ﻴﺒﺩﻭ ﺠﺴﺩﻩ ﻤﻨﻬﻜﺎ‪ .‬ﺍﻝﻬﺎﻝﺔ ﻝﺼﻭﺕ‬

‫ﺁﺨﺭ‪:‬ﻫل ﻨﻨﺘﻤﻲ ﺇﻝﻰ ﻫﺫﺍ ﺍﻝﻤﻜﺎﻥ ؟‪...‬ﻫﺫﺍ ﺍﻝﺴﺅﺍل ﻏﻴﺭ ﻤﻬﻡ ﻷﻨﻨﺎ ﻫﻨﺎ ﻭﻻ ﻨﺭﻯ ﺍﻝﻨﻬﺎﻴـﺔ‪ .‬ﻴـﺴﺘﻤﺭ‬

‫ﺍﻝﺼﻭﺕ‪ ،‬ﺭﺠل ﻤﻌﺼﻭﺏ ﺍﻝﻌﻴﻨﻴﻥ ﻋﺎﺭ ﺘﻤﺎﻤﺎ ﻴﻌﺫﺏ ﻓﻲ ﻗﺒﻭ ﻤﻅﻠﻡ‪ ،‬ﻭﺫﺭﺍﻋـﻲ ﺠـﻼﺩ‪...‬ﺴـﻴﺎﻁ‪،‬‬

‫ﻓﻴﺭﻴﺱ ﻓﻲ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ :-‬ﻝﻘﺩ ﻤﺎﺕ ﺍﻝﺭﺠل‪....‬ﻻ ﺯﺍل ﺍﻝﺼﻭﺕ ﻴﺘﺭﺩﺩ‪ :‬ﺴﺘﻌﺫﺒﻭﻨﻬﻡ‪ ،‬ﺴـﻴﻌﺘﺎﺩﻭﻥ‬

‫ﻋﻠﻰ ﺍﻷﻤﺭ ﻭﻴﺼﺒﺤﻭﻥ ﺃﻜﺜﺭ ﻗﻭﺓ ﻭﻴﺭﺩﻭﻥ ﺒﻤﺎ ﻭﺠﺩﻭﺍ "‪.‬‬

‫ﻭﺍﺸﻨﻁﻥ‪ :‬ﻝﻠﻘﻁﺔ ﻻ ﻴﻅﻬﺭ ﻓﻴﻬﺎ ﺇﻻ ﺘﻠﻔﺎﺯ ﻴﺒﺙ ﺃﺨﺒﺎﺭ ﺍﻝﺘﻔﺠﻴﺭﺍﺕ ﻭﺤﺠﻡ ﺍﻝﺨﺴﺎﺌﺭ ﻓﻲ ﻤﺎﻨﺸﺴﺘﺭ‪.‬‬

‫ﺭﺠل ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ ﻫﻭﻓﻤﺎﻥ ﻝﻌﺩﺩ ﻤﻥ ﺃﻋﻀﺎﺀ ﻤﺠﻠﺱ ﺍﻝﺸﻴﻭﺥ‪ :‬ﻴﺠﺏ ﺃﻥ ﻨﺘﻌﺎﻤل ﻤﻊ ﺍﻝﺭﺃﻱ ﺍﻝﻌﺎﻡ‪،‬‬

‫ﻝﻘﺩ ﻤل ﺍﻝﻨﺎﺱ ﻝﺤﻅﺎﺕ ﺼﻤﺘﻨﺎ‪ ،‬ﻴﺭﻴﺩﻭﻥ ﺴﻤﺎﻉ ﺤﺩﻴﺙ ﺍﻝﻨﻬﺎﻴﺔ! ﻝﻥ ﻴﻨﻔﻊ ﺍﻝﻠﺒﺎﺱ ﺍﻝﺭﺴﻤﻲ ﻭﺍﻝﻤﻌﺩﺍﺕ‬

‫ﺍﻻﻝﻜﺘﺭﻭﻨﻴﺔ ﻭﺍﻷﻗﻤﺎﺭ ﺍﻝﺼﻨﺎﻋﻴﺔ ﻤﻊ ﻫﺅﻻﺀ‪ .‬ﻓﻘﻁ ﺭﺠل ﻝﺭﺠل! ﻝﻥ ﻴﻔﺎﻭﻀﻭﺍ ﻗﻁ‪ ،‬ﻴﺭﻴﺩﻭﻥ ﻋﻭﻝﻤﺔ‬

‫ﺍﻝﺤﺭﺏ‪ .‬ﻤﺸﻬﺩ ﺁﺨﺭ ﻓﻲ ﺍﻝﻌﺭﺍﻕ ﺍﻨﻔﺠﺎﺭ ﻴﻨﺜﺭ ﺠﻨﻭﺩﺍ ﺃﻤﺭﻴﻜﻴﻴﻥ ﻓﻲ ﻜل ﻤﻜـﺎﻥ‪..‬ﻻ ﺯﺍل ﺼـﻭﺕ‬

‫ﻫﻭﻓﻤﺎﻥ‪ :‬ﺇﻨﻨﺎ ﻫﺩﻑ ﺴﻬل ‪...‬‬

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‫ﺍﻝﻌﻭﺩﺓ ﻝﻤﻭﺴﻴﻘﻰ ﺃﺨﺭﻯ ﺘﺒﺙ ﺍﻝﺤﻴﺎﺓ ﻤﺭﺓ ﺃﺨﺭﻯ‪ ،‬ﻝﻘﻁﺔ ﻋﺎﻤﺔ ﺃﻨﺎﺱ ﻴﺘﺎﺠﺭﻭﻥ ﻭ ﺃﺼﻭﺍﺕ ﺒﺎﻋﺔ‪،‬‬

‫ﺩﺭﺍﺠﺎﺕ‪ ،‬ﻤﺎﺭﺓ ﺤﺸﻭﺩ ﺘﻤﺎﺭﺱ ﺤﻴﺎﺓ ﻁﺒﻴﻌﻴﺔ‪ ،‬ﻓﺭﻴﺱ ﻴﺭﺘﺩﻱ ﻗﺒﻌﺔ ﻭﻨﻅﺎﺭﺍﺕ ﺴـﻭﺩﺍﺀ ﻻ ﺘﺒـﺩﻱ‬

‫ﺸﻘﺭﺘﻪ‪ ،‬ﻴﺸﺭﺏ ﻜﺄﺴﺎ ﻤﻥ ﺍﻝﺸﺎﻱ ﻭﻗﺩ ﺠﻌل ﺫﺍﺕ ﺍﻝﺼﻭﺭﺓ ﻝﻬﺎﻝﺔ ﻨﺸﻁﺔ ﺘﻨﺒﻰﺀ ﺒﺒﺩﺀ ﺍﻝﺤﺩﺙ‪ .‬ﺘﺘﻭﻗﻑ‬

‫ﺸﺎﺤﻨﺔ ﺒﻤﺤﺎﺫﺍﺓ ﻓﺭﻴﺱ‪ .‬ﻴﻨﻁﻠﻕ ﻜل ﻤﻥ ﺒﺴﺎﻡ ﻭﻓﺭﻴﺱ‪ :‬ﺇﺫﺍ ﺘﻌﺭﻀﻨﺎ ﻝﻬﺠﻭﻡ ﺃﺒﺩﺍ ﺒﺈﻁﻼﻕ ﺍﻝﻨﺎﺭ‪ ،‬ﻫﺫﻩ‬

‫ﻫﻲ ﻗﻭﺍﻋﺩ ﺍﻝﻴﻭﻡ‪ ،‬ﺇﻥ ﻝﻡ ﺘﻔﻌل ﺫﻝﻙ ﺴﺘﻤﻭﺕ! "‪-.‬ﺒﺴﺎﻡ‪ :‬ﻓﻲ ل‪.‬ﻙ –ﻝﻬﺠﺔ ﺃﻤﺭﻴﻜﻴﺔ ﺠﻴﺩﺓ ‪ -‬ﻨـﺯﺍﺭ‬

‫ﺇﻨﻪ ﻓﻲ ﺘﻜﺭﻴﺕ‪ ،‬ﻝﺩﻴﻪ ﻤﻌﻠﻭﻤﺎﺕ ﻴﻌﺩﻭﻨﻪ ﺍﻵﻥ ﻝﻠﻘﻴﺎﻡ ﺒﻌﻤﻠﻴﺔ ﺍﺴﺘﺸﻬﺎﺩﻴﺔ ﻭﻝﻜﻨﻪ ﺨﺎﺌﻑ ﻭﻻ ﻴﺭﻴـﺩ ﺃﻥ‬

‫ﻴﻤﻭﺕ‪ .‬ﻓﺭﻴﺱ ﻓﻲ ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ ﻭﺍﻀﻌﺎ ﻗﻨﻴﻨﺔ ﺍﻝﺠﻌﺔ ﻋﻠﻰ ﻓﻤﻪ ﻤﺤﺩﻗﺎ ﺒﺒﺴﺎﻡ!‬

‫ﻤﺸﻬﺩ‪ :‬ﺸﺎﺤﻨﺔ ﺒﺴﺎﻡ ﻭﻓﺭﻴﺱ ﺘﻨﻁﻠﻕ ﺇﻝﻰ ﺘﻜﺭﻴﺕ‪ ،‬ﻤﻨﻁﻘﺔ ﺼﺤﺭﺍﻭﻴﺔ‪ ،‬ﺨﻼﺀ ﻤﻘﻔﺭ‪ .‬ﺼﻭﺭ ﺃﻗﻤﺎﺭ‬

‫ﺼﻨﺎﻋﻴﺔ‪ ،‬ﻤﺭﺍﻗﺒﺔ ﻝﺤﺴﺎﺏ ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ .‬ﺘﺄﻁﻴﺭ ﻤﻥ ﺨﻼل ﻤﻨﻅﺎﺭ ﻓﺭﻴﺱ‪ ،‬ﺒﻴﺕ ﻗـﺩﻴﻡ‬

‫ﻷﻏﻨﺎﻡ ﻤﻥ ﺤﻭﻝﻪ‪ :‬ﻻ ﺃﺭﻯ ﺃﺤﺩﺍ! –ﺴﺄﺘﺼل ﺒﻪ! –ﻨﺯﺍﺭ ﺃﻴﻥ ﺃﻨﺕ –ﺒﺎﻝﻌﺭﺒﻴﺔ – ﻨﺯﺍﺭ‪ :‬ﻻﺯﻡ ﺃﺤـﺩ‬

‫ﻓﻴﻜﻡ ﻴﺠﻲ ﻫﺎﻥ – ﻓﺭﻴﺱ ﻴﻭﻤﻲﺀ‪ ،‬ﺇﺫﺍ ﻜﺎﻥ ﻴﺭﻴﺩ ﺍﻝﺤﺩﻴﺙ‪ ،‬ﻓﻬﻨﺎ ﺩﺍﺨل ﺍﻝﺴﻴﺎﺭﺓ –ﺒﻐﻀﺏ ‪.-‬ﻝﻘﻁـﺔ‬

‫ﻤﺘﻭﺴﻁﺔ ﻭﻨﺯﺍﺭ ﻗﺎﺩﻡ‪ ،‬ﻭﺠﻪ ﻨﺤﻴل‪ ،‬ﻤﻼﻤﺢ ﺨﺎﺌﻔﺔ‪ ،‬ﻤﻼﺒﺱ ﺭﺜﺔ‪.‬ﺒﺴﺎﻡ‪ :‬ﺇﻨﻪ ﻴﺘﻜﻠﻡ ﺍﻻﻨﺠﻠﻴﺯﻴﺔ‪ .‬ﻴﺩﺨل‬

‫ﺇﻝﻰ ﺍﻝﺴﻴﺎﺭﺓ ‪-‬ل‪.‬ﻙ ‪ -‬ﺘﻠﺘﻘﻁ ﺃﺠﺯﺍﺀ ﻤﻥ ﻭﺠﻪ ﻨﺯﺍﺭ ﻭﺴﺒﺤﺔ ﻤﻌﻠﻘﺔ ﻓﻲ ﺯﻭﺍﻴﺎ ﺍﻝـﺴﻴﺎﺭﺓ‪ .‬ﻓـﺭﻴﺱ‪:‬‬

‫ﻨﺯﺍﺭ‪..‬ﻫل ﺃﻨﺕ ﺠﺎﺌﻊ‪ ،‬ﺒﺭﺘﻘﺎل ؟– ﻻ‪ .‬ﺫﺍﺕ ﺍﻝﺼﻭﺭﺓ ﻓﺭﻴﺱ ﺒﻤﻼﻤﺢ ﻤﺤﻘِﻘﺔ‪ ،‬ﺠﺎﺩﺓ‪ .‬ﺍﻝﺼﻭﺕ ﻓﻀﺎﺀ‬

‫ﻓﺎﺭﻍ ﻴﻅﻬﺭ ﻨﺯﺍﺭ ﻓﻲ ﺯﺍﻭﻴﺔ ﻀﺎﺌﻌﺔ ﻤﻥ ﺍﻝﺼﻭﺭﺓ‪ .‬ﻓﺭﻴﺱ‪ :‬ﻝﻤﺎﺫﺍ ﺃﺘﻴﺕ ﺇﻝﻴﻨﺎ ﻨﺯﺍﺭ ﻫـﺎ؟ ﻴﻨﺤﻨـﻲ‬

‫ﻨﺯﺍﺭ ﺒﺎﺘﺠﺎﻩ ﺍﻷﺴﻔل‪-:‬ﺍﻨﺠﻠﻴﺯﻴﺔ ﻤﺘﺭﺩﺩﺓ –ﺃﻨﺎ ﺍﻋﺭﻑ ﺍﻝﻜﺜﻴﺭ‪ .‬ﺇﻨﻬﻡ ﻴﺤﻀﺭﻭﻨﻨﻲ ﻝﻠـﺫﻫﺎﺏ ﺨـﺎﺭﺝ‬

‫ﺍﻝﻌﺭﺍﻕ –ﻓﺭﻴﺱ ﻤﻘﺎﻁﻌﺎ‪ :‬ﺃﻴﻥ ﺘﻘﺼﺩ ﺒﺨﺎﺭﺝ ﺍﻝﻌﺭﺍﻕ؟ ‪ -‬ﻴﺭﻴﺩﻭﻨﻨﻲ ﺸﻬﻴﺩﺍ – ﺤﺎﻨﻘﺎ – ﻴﻠﻑ ﺒﻭﺠﻬﻪ‬

‫ﺒﺎﺘﺠﺎﻩ ﻓﺭﻴﺱ‪-..‬ﺸﻬﻴﺩﺍ‪..‬ﻋﻨﺩﻤﺎ ﻴﻌﺭﻑ ﺍﻝﺭﺠل ﻋﻨﻬﻡ ﺃﻜﺜﺭ ﻴﺭﺴﻠﻭﻨﻪ ﺍﺴﺘﺸﻬﺎﺩﻴﺎ ‪ –1‬ﻤﺎﺫﺍ ﺘﻘﺼﺩ ﺏ‬

‫‪ 1‬ﺇﺸﺎﺭﺓ ﺃﺨﺭﻯ ﺇﻝﻰ ﺍﻷﺴﺒﺎﺏ ﺍﻝﺘﻲ ﻗﺩ ﺘﺩﻓﻊ ﺍﻝﺸﺨﺹ ﻷﻥ ﻴﻘﻭﻡ ﺒﺘﻔﺠﻴﺭ ﻨﻔﺴﻪ‪ :‬ﺭﻏﺒﺔ ﻓﻲ ﺍﻝﺠﻨﺔ‪ ،‬ﺤﻴﺎﺯﺘﻪ ﻋﻠﻰ ﻤﻌﻠﻭﻤﺎﺕ ﻻ ﻴﺠﺩﺭ ﺒﻪ‬
‫ﺍﻝﺤﺼﻭل ﻋﻠﻴﻬﺎ ﻓﻴﺘﻬﻡ ﺍﻝﺘﺨﻠﺹ ﻤﻨﻪ ﺒﺈﺭﺴﺎﻝﻪ ﻝﺘﻔﺠﻴﺭ ﻨﻔﺴﻪ‪ ،‬ﻭﻫﻨﺎﻙ ﺍﻝﻅﺭﻭﻑ ﺍﻝﻘﺎﻫﺭﺓ ﺍﻝﺘﻲ ﺘﺩﻓﻌﻪ ﻝﻠﻘﻴﺎﻡ ﺒﺫﺍﺕ ﺍﻷﻤﺭ ﻤﻥ ﺸﻅﻑ ﺍﻝﻌﻴﺵ‬
‫ﻭﺤﺎﻝﺔ ﺍﻹﺤﺒﺎﻁ ﻭﺍﻝﻔﻘﺭ‪.‬‬

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‫ﻫﻡ ﻫﺎﺍ؟ ‪ -‬ﻴﺄﻜل ﺒﺭﺘﻘﺎﻻ ﻭﻴﻅﻬﺭ ﻻ ﻤﺒﺎﻝﻴﺎ ﺒﺎﻝﺤﻭﺍﺭ – ﻴﺒﻜﻲ ﺒﺼﻭﺕ ﻤﺭﺘﻔﻊ – ﻻ ﺃﺭﻴﺩ ﺍﻝﻤـﻭﺕ ﻻ‬

‫ﺃﺭﻴﺩ ﺍﻝﻤﻭﺕ! ﺃﺭﻴﺩ ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ! ﻫل ﺘﻌﻠﻡ ﺃﺭﻴﺩ ﻝﺩﻱ ﺩﺭﺠﺔ ﺩﻜﺘﻭﺭﺍﻩ‪..‬ﻭﺍﻵﻥ ﻴﺭﻴـﺩﻭﻥ ﺃﻥ‬

‫ﺍﺫﻫﺏ ﻨﻔﺴﻲ! – ﻝﺩﻴﻙ ﺩﻜﺘﻭﺭﺍﻩ ﻜﻴﻤﻴﺎﺀ ‪.‬ﻫﺎﺍ؟ ‪ -‬ﻻ ﻻ ‪ -.‬ﻤﺎﺫﺍ ﺘﻌﻠﻡ ﻋـﻥ ﺍﻝﻤـﻭﺍﺩ ﺍﻝﻤـﺸﻌﺔ ؟ ‪-‬‬

‫ﻤﻘﺎﻁﻌﺎ‪ ،‬ﻫل ﺘﻌﻠﻡ؟ ﺃﻨﺎ ﺍﻋﺭﻑ ﺨﻤﺱ ﻝﻐﺎﺕ‪ ،‬ﺨﻤﺱ ﻝﻐﺎﺕ‪- .‬ﺘﺄﻁﻴﺭ ﻋﺭﻀﻲ ﻝﻜـﻼ ﺍﻝـﻭﺠﻬﻴﻥ –‬

‫ﻴﺭﻴﺩﻭﻥ ﺍﺴﺘﻬﺩﺍﻑ ﺍﻝﻴﻬﻭﺩ ﻭﺍﻝﻤﺴﻴﺤﻴﻴﻥ ﻫﺎﺍ؟‪ -‬ﻨﺯﺍﺭ ﻤﺴﺘﻌﻴﻨﺎ ﺒﺸﻲﺀ ﻤﻥ ﺍﻝﺜﻘﺔ – ﺼﻭﺕ ﺃﻜﺜﺭ ﻗﻭﺓ ‪،‬‬

‫ﺩﻤﻭﻉ ﺘﺨﺘﺭﻕ ﻤﻼﻤﺢ ﻭﺠﻬﻪ ﺍﻝﺩﺍﻜﻥ – ﻤﺎﺫﺍ ﺘﻌﻠﻡ ﻋﻥ ﺍﻝﻤﻭﺕ ﻫﺎﺍ ﺍﺨﺒﺭﻨﻲ‪ -.‬ﻴـﺼﺭﺥ ﻓـﺭﻴﺱ –‬

‫ﺩﻋﻙ ﻤﻥ ﻫﺫﺍ ﺍﻝﻬﺭﺍﺀ! ﻴﺘﺨﻠﺹ ﻤﻥ ﻨﻅﺎﺭﺍﺘﻪ ﺍﻝﺸﻤﺴﻴﺔ‪ ،‬ﺃﻋﻁﻨﻲ ﺒﻌﺽ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ‪ ،‬ﻫﻴﺎ! – ﺍﻋﻠﻡ ﻤﺎ‬

‫ﻴﻜﻔﻲ ﻝﻴﺭﺴﻠﻭﻨﻨﻲ ﺸﻬﻴﺩﺍ‪ ،‬ﻭﻝﻜﻥ ﻤﻌﻙ ﺍﻋﻠﻡ ﻤﺎ ﻴﻜﻔﻲ ﻷﻅل ﺤﻴﺎ! – ﻴﺨﺭﺝ ﺍﺴﻁﻭﺍﻨﺎﺕ – ﻫل ﺘﻤﻠﻙ‬

‫ﺠﻬﺎﺯ ﺤﺎﺴﻭﺏ – ﺫﺍﺕ ﺍﻝﺸﻴﺦ ﻴﻠﻭﺡ ﺒﻴﺩﻩ ‪..."..‬ﺴﻨﻜﻭﻥ ﻋﻠﻰ ﺍﺴﺘﻌﺩﺍﺩ ﻝﻠﻘﻴﺎﻡ ﺒﺘﻔﺠﻴﺭﺍﺕ ﻓﻲ ﺒﺭﻴﻁﺎﻨﻴﺎ‬

‫‪...‬ﺴﻨﻨﺯﻑ ﻭﻴﻨﺯﻓﻭﻥ ‪."....‬ﻫﻭﻓﻤﺎﻥ ﻴﺴﺘﻤﻊ ﻋﺒﺭ ﺍﻝﻬﺎﺘﻑ ﻤﻥ ﻭﺍﺸﻨﻁﻥ‪ .‬ﺇﻨﻪ ﺁل ﺴﻠﻴﻡ ﺃﺤﺩ ﺭﺠـﺎل‬

‫ﺍﻝﻘﺎﻋﺩﺓ! ﻫل ﻤﻥ ﺍﻝﻤﻤﻜﻥ ﺭﺼﺩ ﻤﻜﺎﻨﻪ ﻤﻥ ﺨﻼل ﺍﻝﺨﻠﻔﻴﺔ ؟‪ -‬ﻻ‪ .‬ﻭﻝﻜﻨﻨﻲ ﻴﻤﻜﻥ ﺃﻥ ﺃﺘﺭﺠﻡ ﻝﻙ ﻤـﺎ‬

‫ﻴﻘﻭل‪"..‬ﺴﻨﻘﻭﻡ ﺒﻀﺭﺒﺎﺕ ﻋﺸﻭﺍﺌﻴﺔ ﻓﻲ ﺃﻭﺭﻭﺒﺎ ﻭﺃﻤﺭﻴﻜﺎ ‪-"...‬ﺯﻭﺠﺔ ﻫﻭﻓﻤﺎﻥ ‪ :‬ﺇﻨﻪ ﻭﻗﺕ ﻤﺒﻜﺭ –‬

‫ﻨﺤﻥ ﻨﺤﻤﻲ ﺍﻝﺤﻀﺎﺭﺓ ﺍﻹﻨﺴﺎﻨﻴﺔ ﺤﺒﻴﺒﺘﻲ!‪-‬ﻓﺭﻴﺱ‪ :‬ﻭﻨﺯﺍﺭ ﻻ ﻴﻌﻠﻡ ﻤﻜﺎﻨﻪ ﺒﺎﻝﺘﺄﻜﻴﺩ‪ ،‬ﻋﻠﻴﻨﺎ ﺤﻤﺎﻴﺘـﻪ‬

‫ﺍﻵﻥ ﺴﻴﺤﺎﻭﻝﻭﻥ ﻗﺘﻠﻪ‪ ،‬ﻴﺭﻴﺩ ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ – ﻫﻭﻓﻤﺎﻥ –ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ‪ – 1‬ﺍﺒﺘﺴﺎﻤﻪ ﺼﻐﻴﺭﺓ ‪:‬‬

‫ﺒﺩﻻ ﻤﻥ ﺃﻥ ﻴﺫﻫﺏ ﺇﻝﻰ ﺍﻝﺠﻨﺔ! ﻫﺎﺍ؟ ‪ -‬ﺴﻴﻘﺘﻠﻭﻨﻪ! – ﺇﺫﺍ ﻗﺘﻠﻭﻩ ﻓﺴﻴﻜﻭﻥ ﺃﻤـﺭﺍ ﺠﻴـﺩﺍ ﺴـﻨﺘﻌﻘﺒﻬﻡ‬

‫ﻋﻨﺩﺌﺫ‪ -.‬ﻝﻘﺩ ﻭﻋﺩﺘﻪ ﺒﺘﺄﺸﻴﺭﻩ ﺇﻝﻰ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ – ﻫﺎ ﻝﻘﺩ ﻜﺫﺒﺕ ﻴﺎ ﺼﺎﺡ!‬

‫‪ -‬ﻓﺭﻴﺱ ﻤﺘﻨﻬﺩﺍ‪ :‬ﺒﺴﺎﻡ ﺩﻋﻪ ﻴﺫﻫﺏ – ﻨﺯﺍﺭ ﺤﺎﻨﻘﺎ ﻫﺎﺍﺍ ‪..‬ﺇﻝﻰ ﺃﻴﻥ‪ .‬ﻭﺍﻝﻰ ﺃﻴﻥ ﺍﺫﻫﺏ‪...‬ﺃﻨﺘﻡ ﺘﻜﺫﺒﻭﻥ‬

‫‪ -‬ﻓﺭﻴﺱ ﻫﺩﺃ ﻤﻥ ﺭﻭﻋﻙ ﺴﻴﻜﻭﻥ ﻜل ﺸﻲﺀ ﻋﻠﻰ ﻤﺎ ﻴﺭﺍﻡ – ﺘﺯﺩﺍﺩ ﺍﻝﻠﺤﻅﺎﺕ ﺍﻻﻨﻔﻌﺎﻝﻴـﺔ –ﻫﺎﻝـﺔ‬

‫ﺘﻨﻘل ﺘﻭﺘﺭ ﻨﺯﺍﺭ ﻭﺨﻭﻓﻪ ﺍﻝﺸﺩﻴﺩ ‪:‬ﺍﻨﺘﻡ ﺘﻬﺩﺩﻭﻨﻨﻲ ﺒﻐﻭﺍﻨﺘﻨﺎﻤﻭ! – ﻓﺭﻴﺱ ﻤﺼﻭﺒﺎ ﻤـﺴﺩﺴﻪ – ﺫﺍﺕ‬

‫ﻝﻘﻁﺔ ﺘﻅﻬﺭ ﺍﻝﺸﺨﺹ ﻤﻥ ﺭﺃﺴﻪ ﺤﺘﻰ ﺭﻜﺒﺘﻴﻪ‬ ‫‪1‬‬

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‫ﺍﻻﻨﻔﻌﺎﻻﺕ ﺘﺯﺩﺍﺩ ﺤﺩﺓ ﻴﺼﻨﻌﻬﺎ ﻤﺸﺎﻋﺭ ﺍﻝﺭﻋﺏ ﻝﺩﻯ ﻨﺯﺍﺭ ‪.‬ﺍﻝﻬﺎﻝﺔ ﺼﺤﺭﺍﻭﻴﺔ ﺠﺎﻓﺔ ﺘﺯﻴﺩ ﻓـﻲ‬

‫ﺤﺩﺓ ﺍﻝﺘﻭﺘﺭ!‪ ،‬ﻨﺤﻥ ﺃﺼﺩﻗﺎﺅﻙ ﺍﻵﻥ ﻨﺯﺍﺭ‪ ،‬ﺴﻨﺤﻤﻴﻙ – ﻨﺯﺍﺭ –ﻤﻔﺎﺠﺌﺎ ‪-‬ﺍﻨـﺘﻡ ﻻ ﺘـﺴﺘﻁﻴﻌﻭﻥ‬

‫ﺤﻤﺎﻴﺔ ﺃﻨﻔﺴﻜﻡ ﺃﺼﻼ! ﻫﺎﺍ! – ﺯﺍﻭﻴﺔ ﺘﻠﺘﻘﻁ ﻓﺭﻴﺱ ﻭﺒﺴﺎﻡ ﺘﻅﻬﺭ ﻤﻼﻤﺢ ﺍﻻﻨﺩﻫﺎﺵ‪-‬‬

‫‪ -‬ﻤﺭﻜﺒﺔ ﻤﺸﺒﻭﻫﺔ‪ ،‬ﺃﻗﻤﺎﺭ ﺍﺼﻁﻨﺎﻋﻴﺔ ﻤﻥ ﻗﺎﻋﺩﺓ ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺘﺭﻗﺏ ﺘﺤﺭﻜﺎﺕ ﻓﺭﻴﺱ‬

‫ﻭﺒﺴﺎﻡ ‪،‬ﻀﺠﻴﺞ ﺁﺨﺭ‪ ،‬ﻤﺎﺭﺓ‪ ،‬ﺒﺎﻋﺔ‪ ،‬ﺼﺭﺍﺥ ﻫﻨﺎ ﻭﻫﻨﺎﻙ‪ .‬ﺸﺎﺤﻨﺔ ﻤﺸﺒﻭﻫﺔ‪ ،‬ﻋﻴﻭﻥ‪ ،‬ﻴﺘﺭﺠل‪ .‬ﻨﺯﺍﺭ‬

‫ﻴﺘﺠﻪ ﺒﺩﺭﺍﺠﺘﻪ ﺇﻝﻰ ﺍﻷﻤﺎﻡ ﻜﺫﺍﺕ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﺼﻭﺕ ﻫﻭﻝﻴﻜﺎﺒﺘﺭ ﻴﺯﻴﺩ ﺍﻨﻔﻌﺎﻻﺕ ﺍﻝﻤـﺸﻬﺩ ‪،‬ﺒـﺴﺎﻡ‬

‫ﻭﻓﺭﻴﺱ ﻴﺭﺍﻗﺒﺎﻥ ‪...‬ﺘﻭﻗﻊ ﺒﺤﺩﻭﺙ ﺃﻤﺭ ﻤﺎ‪ ،‬ﻴﺘﺭﺠل ﻋﺩﺩ ﻤﻥ ﺍﻝﺭﺠﺎل – ﺒﺴﺎﻡ‪ :‬ﺃﺤـﺩﻫﻡ ﻴﺤﻤـل‬

‫ﻤﺴﺩﺴﺎ! ‪...‬ﺃﺼﻭﺍﺕ ﻤﺘﺩﺍﺨﻠﺔ‪ ،‬ﺇﻁﻼﻕ ﻨﺎﺭ ﻜﺜﻴﻑ‪ ،‬ﻤﻭﺕ ﻝﻤﻭﻀﻭﻉ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻴﺤـﺎﻭل ﻨـﺯﺍﺭ‬

‫ﺍﻝﻬﺭﺏ ﻜﻁﺭﻴﺩﺓ ﻴﺎﺌﺴﺔ‪..‬ﺃﺼﻭﺍﺕ ﻜﺜﻴﺭﺓ ﺼﺭﺍﺥ‪ ،‬ﺒﻜﺎﺀ‪ ،‬ﺃﻨﺎﺱ ﻴﺘﻨﺎﺜﺭﻭﻥ‪..‬ﻴﺼﺭﺥ ﻨﺯﺍﺭ ﻤﺴﺘﺠﺩﻴﺎ‪،‬‬

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‫ﻓﺭﻴﺱ ﻋﻥ ﺒﻌﺩ ﺃﻤﺘﺎﺭ ﺭﻤﻴﻪ ﺒﺭﺼﺎﺼﺔ ﺃﺨﻴﺭﺓ ﺘﺄﺨﺫ ﻨﻔﺴﻪ ﺍﻷﺨﻴﺭ!‬

‫ﻫﻭﻓﻤﺎﻥ‪ :‬ﻓﻌﻠﺕ ﻤﺎ ﻴﺠﺏ ﻋﻠﻴﻙ ﺃﻥ ﺘﻔﻌل‪- .‬ﻓﺭﻴﺱ – ﻝﻘﺩ ﻗﺘﻠﺘﻪ‪ ،‬ﻗﺘﻠﻪ ﻫﻭﻑ – ﺼﻭﺕ ﻴﺘﺭﺩ ﺒـﻴﻥ‬

‫ﺍﻝﻠﻬﺎﺙ ﻭﺍﻝﺘﻌﺏ – ﻜﺎﻥ ﺴﻴﻘﺘل ﻋﻠﻰ ﺁﻴﺔ ﺤﺎل‪ ،‬ﻫﺫﻩ ﻫﻲ ﺍﻝﺤﺭﻴﺔ ﺼﺢ! ﻫﺎﺍ‪..‬ﻜﺎﻥ ﻴﻨﻭﻱ ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ‬

‫ﺩﻴﺯﻨﻲ ﻻﻨﺩ!‬

‫ﺸﻤﺎل ﺍﻝﻌﺭﺍﻕ – ﺃﻗﻤﺎﺭ ﺍﺼﻁﻨﺎﻋﻴﺔ ﺘﺭﺼﺩ ﺍﻝﻤﻜﺎﻥ –ﺘﺘﻭﺠﻪ ﺫﺍﺕ ﺍﻝﺸﺎﺤﻨﺔ ﺒﺒﺴﺎﻡ ﻭﻓﺭﻴﺱ ﺇﻝﻰ ﺒﻴﺕ‬

‫ﻭﺤﻴﺩ ﻭﺴﻁ ﺍﻝﺼﺤﺭﺍﺀ‪ ،‬ﻓﺭﻴﺱ ﻤﺭﺘﺩﻴﺎ ﺯﻴﺎ ﻋﺭﺍﻗﻴﺎ ﻴﺘﻭﺠﻪ ﺇﻝﻰ ﺃﺤﺩﻫﻡ ‪ :‬ﺒﺎﻝﻌﺭﺒﻴﺔ‪ -‬ﻤﻤﻜﻥ ﺘﺴﺎﻋﺩﻨﻲ‬

‫ﻴﺎ ﺨﻭﻴﺎ ‪،‬ﺴﻴﺎﺭﺘﻲ ﻭﻗﻔﺕ! – ﺭﺠل ﺁﺨﺭ‪ :‬ﻓﺘﺸﻪ‪...‬ﺘﺒﺎﺩل ﻤﻔﺎﺠﺊ ﻹﻁﻼﻕ ﺍﻝﻨـﺎﺭ ﻴﺨﺘـﺭﻕ ﻫـﺩﻭﺀ‬

‫ﺍﻝﻤﺸﻬﺩ ﻴﺯﻴﺩ ﻤﻥ ﺤﺭﺍﺭﺓ ﺍﻷﺠﻭﺍﺀ ﺍﻝﺼﺤﺭﺍﻭﻴﺔ‪ ،‬ﻴﺩﺨل ﻓﺭﻴﺱ ﺇﻝﻰ ﺍﻝﺩﺍﺨل‪ ،‬ﺭﺠل ﻴﺭﺘﺩﻱ ﺤﺯﺍﻤـﺎ‬

‫ﻨﺎﺴﻔﺎ‪ :‬ﺍﷲ ﺍﻜﺒﺭ‪ ،‬ﺍﷲ ﺍﻜﺒﺭ‪ ،‬ﻫﺫﺍ ﻤﻥ ﻓﻀل ﺍﷲ‪ ،‬ﻴﻔﻠﺕ ﻤﻘﺒﺽ ﺍﻝﺤﺯﺍﻡ‪ ،‬ﻴﺩﻭﻱ ﺍﻝﻤﻜﺎﻥ‪ ،‬ﻀﻭﺀ ﺃﺒﻴﺽ‬

‫ﻴﻨﻬﻲ ﺍﻝﻤﺸﻬﺩ‪ .‬ﻴﻬﺭﺏ ﺒﺴﺎﻡ ﻭﻓﺭﻴﺱ ﻭﺘﻼﺤﻘﻬﻤﺎ ﺴﻴﺎﺭﺓ ﻝﻌﺩﺩ ﻤﻥ ﺍﻝﻤﻘﺎﺘﻠﻴﻥ ﺍﻝﻌﺭﺍﻗﻴﻴﻥ‪ ،‬ﺇﻁﻼﻕ ﻜﺜﻴﻑ‬

‫ﺸﺎﺭﺓ ﺃﺨﺭﻯ ﻻﻨﺩﺜﺎﺭ ﻗﻴﻤﺔ ﺍﻝﺭﻭﺡ ﺍﻝﺒﺸﺭﻴﺔ ﻋﻨﺩﻤﺎ ﻴﺨﺹ ﺍﻵﻤﺭ ﺠﻤﺎﻋﺔ ﺇﺴﻼﻤﻴﺔ ﺘﺤﺎﻓﻅ ﻋﻠﻰ ﺴﺭﻴﺔ ﺍﻋﻤﻠﻬﺎ‪.‬‬ ‫‪1‬‬

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‫ﻝﻠﻨﻴﺭﺍﻥ‪ ،‬ﻁﺎﺌﺭﺍﺕ ﻫﻭﻝﻴﻜﺎﺒﺘﺭ ﺘﻐﻁﻲ ﻓﺭﻴﺱ ﻤﻥ ﺍﻷﻋﻠﻰ‪ ،‬ﺘﺘﺒﻌﻬﺎ ﻗﺎﺫﻓﺎﺕ ﺁﺭ ﺒﻲ ﺠﻲ‪ ،‬ﻴﻨﺘﻬﻲ ﺍﻝﻤﺸﻬﺩ‬

‫ﺒﻀﻭﺀ ﺍﺒﻴﺽ ‪...‬‬

‫ﻗﺎﻋﺩﺓ ﻋﺴﻜﺭﻴﺔ ﺃﻤﺭﻴﻜﻴﺔ ﻓﻲ ﻗﻁﺭ‪ :‬ﻓﺭﻴﺱ ﻤﻬﺸﻡ ﺍﻝﻭﺠﻪ‪ ،‬ﺘﺩﻭﺭ ﺃﺤﺎﺩﻴﺙ ﺒﺴﺎﻡ ﻓـﻲ ﺃﺫﻨـﻪ‪ ،‬ﺘﻤـﺭ‬

‫ﺫﻜﺭﻴﺎﺕ ﺃﺨﺭﻯ ﻁﻔل ﺒﺴﺎﻡ‪ ،‬ﺒﺎﺌﻌﺔ ﺍﻝﻭﺭﺩ ﻋﻠﻰ ﺇﺸﺎﺭﺓ ﺍﻝﻤﺭﻭﺭ ﺍﻝﺘﻲ ﺸﺎﻫﺩﻫﺎ ﻫﺫﺍ ﺍﻝﺼﺒﺎﺡ‪ .‬ﻴﻘـﻭﻡ‬

‫ﺍﻝﻁﺒﻴﺏ ﺒﺈﺯﺍﻝﺔ ﺸﻅﺎﻴﺎ ﻋﺎﻝﻘﺔ ﺒﺠﺴﺩﻩ‪:‬ﻻ ﺘﻘﻠﻕ ﻫﺫﻩ ﻝﻴﺴﺕ ﺸﻅﺎﻴﺎ ﻋﻅﺎﻤﻙ‪ ،‬ﺇﻨﻬﺎ ﻝﺸﺨﺹ ﺁﺨﺭ‪-.‬ل‪.‬ﻙ‬

‫ﻤﻌﺎﻝﻡ ﻭﺠﻪ ﻓﺭﻴﺱ ﻤﺩﺭﻜﺎ ﺃﻥ ﻫﺫﻩ ﻝﻴﺴﺕ ﺇﻻ ﺸﻅﺎﻴﺎ ﻋﻅﺎﻡ ﺒﺴﺎﻡ‪.‬‬

‫‪ -‬ﻫﻭﻓﻤﺎﻥ ﻋﺒﺭ ﺍﻝﻬﺎﺘﻑ – ﺴﺘﺘﺠﻪ ﺇﻝﻰ ﻋﻤﺎﻥ ﺍﻵﻥ‪ .‬ﻴﻭﺠﺩ ﺨﻠﻴﺔ ﻤﺠﺎﻫﺩﻴﻥ ﻫﻨﺎﻙ ﻴﺸﺘﺒﻪ ﺃﻨﻬﺎ ﺘﺎﺒﻌﺔ‬

‫ﻝﺫﺍﺕ ﺨﻠﻴﺔ ﺁل ﺴﻠﻴﻡ‪ .‬ﻴﺘﺤﻭل ﺍﻝﺼﻭﺕ ﺇﻝﻰ ﺨﻠﻔﻴﺔ ﻝﺼﻭﺭﺓ ﻋﻠﻰ ﺸﺎﺸﺔ ﺍﻝﺤﺎﺴﻭﺏ ﺨﺎﺼﺔ ﻓﺭﻴﺱ –‬

‫ﻤﺒﻨﻰ ﻜﺘﺏ ﻋﻠﻴﻪ ‪-‬ﺍﻝﻁﺭﻴﻕ ﺇﻝﻰ ﺍﻝﺤﻴﺎﺓ ﺍﻵﻥ – ﺴﻴﺘﻌﺎﻭﻥ ﻤﻌﻙ ﺃﺤﺩ ﺭﺠﺎل ﺍﻝﻤﺨـﺎﺒﺭﺍﺕ ﺍﻷﺭﺩﻨﻴـﺔ‬

‫ﻫﺎﻨﻲ ﺴﻼﻡ‪ .‬ﺇﻨﻪ ﺸﺨﺹ ﻤﺘﺨﺼﺹ ﻭﻝﻜﻥ ﻝﻥ ﺘﺸﺎﺭﻜﻪ ﻓﻲ ﺃﻴﻪ ﻤﻌﻠﻭﻤﺔ‪ .‬ﺇﻜﺫﺏ ﻋﻠﻴـﻪ ‪،‬ﻫـﺫﺍ ﻤـﺎ‬

‫ﺘﺴﺘﻁﻴﻊ ﻓﻌﻠﻪ‪ .‬ﺃﺴﺒﻭﻋﻴﻥ ﻭﺘﻌﻭﺩ ﺇﻝﻰ ﺯﻭﺠﺘﻙ‪ -.‬ﻝﻘﺩ ﺘﻁﻠﻘﻨﺎ ﻤﺅﺨﺭﺍ ﻫﻭﻑ! ﺃﻨﺕ ﺘﻌﻠﻡ ﻫﺫﺍ ﺃﻜﺜﺭ ﻤﻤﺎ‬

‫ﺍﻋﻠﻡ‪ .‬ﺴﺄﺫﻫﺏ ﺇﻝﻰ ﻋﻤﺎﻥ‬

‫‪ -‬ﻋﻤﺎﻥ –ﻭﺯﺍﺭﺓ ﺍﻝﺨﺎﺭﺠﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ – ل‪.‬ﻉ ﺴﻴﺎﺭﺍﺕ ﻤﺼﻔﺤﺔ‪ ،‬ﺃﻋﻼﻡ ﺃﻤﺭﻴﻜﻴـﺔ ﺘﺭﻓـﺭﻑ‪،‬‬

‫ﺤﺭﺍﺴﺔ ﻤﺸﺩﺩﺓ‪ .‬ﻤﻜﺘﺏ ﺩﺍﺨل ﺍﻝﻤﺒﻨﻰ ل‪.‬ﻙ ﻝﻔﺭﻴﺱ ﻭﻤﺎ ﺯﺍﻝﺕ ﺁﺜﺎﺭ ﺍﻝﺸﻅﺎﻴﺎ ﻓﻲ ﺃﺠﺯﺍﺀ ﻭﺠﻬـﻪ‪-.‬‬

‫ﺭﺠل ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ :‬ﻝﻘﺩ ﺭﺍﻗﺒﻨﺎ ﺍﻝﺒﻴﺕ ﻝﻌﺩﺩ ﻤﻥ ﺍﻷﻴﺎﻡ‪ ،‬ﺍﻝﻬﻭﺍﺘﻑ‪ ،‬ﺍﻝﺸﺒﻜﺎﺕ ﺍﻻﻝﻜﺘﺭﻭﻨﻴـﺔ‪،‬‬

‫ﻭﻜل ﻤﺎ ﻴﺩﻭﺭ ﻓﻲ ﺫﻝﻙ ﺍﻝﺒﻴﺕ‪ .‬ﻻ ﺸﻲﺀ ﻴﺜﻴﺭ ﺍﻝﺸﺒﻬﺔ ﺤﺘﻰ ﺍﻵﻥ‪ -.‬ﻤﻼﻤﺢ ﺍﻻﺴﺘﻐﺭﺍﺏ ﺒﺎﺩﻴﺔ ﻋﻠﻰ‬

‫ﻭﺠﻬﻪ ﻓﻲ ‪-‬ﻝﻘﻁﺔ ﺃﻤﺭﻴﻜﻴﺔ– ﻓﺭﻴﺱ‪ :‬ﺁﻭﻭﻩ ﺃﻻ ﺘﻌﺘﻘﺩ ﺃﻨﻬﻡ ﻻ ﻴﺘﻤﺘﻌﻭﻥ ﺒﺘﻠﻙ ﺍﻝﻌﺒﻘﺭﻴﺔ ﺍﻝﺘﻲ ﺘﺠﻌﻠﻬﻡ‬

‫ﺤﺫﺭﻴﻥ ﻓﻲ ﺍﺘﺼﺎﻻﺘﻬﻡ ﺍﻝﺨﻠﻭﻴﺔ ﻭﺍﻻﻝﻜﺘﺭﻭﻨﻴﺔ! ﻫﺎﺍ! –ﺍﻝﺭﺠل‪ :‬ﺇﻨﻬﺎ ﻋﺎﺌﻠﺔ ﻋﺎﺩﻴﺔ ﻷﻗﺎﺭﺏ ﺃﺭﺩﻨﻴـﻴﻥ‬

‫ﻜﺜﺭ! – ﻓﺭﻴﺱ‪:‬ﻫﺎ‪ ،‬ﺇﻨﻬﻡ ﺼﺒﻴﺎﻥ ﻏﻴﺭ ﻤﺘﺯﻭﺠﻴﻥ ﻓﻲ ﺴﻥ ﺒﻴﻥ ‪ 35-18‬ﺴﻨﺔ! – ﺍﻝﺭﺠل‪ :‬ﻴـﻭﻤﺊ‬

‫‪،‬ﻭﻴﺴﻜﺭﻭﻥ ﻭﻴﺘﻌﺎﻁﻭﻥ ﺍﻝﺤﺸﻴﺵ‪ ،‬ﻻﻴﻭﺍﻋﺩﻭﻥ ﺍﻝﻔﺘﻴﺎﺕ ﺃﻴﻀﺎ! – ﻓﺭﻴﺱ –ﺒﺼﻭﺕ ﻤﺭﺘﻔﻊ – ﻭﻫﻜﺫﺍ‬

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‫ﻜﺎﻥ ﻴﻔﻌل ﻤﺤﻤﺩ ﻋﻁﺎ ﺃﻴﻀﺎ‪ !!1‬ﻫﺅﻻﺀ ﺘﻜﻔﻴﺭﻴﻭﻥ‪ ،‬ﻫﺫﺍ ﻹﺒﻌﺎﺩ ﺍﻝﺸﺒﻬﺔ‪ .‬ﻝﻤـﺎﺫﺍ ﻻ ﺘـﺭﺍﻗﺒﻬﻡ ؟‪ -‬ﻻ‬

‫ﺍﺴﺘﻁﻴﻊ‪ ،‬ﺃﻨﻬﺎ ﻤﻨﻁﻘﺔ ﺤﺴﺎﺴﺔ – ﺍﻭﻫﻬﻪ –ﺒﻐﻀﺏ – ﺃﻻ ﻴﻭﺠﺩ ﻝﺩﻴﻙ ﻋﺭﺏ ﺠﻴﺩﻭﻥ ﻝﻤﻼﺤﻘﺔ ﺍﻝﻌﺭﺏ‬

‫ﺍﻷﺸﺭﺍﺭ ﻫﻨﺎ ؟!‪ -‬ﻋﻠﻴﻨﺎ ﺃﻥ ﻨﺤﺫﺭ‪ ،‬ﻝﻸﺭﺩﻨﻴﻴﻥ ﺃﻤﻨﻬﻡ ﻭﺴﻴﺎﺩﺘﻬﻡ ﻋﻠﻰ ﺍﻷﺭﺽ‪ -.‬ﻻ ﺘﺨﺒﺭﻨﻲ ﺒﻬـﺫﺍ‬

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‫ﺃﻋﻠﻡ ﺇﻨﻬﻡ ﻴﻘﻭﻤﻭﻥ ﺒﻌﻤل ﺠﻴﺩ ﻤﻌﻨﺎ ﻭﻫﻡ ﻤﻔﻴﺩﻭﻥ ﺃﻜﺜﺭ ﻤﻨﻙ! ‪-‬ل‪.‬ﻙ ‪-‬ﺘﻠﺘﻘﻁ ﻭﺠﻪ ﻓﺭﻴﺱ‪.‬‬

‫‪ -‬ل‪.‬ﻉ‪ :‬ﻤﻜﺎﻥ ﻨﺸﻁ‪ ،‬ﻤﺎﺭﺓ‪ ،‬ﺒﺎﺌﻌﻭﻥ‪ ،‬ﺍﺯﺩﺤﺎﻡ ﻤﺭﻭﺭﻱ‪ ،‬ﺒﻴﻭﺕ ﻤﺘﻬﺭﺌﺔ‪ ،‬ﺸﻭﺍﺭﻉ ﻀﻴﻘﺔ ‪...‬ﻀﺠﻴﺞ‬

‫ﻴﻌﻴﺩ ﺇﺜﺎﺭﺓ ﺍﻝﻨﺸﺎﻁ‪.‬‬

‫‪ -‬ﻤﺩﻴﺭﻴﺔ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﺭﺩﻨﻴﺔ ﺍﻝﻌﺎﻤﺔ ل‪.‬ﻉ ‪ :‬ﻴﺩﺨل ﻓﺭﻴﺱ ﻋﺒﺭ ﺃﺭﻭﻗﺔ ﻤﻀﻴﺌﺔ ﺩﺍﺨل ﺍﻝﻤﺒﻨـﻰ‪،‬‬

‫ﻁﺭﻴﻕ ﺇﻝﻰ ﺤﺩﻴﻘﺔ ﻴﺠﻠﺱ ﻫﻨﺎﻙ ﻫﺎﻨﻲ ﺴﻼﻡ ﻴﻘﺭﺃ ﺼﺤﻴﻔﺔ‪ .‬ﺍﻝﻬﺎﻝﺔ ﻤﺸﺭﻗﺔ ﻤﺨـﻀﺭﺓ – ﻫـﺎﻨﻲ‬

‫ﺒﺎﺸﺎ‪ ،‬ﺴﺭﺭﺕ ﺒﻠﻘﺎﺌﻙ – ﻫﺎﺍ ﺇﻨﻬﺎ ﻁﺭﻴﻘﺔ ﻋﺜﻤﺎﻨﻴﺔ – ﺴﻤﻌﺕ ﺃﻨﻙ ﺘﺤﺏ ﻫﺫﻩ ﺍﻝﺘﺴﻤﻴﺔ! – ﻴﺒﺘـﺴﻡ‬

‫)ﻴﺒﺩﻭ ﺃﻨﻴﻘﺎ‪ ،‬ﻴﺘﺤﺩﺙ ﺍﻨﺠﻠﻴﺯﻴﺔ ﻤﺘﻘﻨﺔ‪ ،‬ﻤﻼﻤﺢ ﺫﻜﻴﺔ(‪ :‬ﻗﻠﻲ‪ ،‬ﻫل ﺴﻤﻌﺕ ﻋـﻥ ﻫـﺫﺍ ﺍﻝﻤﺒﻨـﻰ –‬

‫ﺒﺼﺭﺍﺤﺔ ؟‪...‬ﻫﻨﺎ ﻤﻜﺎﻥ ﻗﻠﻊ ﺍﻷﻅﺎﻓﺭ – ﺴﻼﻡ‪ ،‬ﻤﺒﺘﺴﻤﺎ ﻓﻲ ﻝﻘﻁﺔ ﻜﺒﻴـﺭﺓ‪ : -‬ﺍﻝﻨـﺎﺱ ﺃﻏﺒﻴـﺎﺀ‪،‬‬

‫ﺍﻝﺘﻌﺫﻴﺏ ﻻ ﻴﺠﺩﻱ ﺃﺒﺩﺍ‪ ،‬ﺍﻝﻤﺭﺀ ﻗﺩ ﻴﻘﻭل ﺃﻱ ﺸﻲﺀ ﺘﺤﺕ ﻭﻁﺄﺓ ﺍﻝﺘﻌﺫﻴﺏ‪ .‬ﻋﺯﻴﺯﻱ ﺃﻨﺎ ﻨﻔﺴﻲ ﻗـﺩ‬

‫ﺃﻜﻭﻥ ﻫﻨﺎ ﻋﺩﻭﺍ ﻝﻙ‪ -‬ﻓﺭﻴﺱ ل‪.‬ﻙ ﻴﺸﺭﺏ ﻗﻬﻭﺘﻪ‪ :-‬ﻴﺘﻠﻭ ﺒﺎﻝﻌﺭﺒﻴﺔ )ﻭﻤﻥ ﻴﺘﻭﻝﻬﻡ ﻤﻨﻜﻡ ﻓﺈﻨﻪ ﻤﻨﻬﻡ‬

‫(‪ ،‬ﺁﻴﺔ ﺩﺍﺭ ﺍﻝﺤﺭﺏ ؟! – ﺃﺤﺴﻨﺕ ﻓﺭﻴﺱ ﺃﺤﺴﻨﺕ –ﻨﺤﻥ ﻫﻨﺎ ﻤﻌﺎ ﻓـﻲ ﺩﺍﺭ ﺍﻝﺤـﺭﺏ‪.‬ﺼـﺤﻴﺢ‬

‫ﻫﺎﻨﻲ؟‪ - 3‬ﺃﻨﺕ ﺃﺫﻜﻰ ﻤﻥ ﺍﻷﻤﺭﻴﻜﻴﻥ ﺍﻝﺫﻴﻥ ﻴﺄﺘﻭﻥ ﻫﻨﺎ ﺒﺎﻝﻌﺎﺩﺓ‪ ،‬ﺃﻨﺕ ﺘﺘﻜﻠﻡ ﺍﻝﻌﺭﺒﻴـﺔ‪ .‬ﻫﺎﺍﺍ؟ﻝـﺫﺍ‬

‫ﺴﺘﻁﻠﻊ ﻋﻠﻰ ﺴﺭ ﺍﻝﻌﺭﺏ – ﺍﻜﺘﺸﻔﻨﺎ ﺒﻴﺘﺎ ﻴﺸﺘﺒﻪ ﺍﻨﻪ ﺨﻠﻴﺔ ﺁل ﺴﻠﻴﻡ ﻓـﻲ ﺍﻷﺭﺩﻥ‪ ،‬ﺃﺤﺘـﺎﺝ ﺇﻝـﻰ‬

‫ﻤﺴﺎﻨﺩﺘﻙ ﻫﺎﻨﻲ‪ ،‬ﻴﻁﻠﻌﻪ ﻋﻠﻰ ﻤﻠﻑ ﺼﻭﺭ )ﻋﺩﺩ ﻤﻥ ﺍﻝﺸﺒﺎﻥ ﻴﻌﺘﻤﺭﻭﻥ ﻋﻤﺎﻤﺎﺕ(‪ -‬ﺴﻴﺩ ﻓـﺭﻴﺱ‬

‫ﺇﺫﺍ ﺃﺭﺩﺕ ﺃﻥ ﻨﺘﻌﺎﻭﻥ ﻓﻌﻠﻴﻙ ﺃﻥ ﻻ ﺘﻜﺫﺏ ﻋﻠﻲ ‪-‬ل‪.‬ﻙ ﺘﺒﺩﻱ ﻤﻼﻤﺢ ﺠﺎﺩﺓ ﻝﻬﺎﻨﻲ‪. -‬‬

‫ﺘﻭﺤﻴﺩ ﻝﺸﺨﺹ "ﺍﻹﺭﻫﺎﺒﻲ" ﻓﻲ ﻨﻤﻭﺫﺝ ﻤﺤﻤﺩ ﻋﻁﺎ ﺍﻷﻤﻴﺭ ﺍﻝﺫﻱ ﻗﺎﻡ ﺒﺎﻝﺘﺨﻁﻴﻁ ﻝﺘﻔﺠﻴﺭﺍﺕ ﺃﻴﻠﻭل ‪،2001‬ﺇﺫ ﺴﻴﺘﻡ ﺘﻜﺭﺍﺭ ﻝﺘﻭﺤﺩﻱ‬ ‫‪1‬‬

‫ﺍﻝﻨﻤﻭﺫﺝ ﻓﻲ ﺃﻓﻼﻡ ﻻﺤﻘﺔ‪.‬‬

‫‪ 2‬ﺨﻁﺎﺏ ﺼﻭﺭﺓ ﻤﺘﻜﺭﺭ ﻴﻅﻬﺭ ﺘﺼﻨﻴﻔﺎ ﻝﻠﻌﺭﺏ ﺒﺎﻝﻨﺴﺒﺔ ﻝﻼﻤﺭﻴﻜﻴﻥ‪ :‬ﺍﻝﻌﺭﺏ ﺍﻝﺠﻴﺩﻭﻥ ﻭﺍﻝﻌﺭﺏ ﺍﻝﺴﻴﺌﻭﻥ ﻭﺍﻝﻌﺭﺏ ﺍﻝﺠﻴﺩﻭﻥ‬
‫ﺍﺴﺘﺨﺩﺍﻡ ﺍﻝﻨﺼﻭﺹ ﺍﻝﺩﻴﻨﻴﺔ ﻭﻤﺤﻭﻝﺔ ﻝﺘﺒﻴﺎﻥ ﺍﻝﻤﻔﻬﻭﻡ ﺍﻝﺼﺤﻴﺢ ﻝﻬﺎ‪.‬‬ ‫‪3‬‬

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‫‪ -‬ل‪.‬ﻉ ﻝﻤﺨﻴﻡ ﻓﻠﺴﻁﻴﻨﻲ ﻓﻲ ﺠﺒل ﺍﻝﺤﺴﻴﻥ‪ -‬ﺸﻭﺍﺭﻉ ﻗﺫﺭﺓ‪ ،‬ﺃﻁﻔﺎل ﻴﻠﻌﺒﻭﻥ ﺍﻝﻜﺭﺓ‪ ،‬ﻤـﺎﺭﺓ‪ .‬ﻴﺘﺠـﻪ‬

‫ﻓﺭﻴﺱ ﻓﻲ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ ﺇﻝﻰ ﻋﻴﺎﺩﺓ ﺍﻹﻏﺎﺜﺔ ﻝﺘﻠﻘﻲ ﻋﻼﺝ ﻹﺼﺎﺒﺘﻪ‪ ،‬ﻴﻠﻤﺢ ﻤﻤﺭﻀﺔ ﺫﺍﺕ ﺒﺸﺭﺓ‬

‫ﺴﻤﺭﺍﺀ ﻤﺘﺠﻬﺔ ﺇﻝﻴﻪ –ﺍﻝﺴﻼﻡ ﻋﻠﻴﻜﻡ – ﻓﺭﻴﺱ ﺒﺎﻝﻌﺭﺒﻴﺔ‪-‬ﻭﻋﻠﻴﻜﻡ ﺍﻝﺴﻼﻡ‪ ،‬ﺘﻘﻭﻡ ﺒﺤﻘﻨـﻪ ﻤـﺼﻼ‬

‫ﻤﻀﺎﺩﺍ ﻭﺘﻁﻠﺏ ﻤﻨﻪ ﺃﻥ ﻴﺄﺨﺫﻩ ﺒﺎﺴﺘﻤﺭﺍﺭ – ﻴﺒﺘﺴﻡ ﻓﺭﻴﺱ ﻤﺘﻭﺩﺩﺍ ﺃﻨﺎ ﻓﺭﻴﺱ – ﺃﻨﺎ ﻋﺎﺌﺸﺔ –ﻏﻴﺭ‬

‫ﺁﺒﻬﺔ – ﺘﺭﺤل ﺩﻭﻥ ﺍﻫﺘﻤﺎﻡ ‪.‬‬

‫‪ -‬ﻤﻤﺭﺍﺕ ﻀﻴﻘﺔ‪،‬ﻫﺎﻝﺔ ﻤﻅﻠﻤﺔ‪ ،‬ﺭﺠل ﻤﺸﺩﻭﺩ‪ ،‬ﻋﺎﺭ ﺘﻤﺎﻤﺎ‪ ،‬ﺴﻴﺎﻁ‪ ،‬ﺼﺭﺍﺥ – ﻫـﺎﻨﻲ ﻅﻨﻨﺘـﻙ ﻻ‬

‫ﺘﺅﻤﻥ ﺒﺎﻝﺘﻌﺫﻴﺏ– ﺇﻨﻪ ﻋﻘﺎﺏ ﻋﻠﻴﻙ‪ ،‬ﺃﻥ ﺘﺩﺭﻙ ﺍﻝﻔﺭﻕ ﻴﺎ ﺼﺩﻴﻘﻲ‪ .‬ﺸﺎﻫﺩ ﻭﺍﺨﺒﺭ ﻫﻭﻓﻤـﺎﻥ ﺒﻤـﺎ‬

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‫ﺭﺍﻴﺘﻪ ‪.‬ﻫﺎ‪.‬‬

‫ﻤﺸﻬﺩ‪-‬ﺃﻤﺴﺘﺭﺩﺍﻡ– ﻴﺘﻘﺩﻡ ﺸﺎﺏ ﻴﻠﺘﻘﻁ ﻭﺭﻗﺔ ﻤﻥ ﺴﻠﺔ ﺍﻝﻤﻬﻤﻼﺕ ﻜﺘﺏ ﻋﻠﻴﻬﺎ– ﺍﻝﻴﻭﻡ ﻓﻲ ﺴﻭﻕ ﺍﻝﻭﺭﺩ‬

‫– ل‪.‬ﻉ ﺃﻁﻔﺎل ﻴﻤﺭﺤﻭﻥ‪ ،‬ﺃﻤﻬﺎﺕ ﻴﺘﺴﻭﻗﻥ‪ ،‬ﺃﻨﺎﺱ ﻴﺸﺘﺭﻭﻥ ﻭﻴﺘﻬﺎﺩﻭﻥ ﺍﻝﻭﺭﺩ‪ ،‬ﻤﺴﻥ ﻴﻌﺩ ﻜﺎﻤﻴﺭﺍﺘـﻪ‬

‫ﺍﻝﻤﺤﻤﻭﻝﺔ ﻻﻝﺘﻘﺎﻁ ﺼﻭﺭﺓ ﻝﺯﻭﺠﺘﻪ ﺍﻝﺘﻲ ﺘﺒﺘﺴﻡ ﺒﺘﺯﺍﻤﻥ ﻭﻀﻭﺀ ﺍﻝﻜﺎﻤﻴﺭﺍ‪ ،‬ﺘﻔﺠﻴﺭ ﻴﻨﺘﻬـﻲ ﺒـﻀﻭﺀ‬

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‫ﺍﺒﻴﺽ‪ ،‬ﻻ ﺸﻲﺀ ﻓﻲ ﺍﻷﻓﻕ‪ .‬ﺫﺍﺕ ﺍﻝﺸﻅﺎﻴﺎ ﻭﺍﻷﺸﻼﺀ ﺍﻝﻤﺘﻨﺎﺜﺭﺓ‪.‬‬

‫ﻤﻜﺎﻝﻤﺔ ﻫﺎﺘﻔﻴﺔ ﺒﻴﻥ ﻓﺭﻴﺱ ﻭﻫﻭﻓﻤﺎﻥ ﻤﻥ ﺍﻝﻘﺎﻋﺩﺓ ﻓﻲ ﻭﺍﺸﻨﻁﻥ‪ :‬ﺘﺭﺍﻭﺡ ﺒﻴﻥ ﻝﻘﻁﺎﺕ ﻤﺘﻭﺴـﻁﺔ‬

‫ﻭﻜﺒﻴﺭﺓ ﻝﻭﺠﻬﻲ ﻓﺭﻴﺱ ﻭﻫﻭﻓﻤﺎﻥ – ﻋﻠﻤﻨﺎ ﻋﻥ ﺭﺠل ﻫﺎﻨﻲ ﺴﻼﻡ ﺍﻝﺠﺩﻴﺩ‪،‬ﻻ ﺒﺩ ﺃﻥ ﻝﺩﻴﻪ ﻤﻌﻠﻭﻤﺎﺕ‪،‬‬

‫ﻝﻘﺩ ﻜﺎﻥ ﻤﻥ ﺭﺠﺎل ﺍﻝﻘﺎﻋﺩﺓ‪ ،‬ﻴﺠﺏ ﺃﻥ ﻨﺤﺼل ﻋﻠﻴﻪ –ﻓﺭﻴﺱ‪ :‬ﻫﻪ ﺴﻴﻘﻭل ﻝﻙ ﻫﺎﻨﻲ‪ :‬ﺇﻨﺴﻲ‪ ،‬ﻭﻫﺫﺍ‬

‫ﻻ ﻴﻌﻨﻲ ﺸﻴﺌﺎ ﺠﻴﺩﺍ – ﻫﻭﻓﻤﺎﻥ ﻭﻗﺩ ﺒﺩﺕ ﻋﻼﻤﺎﺕ ﺍﻝﻐﻀﺏ ﻋﻠﻰ ﻭﺠﻬﻪ ﻓﻲ ﻝﻘﻁـﺔ ﻜﺒﻴـﺭﺓ‪ :‬ﺘﺒـﺎ‬

‫ﻝﻙ!ﺍﻷﻭﺭﻭﺒﻴﻭﻥ ﻴﻤﻭﺘﻭﻥ ﺒﺎﺴﺘﻤﺭﺍﺭ ﻓﻲ ﻋﻤﻠﻴﺎﺕ ﺘﻔﺠﻴﺭﻴﺔ‪ .‬ﻫل ﺴـﻤﻌﺕ؟ ﻨﺭﻴـﺩ ﻤﻌﻠﻭﻤـﺎﺕ!‪75‬‬

‫ﺸﺨﺼﺎ ﻤﺎﺘﻭﺍ ﻓﻲ ﺃﻤﺴﺘﺭﺩﺍﻡ ﻭﺁﺨﺭﻭﻥ ﻻ ﻨﻌﻠﻡ ﻤﺘﻰ ﺴﻴﻤﻭﺘﻭﻥ!‪-‬ﻓﺭﻴﺱ )ﻫﺎﻝﺔ ﻤﻌﺘﻤﺔ ﻝﻐﺭﻓﺔ ﻤﻅﻠﻤﺔ‪،‬‬

‫ﺇﺸﺎﺭﺓ ﺃﺨﺭﻯ ﻝﻤﺴﺄﻝﺔ ﺍﻝﺘﻌﺫﻴﺏ‬ ‫‪1‬‬

‫ﻨﻤﻭﺫﺝ ﺍﻝﺤﻭﺍﺩﺙ ﺍﻝﺘﻔﺠﻴﺭﻴﺔ‪.‬‬ ‫‪2‬‬

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‫ﺇﻴﺤﺎﺀ ﻝﺤﻴﺭﺓ ﻭﺘﺭﺩﺩ( ﺍﺴﻤﻊ ﻫﻭﻑ ﺍﻝﻌﺭﺏ ﻴﺴﺎﻋﺩﻭﻨﻙ ﻓﻘﻁ ﻋﻨﺩﻤﺎ ﻴﺜﻘﻭﻥ ﺒﻙ‪ .‬ﺍﻨﺘﻅﺭ ﻓﻘﻁ ﻴﺠﺏ ﺃﻥ‬

‫ﻨﺤﺼل ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﺜﻘﺔ‪ -.‬ﺘﺒﺎ ﺃﻥ ﻻ ﺁﺒﻪ ﺒﻬﺫﻩ ﺍﻝﺘﺎﻓﻬﺎﺕ‪.‬ﻭﻻ ﺃﻫﺘﻡ ﺇﺫﺍ ﻭﺜﻕ ﺒﻲ ﺴﻼﻡ ﺃﻡ ﻻ ‪..‬‬

‫ﻴﺤﻀﺭ ﻫﻭﻓﻤﺎﻥ ﺇﻝﻰ ﻋﻤﺎﻥ – ل‪.‬ﻙ‪ -‬ﻝﻬﻭﻓﻤﺎﻥ ﺍﻝﻬﺎﻝﺔ ﻝﻌﺩﺩ ﻜﺒﻴﺭ ﻤﻥ ﺯﺠﺎﺠﺎﺕ ﺍﻝﺠﻌﺔ‪ :‬ﻫﺎﻨﻲ‬

‫ﻫﺫﺍ ﺫﻜﻲ ﻝﻜﻨﻪ ﻤﺘﻐﻁﺭﺱ – ﻓﺭﻴﺱ‪ :‬ﻤﻥ ﺃﻴﻥ ﻝﻙ ﺼﻭﺭﺓ ﺁل ﺴﻠﻴﻡ ﺍﻝﺘﻲ ﺃﻅﻬﺭﻫﺎ ل ﻫـﺎﻨﻲ‪ .‬ﻤـﺎﺫﺍ‬

‫ﻫﻨﺎﻙ ﺃﻴﻀﺎ ﻤﻤﺎ ﻻ ﺍﻋﺭﻑ ؟ﻫﺎﺍ؟ ‪ -‬ﻤﺎﺫﺍ ﺘﺭﻴﺩ ﺃﻥ ﺘﻌﺭﻑ ﻓﺭﻴﺱ‪...‬ﺍﺴﻤﻪ ﻜﺭﻴﻡ ﺍﻝﺸﻤﺎﺱ ﻤﻥ ﺤﻤﺎﺓ‬

‫ﻓﻲ ﺴﻭﺭﻴﺎ‪ ،‬ﺩﺭﺱ ﺍﻝﻔﻴﺯﻴﺎﺀ ﻭﺍﻝﻬﻨﺩﺴﺔ ﻓﻲ ﺍﻝﺴﻌﻭﺩﻴﺔ‪ .‬ﻜﺎﻥ ﻴﺄﺘﻲ ﺇﻝﻰ ﻫﻨﺎ ﻓﻲ ﻋﻤﺎﻥ‪ –.‬ﺘﺭﻜﻴﺯ ﻋﻠﻰ‬

‫ﻤﻼﻤﺢ ﻓﺭﻴﺱ ﻤﺘﻨﺒﻬﺎ‪ ،‬ﻫﻭﻑ ﻏﺎﺭﻕ ﻓﻲ ﺸﺭﺏ ﺍﻝﺠﻌﺔ‪ :‬ﻫﻭﻑ ﺃﺭﺠﻭﻙ ﻻ ﺘﻘﺘﺭﺏ ﻤﻥ ﺭﺠل ﻫـﺎﻨﻲ‬

‫ﺴﺘﻔﺴﺩ ﻜل ﺸﻲﺀ –ﻫﻭﻑ‪ :‬ﻻ ﺘﺜﻕ ﺒﻬﺎﻨﻲ ﻫل ﻫﺫﺍ ﻭﺍﻀﺢ – ﻭﻻ ﺘﻠﻤﺱ ﺭﺠﻠﻪ‪ .‬ﻫل ﻓﻬﻤﺕ ﻫﻭﻑ‪.‬‬

‫ﻻ ﺘﻠﻤﺴﻪ!‬

‫ﻓﺭﻴﺱ ﻓﻲ ﻁﺭﻴﻘﻪ ﺇﻝﻰ ﻋﺎﺌﺸﺔ ﻝﺘﻠﻘﻲ ﺍﻝﻠﻘﺎﺡ ﻓﻲ ﻤﺭﻜﺯ ﺍﻹﻏﺎﺜﺔ ﺍﻝﻁﺒﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪-‬ل‪.‬ﻉ‪: -‬ﻤﺨﻴﻡ‬

‫ﺠﺒل ﺍﻝﺤﺴﻴﻥ‪ ،‬ﻤﺸﺎﺓ‪ ،‬ﺒﻴﻭﺕ ﻋﺘﻴﻘﺔ‪ ،‬ﺍﻁﻔﺎل ﻴﻠﻌﺒﻭﻥ ﺍﻝﻜﺭﺓ‪ ،‬ﺒﺎﻋﺔ ﻤﺘﺠﻭﻝﻭﻥ‪..‬ﻋﺘﺒﺔ ﺍﻹﻏﺎﺜﺔ ﻝﻠﻘﻁـﺔ‬

‫ﻤﺘﻭﺴﻁﺔ‪ ،‬ﻓﺭﻴﺱ ﻴﺠﻠﺱ ﻭﺍﻝﻤﺭﻀﻰ ﻓﻲ ﻗﺎﻋﺔ ﺍﻻﻨﺘﻅﺎﺭ ﺍﻝﻤﻜﺘﻅﺔ ﺒﺎﻝﻨﺴﺎﺀ ﻭﺍﻷﻁﻔﺎل‪ .‬ﻋﻴﻭﻥ ﺘﺭﻤﻘﻪ‬

‫ﺒﺎﺯﺩﺭﺍﺀ ﺁﺨﺭﻭﻥ ﻴﺴﺨﺭﻭﻥ ﺒﻀﺤﻜﺎﺕ ﻫﻨﺎ ﻭﻫﻨـﺎﻙ – ﺇﺤـﺩﻯ ﺍﻝﻨـﺴﺎﺀ‪ :‬ﻤـﻥ ﻫـﺫﺍ ﺍﻝﻴﻬـﻭﺩﻱ‬

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‫ﺍﻝﺤﻤﺎﺭ‪..‬ﻫﻬﻪ‬

‫ﻤﺤﺎﻭﻝﺔ ﻓﺎﺸﻠﺔ ﻻﺨﺘﻁﺎﻑ ﻜﺭﺍﻤﻲ ﺭﺠل ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﺭﺩﻨﻴﺔ ﺍﻝﺫﻱ ﻜﺎﻥ ﺃﺤﺩ ﺭﺠـﺎل ﺍﻝﻘﺎﻋـﺩﺓ‪.‬‬

‫ﺍﻷﻤﺭ ﺍﻝﺫﻱ ﺃﻏﻀﺏ ﻫﺎﻨﻲ ﺴﻼﻡ ﻤﻤﺎ ﺠﻌﻠﻪ ﻴﻤﻬل ﻓﺭﻴﺱ ﺍﺜﻨﺎ ﻋﺸﺭﺓ ﺴﺎﻋﺔ ﻓﻘـﻁ ﻝﻴﻐـﺎﺩﺭ ﺍﻷﺭﺩﻥ‬

‫ﻗﺎﺌﻼ ﻝﻔﺭﻴﺱ‪ :‬ﻗﻠﺕ ﻝﻙ ﻻ ﺘﻜﺫﺏ ﻭﻗﺩ ﻓﻌﻠﺕ ‪.‬ﻝﻥ ﺃﻜﻭﻥ ﻤﺴﺌﻭﻻ ﻋﻥ ﺃﻤﺎﻨﻙ ﺒﻌﺩ ﺍﻵﻥ! ﺍﺭﺤل‪.‬‬

‫ﻭﺍﺸﻨﻁﻥ – ﻓﺭﻴﺱ ﻤﻭﻀﻭﻉ ﺍﻝﺼﻭﺭﺓ ﻝﻬﺎﻝﺔ ﺨﻀﺭﺍﺀ ﻭﺒﻴﺌﺔ ﺴﺎﻜﻨﺔ‪ ،‬ﻤﺸﺭﻗﺔ ﻫﻭﻓﻤﺎﻥ‪ :‬ﺃﻫﻼ ﺒﻙ‬

‫ﻓﻲ ﺍﻝﺒﻼﺩ ﺍﻝﺨﻀﺭﺍﺀ‪ ،‬ﺍﻝﻬﻭﺕ ﺩﻭﻍ! – ﻝﻘﺩ ﺃﻓﺴﺩﺕ ﻜل ﺸﻲﺀ ﻫﻭﻑ)ﻏﺎﻀﺒﺎ( ﻝﻘـﺩ ﺃﺤﺭﻗـﺕ ﻜـل‬

‫ﺍﻝﻨﻅﺭﺓ ﺍﻝﻌﻔﻭﻴﺔ ﻝﻠﻌﺭﺏ ﺍﺘﺠﺎﻩ ﺍﻷﺠﻨﺒﻲ ‪.‬‬ ‫‪1‬‬

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‫ﺍﻝﻭﺭﻕ – ﻤﺎ ﺭﺃﻴﻙ ﺒﺎﻻ ﻴﺱ ﻜﺭﻴﻡ )ﻫﻭﻑ ﻤﻘﺎﻁﻌﺎ( – ﻝﻘﺩ ﻜﺎﻥ ﻫﺎﻨﻲ ﻴﺭﻴﺩ ﺒﻌﺽ ﺍﻝﻭﻗﺕ ﻓﻘـﻁ –‬

‫ﺁﻭﻭﻩ ﻝﻡ ﺃﻜﻥ ﻻﻨﺘﻅﺭﻜﻡ ﻭﺍﻨﺘﻡ ﺘﺄﻜﻠﻭﻥ ﺍﻝﻘﺴﻘﺱ‪ -.1‬ﻤﺎﺫﺍ ﻴﺭﻴﺩ ﺁل ﺴﻠﻴﻡ‪ ،‬ﺍﻝﻡ ﻴﻁﻌﻡ ﺃﺴﺎﻤﺔ ﺍﻝﺯﺭﻗﺎﻭﻱ‬

‫ﻝﻠﻜﻼﺏ ﻋﻨﺩﻤﺎ ﺃﺼﺒﺢ ﻗﻭﻴﺎ‪ .‬ﻤﺎ ﺍﻝﺫﻱ ﻴﺠﻌﻠﻪ ﻴﺘﻌﺭﺽ ﻝﻜل ﻫﺫﺍ ﻭﻴﺘﺤﺩﻯ ﺩﻭﻝﺘﻪ؟ – ﻫﻬﻪ ﻴﺭﻴـﺩ ﺃﻥ‬

‫ﻴﺼﺒﺢ ﻋﻅﻴﻤﺎ!‬

‫ﻴﻘﻭﻡ ﻓﺭﻴﺱ ﺒﻭﻀﻊ ﺨﻁﺔ ﻻﻜﺘﺸﺎﻑ ﻤﻜﺎﻥ ﺁل ﺴﻠﻴﻡ ﻓﻴﻨﺘﻘﻰ ﺃﺤﺩ ﺍﻷﺸﺨﺎﺹ ﻝﻴﺠﻌل ﻤﻨﻪ ﺇﺭﻫﺎﺒﻴﺎ‬

‫)ﺩﻭﻥ ﻋﻠﻤﻪ( ﺇﻨﻪ ﻋﻤﺭ ﺍﻝﺼﺩ ﻴﻘﻲ‪ ،‬ﻤﻬﻨﺩﺱ ﻤﻌﻤﺎﺭﻱ ﺃﺭﺩﻨﻲ ﻴﻌﻤـل ﻓـﻲ ﺍﻹﻤـﺎﺭﺍﺕ ﺍﻝﻌﺭﺒﻴـﺔ‬

‫ﺍﻝﻤﺘﺤﺩﺓ‪.‬ﺤﻴﺙ ﻴﻘﻭﻡ ﻓﺭﻴﺱ ﺒﺎﻝﺘﺠﺴﺱ ﻋﻠﻴﻪ ﻭﺍﻝﺤﺼﻭل ﻋﻠﻰ ﻤﻌﻠﻭﻤﺎﺘﻪ ﺍﻝﺨﺎﺼﺔ ﻭﻤﻥ ﻀﻤﻥ ﺫﻝـﻙ‬

‫ﺍﺨﺘﺭﺍﻕ ﺍﻝﺒﺭﻴﺩ ﺍﻻﻝﻜﺘﺭﻭﻨﻲ ﺨﺎﺼﺘﻪ‪ .‬ﻭﻤﻥ ﺫﻝﻙ ﺘﺤﻭل ﻤﺒﺎﻝﻎ ﻤﺎﻝﻴﺔ ﻝﺤﺴﺎﺏ ﺍﻝﻘﺎﻋﺩﺓ ﻭﺇﺭﺴﺎل ﺭﺴﺎﺌل‬

‫ﺍﻝﻜﺘﺭﻭﻨﻴﺔ ﻤﻥ ﺤﺴﺎﺏ ﺼﺩﻴﻘﻲ ﻝﻬﻡ‪ ،‬ﺜﻡ ﺃﺨﻴﺭﺍ ﺍﻝﻘﻴﺎﻡ ﺒﺘﻔﺠﻴﺭﺍﺕ ﻭﻫﻤﻴﺔ ﻓﻲ ﺍﻝﻌﺎﺼﻤﺔ ﺍﻝﺘﺭﻜﻴﺔ ﺍﻨﻘﺭﺍ‪.‬‬

‫ﺍﻨﺘﻬﻰ ﺍﻷﻤﺭ ﺒﻤﺎ ﻜﺎﻥ ﻴﺭﻴﺩ ﻭﻫﻭ ﺍﻹﻴﻘﺎﻉ ﺏ ﺁل ﺴﻠﻴﻡ ﺤﻴﺙ ﻗﺎﻡ ﺍﻷﺨﻴﺭ ﺒﺎﻻﺘـﺼﺎل ﻋﻠـﻰ ﻋﻤـﺭ‬

‫ﺼﺩﻴﻘﻲ‪ ،‬ﻭﺍﻹﺘﻴﺎﻥ ﺒﻪ ﺇﻝﻰ ﻗﺎﻋﺩﺘﻬﻡ ﻓﻲ ﻋﻤﺎﻥ ﻝﻠﺘﻌﺭﻑ ﺇﻝﻴﻪ‪ .‬ﻝﻜﻥ ﺍﻷﻤﺭ ﻝﻡ ﻴﺘﻡ ﻜﻤﺎ ﻜﺎﻥ ﻤﺨﻁﻁﺎ ﻝﻪ‬

‫ﺤﻴﺙ ﺘﻡ ﻗﺘل ﺼﺩﻴﻘﻲ ﺒﺒﺴﺎﻁﺔ ﻷﻥ ﺁل ﺴﻠﻴﻡ ﻋﻠﻡ ﺃﻥ ﻝﻼﺴﺘﺨﺒﺎﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻋﻼﻗﺔ ﺒﺎﻷﻤﺭ‪.‬‬

‫ﻴﻁﻠﺏ ﻫﺎﻨﻲ ﺴﻼﻡ ﻤﻥ ﻓﺭﻴﺱ ﺍﻝﻌﻭﺩﺓ ﻝﻸﺭﺩﻥ ﻝﻴﺴﺎﻋﺩﻩ ﻓﻲ ﺍﻝﻘﺒﺽ ﻋﻠﻰ ﺁل ﺴﻠﻴﻡ ﺒﺴﺒﺏ ﻅﻬﻭﺭ‬

‫ﺒﻌﺽ ﺍﻷﺩﻝﺔ ﻭﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﻓﻲ ﺍﻵﻭﻨﺔ ﺍﻷﺨﻴﺭﺓ‪ .‬ﻴﻘﻭﻡ ﻓﺭﻴﺱ ﺒﺯﻴﺎﺭﺓ ﻋﺎﺌﺸﺔ ﻓﻲ ﺒﻴﺘﻬﺎ ﻝﺘﻨﺎﻭل ﺍﻝﻐﺩﺍﺀ‪.‬‬

‫ﻴﺘﺤﺩﺙ ﺇﻝﻰ ﺃﺒﻨﺎﺀ ﺃﺨﺘﻬﺎ ﻓﻴﺴ‪‬ﺭﻭﻥ ﻝﻪ ﺃﻨﻬﻡ ﻻ ﻴﺤﺒﻭﻥ ﻁﺒﺦ ﺃﻤﻬـﻡ ﻭﺇﻨﻬـﻡ ﻴﻔـﻀﻠﻭﻥ ﺍﻝـﺴﺒﺎﻏﺘﻲ‬

‫ﻭﺍﻝﻬﺎﻤﺒﻭﺭﻏﺭ‪ .‬ﻜﻤﺎ ﺘﻌﻠﻤﻪ ﺍﻷﻡ ﺇﻨﻬﺎ ﻤﺘﻀﺎﻴﻘﺔ ﻤﻥ ﺍﻝﻭﻀﻊ ﻓﻲ ﺍﻝﻌﺭﺍﻕ ﻭﺍﻨﻪ ﻴﺫﻜﺭﻫﺎ ﺒﺤﺭﺏ ﺍﻝﺨﻠﻴﺞ‬

‫ﺍﻝﺜﺎﻨﻴﺔ ﻭﺃﻨﻬﺎ ﺘﻔﻀل ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ ﻝﻠﻌﻴﺵ ﻫﻨﺎﻙ ﻭﺃﻭﻻﺩﻫﺎ‪ .‬ﻋﻼﻗﺔ ﻭﺩ ﺘﺘﺴﻠل ﺒﺒﻁﻲﺀ ﻝﻘﻠﺒـﻲ‬

‫ﻋﺎﺌﺸﺔ ﻭﻓﺭﻴﺱ‪.‬‬

‫ﺃﻜﻠﺔ ﺃﺭﺩﻨﻴﺔ ﻭﺘﻌﺭﻑ ﺒﺎﻝﻤﻔﺘﻭل ﺃﻴﻀﺎ‪.‬‬ ‫‪1‬‬

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‫‪ ...‬ﻴﺩﺨل ﻓﺭﻴﺱ ﺒﻴﺘﻪ ﻤﻨﻬﻜﺎ‪..‬ﻻ ﺸﻲﺀ ﻴﻅﻬﺭ ﻓﻲ ﺍﻝﺼﻭﺭﺓ ﻏﻴﺭ ﻅل ﻓﺭﻴﺱ‪ ،‬ﻴﺘﻁﻠﻊ ﻨﺤﻭ ﻗﺩﻤﻴﻪ‬

‫ﻓﺈﺫﺍ ﺒﺼﻭﺭﺓ ﻤﻠﻘﺎﺓ ﻋﻠﻰ ﺍﻷﺭﺽ ﻝﻌﺎﺌﺸﺔ‪ .‬ﻴﻌﻠﻡ ﻓﺭﻴﺱ ﺃﻥ ﺜﻤﺔ ﺃﻤﺭ ﻤﺎ ﻗﺩ ﺤﺼل ﻝﻬـﺎ ﻭﺍﻥ ﻫـﺫﻩ‬

‫ﺭﺴﺎﻝﺔ ﺘﻬﺩﻴﺩ‪ .‬ﻴﺭﻜﺽ ﻓﻭﺭﺍ ﻝﻠﻘﺎﺀ ﻫﺎﻨﻲ ﺴﻼﻡ‪ .‬ﻴﺠﺩﻩ ﻓﻲ ﺒﺎﺭ ﻝﻴﻠﻲ ﻴﺤﺘـﺴﻲ ﺍﻝـﺸﺭﺍﺏ – ﻫـﺎﻨﻲ‬

‫ﺃﺭﺠﻭﻙ ﺍﺤﺘﺎﺝ ﻤﺴﺎﻋﺩﺘﻙ ﻝﻘﺩ ﺍﺨﺘﻁﻔﻭﺍ ﻋﺎﺌﺸﺔ!– ﻓﺭﻴﺱ ﻫل ﺘﻌﺭﻑ ﻋﻤﺭ ﺼﺩﻴﻘﻲ ؟ﻫـﻪ! ﺃﻨـﺕ‬

‫ﺘﻜﺫﺏ ﻋﻠﻲ ﺜﺎﻨﻴﺔ‪- .‬ﺘﻨﺘﻬﻲ ﺍﻝﻠﻘﻁﺔ ﺒﻌﺘﻤﺔ ﺘﺫﻫﺏ ﺒﺎﺘﺠﺎﻩ ﻓﺭﻴﺱ ﺍﻝﺫﻱ ﻝﻡ ﻴﻨﺒﺱ ﺒﺒﻨﺕ ﺸﻔﻪ‪...‬‬

‫ﻴﺘﻠﻘﻰ ﻓﺭﻴﺱ ﻤﻜﺎﻝﻤﺔ ﻫﺎﺘﻔﻴﺔ ﺸﺨﺹ ﻏﻴﺭ ﻤﻌﺭﻭﻑ ﻴﻁﻠﺏ ﻤﻨﻪ ﺃﻥ ﻴﻌﺒﺭ ﺇﻝﻰ ﺤﺩﻭﺩ ﺴـﻭﺭﻴﺎ ﺇﺫﺍ‬

‫ﻜﺎﻥ ﻴﺭﻴﺩ ﺍﺴﺘﺭﺠﺎﻉ ﻋﺎﺌﺸﺔ‪ .‬ﻴﺘﻭﺠﻪ ﻓﺭﻴﺱ ﺤﺴﺏ ﺍﻝﺘﻌﻠﻴﻤﺎﺕ ﺘﺤﺕ ﻤﺭﺍﻗﺒﺔ ﻫﻭﻓﻤﺎﻥ‪ .‬ﻴﺘﺠـﻪ ﺇﻝـﻰ‬

‫ﺴﻭﺭﻴﺎ ﻓﻲ ﻁﺭﻕ ﺼﺤﺭﺍﻭﻱ‪ ،‬ﻤﺴﺎﺤﺎﺕ ﺸﺎﺴﻌﺔ )ﺍﻝﻬﺎﻝﺔ ﻷﺭﺽ ﻤﻘﻔﺭﺓ‪ ،‬ﻅﻤﺄ‪ ،‬ﻀﻴﺎﻉ ﻤﺎ(‪ .‬ﻓﺭﻴﺱ‬

‫ﻴﻨﺘﻅﺭ‪.‬‬

‫ﺩﺭﻋﺎ –ﺴﻭﺭﻴﺎ – ﻗﺎﻓﻠﺔ ﻤﻥ ﺍﻝﺴﻴﺎﺭﺍﺕ ﺍﻝﻀﺨﻤﺔ ﺘﺤﻴﻁ ﺒﻔﺭﻴﺱ ﻤﻥ ﻜل ﻤﻜﺎﻥ‪ ،‬ﺍﻝﺘﻘﻁﺕ ﺇﺤـﺩﻯ‬

‫ﺍﻝﺴﻴﺎﺭﺍﺕ ﻓﺭﻴﺱ ﻓﻲ ﻝﺤﻅﺎﺕ ﻓﻘﺩﺕ ﻓﻴﻬﺎ ﺴـﻴﻁﺭﺓ ﻫﻭﻓﻤـﺎﻥ ﻋﻠـﻰ ﺍﻝﻤﺭﺍﻗﺒـﺔ‪ .‬ﻫﺎﻝـﺔ ﻏﻴـﺎﺏ‬

‫ﺃﻁﺒﻘﺕ‪....‬ﻓﺭﻴﺱ ﻤﻜﺒﻼ‪ ،‬ﻤﻐﻁﻰ ﺍﻝﻌﻴﻨﻴﻥ ﻻ ﻴﺴﻤﻊ ﺴﻭﻯ ﺼﻭﺕ ﻀﺭﺒﺎﺕ ﻗﻠﺒﻪ ﺍﻝﺨﺎﺌﻑ ﻤﺩﺭﻜﺎ ﺃﻨﻪ‬

‫ﻝﺩﻯ ﺁل ﺴﻠﻴﻡ ﻝﺘﻨﻅﻴﻡ ﺍﻝﻘﺎﻋﺩﺓ ﻓﻲ ﺴﻭﺭﻴﺎ‪ .‬ﻓﺭﻴﺱ ﻤﻠﻘﻰ ﻋﻠﻰ ﻁﺎﻭﻝﺔ ﺨﻠﻔﻴﺔ ﺭﺁﻴﺔ ﺴﻭﺩﺍﺀ ﻜﺘﺒﺕ ﻋﻠﻴﻬﺎ‬

‫ﺠﻤﻠﺔ ﺍﻝﺘﻭﺤﻴﺩ )ﻻ ﺍﻝﻪ ﺇﻻ ﺍﷲ( ﻜﺎﻤﻴﺭﺍ ﻓﻴﺩﻴﻭ ﺃﻋﺩﺕ ﻗﺒﺎﻝﺘﻪ‪ .‬ﻭﻗﻊ ﺃﻗﺩﺍﻡ ﻗﺎﺩﻤﺔ‪ ،‬ﺃﺒﻭﺍﺏ ﺘﻔﺘﺢ ﻭﺃﺨﺭﻯ‬

‫ﺘﻐﻠﻕ‪ ،‬ﺃﻗﺒﻴﺔ ﻤﻅﻠﻤﺔ‪ ،‬ﻤﻤﺭﺍﺕ ﻀﻴﻘﺔ – ل‪.‬ﻡ ل ﻓﺭﻴﺱ‪ :‬ﺁل ﺴﻠﻴﻡ ؟ﺍﻝﺸﻴﺦ؟ ‪ -‬ﺁل ﺴﻠﻴﻡ ﺠﺎﻝﺴﺎ ﻋﻠـﻰ‬

‫ﻜﺭﺴﻲ ﻗﺒﺎﻝﺔ ﻓﺭﻴﺱ‪ ،‬ﻋﺒﺎﺀﺓ ﺴﻭﺩﺍﺀ ﻤﻌﺘﻤﺭﺍ ﻋﻤﺎﻤﺘﻪ‪ ،‬ﻝﺤﻴﺔ ﻴﺨﺘﻠﻁ ﺒﻴﺎﻀﻬﺎ ﺒﺎﻝﻘﻠﻴل ﻤـﻥ ﺍﻝـﺴﻭﺍﺩ‪.‬‬

‫ﺼﻭﺕ ﻫﺎﺩﺉ ﻴﺒﻌﺙ ﺇﻝﻰ ﺍﻝﻘﻠﻕ‪ :‬ﻫﻪ‪ ..‬ﺃﻨﺎ ﻝﺴﺕ ﺍﻝﺸﻴﺦ ﺃﻨﺎ ﺨﺎﺩﻤﻪ! – ﺃﻴﻥ ﺍﻝﻔﺘﺎﺓ؟ ‪ -‬ﻤﻬﻤﺎ ﻗﻠـﺕ ﺃﻭ‬

‫ﻓﻌﻠﺕ ﻓﻤﻬﻤﺘﻙ ﻻ ﺘﺘﻌﺩﻯ ﺍﻝﻜﺫﺏ! ﻫﺎﺍ؟ ‪ -‬ﻝﻥ ﺘﺴﺘﻴﻁﻊ ﻓﻌل ﺸﻲﺀ ﻏﻴﺭ ﻗﺘﻠﻲ ﻝﻥ ﻴﻔﺎﻭﻀﻭﻙ ﺁل ﺴﻠﻴﻡ‬

‫– ﻫﻪ ﺃﻨﻅﺭ ﺇﻝﻰ ﻫﺫﺍ ﺍﻝﻌﺎﻝﻡ ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﻅﻠﻡ ﻭﺍﻝﻘﻬﺭ ﺍﻷﻝﻡ ﻭﺍﻹﺤﺒﺎﻁ! ﻝﻥ ﻴﻘﺼﺭﻭﺍ ﻓﻲ ﺃﻥ ﻴﻜﻭﻨﻭﺍ‬

‫ﺸﻬﺩﺍﺀ – ﺍﻫﺎ‪ ،‬ﻤﺘﺠﻬﺎ ﺒﺨﻁﺎﺒﻪ ﺇﻝﻰ ﺍﻝﺭﺠﺎل ﻤﻥ ﺤﻭل ﺁل ﺴﻠﻴﻡ‪ : -‬ﻭﺫﻝﻙ ﻋﻥ ﻁﺭﻴﻕ ﻫﺅﻻﺀ ﺍﻝﺫﻴﻥ‬

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‫ﻴﻌﺘﻘﺩﻭﻥ ﺇﻨﻬﻡ ﻴﺘﻘﺭﺒﻭﻥ ﺇﻝﻰ ﺍﷲ ﺒﻘﺘل ﺃﺨﻭﺍﻥ ﻭﺃﺨﻭﺍﺕ ﻝﻬﻡ ‪.‬ﻫل ﺘﻌﻠﻤﺘﻡ ﻫﺫﺍ ﻤﻥ ﺍﻝﻘﺭﺁﻥ ؟! – "ﻭﻻ‬

‫ﺘﺤﺴﺒﻥ ﺍﻝﺫﻴﻥ ﻗﺘﻠﻭﺍ ﻓﻲ ﺴﺒﻴل ﺍﷲ ﺃﻤﻭﺍﺘﺎ ﺒل ﺃﺤﻴﺎﺀ ﻋﻨﺩ ﺭﺒﻬﻡ ﻴﺭﺯﻗﻭﻥ " – ﻫﻲ ﻫﻲ ﺃﻨﺕ ﺘﺴﻲﺀ‬

‫ﻓﻬﻡ ﺍﻝﻘﺭﺍﻥ ﺍﻝﺫﻱ ﺘﺅﻤﻥ ﺒﻪ‪ ،‬ﺃﻨﺕ ﻤﺠﺭﺩ ﺨﺎﺩﻡ‪ ،‬ﺃﻨﺕ ﻋﺒﺩ ﻨﻔﻁ‪ ،‬ﻋﺒﺩ ﺍﻝﻭﻫﺎﺒﻴﻥ ﻭﺃﻤﻭﺍﻝﻬﻡ ‪.‬ﺴـﺘﺨﺘﻔﻲ‬

‫ﻓﻲ ﻤﺯﺒﻠﺔ ﺍﻝﺘﺎﺭﻴﺦ! – ﺃﻤﻤﻤﻡ ﺃﺭﻯ ﺃﻨﻙ ﻝﻥ ﺘﻘﺭﺃ ﻤﺎ ﺃﻋﺩ ﻝﻙ ﺃﻥ ﺘﺘﻠﻭﻩ ﺃﻤﺎﻡ ﺍﻝﻜﺎﻤﻴﺭﺍ )ﻴﻭﻤﺊ ﺒﺭﺃﺴﻪ‬

‫(‪...‬ل‪.‬ﻡ ﻝﻠﺭﺠﺎل ﻤﻥ ﺤﻭل ﺁل ﺴﻠﻴﻡ‪ ،‬ﻝﺤﻰ ﻁﻭﻴﻠﺔ‪ ،‬ﻋﻴﻭﻥ ﻏﺎﻀﺒﻪ‪ ،‬ﻗﺎﻤﺎﺕ ﻀﺨﻤﺔ ﻁﻭﻴﻠـﺔ‪..‬ل‪.‬ﻙ‬

‫ﻝﻭﺠﻪ ﻜﺭﺍﻤﻲ ‪-‬ﺭﺠل ﻫﺎﻨﻲ ﺴﻼﻡ ‪.-‬ﻴﺭﻤﻘﻪ ﻓﺭﻴﺱ ﻤﻥ ﺒﻴﻥ ﺍﻝﺭﺠﺎل ‪ -.‬ﻫﻲ ﻴﺎ ﺸﻴﺦ! ﻫﻨﺎﻙ ﻤـﻥ‬

‫ﺭﺠﺎﻝﻙ ﻤﻥ ﻴﻌﻤل ﻝﺤﺴﺎﺏ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﺭﺩﻨﻴﺔ ﻤﻤﺎ ﻴﻌﻨﻲ ﺃﻨﻙ ﺘﻌﻤل ﻝﺩﻴﻬﻡ ﺃﻴﻀﺎ ﻭﻤﻤﺎ ﻴﻌﻨﻲ ﺃﻨﻙ‬

‫ﺘﻌﻤل ﻝﺩﻴﻨﺎ ﺃﻴﻀﺎ! – ﺁل ﺴﻠﻴﻡ )ﻤﻘﺎﻁﻌﺎ( ﺃﻭﻩ ﺴﻴﺩ ﻓﺭﻴﺱ‪ .‬ﻫل ﺃﻨﺕ ﻤﺭﺘﺎﺡ ؟ ﺴﺄﺠﻌﻠﻙ ﺘﺸﻌﺭ ﺒﻤﺯﻴﺩ‬

‫ﻤﻥ ﺍﻝﺭﺍﺤﺔ! ﺼﻭﺕ ﻏﻴﺭ ﻤﺘﻭﻗﻊ ﻝﻀﺭﺒﺔ ﻤﻁﺭﻗﺔ ﹸﺘﺫﻫﺏ ﺒﺄﺼﺒﻊ ﻓﺭﻴﺱ ‪..‬ﺼﻭﺕ ﺼﺭﺍﺥ ﻓـﺭﻴﺱ‬

‫ﻤﺘﺄﻝﻤﺎ ﻤﺘﺒﻭﻋﺎ ﺒﻀﺭﺒﺔ ﺃﺨﺭﻯ ﻝﻠﻤﻁﺭﻗﺔ ﹸﺘﺫﻫﺏ ﺒﺈﺼﺒﻊ ﺃﺨﺭ ﻴﻀﺎﻋﻑ ﺤﺩﺓ ﺍﻷﻝﻡ ﻭﺍﻝﺼﺭﺍﺥ‪ -..‬ﺃﻨﺕ‬

‫ﻜﺭﻴﻡ ﺍﻝﺸﻤﺎﺱ ﻫﺎ ﺃﻨﺕ ﻓﻲ ﺍﻝﻀﻭﺀ ﻴﺎ ﻜﺭﻴﻡ ﻨﺤﻥ ﻨﻌﻠﻡ ﻤﻥ ﺃﻨﺕ ‪...‬ﻴﺒﺼﻕ ﻓﻲ ﻝﻘﻁﺔ ﻗﺭﻴﺒﺔ ﻋﻠـﻰ‬

‫ﻭﺠﻪ ﺁل ﺴﻠﻴﻡ‪- :‬ﺃﻫﻼ ﺒﻙ ﻓﻲ ﻏﻭﺍﻨﺘﻨﺎﻤﻭ! ‪..‬ﻴﻭﻤﺊ ﺍﻷﺨﻴﺭ ﻝﺭﺠﺎﻝﻪ ﺩﻭﻥ ﺃﻥ ﻴﻨﺒﺱ ‪..‬ﻴﺨﺭﺝ ﻭﻫـﻭ‬

‫ﻴﺯﻴل ﺒﻘﻊ ﺍﻝﺩﻡ ﺍﻝﺘﻲ ﻨﻔﺭﺕ ﻤﻥ ﺃﺼﺎﺒﻊ ﻓﺭﻴﺱ ﺇﻝﻰ ﻭﺠﻬﻪ‪ ..‬ﺘﺨﺘﻠﻁ ﻋﻨﺎﺼـﺭ ﺍﻝـﺼﻭﺭﺓ ﺍﻝﺭﺠـﺎل‬

‫ﻴﻌﺩﻭﻥ ﺍﻝﻜﺎﻤﻴﺭﺍ ‪،‬ﺁﺨﺭﻭﻥ ﻴﺜﺒﺘﻭﻥ ﻓﺭﻴﺱ ﻋﻠﻰ ﻋﺠل‪ ،‬ﻋﻴﻭﻥ ﻏﺎﻀﺒﺔ ﺘﻅﻬﺭ ﻤﻥ ﻭﺭﺍﺀ ﺍﻝﻠﺜﺎﻡ‪ ،‬ﻝﻘﻁﺔ‬

‫ﻜﺒﻴﺭﺓ ﻝﻤﺴﺎﻤﻴﺭ ﻜﺜﻴﺭﺓ ﻤﻭﻀﻭﻋﺔ ﻋﻠﻰ ﺍﻝﻁﺎﻭﻝﺔ‪ .‬ﺃﺤﺩﻫﻡ ﻴﺘﻠﻭ‪ :‬ﻗﺎﺘﻠﻭﺍ ﺃﺌﻤﺔ ﺍﻝﻜﻔﺭ ﻓﺎﻨﻪ ﻻ ﺇﻴﻤﺎﻥ ﻝﻬﻡ‪.‬‬

‫ﺁﺨﺭ ﺒﺎﻝﻠﻬﺠﺔ ﺍﻝﻤﺼﺭﻴﺔ‪ :‬ﺃﻨﺼﺤﻙ ﺒﺄﻨﻙ ﺘﺘﺸﺎﻫﺩ ﻋﻠﻰ ﺭﻭﺤﻙ‪ .‬ﻓﺭﻴﺱ ﻴﻘـﺎﻭﻡ‪ ،‬ﻴﺘﺤـﺭﻙ‪ ،‬ﻴﺤـﺎﻭل‬

‫ﺍﻹﻓﻼﺕ‪ -1..‬ﻻ ﺩﺍﻋﻲ ﻝﻠﻤﻘﺎﻭﻤﺔ ﻝﻘﺩ ﺤﺎﻨﺕ ﻝﺤﻅﺔ ﺍﻝﻭﻓﺎﺓ‪...‬ﺍﷲ ﺃﻜﺒﺭ‪..‬ﺍﷲ ﺃﻜﺒﺭ‪..‬ﺘﺩﺍﺨل ﻋﺩﺩ ﻤـﻥ‬

‫ﺍﻷﺼﻭﺍﺕ ﻝﻬﺎﻝﺔ ﺘﺯﺩﺍﺩ ﺍﻨﻔﻌﺎﻻ ﺤﺘﻰ ﺘﺤﻴﻥ ﺍﻝﺫﺭﻭﺓ ﺘﻜﺒﻴﺭﺍﺕ ﺃﺨﺭﻯ‪ ،‬ﺴـﻜﺎﻜﻴﻥ‪ ،‬ﺇﻁـﻼﻕ ﻜﺜﻴـﻑ‬

‫ﻤﻭﺍﺠﻬﺔ ﻓﻲ ﺤﺭﺏ ﺍﻹﺸﺎﺭﺍﺕ ﺍﻝﺩﻴﻨﻴﺔ ﻭﺍﻝﺘﺄﻜﻴﺩ ﻋﻠﻰ ﺍﻝﻔﻬﻡ ﺍﻝﺨﺎﻁﺊ ﻝﻠﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ ﻓﻲ ﻗﻴﺎﻤﻬﻡ ﺒﺎﻝﻌﻤﻠﻴﺎﺕ ﺍﻹﺭﻫﺎﺒﻴﺔ ﻭﻗﺘل ﺍﻷﺒﺭﻴﺎﺀ‪.‬‬ ‫‪1‬‬

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‫ﻝﻠﻨﺎﺭ‪...‬ﻴﻅﻬﺭ ﻫﺎﻨﻲ ﺴﻠﻴﻡ ﻓﻲ ﺍﻝﻤﺸﻬﺩ‪..‬ﺇﻝﻰ ﻤﺸﻬﺩ ﺘﻅﻬﺭ ﻓﻴﻪ ﺃﺼﺎﺒﻊ ﻓﺭﻴﺱ ﻤﻠﻔﻭﻓﺔ‪ ،‬ﺇﻝـﻰ ﻝﻘﻁـﺔ‬

‫ﻤﺘﻭﺴﻁﻪ ﺘﻅﻬﺭ ﺠﺴﺩﻩ ﺍﻝﻤﻨﻬﻙ ﻓﻲ ﺍﺤﺩ ﺍﻝﻤﺸﺎﻓﻲ ﻓﻲ ﻋﻤﺎﻥ‪..‬‬

‫ﻓﻲ ﻤﺤﺎﺩﺜﺔ ﺒﻴﻥ ﻫﻭﻓﻤﺎﻥ ﻭﻓﺭﻴﺱ ‪ -‬ﻝﻡ ﻻ ﺃﺒﻘﻰ ﻫﺎ؟ ‪ -‬ﻫﻭﻑ‪ :‬ﻝﻡ ﺘﺒﻘﻰ ﻓﺭﻴﺱ ﺃﻨـﺕ ﺃﻓـﻀل‬

‫ﻋﻤﻴل ﻝﺩﻱ‪ .‬ﺴﺘﺤﺼل ﻋﻠﻰ ﻭﻅﻴﻔﺔ ﻫﻨﺎ‪ .‬ﻫﻴﺎ )ﻤﻠﺤﺎ(ﻻ ﺃﺤﺩ ﻴﺤﺏ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‪ .‬ﻻ ﺸﻲﺀ ﻝﺘﺤﺒﻪ‬

‫ﻫﻨﺎﻙ ‪ – !1‬ﺁﻭﻭﻩ ﺃﻫﻨﺌﻙ ﻫﻭﻑ ﻝﻘﺩ ﺭﺒﺤﺕ‪ –.‬ﻓﺭﻴﺱ ﻝﻥ ﺘﻜﻭﻥ ﺁﻤﻨﺎ ﻫﻨﺎﻙ – ﻫﺎﺍ ﻫﻪ ﻝﻥ ﺃﻜﻭﻥ ﺁﻤﻨﺎ‬

‫ﻓﻲ ﻤﻜﺎﻥ ﺼﺢ! – ﺃﻨﺕ ﺘﺘﺨﻠﻰ ﻋﻥ ﺃﻤﺭﻴﻜﺎ ؟!‪ -‬ﺃﻭﻩ ﺍﺤﺫﺭ ﺃﻨﺕ ﺘﺴﻤﻲ ﻨﻔﺴﻙ ﺃﻤﺭﻴﻜﺎ! ﺍﺴﻤﻊ ﻝﺩﻴﻙ‬

‫ﺯﻭﺠﺔ ﻭﺃﻭﻻﺩ ‪..‬‬

‫ﻓﺭﻴﺱ ﻴﺸﺘﺭﻱ ﺍﻝﺤﻠﻭﻯ‪ ،‬ﺍﻝﻤﺸﻬﺩ ﻴﻀﺞ ﺒﺎﻷﺼﻭﺍﺕ ﻭﺍﻝﻤﺎﺭﺓ‪ ،‬ﻴﺭﻗﺏ ﻋﺎﺌﺸﺔ ﻤﻥ ﻨﺎﻓﺫﺓ ﺍﻝﻌﻴـﺎﺩﺓ‬

‫ﺍﻝﻁﺒﻴﺔ‪ ،‬ﻤﻥ ﻋﺩﺴﺔ ﺍﻷﻗﻤﺎﺭ ﺍﻝﺼﻨﺎﻋﻴﺔ ‪..‬ﺘﺘﻀﺎﺀل ﺍﻝﺼﻭﺭﺓ‪...‬‬

‫‪ 3.6.1‬ﻓﻴﻠﻡ ﺍﻝﺘﺴﻠﻴﻡ ) ‪:2 (Rendition‬‬

‫ﺘﻘﺩﻴﻡ‪ :‬ﺍﻝﺘﺴﻠﻴﻡ ﺩﺭﺍﻤﺎ ﺴﻴﻨﻤﺎﺌﻴﺔ ُﺃﺨﺫﺕ ﻋﻥ ﻗﺼﺔ ﺤﻘﻴﻘﻴﺔ ﻝﺘﺴﻠﻴﻡ ﺍﻝﻤـﻭﺍﻁﻥ ﺨﺎﻝـﺩ ﺍﻝﻤـﺼﺭﻱ‬

‫ﻝﻼﺸﺘﺒﺎﻩ ﺒﻀﻠﻭﻋﻪ ﺒﻌﻤﻠﻴﺎﺕ ﺇﺭﻫﺎﺒﻴﺔ‪ .‬ﺍﻝﻔﻴﻠﻡ ﻤﻥ ﺇﺨﺭﺍﺝ ﺠﻴﻔﻴﻥ ﻫﻭﺩ ﻭﻝﺨﻤﺴﺔ ﻤﻥ ﺍﻝﻤﻨﺘﺠـﻴﻥ ﻫـﻡ‬

‫ﺴﺘﻴﻑ ﻜﻭﻝﻥ ﻭﺩﻴﻔﻴﺩ ﻜﺎﻨﺘﺭ‪ ،‬ﻭﻜﻴﺙ ﺭﻴﺩ ﻤﻭﻥ‪ ،‬ﻤﻴﺸﻴل ﺸﻭﻜﺭ‪ ،‬ﻭﻤﺎﺭﻜﻭﺱ ﻓﻴﺴﻜﻴﺩﻱ‪ .‬ﺃﻤﺎ ﺍﻝﺒﻁﻭﻝـﺔ‬

‫ﻓﻜﺎﻨﺕ ل ﺠﺎﻙ ﻜﺎﻻﻫﺎﻥ‪ ،‬ﻭﻴﻴﺯ ﻭﻴﺜﺭﺒﻭﻥ‪ ،‬ﻋﻤﺭ ﻤﺘﻭﻝﻲ‪ ،‬ﺒﻴﺘﺭ ﺴﺎﺭﺴﻜﺭﺍﺩ‪ ،‬ﺍﻻﻥ ﺍﺭﻜـﻥ‪ ،‬ﻤﻴـﺭﻱ‬

‫ﺴﺘﺭﻴﺏ‪ .‬ﻜﻤﺎ ﺃﻥ ﺍﻝﻔﻴﻠﻡ ﻴﻀﻡ ﻋﺩﺩﺍ ﻤﻥ ﺍﻝﻤﻤﺜﻠﻴﻥ ﺍﻝﻤﻐﺎﺭﺒﺔ‪ ،‬ﻤﺜل ﺯﻴﻨﺏ ﻋﻜﺎﺵ ﻭﻤﺤﻤﺩ ﺨـﻭﺍﺹ‪،‬‬

‫ﻭﺍﻝﻤﻤﺜﻠﻴﻥ "ﺍﻹﺴﺭﺍﺌﻴﻠﻴﻴﻥ"‪ ،‬ﻤﺜل ﺍﻝﻤﻤﺜﻠﺔ ﻫﺩﺭ ﺭﺘﺯﻭﻥ ﻭﺍﻝﻤﻤﺜل ﻴﻐﺎل ﻨﻭﺭ‪ ،‬ﺍﻝﺫﻱ ﻝﻌﺏ ﺩﻭﺭ ﺍﻝﻤﺤﻘﻕ‬

‫ﺍﻝﻌﺭﺒﻲ‪ .‬ﻜﺘﺏ ﺍﻝﻔﻴﻠﻡ ﺒﻭﺍﺴﻁﺔ ﻜﻴﻠﻲ ﺴﻴﻥ‪ .‬ﺍﺴﺘﺨﺩﻤﺕ ﻜل ﻤﻥ ﺍﻝﻠﻐﺘﻴﻥ ﺍﻻﻨﺠﻠﻴﺯﻴﺔ ﻭﺍﻝﻌﺭﺒﻴـﺔ ﻓـﻲ‬

‫ﺍﻝﻔﻴﻠﻡ‪ .‬ﻭﻓﻲ ﺍﻝﺘﺎﺴﻊ ﻋﺸﺭ ﻤﻥ ﺃﻜﺘﻭﺒﺭ ‪ 2007‬ﻋﺭﺽ ﺍﻝﻔﻴﻠﻡ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤـﺩﺓ ﺍﻷﻤﺭﻴﻜﻴـﺔ‪.‬‬

‫ﻋﺭﻀﻴﻥ ﻝﺭﺅﻴﺘﻴﻥ ﻤﺨﺘﻠﻔﺘﻴﻥ ﺍﺤﺩﻫﻡ ﻭﺠﺩ ﺤﺒﻪ ﻭﺍﺴﺘﻘﺭﺍﺭﻩ ﻓﻲ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‪.‬ﻭﺍﻵﺨﺭ ﻻ ﻴﺭﻯ ﺸﻴﺌﺎ ﻝﻴﺤﺏ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ﻓﻴﻪ‪.‬‬ ‫‪1‬‬

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‫‪Rendition.Dir.Gavin Hood.Auth.Kelly Sane.Jake Gyllenhaal.Reese Wtherspoon.Omar‬‬
‫‪Metwaly.October 19.2007‬‬

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‫ﺍﺴﺘﻐﺭﻕ ﺍﻝﻔﻴﻠﻡ ﻤﺌﺔ ﻭﺍﺜﻨﺎﻥ ﻭﻋﺸﺭﻭﻥ ﺩﻗﻴﻘﺔ‪ .‬ﻹﻴﺭﺍﺩﺍﺕ ﺇﺠﻤﺎﻝﻴﺔ ﺒﻠﻐﺕ ﺴﺒﻌﺔ ﻭﻋـﺸﺭﻭﻥ ﻤﻠﻴـﻭﻥ‬

‫ﺩﻭﻻﺭ ﺃﻤﺭﻴﻜﻲ‪.1‬‬

‫ﻋﻨﺼﺭ ﺍﻝﺤﻜﺎﻴﺔ‪ :‬ﻴﺤﻜﻲ ﺍﻝﻔﻴﻠﻡ ﻗﺼﺔ ﻤﻬﻨﺩﺱ ﻤﺼﺭﻱ‪ :‬ﺃﻨﻭﺭ ﺍﻹﺒﺭﺍﻫﻴﻤﻲ ﺍﻝـﺫﻱ ﻴﻌـﻴﺵ ﻓـﻲ‬

‫ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻤﻨﺫ ﻋﺸﺭﻴﻥ ﻋﺎﻤﺎ‪ ،‬ﺤﺎﺼل ﻋﻠﻰ ﺍﻝﺒﻁﺎﻗﺔ ﺍﻝﺨﻀﺭﺍﺀ‪ ،‬ﻤﺘﺯﻭﺝ ﻤﻥ ﺍﻤﺭﺃﺓ ﺃﻤﺭﻴﻜﻴﺔ‬

‫ﻝﺩﻴﺔ ﻭﻝﺩ ﻓﻲ ﺍﻝﺴﺎﺩﺴﺔ ﻤﻥ ﻋﻤﺭﻩ ﻜﻤﺎ ﺃﻥ ﺯﻭﺠﺘﻪ ﺇﻴﺯﺍﺒﻴﻼ ﺤﺎﻤل ﻓﻲ ﺍﻝﺸﻬﺭ ﺍﻝﺘﺎﺴﻊ ‪.‬‬

‫ﺘﺸﺘﺒﻪ ﻭﻜﺎﻝﺔ ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ ﺍﻻﻤﺭﻴﻜﻴﺔ ﺒﻌﻼﻗﺔ ﺃﻨﻭﺭ ﺒﺠﻤﺎﻋﺔ ﺇﺭﻫﺎﺒﻴﺔ ﻗﺎﻤﺕ ﺒﺘﻔﺠﻴﺭﺍﺕ ﻤﺘﻌﺩﺩﺓ‬

‫ﺘﺴﺘﻬﺩﻑ ﺍﻻﻤﺭﻴﻜﻴﻴﻥ ﺃﻴﻨﻤﺎ ﻭﺠﺩﻭﺍ‪ .‬ﺘﻘﻭﻡ ﻭﻜﺎﻝﺔ ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻤﻥ ﺨﻼل ﻋﻤﻼﺀ ﺒﺘﺘﺒـﻊ‬

‫ﺍﻝﺨﻼﻴﺎ ﺍﻹﺭﻫﺎﺒﻴﺔ ﻭﺍﻝﺘﺤﻘﻴﻕ ﻤﻊ ﺃﻨﻭﺭ ﺍﻹﺒﺭﺍﻫﻴﻤﻲ ﻓﻲ ﺃﻗﺒﻴﺔ ﻤﺨﺎﺒﺭﺍﺕ ﺇﺤـﺩﻯ ﺍﻝـﺩﻭل ﺍﻝﻌﺭﺒﻴـﺔ‪.‬‬

‫ﺘﺘﺩﺍﺨل ﺠﺩﻝﻴﺎﺕ ﺘﺴﺎﻫﻡ ﻓﻲ ﺘﻁﻭﺭ ﺍﻹﺤﺩﺍﺙ ﻓﻲ ﺴﻴﺎﻕ ﺍﻝﺩﺭﺍﻤﺎ ﺍﻝﻔﻴﻠﻤﻴﺔ‪.‬‬

‫ﺍﻝﻘﺭﺍﺀﺓ ﺍﻝﻔﻴﻠﻤﻴﺔ ل ﻓﻴﻠﻡ ﺍﻝﺘﺴﻠﻴﻡ‪ :‬ﺍﻹﺨﺭﺍﺝ ﻭﺍﻝﺴﻴﻨﺎﺭﻴﻭ‪.‬‬

‫ﻜﻴﺏ ﺘﺎﻭﻥ –ﺇﻓﺭﻴﻘﻴﺎ – ﻴﺤﻤل ﺤﻘﻴﺒﺘﻪ ﻤﺼﺎﻓﺤﺎ ﺍﻵﺨﺭﻴﻥ ﻭﻤﻭﺩﻋﺎ ﻝﻬﻡ‪ ،‬ﻴﺘﺤﺩﺙ ﻋﺒﺭ ﺍﻝﻬﺎﺘﻑ ﻤﻊ‬

‫ﺯﻭﺠﺘﻪ ﺍﻝﺘﻲ ﺘﻠﻌﺏ ﺍﻝﻜﺭﺓ ﻤﻊ ﻭﻝﺩﻫﺎ ﻓﻲ ﺸﻴﻜﺎﻏﻭ ﻓﻲ ﻤﺸﺎﻫﺩ ﻤﺘﺯﺍﻤﻨﺔ – ﺴﺄﻨﺘﻅﺭﻙ ﻓـﻲ ﺍﻝﻤﻁـﺎﺭ‬

‫ﻋﺯﻴﺯﻱ‪ .‬ﺃﺤﺒﻙ!‬

‫ﺸﻤﺎل ﺇﻓﺭﻴﻘﻴﺎ ﻝﻤﻜﺎﻥ ﻏﻴﺭ ﻤﻌﺭﻭﻑ – ﺒﻴﻭﺕ ﻤﻠﺘﺼﻘﺔ ﻴﻤﻴل ﻝﻭﻨﻬﺎ ﺇﻝﻰ ﺍﻷﺤﻤﺭ ﺍﻝﻘﺎﺘﻡ ﻓﻲ ﺇﺜﺎﺭﺓ‬

‫ﻷﺠﻭﺍﺀ ﺍﻝﻔﻘﺭ )ﻤﻭﺴﻴﻘﻰ( ﺍﻗﺘﺭﺍﺏ ﻝﻌﻤﻕ ﺍﻝﻤﻜﺎﻥ ﺃﺤﻴﺎﺀ ﻀﻴﻘﺔ ﻝﻜﻨﻬﺎ ﻨﺸﻁﺔ‪ ،‬ﺃﻭﻻﺩ ﻴﻠﻌﺒﻭﻥ ‪،‬ﻤـﺸﺎﺓ‬

‫‪،‬ﺴﺎﺤﺎﺕ ﺼﺒﺎﺡ ﺒﺎﻜﺭ ﺘﺜﻴﺭ ﺃﺠﻭﺍﺀﺍ ﺇﻨﻔﻌﺎﻝﻴﺎ ﻜﺘﻭﺘﺭ ﻓﺎﻁﻤﺔ ﺍﻝﺘﻲ ﺘﺨﺎﻑ ﺃﻥ ﻴﺭﺍﻫﺎ ﻭﺍﻝﺩﻫﺎ ﺒـﺼﺤﺒﺔ‬

‫ﺨﺎﻝﺩ ﺍﻝﺸﺎﺏ ﺍﻝﻔﻘﻴﺭ‪ .‬ﻝﻜﻨﻬﺎ ﻤﻊ ﺫﻝﻙ ﺭﻜﺒﺕ ﺩﺭﺍﺠﺘﻪ ﻝﻴﻐﺎﺩﺭﺍ ﺍﻝﻤﻜﺎﻥ ﺇﻝﻰ ﺍﻝﺠﺎﻤﻌﺔ ﻤﻌﺎ‪.‬‬

‫ﻓﻲ ﺍﻨﺤﺭﺍﻑ ﺯﻤﻨﻲ – ﻤﺸﻬﺩ ﺍﻝﺼﺒﺎﺡ‪ ،‬ﺫﺍﺕ ﺍﻷﺤﻴﺎﺀ ﺍﻝﻨﺸﻁﺔ‪ ،‬ﺍﻝﺤﺎﺭﺍﺕ‪ ،‬ﺒﺎﻋﺔ‪ ،‬ﺘﺠﺎﺭ‪ ،‬ﻀﺠﻴﺞ‬

‫ﺍﺯﺩﺤﺎﻡ ﻤﺭﻭﺭﻱ ﻓﻲ ﻝﻘﻁﺔ ﻤﺘﻭﺴﻁﺔ‪.‬ل‪.‬ﻡ ﺃﺨﺭﻯ ﺘﻠﺘﻘﻁ ﻋﺒﺎﺴﻲ ﻓﻭﺍل ﺍﺤﺩ ﺭﺠﺎل ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻝﺫﻱ‬

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‫‪http://www.imdb.com/title/tt0804522/ .Retrieved 15.10.2009‬‬

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‫ﺍﻋﺘﺎﺩ ﺸﺭﺏ ﺍﻝﺸﺎﻱ ﻜل ﺼﺒﺎﺡ ﻓﻲ ﺫﺍﺕ ﺍﻝﻤﻜﺎﻥ‪ .‬ﻋﻤﻴﻼﻥ ﻝﻠﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻴﺘﺤـﺩﺜﺎﻥ ﻓﻴﻤـﺎ‬

‫ﺘﻨﺘﻅﺭ ﺍﻝﻤﺭﻜﺒﺔ ﺭﻴﺜﻤﺎ ﺘﺘﺠﺎﻭﺯ ﻫﺫﺍ ﺍﻻﺯﺩﺤﺎﻡ ﺍﻝﻤﺭﻭﺭﻱ‪ ،‬ﻭﺘﺴﺘﻤﺭ ﺍﻝﻠﻘﻁﺔ ﻋﺎﻤﺔ ﻓﻲ ﺘﻭﺘﺭ ﺍﻨﻔﻌـﺎﻝﻲ‬

‫ﻴﺼﻨﻌﻪ ﺍﻝﻀﺠﻴﺞ ﻭﺍﻝﻤﻭﺴﻴﻘﻰ ﺍﻝﻤﺼﺎﺤﺒﺔ‪ ،‬ﻴﺴﺘﻤﺭ ﺍﻨﻔﻌﺎﻝﻬﺎ ﻭﻴﻁﺭﺩ ﺒﺤﺩﻭﺙ ﺇﻨﻔﺠﺎﺭ ﻜﺒﻴـﺭ ﻭﺴـﻁ‬

‫ﺍﻻﺯﺩﺤﺎﻡ ﺍﻝﻜﺒﻴﺭ ﺸﻅﺎﻴﺎ ﺠﺜﺙ‪ ،‬ﻏﺒﺎﺭ‪ .‬ﻀﻭﺀ‪ ،‬ﺴﻜﻭﻥ ‪.1‬‬

‫ﻤﺸﻬﺩ – ﻭﺠﻭﻩ ﺨﺎﺌﻔﺔ‪ ،‬ﺼﺭﺍﺥ ﺃﻁﻔﺎل ﻤﺼﺎﺒﻭﻥ‪ ،‬ﻭﺃﻤﻬﺎﺕ ﻴﺸﻌﺭﻥ ﺒﺎﻝﺭﻋـﺏ‪-‬ل‪.‬ﻙ‪ -‬ﺘﻠـﺘﻘﻁ‬

‫ﺩﻭﺠﻼﺱ‪ ،‬ﻴﺒﺩﻭ ﻤﺘﺄﻤﻼ ﻜﺄﻨﻤﺎ ﻝﻡ ﻴﺩﺭﻙ ﻤﺎ ﺤﺼل ﺤﺘﻰ ﺍﻝﺴﺎﻋﺔ ﻤﻼﺒﺴﺔ ﻤﺨﻀﺒﺔ ﺒﺎﻝﺩﻤﺎﺀ‪ ،‬ﺘﻌﻠﻕ ﻓﻴﻪ‬

‫ﺍﻝﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺸﻅﺎﻴﺎ‪ .‬ﻴﺄﺘﻲ ﺍﻝﻁﺒﻴﺏ ﻗﺎﻁﻌﺎ ﺤﺎﻝﺔ ﺍﻝﺘﺄﻤل – ﻤﺎﺕ ﺭﻓﻴﻘﻙ!‬

‫ﻭﺍﺸﻨﻁﻥ – ﺃﻨﻭﺭ ﺍﻹﺒﺭﺍﻫﻴﻤﻲ‪ -‬ﺘﻠﺘﻘﻁﻪ ﺍﻝﻜﺎﻤﻴﺭﺍ ﻓﻲ ﺘﺭﺍﻭﺡ ﺒﻴﻥ ﺍﻝﻠﻘﻁﺔ ﺍﻝﻜﺒﻴﺭﺓ ﻭﺍﻝﻤﺘﻭﺴـﻁﺔ‬

‫ﻝﺘﺠﻌﻠﻪ ﻤﻭﻀﻭﻋﻬﺎ ﻭﻫﺎﻝﺘﻬﺎ ﻓﻲ ﺘﺭﺍﻭﺡ ﻤﻥ ﺒﻴﻥ ﺠﻤﻭﻉ ﺍﻝﻤـﺴﺎﻓﺭﻴﻥ ﺍﻝﻘـﺎﺩﻤﻴﻥ ﺇﻝـﻰ ﺍﻝﻭﻻﻴـﺎﺕ‬

‫ﺍﻝﻤﺘﺤﺩﺓ‪...‬ﻓﻲ ﻤﺸﻬﺩ ﺁﺨﺭ ﻤﻥ ﻤﻘﺭ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ .‬ﺘﻘﺭﻴﺭ ﻴﻘﻭل ﺏ ‪ 19‬ﻗﺘﻴﻼ‪ .‬ﺃﺤﺩ ﺍﻝﻌﻤﻼﺀ‬

‫ﺍﻷﻤﺭﻴﻜﻴﻥ ﺃﺤﺩ ﺍﻝﻀﺤﺎﻴﺎ ﺒﺴﺒﺏ ﺸﻅﻴﺔ ﻓﻲ ﺍﻝﻌﻨﻕ‪ .‬ﺍﻝﺤﺎﺯﻤﻲ ﻴﻌﻠﻥ ﻤﺴﺅﻭﻝﻴﺘﻪ ﻋﻥ ﺍﻝﺤﺎﺩﺙ‪.‬‬

‫ﻏﺭﻓﺔ ﻀﻴﻘﺔ‪ ،‬ﺠﻭﺍﻨﺏ ﻤﻅﻠﻤﺔ‪ ،‬ﺼﻤﺕ ﻴﻜﻭﻥ ﺍﻝﻬﺎﻝﺔ‬

‫ﺃﻨﻭﺭ ﺍﻹﺒﺭﺍﻫﻴﻤﻲ ﻤﻜﺒﻼ ﻭﻤﻐﻁﻰ ﺍﻝﻌﻴﻨﻴﻥ – ﺭﺸﻴﺩ ﺴﻠﻴﻤﻲ – ﺇﺴﻤﻲ ﺃﻨﻭﺍﺭ ﺍﻹﺒﺭﺍﻫﻴﻤﻲ‪ .‬ﺍﻝﻬﺎﻝـﺔ‬

‫ﺘﻌﺒﺭ ﻤﺭﺓ ﺃﺨﺭﻯ ﻋﻥ ﺤﺩﺓ ﺍﻝﺘﻭﺘﺭ ﻭﺍﻝﺨﻭﻑ ﺍﻝﺫﻱ ﻴﻌﻴﺸﻬﻤﺎ ﺃﻨﻭﺭ ﻓﻲ ﺘﻠـﻙ ﺍﻝﻠﺤﻅـﺔ – ﺴـﻠﻴﻤﻲ‬

‫ﺍﻝﻤﺴﺌﻭل ﻋﻥ ﺘﻔﺠﻴﺭ ﻫﺫﺍ ﺍﻝﻴﻭﻡ – ﻓﻲ ﺘﺭﺩﺩ ﻭﺤﻴﺭﺓ‪ ،-‬ﺃﻱ ﺘﻔﺠﻴﺭ ﺃﻨﺎ ﻻ ﺃﻋﺭﻑ ﺸـﻴﺌﺎ! ﺃﺭﺠـﻭﻙ!‬

‫ﻤﺎﺫﺍ ﻴﺠﺭﻱ؟!)ﻓﻲ ل‪.‬ﻙ( – ﺭﺸﻴﺩ ﺍﺘﺼل ﻋﻠﻴﻙ ﺨﻼل ﺍﻝﺸﻬﺭ ﺍﻝﻤﺎﻀﻲ‪ ..‬ﺼﻭﺕ ﻫﺎﺩﺉ ﺘﻌﺏ ﺘﻤﺎﻤﺎ‬

‫ﻫﺎﻝﺔ ﺘﺤﺕ ﺍﻝﻌﻴﻨﻴﻥ – ﺃﻨﺎ ﻻ ﻋﺭﻑ ﺃﺤﺩﺍ ﻴﺩﻋﻰ ﺴﻠﻴﻤﻲ ﺃﺭﺠﻭﻙ ﺃﺭﻴﺩ ﻤﺤﺎﻤﻴﺎ – ﻤﺎﺫﺍ ﻜﻨﺕ ﺘﻔﻌل ﻓﻲ‬

‫ﺇﻓﺭﻴﻘﻴﺎ )ﻓﻲ ﺴﺅﺍل ﻤﻘﺎﻁﻊ ( – ﻜﻨﺕ ﺃﺤﻀﺭ ﻤﺅﺘﻤﺭﺍ ﻓﻲ ﻤﺠﺎل ﺍﻝﻬﻨﺩﺴﺔ ﺍﻝﻜﻴﻤﻴﺎﺌﻴﺔ – ﻭ ﹼﻗﻊ ﻋﻠـﻰ‬

‫ﻫﺫﻩ ﺍﻷﻭﺭﺍﻕ– ﻫل ﺃﺴﺘﻁﻴﻊ ﺍﻻﺘﺼﺎل ﺒﺯﻭﺠﺘﻲ – ﻻ! ﻤﺎﺫﺍ ﺘﻌﺭﻑ ﻋﻥ ﺼﻨﻊ ﺍﻝﻘﻨﺎﺒـل – ﻴﺭﺘﻔـﻊ‬

‫ﺫﺍﺕ ﺍﻝﺼﻭﺭ ﻝﻤﺸﺎﻫﺩ ﺍﻝﺘﻔﺠﻴﺭ ﺍﻝﺘﻲ ﻴﻘﻭﻡ ﺒﻬﺎ "ﺍﻻﻨﺘﺤﺎﺭﻱ"‪.‬‬ ‫‪1‬‬

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‫ﺍﻝﺼﻭﺕ ﻭﺤﺩﺓ ﺍﻻﻨﻔﻌﺎل‪..‬ﻫﺫﺍ ﺴﺨﻑ ﻤﺎ ﻫﺫﺍ‪ .‬ﺼﻤﺕ ﻝﺤﻅﻲ‪ ،‬ﻗﺒل ﺴﺕ ﺴﻨﻭﺍﺕ ﻗﻤﻨﺎ ﺒﺼﻨﺎﻋﺔ ﻗﻨﺒﻠﺔ‬

‫ﻓﻲ ﻤﺨﺘﺒﺭﺍﺕ ﺠﺎﻤﻌﺔ ﻨﻴﻭﺭﻙ‪ .‬ﻴﻤﻜﻨﻙ ﻓﺤﺹ ﺫﻝﻙ –ﺴﺄﻓﻌل‪ .‬ﻝﻘﺩ ﻜﺎﻨﺕ ﻝﻙ ﺘﺠﺎﺭﺏ ﺤﺎﻓﻠﺔ ﺒﻌﺩ ﺫﻝﻙ‬

‫– ﺼﻭﺕ ﺨﺎﻓﺕ ‪ -‬ﻝﻘﺩ ﻜﺎﻥ ﺒﺼﺤﺒﺘﻲ ﻓﺭﻴﻕ ﺠﺎﻤﻌﻲ ﻤﻜﻭﻥ ﻤﻥ ﻋﺩﺩ ﻤﻥ ﺍﻝﻁﻼﺏ ﻫل ﺍﻋﺘﻘﻠﺘﻬﻡ ؟‬

‫‪ -‬ﻓﻲ ل ﻙ‪ -‬ﻝﻠﻤﺤﻘﻕ )ﺘﺯﺩﺍﺩ ﻤﻼﻤﺤﻪ ﻏﻀﺒﺎ( ‪.‬ﻤﻥ ﻫﻭ ﺭﺸﻴﺩ ﺴﻠﻴﻤﻲ؟ ‪ -‬ﻻ ﺃﺩﺭﻱ ﻻ ﺃﺩﺭﻱ ﻤـﺎ‬

‫ﻫﺫﺍ ﺍﻝﺴﺨﻑ‪.‬‬

‫ﺇﻴﺯﺍﺒﻴﻼ‪-‬ﺯﻭﺠﺔ ﺃﻨﻭﺭ ﺍﻹﺒﺭﺍﻫﻴﻤﻲ‪ -‬ﺘﻘﻭﻡ ﺒﺎﻝﺘﻘﺼﻲ ﻭﺍﻝﺒﺤﺙ‪ .‬ﺍﻝﻨﺯل‪ ،‬ﺍﻝﻤﻁﺎﺭ‪..‬ﺘـﺘﻤﻜﻥ ﻤـﻥ‬

‫ﺍﻝﺘﺄﻜﺩ ﺃﻥ ﺃﻨﻭﺍﺭ ﻜﺎﻥ ﻋﻠﻰ ﻤﺘﻥ ﺍﻝﻁﺎﺌﺭﺓ ﺇﺫ ﺘﻅﻬﺭ ﺒﻁﺎﻗﺔ ﺍﻻﻋﺘﻤﺎﺩ ﺃﻨﻪ ﺍﺴﺘﺨﺩﻤﻬﺎ ﻫﻨﺎﻙ‪.‬‬

‫ﺒﻴﺕ ﻗﺩﻴﻡ‪ ،‬ﺘﻤﻴل ﺤﻤﺭﺘﻪ ﺇﻝﻰ ﺍﻝﻘﺘﺎﻤﺔ ﺠﺩﺭﺍﻨﻪ ﻤﺘﻬﺭﺌﺔ‪ ،‬ﺩﺭﺠﺎﺕ ﺘﺘﻤﺎﻴل ﻤﻥ ﺸﺩﺓ ﻗـﺩﻤﻬﺎ ﺤﻴـﺙ‬

‫ﻴﺄﺨﺫ ﺨﺎﻝﺩ ﺒﻴﺩ ﻓﺎﻁﻤﺔ ﻭﻴﻌﺭﻓﻬﺎ ﺃﺭﺠﺎﺀ ﺍﻝﺒﻴﺕ‪ ،‬ﻴﻘﻭﺩﻫﺎ ﺇﻝﻰ ﻏﺭﻓﺘﻪ‪ ،‬ﻤﺨﻁﻭﻁﺎﺕ ﻤﻨﺘﺜـﺭﺓ‪ ،‬ﺼـﻭﺭ‬

‫ﻤﻌﻠﻘﺔ ‪ ..‬ﺯﻭﺍﻴﺎ ﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺄﺨﺫ ﻤﺠﺎﻻ ﺘﻠﺘﻘﻁ ﻓﻴﻪ ﻋﻴﻨﺎ ﻓﺎﻁﻤﺔ ﺍﻝﺘﻲ ﺘﺩﻭﺭ ﻓﻲ ﺃﺭﺠﺎﺀ ﺍﻝﻐﺭﻓـﺔ‪ ،‬ﻴـﺩﺍ‬

‫ﺨﺎﻝﺩ‪ ،‬ﺘﺠﺫﺒﻬﺎ ﻨﺤﻭﻩ‪ ،‬ﻴﻘﺒل ﺸﻌﺭﻫﺎ‪ ،‬ﺘﻤﺭ ﺃﻨﻔﺎﺴﻪ ﻋﻠﻰ ﻋﻨﻘﻬﺎ ﻴﻼﻤﺱ ﺸﻔﺘﻴﻬﺎ‪ .‬ﻴﻘﺎﻁﻌﻪ ﻓﻀﻭﻝﻬﺎ ﺇﻝﻰ‬

‫ﺍﻝﺼﻭﺭ ﻫﻨﺎ ﻭﻫﻨﺎﻙ – ﺨﺎﻝﺩ ﻤﻥ ﻫﺫﺍ – ﺃﺨﻲ – ﻻ ﻴﺯﻭﺭﻜﻡ ؟ ‪ -‬ﻻ ‪..‬ﺭﻜﻭﻥ ﺇﻝﻰ ﻋﻴﻨـﻲ ﺨﺎﻝـﺩ‬

‫ﺍﻝﺤﺯﻴﻨﺘﻴﻥ‪.‬‬

‫ﺘﺤﻁ ﻁﺎﺌﺭﺓ ﻋﻤﻭﺩﻴﺔ ﻋﺴﻜﺭﻴﺔ ﻓﻲ ﻤﻜﺎﻥ ﻏﻴﺭ ﻤﻌﺭﻭﻑ‪ ،‬ﺍﻷﺠﻭﺍﺀ ﻤﻐﺒـﺭﺓ ﺍﻝﺘﻘﺎﻁـﺎ ﻝﻐـﺭﻭﺏ‬

‫ﺤﺎﻨﻕ‪ .‬ﻴﻅﻬﺭ ﺃﻨﻭﺭ ﻤﻜﺒﻼ‪ ،‬ﻤﻨﺤﻨﻴﺎ ﻅﻬﺭﻩ‪ ،‬ﻤﺜﻘﻼ ﺒﺎﻝﻜﺜﻴﺭ ﻤﻥ ﻜﺎﺒﻼﺕ ﺍﻝﺤﺩﻴﺩ‪ ،‬ﺘﺼﺒﺢ ﺍﻷﺠﻭﺍﺀ ﺃﻜﺜﺭ‬

‫ﻅﻠﻤﺔ ‪.‬‬

‫ﺍﻴﺯﺍﺒﻴﻼ ﺘﺤﺎﻭل ﻤﻌﺭﻓﺔ ﺃﻱ ﺸﻲﺀ ﻋﻥ ﺯﻭﺠﻬﺎ‪ ،‬ﺘﻁﻠﺏ ﻤﺴﺎﻋﺩﺓ ﺃﺤﺩ ﺃﺼﺩﺍﻗﺎﺌﻬﺎ ﻤـﻥ ﺍﻝﺠﺎﻤﻌـﺔ‬

‫ﻋﻠﻤﺕ ﺃﻨﻪ ﻴﻌﻤل ﻤﺴﺎﻋﺩﺍ ﻝﺴﻴﻨﺎﺘﻭﺭ ﻓﻲ ﻤﺠﻠﺱ ﺍﻝﺸﻴﻭﺥ ﺍﻷﻤﺭﻴﻜﻲ‪.‬‬

‫ﻤﻘﺭ ﻤﺨﺎﺒﺭﺍﺕ‪ ،‬ﺃﻗﺒﻴﺔ ﻤﻅﻠﻤﺔ‪ ،‬ﻫﺒﻭﻁ ﺇﻝﻰ ﺴﺭﺍﺩﻴﺏ ﺘﻭﺤﻲ ﺒﺎﻝﻐﻴﺎﺏ ﺍﻝﻤﺘﺩﺭﺝ‪..‬ﻴ‪‬ﻘﺎﺩ ﺃﻨﻭﺭ ‪.‬‬

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‫ﺨﺎﻝﺩ ﻤﺴﺭﻋﺎ ﻴﺼل ﺇﻝﻰ ﻤﻜﺎﻥ ﻴﺸﺒﻪ ﻤﺴﺠﺩﺍ‪ ،‬ﺭﺠﺎل ﺫﻭﻱ ﻋﺒﺎﺀﺍﺕ ﻭﻝﺤﻰ ‪...‬ﻓـﻲ ﺍﻗﺘﻁـﺎﻉ ‪-‬‬

‫ﺩﻭﺠﻼﺱ ﻓﻲ ﻤﻘﺭ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻝﺫﻱ ﻗﻴﺩ ﺇﻝﻴﻪ ﺃﻨﻭﺭ ﻓﻲ ﺃﺤﺩ ﺩﻭل ﺍﻝﻤﻐﺭﺏ ﺍﻝﻌﺭﺒﻲ‪-‬ﻋﺒﺎﺴﻲ ﻓﻭﺍل‪-‬‬

‫ﻁﻭﻴل ﺍﻝﻘﺎﻤﺔ‪ ،‬ﻀﺨﻡ ﺍﻝﺠﺜﺔ‪ ،‬ﺸﻔﺎﻩ ﻗﺎﺘﻤﺔ‪ ،‬ﻜﺜﻴﺭ ﺍﻝﺸﺭﺏ ﻭﺍﻝﺘﺩﺨﻴﻥ – ﺩﻭﺠﻼﺱ ﺴﺘﺭﺍﻗﺏ ﻓﻘﻁ‪ ،‬ﻝـﻥ‬

‫ﺘﺩﺨل ‪...‬ﻋﻭﺩﺓ ﺃﺨﺭﻯ ﻝﺨﺎﻝﺩ‪ ،‬ﺭﺠل ﻴﺠﻠﺱ ﻋﻠﻰ ﻤﻜﺎﻥ ﻤﺭﺘﻔﻊ‪ ،‬ﺍﻝﻌﺩﻴﺩ ﻤـﻥ ﺍﻝﺭﺠـﺎل ﻴﺘـﺄﻫﺒﻭﻥ‬

‫ﻝﻠﺨﻁﺎﺏ‪ ،‬ﻴﺭﻓﻊ ﺍﻝﺭﺠل ﺇﺼﺒﻌﻪ‪" :‬ﺇﻥ ﺍﻝﺠﻬﺎﺩ ﺠﻬﺎﺩ ﺍﻝﻴﻬﻭﺩ ﻭﺍﻝﺼﻠﻴﺒﻴﻥ‪ ،‬ﺇﻨـﻪ ﺠﻬـﺎﺩ ﺒـﻴﻥ ﺍﻝﻜﻔـﺭ‬

‫ﻭﺍﻹﻴﻤﺎﻥ‪ .‬ﺒﻴﻥ ﺍﻝﺨﻴﺭ ﻭﺍﻝﺸﺭ‪ .‬ﺇﻥ ﻗﺘل ﺍﻝﻜﻔﺎﺭ ﻭﺍﻝﻤﺠﺭﻤﻴﻥ ﻭﺍﻝﻤﻨﺎﻓﻘﻴﻥ ﻫﻭ ﻭﺍﺠﺒﻜﻡ ﺍﻝﻤﻘﺩﺱ "ﺇﺫﺍ ﻝﻘﻴﺘﻡ‬

‫ﺍﻝﺫﻴﻥ ﻜﻔﺭﻭﺍ ﻓﻀﺭﺏ ﺍﻝﺭﻗﺎﺏ"‪ -.1‬ﺘﺯﺩﺍﺩ ﺤﺩﺓ ﺍﻻﻨﻔﻌﺎل ﺘﻤﺯﻕ ﻤﻼﺒﺱ ﺃﻨﻭﺭ‪ ،‬ﺘﻘﻁﻊ ﺒﻘﺴﻭﺓ ﺇﺭﺒﺄ ﺇﺭﺒﺄ‬

‫‪،‬ﻻ ﺸﻲﺀ ﺴﻭﻯ ﺼﺭﺨﺎﺕ ﻗﺎﺘﻤﺔ‪.‬‬

‫"‪...‬ﻴﺘﺤﺩﺙ ﺍﻝﺼﻠﻴﺒﻲ ﻋﻥ ﺍﻝﺤﺭﻴﺔ‪ ،‬ﺃﻥ ﺍﻝﺠﻬﺎﺩ ﻫﻭ ﺍﻝﺤﺭﻴﺔ "ﻴﺴﺘﻤﺭ ﺍﻝﺸﻴﺦ ﻓـﻲ ﺨﻁﺎﺒـﻪ ﻓـﻲ‬

‫ﻤﺭﺍﻭﺤﺔ ﺒﻴﻥ ﺍﻝﻠﻘﻁﺎﺕ‪ ،‬ﺃﻨﻭﺭ ﺘﺎﺭﺓ ﻭﺨﻠﻔﻴﺔ ﻝﺼﻭﺕ ﺍﻝﺸﻴﺦ ﺘﺎﺭﺓ ﺃﺨﺭﻯ‪ .‬ﺃﻨﻭﺭ ﻴ‪‬ﻌﺭﻯ ﺘﻤﺎﻤـﺎ ﻤـﻥ‬

‫ﻤﻼﺒﺴﻪ‪ ،‬ﻗﻴﻭﺩﻩ ﺍﻝﺤﺩﻴﺩﻴﺔ ﺘﺼﻁﻙ ﺒﻘﺴﻭﺓ‪"..‬ﻓﻲ ﻴﻭﻡ ﺍﻝﻘﻴﺎﻤﺔ ﺴﺘﻘﻔﻭﻥ ﺃﻤﺎﻡ ﺍﻝﻤﻭﻝﻰ ﻭﺴﻴﺴﺄﻝﻜﻡ‪ :‬ﻤﺎﻝﻜﻡ‬

‫ﻻ ﺘﻘﺎﺘﻠﻭﻥ ﻓﻲ ﺴﺒﻴل ﺍﷲ ﻭﺍﻝﻤﺴﺘﻀﻌﻔﻴﻥ ﻤﻥ ﺍﻝﺭﺠﺎل ﻭﺍﻝﻨﺴﺎﺀ ﻭﺍﻝﻭﻝﺩﺍﻥ؟ ﻭﻤﺎﺫﺍ ﻓﻌﻠـﺕ ﺒـﺴﻼﺤﻙ‬

‫ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﺃﻋﻁﻴﺘﻙ ﺇﻴﺎﻩ ؟‪..‬ﺠﺴﺩﻙ ‪-...‬ل‪.‬ﻙ‪ -‬ﺍﺭﺘﻌﺎﺸﻪ ﺨﺎﻝﺩ ‪..‬ﻫل ﺴﺘﺴﻴﺭ ﺒﺠﺴﺩﻙ ﺍﻝﻤﻤـﺯﻕ‬

‫ﻓﻲ ﺭﺤﺎﺏ ﺠﻨﺔ ﺍﻝﺨﻠﺩ؟ ﺃﻡ ﺴﺘﻁﺄﻁﺊ ﺭﺍﺴﻙ ﺨﺠﻼ ﻓﺘﻠﻘﻰ ﻓﻲ ﻨﺎﺭ ﺠﻬﻨﻡ؟ ﻭﺒﺎﷲ ﺍﻝﺘﻭﻓﻴـﻕ‪ .‬ﺍﻝـﺴﻼﻡ‬

‫ﻋﻠﻴﻜﻡ‪ ،‬ﺃﻤﻴﻥ‪.‬ﺁﺨﺭﻭﻥ ‪..‬ﺘﻜﺒﻴﺭ ﺍﷲ ﺍﻜﺒﺭ‪ ،‬ﺍﷲ ﺃﻜﺒﺭ "‪.‬ﺘﺒﻘﻰ ﺍﻷﺼـﻭﺍﺕ ﺨﻠﻔﻴـﺔ ﻝﻅﻠﻤـﺔ ﺯﻨﺯﺍﻨـﺔ‬

‫ﺃﻨﻭﺭ‪..‬ﺍﻝﺫﻱ ﻴﺴﺘﻤﻊ ﺇﻝﻰ ﻭﻗﻊ ﺃﻗﺩﺍﻡ ﺩﻭﺠﻼﺱ ﻭﻓﻭﺍل ﻗﺎﺩﻤﻴﻥ ﻓﻲ ﻝﺤﻅﺎﺕ ﺘﺯﺩﺍﺩ ﺘـﻭﺘﺭﺍ‪ .‬ﻭﺃﻨـﻭﺭ‬

‫ﻴﺤﺎﻭل ﺇﺨﻔﺎﺀ ﻋﻭﺭﺘﻪ – ﺴﻴﺩﻱ ﻫﻨﺎﻙ ﺨﻁﺄ ﻜﺒﻴﺭ ﻝﻤﺎﺫﺍ ﺍﻨﺄ ﻫﻨﺎ ‪،‬ﺍﺴﻤﻌﻨﻲ ﺃﺭﺠﻭﻙ ﻝﻤـﺎﺫﺍ ﺃﺨـﺫﺕ‬

‫ﻤﻼﺒﺱ ‪ !2‬ﺃﺭﺠﻭﻜﻡ ﺃﻋﻴﺩﻭﺍ ﻤﻼﺒﺴﻲ – ﻓﻭﺍل ﻏﻴﺭ ﺁﺒﻪ‪ ،‬ﻤﺸﻌﻼ ﺴﻴﺠﺎﺭﺘﻪ‪ ،‬ﺴﺄﺴﺄﻝﻙ ﺒﻌﺽ ﺍﻷﺴﺌﻠﺔ‬

‫ﺇﺫﺍ ﺃﺠﺒﺕ ﻋﻠﻴﻬﺎ ﺴﺘﻌﻭﺩ ﻫﺫﺍ ﻜل ﻤﺎ ﻓﻲ ﺍﻷﻤﺭ – ﺃﻨﻭﺭ ﻤﺴﺘﺠﺩﻴﺎ ﻨﺤﻭ ﺩﻭﺠﻼﺱ‪ :‬ﺴﻴﺩﻱ ﻫل ﺃﻨـﺕ‬

‫ﺨﻁﺎﺏ ﺫﻭ ﻤﺩﻝﻭﻻﺕ ﻤﺴﺎﻭﻴﺔ ﻝﻠﻤﺩﻝﻭﻻﺕ ﻓﻲ ﺍﻝﺨﻁﺎﺒﺎﺕ ﺍﻝﺴﺎﺒﻘﺔ ﻝﺨﻼﻴﺎ ﺍﻝﻘﺎﻋﺩﺓ‪.‬‬ ‫‪1‬‬

‫ﻝﺤﻅﺎﺕ ﺍﻻﻨﻔﻌﺎل ﺘﺘﺼﺎﻋﺩ ﺒﺸﺩﺓ ﻓﻲ ﺍﻝﻤﺸﻬﺩ‪ ،‬ﻗﻤﺔ ﺍﻹﺫﻻل ﻓﻲ ﺘﻌﺭﻴﺔ ﺍﻝﺠﺴﺩ ﻋﻨﻭﺓ‪ .‬ﻋﺭﺽ ﻝﻤﺴﺄﻝﺔ ﺍﻝﺘﻌﺫﻴﺏ ﻓﻲ ﻋﻭﺩﺓ ﺃﺨﺭﻯ‪.‬‬ ‫‪2‬‬

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‫ﺃﻤﺭﻴﻜﻲ؟ ﺃﻋﻴﺵ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﻤﻨﺫ ﻋﺸﺭﻴﻥ ﻋﺎﻤﺎ ﻭﺯﻭﺠﺘﻲ ﺃﻤﺭﻴﻜﻴﺔ ﻭﻝﺩﻱ ﺍﺒـﻥ ﻓـﻲ ﺍﻝـﺴﺎﺩﺴﺔ!‬

‫ﺃﺭﺠﻭﻙ ﺍﺘﺼل ﺒﻬﺎ – ﻓﻭﺍل ﻤﻘﺎﻁﻌﺎ‪ :‬ﺃﻨﺕ ﻤﺼﺭﻱ ﻤﺵ ﻜﺩﻩ ؟! ﺃﻨﺕ ﻤﺼﺭﻱ ﻫﺎﺍ )ﺒﺼﻭﺕ ﻋﺎل(‬

‫– ﻭﻝﺩﺕ ﻓﻲ ﻤﺼﺭ ﻝﻜﻨﻨﻲ ﺍﻨﺘﻘﻠﺕ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ ﻭﺃﻨﺎ ﻓﻲ ﺍﻝﺭﺍﺒﻌﺔ ﻋﺸﺭﺓ ﺩﺭﺴﺕ ﻓﻲ ﺠﺎﻤﻌﺔ ﻨﻴـﻭﺭﻙ‬

‫– ﺍﻨﺠﻠﻴﺯﻴﺎﺘﻙ ﺤﻠﻭﺓ ﺒﺄﻱ ﻝﻐﺔ ﺘﺤﻜﻲ ﻤﻊ ﺭﺸﻴﺩ ؟!‪ -‬ﺁﻭﻭﻩ ﻻ ﺃﺩﺭﻱ ﻤﻥ ﻫﻭ ﺭﺸﻴﺩ )ﻴﺒﻜﻲ( – ﺒﻤﺎﺫﺍ‬

‫ﺘﻔﺴﺭ ﺍﺘﺼﺎﻝﻪ ﺒﻙ ﻫﺎﺍ؟‪ -‬ﻫﻨﺎﻙ ﺨﻁﺄ ﺃﺭﺠﻭﻙ ‪-‬ﻤﺴﺘﺠﺩﻴﺎ ﺜﺎﻨﻴﺔ – ﺘﺘﻠﻘﻰ ﻤﻜﺎﻝﻤﺎﺕ ﻤﻥ ﻤﺼﺭ ﻫﺎﺍ ؟‪-‬‬

‫ﻨﻌﻡ ﺃﺤﻴﺎﻨﺎ ﻤﻥ ﻋﻤﻲ ﻴﺭﻴﺩ ﺃﻥ ﻴﺩﺭﺱ ﺍﺒﻨﻪ ﻓﻲ ﺠﺎﻤﻌﺔ ﻨﻴﻭﺭﻙ – ﺍﺍﻩ ﻋﻤﻙ ﻋﺒﺩﺍﻝﺤﻤﻴﺩ – ﺃﻨﻭﺭ ﺒﺎﻜﻴﺎ‬

‫ﺍﻝﺘﻘﺎﻁ ﻝﺠﺴﺩﻩ ﺍﻝﻨﺎﺯﻑ – ﻓﻭﺍل ﻴﻀﻊ ﻴﺩﻴﻪ ﻋﻠﻰ ﺃﻨﻭﺭ‪ ،‬ﺼﺩﻴﻘﻲ ﻀﻊ ﻨﻔﺴﻙ ﻤﻜﺎﻨﻲ‪ ،‬ﺤﺩﺙ ﺘﻔﺠﻴـﺭ‬

‫ﺭﺸﻴﺩ ﻤﺴﺌﻭل ﻋﻨﻪ‪ .‬ﺃﻨﺕ ﻤﻬﻨﺩﺱ ﻜﻴﻤﻴﺎﺌﻲ ﺘﻌﻠﻡ ﻜﻴﻔﻴﺔ ﺼﻨﻊ ﻗﻨﺒﻠﺔ ﻭﻝﺩﻴﻙ ﺍﺘﺼﺎل ﺒﺎﻝﺭﺠل! – ﺇﻨـﻪ‬

‫ﺨﻁﺄ‪ ،‬ﻴﺒﻜﻲ‪،‬ﺇﻀﺎﺀﺍﺕ ﺨﺎﻓﺘﻪ ﺒﻴﻥ ﺍﻝﺤﻴﻥ ﻭﺍﻵﺨﺭ( – ﻤﺎﺫﺍ ﻝﻭ ﺃﻋﻠﻤﺘﻙ ﺃﻨﻙ ﺴﺎﻋﺩﺘﻪ ﺒﺎﻝﻔﻌل – ﻜﺫﺏ‬

‫– ﻴﺴﻜﺕ ﺃﻨﻭﺭ ﺒﻠﻜﻤﺔ ﺘﺭﺩﻱ ﺠﺴﺩﻩ ﻨﺤﻭ ﺍﻷﺭﺽ‪ .‬ﺼﻭﺕ ﺍﻝﺤﺩﻴﺩ ﻴﺼﺘﻙ – ﻀﻌﻭﻩ ﻓﻲ ﺍﻝﺤﻔـﺭﺓ‪،‬‬

‫ﻴﺨﻴﻡ ﻅﻼﻡ ﻝﻬﺎﻝﻪ ﺼﻭﺕ ﺃﻨﻭﺭ ﻤﺨﺘﻔﻴﺎ ﻝﻡ ﻴﺒﻘﻰ ﺴﻭﻯ ﺼﺭﺍﺨﻪ‪.‬‬

‫‪-‬ﻓﻭﺍل‪ :‬ﺩﻭﺠﻼﺱ ﺘﻌﺎل ﺃﺭﻴﺩ ﺃﻥ ﺃﺭﻴﻙ ﺸﻴﺌﺎ‪ .‬ﻫﺫﺍ ﻤﻘﺒﺽ ﻴﺩﻭﻱ ﺇﺫﺍ ﺃﻓﺭﺠـﺕ ﻋﻨﻬـﺎ ﺍﻨﻔﺠـﺭ‬

‫ﺠﺴﺩﻙ ﺍﻝﻤﻠﻐﻡ!ﻫﻜﺫﺍ ﻴﻔﺠﺭﻭﻥ ﺃﻨﻔﺴﻬﻡ ‪...‬ﺤﺯﺍﻡ ﻨﺎﺴﻑ ﻭﻤﺴﺎﻤﻴﺭ ﻹﺤﺩﺍﺙ ﺃﻜﺒﺭ ﻗﺩﺭ ﻤﻥ ﺍﻷﺠـﺴﺎﻡ‪،‬‬

‫ﺒﻬﺫﻩ ﻗﺘل ﺼﺩﻴﻘﻙ‪ ،‬ﻴﻭﻤﺊ ﺇﻝﻰ ﺤﺯﺍﻡ ﻨﺎﺴﻑ‪ ،‬ﻤﺸﻬﺩ ﻝﻐﺭﻓﺔ ﺍﻝﻤﻅﻠﻤﺔ‪ .‬ﻨﺤﻥ ﻨﺤﻔﻅ ﺍﻷﻤﻥ ﻫﻨﺎ!‬

‫‪ -‬ﻫﻭﺓ ﻤﻅﻠﻤﺔ ﻻ ﺸﻲﺀ ﺴﻭﻯ ﺒﻘﻌﺔ ﻀﻭﺀ ﻴﺒﺩﻭ ﻤﻥ ﺨﻼﻝﻬﺎ ﻭﺠﻪ ﺃﻨﻭﺭ ﺍﻝﻨﺎﺯﻑ‪.‬‬

‫ﺃﻨﻭﺭ ﺜﺎﻨﻴﺔ‪ ،‬ﻴﻨﺴﻜﺏ ﻋﻠﻰ ﺍﻝﻤﺎﺀ ﻋﻠﻰ ﻭﺠﻬﻪ‪...‬ﻴﻨﻬﺞ ﺒﻘﻭﺓ! ﺍﻝﻤﻭﻀﻭﻉ ﻝﺠﺴﺩﻩ ﺍﻝﻨﺎﺤل ﻴﺤـﺎﻭل‬

‫ﺘﻐﻁﻴﺔ ﻋﻭﺭﺘﻪ ﺩﻭﻥ ﺠﺩﻭﻯ!‪ -‬ﻓﻭﺍل‪ :‬ﻝﻤﺎﺫﺍ ﺍﺘﺼل ﺒﻙ ﺭﺸﻴﺩ ﻫﺎﺍ ّ)ﻴﻜﺭﺭ( ﺍﻝﺴﺅﺍل ﻭﻜﺄﻨﻤﺎ ﺃﻨﻭﺭ ﻻ‬

‫ﻴﻘﻭﻯ ﻋﻠﻰ ﺍﻝﺤﺩﻴﺙ ‪-‬ﺩﻭﺠﻼﺱ ﺒﻐﻀﺏ‪ -‬ﺃﺠﺒﻪ! ﻴﻘﺘﺭﺏ ﻤﻨﻪ‪ .‬ﺃﻨﻭﺭ ﻤﻐﻤﻰ ﺍﻝﻌﻴﻨﻴﻥ ﻴﺸﻌﺭ ﺒﺄﻨﻔﺎﺴﻪ‪:‬‬

‫ﻫل ﺃﻨﺕ ﺍﻻﻤﺭﻴﻜﻲ؟ ﻫﺎﺍ؟ ﻫل ﻝﺩﻴﻙ ﻋﺎﺌﻠﺔ! ﺍﻝﻠﻌﻨﺔ ﻋﻠﻴﻙ ﻝﻡ ﺃﻨﺎ ﻫﻨﺎ! ﻗﻠﻲ ﻤﺎ ﻴﺠﺏ ﺃﻥ ﺍﻋﺘﺭﻑ ﺒـﻪ‬

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‫ﻭﺴﺄﻋﺘﺭﻑ! ﻫﻴﺎ ﻴﺨﺘﻠﻁ ﺼﺭﺍﺨﻪ ﺒﺒﻜﺎﺀ ﺍﻝﻴﺎﺌﺱ‪ .‬ﺩﻭﺠﻼﺱ ﻴﺘﻨﺎﻭل ﺃﻨﻭﺭ ﺒﻜﻠﺘﺎ ﻴﺩﻴﻪ ﻭﻴﻁﺒﻕ ﻋﻠـﻰ‬

‫ﺃﻨﻔﺎﺴﻪ ﺤﺘﻰ ﻴﻌﺠﺯ ﺍﻷﺨﻴﺭ ﻋﻥ ﺍﻝﺘﻨﻔﺱ ‪...‬ﻴﺭﺘﺠﻑ ﻋﺎﺭﻴﺎ‪...‬ﻻ ﺸﻲﺀ ﺴﻭﻯ ﺼﻭﺕ ﻤﻜﺘﻭﻡ‪.‬‬

‫ﺩﻭﺠﻼﺱ ﻓﻲ ﺃﺤﺩ ﺍﻝﻤﻼﻫﻲ ﺍﻝﻠﻴﻠﻴﺔ‪ ،‬ﺩﺨﺎﻥ ﻤﺘﺼﺎﻋﺩ‪ ،‬ﻅﻼﻡ ﺇﻻ ﻓﻲ ﺒﻌﺽ ﻤﻨـﺎﻁﻕ ﺍﻹﻀـﺎﺀﺓ‬

‫ﺍﻝﺤﻤﺭﺍﺀ‪ ،‬ﺭﺍﻗﺼﺔ ﺸﺒﻪ ﻋﺎﺭﻴﺔ ﺘﺘﻤﺎﻴل ﺒﺒﺭﻭﺩ‪ ،‬ﺃﻨﻭﺭ ﻴﻨﺯﻑ ﻭﺍﻝﺴﻜﻭﻥ ﺤﺩﻭﺩﻩ‪ ،‬ﺇﻴﺯﺍﺒﻴﻼ ﻤﺘﻤﺩﺩﺓ ﻋﻠﻰ‬

‫ﺍﻷﺭﻴﻜﺔ ﺘﺠﻬل ﻤﺎ ﻤﻜﺎﻥ ﺃﻨﻭﺭ‪.‬‬

‫ﺴﻤﻴﺙ‪ -‬ﺼﺩﻴﻕ ﺇﻴﺯﺍﺒﻴﻼ‪ -‬ﻷﺤﺩ ﺍﻝﺴﻨﺎﺘﻭﺭ‪ :‬ﺃﻨﺎ ﺃﻋﺭﻑ ﺃﻨﻭﺭ ﻻ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﻝﻪ ﺼﻠﺔ ﺒـﺄﻱ‬

‫ﺨﻼﻴﺎ ﺇﺭﻫﺎﺒﻴﺔ‪ .‬ﻝﻘﺩ ﻜﺎﻥ ﺠﺎﺩﺍ ﺫﻜﻴﺎ ﻭﺼﻠﺒﺎ ﻤﺴﺘﻘﻴﻤﺎ‪ -.‬ﺍﻝﺴﻴﻨﺎﺘﻭﺭ‪ :‬ﺁﻭﻭﻩ! ﺒﺼﻭﺕ ﻤﺭﺘﻔﻊ ﻭﻫﻜـﺫﺍ‬

‫ﻜﺎﻥ ﻤﺤﻤﺩ ﻋﻁﺎ ﻓﻲ ﻫﺎﻤﺒﻭﺭﻍ‪ ،1‬ﺍﻝﻠﻌﻨﺔ!‬

‫ﺇﻀﺎﺀﺓ ﺨﺎﻓﺘﺔ‪ ،‬ﺼﻭﺕ ﺼﺭﺍﺥ ﻤﺘﻘﻁﻊ‪ ،‬ﻴﺭﺘﺠﻑ ﺠﺴﺩ ﺃﻨﻭﺭ ﻭﻀﺭﺒﺎﺕ ﺍﻝﻜﻬﺭﺒﺎﺀ ﺘﺄﻜـل ﻤـﻥ‬

‫ﺠﺴﺩﻩ‪-.‬ﻝﺤﻅﺔ ﻫﺩﻭﺀ ‪-‬ﺩﻭﺠﻼﺱ ﻴﺤﻨﻲ ﺭﺃﺴﻪ ﺇﻝﻰ ﺍﻷﺴﻔل‪ .‬ﺃﻨﻭﺭ ﻴﺒﺼﻕ ﺍﻝﺩﻤﺎﺀ ﻤﻥ ﻓﻤﻪ ﺃﺭﺠﻭﻜﻡ‬

‫ﻻ ﻤﺯﻴﺩ ‪-‬ﻴﻘﻭﻝﻬﺎ ﺒﺼﻌﻭﺒﺔ‪ -‬ﻓﻭﺍل‪ :‬ﺤﺴﻨﺎ ﻫﺎﺕ ﺍﻷﺴﻤﺎﺀ‪ .‬ﺇﺫﺍ ﻤﺕ ﺍﻵﻥ ﻤﻥ ﺴﻴﻔﺘﻘﺩﻙ ؟ ﺯﻭﺠﺘـﻙ؟‬

‫ﻫﺎﺍ ﺴﺘﺄﺘﻲ ﺒﺄﺏ ﺠﺩﻴﺩ ﻻﺒﻨﺎﺀﻫﺎ ﻭﺘﻨﺴﺎﻙ‪.‬ﻴﻭﻤﺊ ﻓﻭﺍل ﻝﻀﺭﺒﻪ ﺒﺎﻝﻜﻬﺭﺒﺎﺀ ﺜﺎﻨﻴـﺔ – ﻻ ﻻ! ﺃﺭﺠـﻭﻙ‬

‫‪..‬ﻴﺘﺭﻨﺢ ﺠﺴﺩﻩ ﺜﺎﻨﻴﺔ ‪...‬ﻴﻭﻤﺊ‪ :‬ﺭﺸﻴﺩ ﺍﺘﺼل ﻋﻠﻰ ﺍﻝﺠﻭﺍل ﺒﺘﺎﻋﻲ ﻜﺎﻥ ﻋﺎﻭﺯ ﻤﻌﻠﻭﻤﺎﺕ ﻋﻥ ﺼﻨﻊ‬

‫ﻤﺘﻔﺠﺭﺍﺕ – ﺩﻭﺠﻼﺱ ﺤﺎﻨﻘﺎ ‪:‬ﻜﻡ ﺩﻓﻊ ﻝﻙ ﻫﺎﺍ ؟؟ – ‪ 40000‬ﺩﻭﻻﺭ ﺃﺭﺩ ﺃﻥ ﻴﺤﻭل ﺍﻝﻤﺒﻠـﻎ ﺇﻝـﻰ‬

‫ﻜﻴﺏ ﺘﺎﻭﻥ – ﻓﻭﺍل ‪ :‬ﻴﺭﻤﻲ ﺇﻝﻴﻪ ﺒﻭﺭﻗﺔ ﻫﻴﺎ ﺍﻜﺘﺏ ﺍﻷﺴﻤﺎﺀ ‪..‬ﺍﻷﺴﻤﺎﺀ‪..‬ﻴﻨﺘﻬﻲ ﺍﻝﻤﺸﻬﺩ ﺒﻤﻭﺴـﻴﻘﻰ‬

‫ﺘﻬﺩﺃ ﻤﻥ ﺤﺩﺓ ﺍﻝﺘﻭﺘﺭ‪...‬ﺍﻨﻔﺭﺍﺝ ﻤﺎ‪..‬ﻴﺄﺘﻭﻥ ﻷﻨﻭﺭ ﺒﺒﻁﺎﻨﻴﺔ ﻭﻤﻴﺎﻩ ﻨﻅﻴﻔﺔ‪.‬‬

‫ﺩﻭﺠﻼﺱ ﻴﻘﻭﻡ ﺒﺎﻝﺒﺤﺙ ﻋﻥ ﺍﻷﺴﻤﺎﺀ ﺍﻝﻤﻌﻁﺎﺓ ﻋﻥ ﻁﺭﻴﻕ ﺍﻻﻨﺘﺭﺒﻭل ﺍﻝﺩﻭﻝﻲ‪.‬ﻻ ﺸـﻲﺀ‪ .‬ﻴﻘـﻭﻡ‬

‫ﺒﻤﺤﺎﻭﻝﺔ ﺃﺨﺭﻯ ﻴﺒﺤﺙ ﻋﻥ ﺍﻷﺴﻤﺎﺀ ﻓﻲ ﻤﻭﻗﻊ ﺍﻝﺒﺤﺙ ﺍﻻﻝﻜﺘﺭﻭﻨﻲ )ﺠﻭﺠل( ﻴﻜﺘﺸﻑ ﺩﻭﺠﻼﺱ ﺃﻥ‬

‫ﺍﻷﺴﻤﺎﺀ ﻤﺎ ﻫﻲ ﺇﻻ ﻝﻼﻋﺒﻲ ﻓﺭﻴﻕ ﻜﺭﺓ ﺍﻝﻘﺩﻡ ﺍﻝﻤﺼﺭﻱ ﻷﺤﺩ ﻋﺸﺭ ﻻﻋﺒﺎ‪ .‬ﻴﻠﻘﻰ ﺩﻭﺠـﻼﺱ ﺃﺤـﺩ‬

‫ﺇﺸﺎﺭﺓ ﻝﻨﻤﻭﺫﺝ ﻤﺤﻤﺩ ﻋﻁﺎ ﻤﺭﺓ ﺃﺨﺭﻯ‪.‬‬ ‫‪1‬‬

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‫ﺃﺼﺩﻗﺎﺀﻩ ﻝﻴﺘﺄﻜﺩ ﻤﻥ ﺫﻝﻙ‪ :‬ﻭﻝﻡ ﻗﺩ ﻴﻐﺎﻤﺭ ﻤﻘﺎﺒل ﺍﺭﺒﻌﻴﻥ ﺇﻝﻑ ﺩﻭﻻﺭ ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﻴﺠﻨﻲ ﻤﺌـﺎﺕ‬

‫ﺃﻝﻑ ﺩﻭﻻﺭ ﺴﻨﻭﻴﺎ! ﻫﺎ! – ﺼﺩﻴﻘﻪ‪ :‬ﺍﻝﺭﺠل ﺴﻴﻘﻭل ﺃﻱ ﺸﻲﺀ ﺘﺤﺕ ﻭﻁﺄﺓ ﺍﻝﺘﻌﺫﻴﺏ‪.‬‬

‫ﻓﺎﻁﻤﺔ ﺘﺴﺘﻴﻘﻅ ﺼﺒﺎﺤﺎ‪ ،‬ﺨﺎﻝﺩﺍ ﻝﻴﺱ ﻫﻨﺎ‪ ،‬ﺘﺩﻭﺭ ﻋﻴﻨﺎﻫﺎ ﻓﻲ ﺃﻨﺤﺎﺀ ﺍﻝﻐﺭﻓﺔ ﺒﻜﺴل‪ .‬ﻴﻘﻊ ﻨﻅﺭﻫـﺎ‬

‫ﻋﻠﻰ ﺩﻓﺘﺭ ﻗﺩﻴﻡ‪ .‬ﺘﻘﻭﻡ ﺒﺘﻘﻠﻴﺒﻪ‪ ،‬ﻤﺨﻁﻭﻁﺎﺕ ﻝﺨﺎﻝﺩ‪ ،‬ﺁﻴﺎﺕ ﻗﺭﺁﻨﻴﺔ‪ ،‬ﺃﺒﻴﺎﺕ ﻤﻥ ﺍﻝﺸﻌﺭ‪ ،‬ﺼﻭﺭ ﻷﻓﺭﺍﺩ‬

‫ﻋﺎﺌﻠﺘﻪ‪ ،‬ﺍﻷﺥ ﺍﻝﻐﺎﺌﺏ‪ ،‬ﺼﻔﺤﺔ ﺃﺨﺭﻯ‪ ،‬ﺠﺴﺩﻩ ﺍﻝﻤﻤﺯﻕ‪ ،‬ﺼﻭﺭﺓ ﻋﺒﺎﺴﻲ ﻓﻭﺍل‪ ،‬ﺼـﻭﺭﺓ ﻝﻔﺎﻁﻤـﺔ‪،‬‬

‫ﺼﻭﺭﺓ ﺤﺯﺍﻡ ﻨﺎﺴﻑ‪ ،‬ﻤﺨﻁﻭﻁﺔ ﺃﺨﻴﺭﺓ‪) :‬ﻜل ﻫﺫﺍ ﻓﻲ ﺫﻜﺭﻯ ﺍﺴﺘﺸﻬﺎﺩﻙ ﻴﺎ ﺃﺨﻲ( ﺘﺩﺭﻙ ﻓﺎﻁﻤﺔ ﺃﻥ‬

‫ﺃﺥ ﺨﺎﻝﺩ ﻗﺩ ﻤﺎﺕ ﺒﺄﻴﺩﻱ ﻭﺍﻝﺩﻫﺎ ﺃﺜﻨﺎﺀ ﺍﻝﺘﺤﻘﻴﻕ‪ .‬ﻜﻤﺎ ﺘﺩﺭﻙ ﺃﻥ ﺨﺎﻝﺩﺍ ﻴﻨﻭﻱ ﺘﻔﺠﻴﺭ ﻨﻔﺴﻪ ﻭﺍﻻﻨﺘﻘـﺎﻡ‬

‫ﻤﻥ ﻭﺍﻝﺩﻫﺎ‪...‬‬

‫ﺘﺘﻘﺎﻁﻊ ﺍﻝﻤﺸﺎﻫﺩ‪ ،‬ﻜل ﻤﻨﻬﺎ ﺨﻠﻔﻴﺔ ﻝﻶﺨﺭ ﺍﻨﺤﺭﺍﻑ ﻝﻠﺘﺘﺎﺒﻊ ﺍﻝﺯﻤﻨﻲ‪ .‬ﺩﻭﺠﻼﺱ ﻤـﺴﺭﻋﺎ ﻴـﺄﺘﻲ‬

‫ﺒﻤﻼﺒﺱ‪ ،‬ﻴﺠﻠﺏ ﺃﻨﻭﺭ ﻤﻥ ﻗﺒﻭﻩ ﺍﻝﻤﻅﻠﻡ‪ ،‬ﻓﺎﻁﻤﺔ ﺘﺭﻜﺽ ﻋﻠﻰ ﻏﻴﺭ ﻫﺩﻯ ﻓﻲ ﺍﻷﺭﻭﻗـﺔ ﺍﻝـﻀﻴﻘﺔ‪،‬‬

‫ﺼﻭﺕ ﻝﻬﺎﺜﻬﺎ ﻴﺒﻌﺙ ﻤﺯﻴﺩﺍ ﻤﻥ ﺍﻝﺘﻭﺘﺭ‪ ،‬ﻴﺴﻴﺭ ﺃﻨﻭﺭ ﻨﺤﻭ ﺍﻝﻔﻀﺎﺀ ﺜﺎﻨﻴﺔ‪ ،‬ﻴﺭﻏﺏ ﺒﺎﻹﺴﺭﺍﻉ ﻝﻜﻨﻪ ﻻ‬

‫ﻴﺴﺘﻁﻴﻊ ﺇﻻ ﻤﺴﻴﺭﺍ ﺒﻁﻴﺌﺎ‪ ،‬ﻴﺴﺘﺤﺜﻪ ﺩﻭﺠﻼﺱ ‪..‬ﺃﺴﺭﻉ ﺃﻨﻭﺭ ﺃﺴﺭﻉ‪..‬ﻓﺎﻁﻤﺔ ﺘﻁﻠـﻊ ﺇﻝـﻰ ﺤـﺩﻭﺩ‬

‫ﺍﻝﺴﻭﻕ‪ ،‬ﺃﻴﻥ ﺨﺎﻝﺩ‪ ،‬ﺃﻴﻥ ﺃﺒﻲ‪ ،‬ﺫﺍﺕ ﺍﻻﺯﺩﺤﺎﻡ ﻭﺫﺍﺕ ﺍﻝﻤﻜﺎﻥ ﺨﺎﻝﺩ ﻴﺘﻘﺩﻡ ﺒﺒﻁﻲﺀ‪ ،‬ﻴﺭﻗـﺏ ﻋﺒﺎﺴـﻲ‬

‫ﻓﻭﺍل ﺒﺫﺍﺕ ﺍﻝﻤﻜﺎﻥ – ﺨﺎﻝﺩ ﺘﻭﻗﻑ ﺃﺭﺠﻭﻙ‪ ،‬ﺨﺎﻝﺩ ﻻ ﺘﻘﺘل ﺃﺒﻲ‪ ،‬ﺨﺎﻝﺩ ‪...‬ﻓﻲ ﻝﺤﻅﺔ ﺘﺭﺩﺩ ﻴﻔﻘﺩ ﺤﻴﺎﺘﻪ‬

‫)ﺒﺭﺼﺎﺼﺔ ﻤﻥ ﺠﻤﺎﻋﺔ ﺍﻝﺤﺎﺯﻤﻲ ﺍﻋﺘﻘﺎﺩﻫﻡ ﺍﻨﻪ ﻗﺩ ﻴﺘﺭﺍﺠﻊ ﻋﻥ ﻓﻌﻠﺘﻪ ﺒﺴﺒﺏ ﻓﺎﻁﻤﺔ( ﻴﺤﺎﻭل ﺨﺎﻝﺩ‬

‫ﻓﻲ ﺭﻤﻘﻪ ﺍﻷﺨﻴﺭ ﺃﻥ ﻴﺤﺘﻔﻅ ﺒﻀﺎﻏﻁ ﺍﻝﺤﺯﺍﻡ ﺍﻝﻨﺎﺴﻑ ﻴﺤﺎﻭل ﺃﻥ ﻴﻘﻭل ﻝﻔﺎﻁﻤﺔ ﺃﻥ ﺘﺒﺘﻌﺩ ﻜـﻲ ﻻ‬

‫ﺘﻘﺘل ﻫﻲ ﺃﻴﻀﺎ‪ ،‬ﻝﻜﻨﻪ ﻴﻔﻠﺕ ﻤﻨﻪ ﻓﻲ ﺁﺨﺭ ﺯﻓﻴﺭ ﻝﻪ‪ ،‬ﻓﻲ ﻝﺤﻅﺔ ﻭﺍﺤﺩﺓ ﻴﺘﺤﻭل ﺠﺴﺩﻩ ﺇﻝﻰ ﺃﺸـﻼﺀ‪،‬‬

‫ﻭﻓﺎﻁﻤﺔ‪ ،‬ﺍﻨﻪ ﺫﺍﺕ ﺍﻻﻨﻔﺠﺎﺭ ﺍﻝﺫﻱ ﻴﻘﺘل ﻓﻴﻪ ﺼﺩﻴﻕ ﺩﻭﺠﻼﺱ ﻓﻲ ﺘﺸﻭﻴﻪ ﻝﻤﺴﺎﺭ ﺍﻝﺯﻤﺎﻥ ﻭﺍﻝﻤﻜﺎﻥ‪.‬‬

‫ﺘﻔﺎﺼﻴل ﻝﺘﻭﻝﻴﻔﺎﺕ ﺘﺅﺩﺭﻡ ﺍﻻﻨﻔﺠﺎﺭ ﻭﺍﺨﺘﻁﺎﻑ ﺃﻨﻭﺭ ﻭﺍﺨﺘﻔﺎﺀ ﻓﺎﻁﻤﺔ‪ ،‬ﻭﻤﻭﺕ ﺨﺎﻝﺩ ‪ ...‬ﺍﺴـﺘﺭﺠﺎﻋﺎ‬

‫ﻓﻲ ﻤﺴﺎﺭ ﻴﻜﺘﺸﻑ ﻓﻴﻪ ﻓﻭﺍل ﺃﻥ ﺍﺒﻨﺘﻪ ﻜﺎﻨﺕ ﺘﺤﺎﻭل ﺤﻤﺎﻴﺘﻪ ﻋﻨﺩﻤﺎ ﺘﺤﻭل ﺠﺴﺩﻫﺎ ﺇﻝـﻰ ﺃﺸـﻼﺀ‪.‬‬

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‫ﻭﺘﺘﺎﺒﻊ ﻤﻨﻁﻘﻲ ﻝﻤﺴﺎﺭ ﺁﺨﺭ ﻋﻨﺩﻤﺎ ﻴﺼل ﺃﻨﻭﺭ ﺇﻝﻰ ﺸﻲﺀ ﺴﻴﻭﺼﻠﻪ ﺇﻝﻰ ﺍﺴﺒﺎﻨﻴﺎ ﻭﻤﻥ ﻫﻨـﺎﻙ ﺇﻝـﻰ‬

‫ﺸﻴﻜﺎﻏﻭ ﺤﻴﺙ ﺯﻭﺠﺘﻪ ﻭﻁﻔﻠﻪ ‪....‬ﺩﻭﺠﻼﺱ‪ :‬ﺃﻨﻭﺭ ﻻ ﺘﺨﺒﺭ ﺃﺤﺩﺍ ﺒﻤﺎ ﺭﺃﻴﺕ ﺃﻭ ﺃﻴﻥ ﻜﻨﺕ‪ .‬ﻨـﺫﻫﺏ‬

‫ﺇﻝﻰ ﺍﺴﺘﺭﺨﺎﺀ ﺃﺨﻴﺭ ﻋﻨﺩﻤﺎ ﻴﻌﺎﻨﻕ ﺃﻨﻭﺭ ﺯﻭﺠﺘﻪ ﻭﻁﻔﻠﻪ ﻭﻤﻭﻝﻭﺩﺓ ﺍﻝﺠﺩﻴﺩ!‬

‫‪ 4.6.1‬ﻓﻴﻠﻡ ﺴﻴﺭﻴﺎﻨﺎ )‪: 1(Syriana‬‬

‫ﺴﺭﻴﺎﻨﺎ )‪ :(Syriana‬ﻓﻴﻠﻡ ﺠﻴﻭﺴﻴﺎﺴﻲ ﻴﺭﻜﺯ ﻋﻠﻰ ﺍﻝﻨﻔﻁ ﻭﺍﻝﺼﺭﺍﻉ ﺒﻴﻥ ﺍﻝـﺸﺭﻜﺎﺕ ﺍﻝﻌﺎﻝﻤﻴـﺔ‬

‫ﻋﻠﻰ ﺤﻴﺎﺯﺘﻪ‪ ،‬ﻭﻋﻼﻗﺔ ﺫﻝﻙ ﺒﺎﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‪ .‬ﺍﻝﻔﻴﻠﻡ ﻤﻥ ﺘﺄﻝﻴﻑ ﻭ ﺇﺨﺭﺍﺝ ﺴﺘﻴﻔﻥ ﻜﺎﻫﺎﻥ‪ ،‬ﺇﺫ ﺭﺴـﻡ‬

‫ﺍﻷﺨﻴﺭ ﻋﺩﺓ ﻤﺴﺎﺭﺍﺕ ﻗﺼﺼﻴﺔ ﺘﻠﺘﻘﻲ ﺃﺨﻴﺭﺍ ﻋﻨﺩ ﺃﺜﺭ ﺍﻝﺼﻨﺎﻋﺔ ﺍﻝﻨﻔﻁﻴﺔ ﻋﻠﻰ ﺭﺴـﻡ ﺍﻝـﺴﻴﺎﺴﺎﺕ‬

‫ﺍﻝﺩﺍﺨﻠﻴﺔ ﻭﺍﻝﺨﺎﺭﺠﻴﺔ‪.‬‬

‫ﻗﺼﺔ ﻜﺎﻫﺎﻥ ﻤﺄﺨﻭﺫﺓ ﻋﻥ ﺭﻭﺍﻴﺔ ﻝﺭﻭﺒﺭﺕ ﺒﺎﻴﺭ )‪ ،(see no evil‬ﺠﻭﺭﺝ ﻜﻠـﻭﻨﻲ ﻜـﺎﻥ ﻝـﻪ‬

‫ﺩﻭﺭﻴﻥ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺤﻴﺙ ﺃﻨﻪ ﻜﺎﻥ ﻤﻨﺘﺠﺎ ﻭﺒﻁﻼ ﻝﺩﻭﺭ ﻋﻤﻴل ‪ ،CIA‬ﺍﻝﻜﺴﺎﻨﺩﺭ ﺼـﺩﻴﻕ ﻝﻌـﺏ ﺩﻭﺭ‬

‫ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ ﻷﺤﺩﻯ ﺩﻭل ﺍﻝﺨﻠﻴﺞ‪ .‬ﺃﻤﺎ ﺨﺒﻴﺭ ﺍﻝﻁﺎﻗﺔ ﻤﺎﺕ ﺩﻴﻤﻭﻥ‪ ،‬ﻜﻤﺎ ﺸﺎﺭﻙ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻤﻤﺜـل‬

‫ﺍﻝﻤﺼﺭﻱ ﻋﻤﺭﻭ ﻭﺍﻜﺩ ﻭﻗﺩ ﻜﺎﻥ ﺩﻭﺭﻩ ﻜﺈﺭﻫﺎﺒﻲ ﻗﺎﻡ ﺒﺘﻔﺠﻴﺭ ﻤﻭﻗﻊ ﻨﻔﻁﻲ ﻴﻌﻤل ﺒﻪ ﺃﻤﺭﻴﻜﻴﻭﻥ ﻓـﻲ‬

‫ﺍﻝﺨﻠﻴﺞ ﺍﻝﻌﺭﺒﻲ‪ .‬ﺍﻝﻤﻭﻨﺘﺎﺝ ﻜﺎﻥ ﺒﻭﺍﺴﻁﺔ ﺘﻴﻡ ﺴﻜﻭﻴﺭ‪ ،‬ﺘﻡ ﺍﻝﺘﻭﺯﻴـﻊ ﺒﻭﺍﺴـﻁﺔ ﺸـﺭﻜﺔ ‪Worner‬‬

‫‪ .Brothers‬ﺘﺎﺭﻴﺦ ﺇﺼﺩﺍﺭ ﺍﻝﻔﻴﻠﻡ ﻜﺎﻥ ﻓﻲ ﺍﻝﺘﺎﺴﻊ ﻤﻥ ﺩﻴﺴﻤﺒﺭ ﻤﻥ ﺍﻝﻌﺎﻡ ‪ .20052‬ﻝﻤﺩﺓ ﻋـﺭﺽ‬

‫ﺘﺴﺘﻐﺭﻕ ﻤﺌﺔ ﻭﺜﻤﺎﻥ ﻭﻋﺸﺭﻭﻥ ﺩﻗﻴﻘﺔ‪ .‬ﺍﺴﺘﺨﺩﻤﺕ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﺍﻝﻠﻐﺔ ﺍﻻﻨﺠﻠﻴﺯﻴﺔ ﻭﺍﻝﻌﺭﺒﻴﺔ ﻭﺍﻝﻔﺎﺭﺴﻴﺔ‪.‬‬

‫ﺒﻤﻴﺯﺍﻨﻴﺔ ﻗﺩﺭﺕ ﺒﺨﻤﺴﻴﻥ ﻤﻠﻴﻭﻥ ﺩﻭﻻﺭ ﺃﻤﺭﻴﻜﻲ ﻭﺇﻴﺭﺍﺩﺍﺕ ﺇﺠﻤﺎﻝﻴﺔ ﻓﺎﻗﺕ ﺜﻼﺜﺔ ﻭﺘﺴﻌﻭﻥ ﻤﻠﻴـﻭﻥ‬

‫ﺩﻭﻻﺭ ﺃﻤﺭﻴﻜﻲ ‪.3‬‬

‫‪1‬‬
‫‪Syrina.Dir.Steven Ghahan.Auth.Steven Ghahan.Goerge colony.Mat Deimon.Chris cooper.Warner‬‬
‫‪brothers.Dec 9.2005‬‬
‫‪2‬‬
‫‪http://www.imdb.com/title/tt0365737/ .retrieved 25.10.2009‬‬
‫‪3‬‬
‫‪http://syrianamovie.warnerbros.com/about.html.Official Warner Bros. website. Retrieved 15.11.2009‬‬

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‫ﺍﺴﻡ ﺍﻝﻔﻴﻠﻡ )ﺴﻴﺭﻴﺎﻨﺎ( ﻨﺴﺒﺔ ﺇﻝﻰ ﺴﻭﺭﻴﺎ‪ ،‬ﺤﻴﺙ ﻴﺭﻯ ﺴﺘﻴﻔﻴﻥ ﻜﺎﻫﺎﻥ ﺃﻥ ﺍﻝﻜﻠﻤـﺔ ﻝﻬـﺎ ﺃﺒﻌـﺎﺩ‬

‫ﺍﺴﺘﺭﺍﺘﻴﻴﺠﻴﺔ‪ ،‬ﺤﻴﺙ ﺘﻌﻴﺩ ﺘﺸﻜﻴل ﺍﻝﻤﻨﻁﻘﺔ ﻤﻥ ﺠﺩﻴﺩ ﻤﻥ ﺨﻼل ﺍﻷﺒﻌﺎﺩ ﻝﻠﺠﻴﻭﺴﻴﺎﺴﻴﻴﺔ ﺍﻝﺘـﻲ ﻝﻬـﺎ‬

‫ﻋﻼﻗﺔ ﺒﺎﻝﺼﻨﺎﻋﺔ ﺍﻝﻨﻔﻁﻴﺔ‪ ،‬ﻜﻤﺎ ﻴﺸﻴﺭ ﻜﺎﻫﺎﻥ ﺃﻥ ﺴﺭﻴﺎﻨﺎ ﺘﺸﻴﺭ ﺇﻝﻰ ﻤﺎ ﻴﻠﺯﻡ ﻤﻥ ﺍﻝﺭﺠـﻭﻉ ﻝﺤﺎﻝـﺔ‬

‫ﺴﻼﻡ ﻤﻊ ﺴﻭﺭﻴﺎ‪ .‬ﻨﻘﺎﺩ ﺁﺨﺭﻭﻥ ﺃﺸﺎﺭﻭﺍ ﺇﻝﻰ ﺃﺒﻌﺎﺩ ﺃﺨﺭﻯ ﻝﻠﻜﻠﻤﺔ ﺤﻴﺙ ﺍﻝﺘﺸﻜﻴل ﺍﻝﺠﻐﺭﺍﻓﻲ ﺍﻝﺠﺩﻴﺩ‬

‫ﻝﻴﻜﻭﻥ ﻤﻤﺭﺍ ﻨﻔﻁﻴﺎ ﻝﻠﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻻ ﻏﻴﺭ‪ .‬ﻜﻤﺎ ﻴﻤﻜﻥ ﺃﻥ ﻴﻜﻭﻥ ﺍﻝﻤﻘﺼﻭﺩ ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﻨﻤـﻭﺫﺝ‬

‫ﺨﻴﺎﻝﻲ ﻷﻱ ﺒﻠﺩ ﻋﺭﺒﻲ ﻤﺼﺩﺭ ﻝﻠﻨﻔﻁ ﺒﺤﺴﺏ ﺍﻝﻨﺎﻗﺩ ﺇﺒﺭﺍﻫﻴﻡ ﻋﻠﻭﺵ ﻓﻲ ﺼﺤﻴﻔﺔ ﺼـﻭﺕ ﺍﻝﻌـﺭﺏ‬

‫ﺍﻝﺤﺭ ‪.1‬‬

‫ﻋﻨﺼﺭ ﺍﻝﺤﻜﺎﻴﺔ‪ :‬ﺘﺭﺘﻜﺯ ﺍﻝﺤﻜﺎﻴﺔ ﻋﻠﻰ ﺸﺭﻜﺎﺕ ﺘﻨﻘﻴﺏ ﻨﻔﻁﻴﺔ ﺃﻤﺭﻴﻜﻴﺔ‪ ،‬ﻭﻓﻘﺩﺍﻨﻬﺎ ﺍﻝﺴﻴﻁﺭﺓ ﻋﻠﻰ‬

‫ﺤﻘﻭﻕ ﺍﻝﺘﻨﻘﻴﺏ ﻓﻲ ﺇﺤﺩﻯ ﺍﻹﻤﺎﺭﺍﺕ ﺍﻝﺨﻠﻴﺠﻴﺔ ﺤﻴﺙ ﻴﻤﻨﺢ ﺃﻤﻴﺭﻫﺎ –ﺍﻻﺒﻥ ﺍﻝﺜﺎﻨﻲ ﻝﻠﻤﻠﻙ ﺍﻝﺼﺒﺎﺡ ‪-‬‬

‫ﺍﻝﺤﻘﻭﻕ ﻝﺸﺭﻜﺔ ﺼﻴﻨﻴﺔ ﺘﻘﺩﻡ ﻋﺭﻀﺎ ﺃﻓﻀل ﻻﺴﺘﺨﺭﺍﺝ ﺍﻝﻐﺎﺯ ﺍﻝﻁﺒﻴﻌﻲ‪ ،‬ﻤﻤﺎ ﻴﺴﺒﺏ ﺍﻨﺯﻋﺎﺠﺎ ﻜﺒﻴﺭﺍ‬

‫ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻋﻠﻰ ﻤﺴﺘﻭﻯ ﺍﻝﺸﺭﻜﺎﺕ‪ ،‬ﻭﻋﻠﻰ ﺍﻝﻤﺴﺘﻭﻯ ﺍﻝﺤﻜﻭﻤﻲ‪ ،‬ﻤﻤﺎ ﻴﺅﺩﻱ ﺇﻝﻰ ﺍﻨﺩﻤﺎﺝ‬

‫ﺸﺭﻜﺘﻲ ﻜﻭﻨﻴﻜﺱ ﻭﻜﻴﻠﻴﻥ ﻝﺘﻌﻭﻴﺽ ﺍﻨﺨﻔﺎﺽ ﺍﻝﻘﺩﺭﺍﺕ ﺍﻹﻨﺘﺎﺠﻴﺔ‪ .‬ﻜﻤﺎ ﺘﺒـﺎﺩﺭ ﻭﺯﺍﺭﺘـﻲ ﺍﻝـﺩﻓﺎﻉ‬

‫ﻭﺍﻝﻌﺩل ﺇﻝﻰ ﺘﻌﻴﻴﻥ ﺒﻴﻨﻴﺕ ﻫﻭﻝﺩﻱ ﻝﺘﺨﻔﻴﻑ ﺤﺩﺓ ﺍﻝﺘﻭﺘﺭﺍﺕ ﻭﺒﻴﺎﻥ ﺍﻝﺤﺭﺹ ﻋﻠﻰ ﻤﻜﺎﻓﺤﺔ ﺍﻻﺤﺘﻜﺎﺭ‬

‫ﻭﺍﻝﺘﺨﻔﻴﻑ ﻤﻥ ﻤﺯﺍﻋﻡ ﺍﻝﻔﺴﺎﺩ‪ .‬ﺒﻴﻨﻤﺎ ﻴﺒﺩﻱ ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ ﺭﻏﺒﺘﻪ ﻓﻲ ﺍﺴﺘﻘﻼل ﻗﺭﺍﺭ ﺩﻭﻝﺘـﻪ ﻝﻤـﻨﺢ‬

‫ﺤﻘﻭﻕ ﺍﻝﺘﻨﻘﻴﺏ ﻷﻓﻀل ﻋﺭﻭﺽ ﺍﻝﺸﺭﻜﺎﺕ ﺍﻴﺎ ﻜﺎﻨﺕ ﺠﻨﺴﻴﺘﻬﺎ ﻻﺴﺘﺜﻤﺎﺭ ﺍﻷﺭﺒﺎﺡ ﺍﻝﻨﻔﻁﻴﺔ ﻭﺍﻝﻌﻭﺍﺌﺩ‬

‫ﺍﻹﻨﺘﺎﺠﻴﺔ ﻝﺘﺤﺴﻴﻥ ﺃﻭﻀﺎﻉ ﺒﻼﺩﻩ‪ .‬ﻭﻴﺴﺘﺨﺩﻡ ﻓﻲ ﺫﻝﻙ ﺃﺤﺩ ﺨﺒـﺭﺍﺀ ﺍﻝﻁﺎﻗـﺔ ﻹﺤـﺩﻯ ﺍﻝـﺸﺭﻜﺎﺕ‬

‫ﺍﻻﺴﺘﺸﺎﺭﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ‪.‬‬

‫ﺒﻴﻨﻤﺎ ﺘﺴﺘﺨﺩﻡ ﻭﻜﺎﻝﺔ ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺍﻝﻌﻤﻴل ﺒﻭﺏ ﺒﺎﺭﻨﺯ ﺍﻝﺫﻱ ﻴﻌﻤل ﻓﻲ ﻤﻬﻤﺎﺕ ﻝﻭﻗﻑ‬

‫ﺍﻹﺘﺠﺎﺭ ﺒﺎﻷﺴﻠﺤﺔ ﻓﻲ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‪ ،‬ﻜﻤﺎ ﺒﻌﺙ ﻝﻤﻬﻤﺔ ﺍﻏﺘﻴﺎل ﺍﺜﻨﻴﻥ ﻤﻥ ﺘﺠﺎﺭ ﺍﻷﺴـﻠﺤﺔ ﻓـﻲ‬

‫‪1‬‬
‫)‪AlouchIbraheem, freearabvoice, (5.dec.2006‬‬
‫‪http://www.freearabvoice.org/arabi/maqalat/FilmSeryana.htm .Retrieved 05.11.2009‬‬

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‫ﻁﻬﺭﺍﻥ‪ ،‬ﻭﺍﻵﻥ ﺘﺴﺘﺨﺩﻤﻪ ﺍﻝﻭﻜﺎﻝﺔ ﻻﻏﺘﻴﺎل ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ ﺒﺎﻝﺘﻌﺎﻭﻥ ﻤﻊ ﺃﺤﺩ ﺍﻝﻤﺨﺒﺭﻴﻥ ﺍﻝﻤﺭﻜـﺯﻴﻥ‬

‫ﻓﻲ ﺇﻴﺭﺍﻥ ﻴﺩﻋﻰ ﻤﻭﺴﻭﻱ‪ .‬ﻭﻓﻲ ﺫﺍﺕ ﺍﻝﻭﻗﺕ ﺘﻘﻭﻡ ﺒﺘﺸﺠﻴﻊ ﻭﻻﻴﺔ ﺃﺨﻴﻪ ﺍﻷﺼﻐﺭ ﺍﻝﺫﻱ ﻻ ﻴﺄﺒﻪ ﺇﻻ‬

‫ﺒﺎﻝﺘﺭﻑ ﻭﺍﻝﺘﺴﻠﻴﺔ‪ .‬ﻴﺘﻀﺢ ﺃﻥ ﻤﻭﺴﻭﻱ ﻫﻭ ﻋﻤﻴل ﻝﻠﻤﺨﺎﺒﺭﺍﺕ ﺍﻹﻴﺭﺍﻨﻴﺔ‪ ،‬ﻴﺨﺘﻁﻑ ﺒﻭﺏ ﺒﺎﺭﻨﺯ ﻓـﻲ‬

‫ﻝﺒﻨﺎﻥ ﺒﺎﻝﺘﻌﺎﻭﻥ ﻤﻊ ﺤﺯﺏ ﺍﷲ ﻭﻴﻘﻭﻡ ﺒﺘﻌﺫﻴﺒﻪ ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﻤﻌﻠﻭﻤﺎﺕ ﻋـﻥ ﺍﻝﻤﻬﻤـﺔ ﻭﺃﺴـﻤﺎﺀ‬

‫ﺍﻝﻤﻀﻠﻌﻴﻥ ﻓﻴﻬﺎ ﻝﻔﻀﺢ ﺍﻷﻤﺭ ﻋﻠﻨﺎ ﻝﺤﺴﺎﺏ ﺇﻴﺭﺍﻥ‪.‬ﻴﻨﻭﻱ ﻤﻭﺴﻭﻱ ﺃﺨﻴﺭﺍ ﺫﺒﺢ ﺒﺎﺭﻨﺯ ﺒﺎﻝـﺴﻜﻴﻥ‪ ،‬ﺇﻻ‬

‫ﺃﻥ ﺯﻋﻴﻡ ﺤﺯﺏ ﺍﷲ ﻴﻤﻨﻊ ﺫﻝﻙ ﻭﻴﻤﻨﺤﻪ ﻤﻤﺭﺍ ﺁﻤﻨﺎ ﻝﻠﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ .‬ﺃﻤﺎ ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ‬

‫ﺍﻷﻤﺭﻴﻜﻴﺔ ﻓﺘﺤﻤﻲ ﻨﻔﺴﻬﺎ ﺒﺘﻘﺩﻴﻡ ﺒﺎﺭﻨﺯ ﻜﻜﺒﺵ ﻓﺩﺍﺀ ﻭﺃﻨﻪ ﺍﻝﻤﺴﺌﻭل ﺍﻝﻭﺤﻴﺩ ﻋﻥ ﺍﻝﻌﻤﻠﻴﺔ‪ ،‬ﻜﻤﺎ ﺘﺩﺭﻙ‬

‫ﺃﻥ ﺍﻏﺘﻴﺎل ﺍﻷﻤﻴﺭ ﻋﻥ ﻁﺭﻴﻕ ﻁﺎﺌﺭﺓ ﺒﺩﻭﻥ ﻁﻴﺎﺭ ﻫﻭ ﺍﻝﺤل ﺍﻷﻓﻀل‪ .‬ﻭﻫﺫﺍ ﻤﺎ ﺘﻡ ﻓﻌﻼ ﺤﻴﺙ ﺘـﻡ‬

‫ﺍﻏﺘﻴﺎل ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ‪ ،‬ﻭﺘﺤﺘﻔل ﺸﺭﻜﺔ ﻜﻭﻨﻴﻜﺱ ﻜﻴﻠﻴﻥ ﺒﺤـﺼﻭﻝﻬﺎ ﻋﻠـﻰ ﺤﻘـﻭﻕ ﺘﻨﻘﻴـﺏ ﻓـﻲ‬

‫ﻜﺎﺯﺍﺨﺴﺘﺎﻥ ﻭﺘﺘﻭﻴﺞ ﺍﻷﻤﻴﺭ ﺍﻝﺼﻐﻴﺭ ﻤﺸﻌل ﻤﻠﻜﺎ‪.‬‬

‫ﻭﻓﻲ ﻤﺴﺎﺭ ﺁﺨﺭ ﺘﻅﻬﺭ ﻗﺼﺔ ﻝﻌﻤﺎل ﺒﺎﻜﺴﺘﺎﻨﻴﻴﻥ ﻗﺩﻤﻭﺍ ﻝﻠﻌﻤل ﻓﻲ ﻤﺼﻔﺎﺓ ﻜﻭﻨﻴﻜﺱ –ﻜﻴﻠﻴﻥ ﺍﻝﺘﻲ‬

‫ﺘﺴﺘﻐﻨﻲ ﻋﻥ ﻋﻤﺎﻝﻬﺎ ﻷﻥ ﺤﻘﻭﻕ ﺍﻝﺘﺸﻐﻴل ﺃﺼﺒﺤﺕ ﻋﺎﺌﺩﺓ ﻹﺤﺩﻯ ﺍﻝﺸﺭﻜﺎﺕ ﺍﻝﺼﻴﻨﻴﺔ‪ .‬ﻴﻠﺠﺄ ﻭﺴـﻴﻡ‬

‫ﺍﺤﻤﺩ ﺨﺎﻥ ﺇﻝﻰ ﺃﺤﺩ ﺍﻝﻤﺩﺍﺭﺱ ﺍﻻﺴﻼﻤﻴﺔ ﻝﺘﻌﻠﻡ ﺍﻝﻌﺭﺒﻴﺔ ﻝﺘﺯﻴﺩ ﻓﺭﺼﺘﻪ ﻓﻲ ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺍﻝﻌﻤـل‬

‫ﻭﻫﻨﺎ ﻴﺘﻌﺭﻑ ﺇﻝﻰ ﺃﺤﺩ ﺍﻝﺩﻋﺎﺓ ﺍﻝﻤﺼﺭﻴﻴﻥ‪ ،‬ﻴﻜﺴﺏ ﻭﺩﻩ ﻭﺍﻫﺘﻤﺎﻤﻪ ﺒﻴﻨﻤﺎ ﺘﺅﻤﻥ ﻝﻪ ﺍﻝﻤﺩﺭﺴﺔ ﺍﻝﻤﻜـﺎﻥ‬

‫ﺍﻵﻤﻥ ﻭﺍﻝﻁﻌﺎﻡ ﻭﺍﻝﺸﺭﺍﺏ ﺍﻝﺠﻴﺩﻴﻥ‪ .‬ﻴﻨﺘﻬﻲ ﺍﻷﻤﺭ ﺒﻘﻴﺎﻤﻪ ﺒﻌﻤﻠﻴﺔ ﺍﻨﺘﺤﺎﺭﻴﺔ ﻴﻔﺠﺭ ﻓﻴﻬﺎ ﻨﺎﻗﻠـﺔ ﻏـﺎﺯ‬

‫ﻁﺒﻴﻌﻲ ﺘﻌﻭﺩ ﻤﻠﻜﻴﺘﻬﺎ ﻝﺸﺭﻜﺔ ﻜﻭﻨﻴﻜﺱ ‪-‬ﻜﻴﻠﻴﻥ ﺍﻻﻤﺭﻴﻜﻴﺔ‪.‬‬

‫ﻤﺸﺎﻫﺩ ﺍﻝﺫﺭﻭﺓ ﺍﻝﺨﻁﺎﺒﻴﺔ ﻓﻲ ﺍﻝﻔﻴﻠﻡ‪:‬‬

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‫ﻤﻘﺭ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ‪ :‬ﺍﻝﻌﻤﻴل ﺒﻭﺏ ﺒﺎﻨﺯ )ﺠﻭﺭﺝ ﻜﻠﻭﻨﻲ( ﻴﻨﺘﻅﺭ ﻝﻠﻘﻴـﺎﻡ ﺒﺘﺠﺭﺒـﺔ ﺃﺩﺍﺀ‬

‫ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﻭﻅﻴﻔﺔ ﻤﻜﺘﺒﻴﺔ‪ .1‬ﺒﺎﺭﻨﺯ ﻴﺒﺩﻭ ﻤﺘﻭﺘﺭﺍ ﻭﺍﻝﻜﺎﻤﻴﺭﺍ ﺘﺭﻭﺍﺡ ﻓﻲ ﻝﻘﻁﺎﺕ ﻜﺒﻴـﺭﺓ ﺒـﻴﻥ‬

‫ﺒﺎﺭﻨﺯ‪ ،‬ﻭﺃﺨﺭﻯ ﻝﺴﻴﺩﺓ ﺘﺠﻠﺱ ﻗﺒﺎﻝﺘﻪ –ﺒﺎﺭﻨﺯ‪ :‬ﻤﺤﻠﻠﻭﻨﺎ ﻴﻌﻤﻠﻭﻥ ﺠﻴﺩﺍ ﻭﻝﺩﻴﻨﺎ ﺘﻐﻁﻴﺔ ﻜﺎﻤﻠـﺔ ﻋﺒـﺭ‬

‫ﺍﻷﻗﻤﺎﺭ ﺍﻻﺼﻁﻨﺎﻋﻴﺔ‪ ،‬ﻜﻤﺎ ﺃﻨﻨﺎ ﻨﻌﻴﺩ ﺒﺭﻤﺠﺔ ﺍﻝﻤﺼﺎﺩﺭ ﻓﻲ ﺇﻴﺭﺍﻥ – ﺍﻝﺴﻴﺩﺓ ﺘﻘﺎﻁﻌﻪ‪ :‬ﺁﺴـﻔﺔ ﺴـﻴﺩ‬

‫ﺒﺎﺭﻨﺯ ﻭﺃﻫﻼ ﺒﻌﻭﺩﺘﻙ ﻭﻝﻜﻨﻨﺎ ﺒﺤﺎﺠﺔ ﺇﻝﻰ ﻤﻌﻠﻭﻤﺎﺕ ﻤﺅﻜﺩﺓ ‪،‬ﻝﺴﻨﺎ ﺒﺼﺩﺩ ﺍﻝﺘﻭﻗﻌﺎﺕ! ﺍﻝﻬﻨﺩ ﺤﻠﻴﻔﺘﻨـﺎ‬

‫ﻭﺭﻭﺴﻴﺎ ﺤﻠﻴﻔﺘﻨﺎ ﻭﺍﻝﺼﻴﻥ ﺴﺘﻜﻭﻥ ﺤﻠﻴﻔﺘﻨﺎ‪ .‬ﻭﻝﻜﻥ ﻤﺎ ﻫﻭ ﺒﻴﻥ ﺒﺎﻜﺴﺘﺎﻥ ﻭﺍﻝﻤﻐﺭﺏ ﻫـﻭ ﻤـﺸﻜﻠﺘﻨﺎ‪.‬‬

‫ﺃﻨﻅﻤﺔ ﻓﺎﺸﻠﺔ ﻭﻨﻅﻡ ﺍﻗﺘﺼﺎﺩﻴﺔ ﻤﻨﻬﺎﺭﺓ‪ ،‬ﺇﻴﺭﺍﻥ ﻫﻲ ﺍﻝﺤﻠﻴﻑ ﺍﻝﺜﻘﺎﻓﻲ ﺍﻝﻁﺒﻴﻌﻲ ﻝﻠﻭﻻﻴـﺎﺕ ﺍﻝﻤﺘﺤـﺩﺓ‪.‬‬

‫ﺍﻝﻔﺭﺱ ﻻ ﻴﺭﻴﺩﻭﻥ ﺍﻝﻌﻭﺩﺓ ﻝﻠﻘﺭﻥ ﺍﻝﺜﺎﻤﻥ‪.‬ﺍﻝﻁﻼﺏ ﻴﺘﻅﺎﻫﺭﻭﻥ ﺒﺎﻝﺸﻭﺍﺭﻉ ﻭﺨﺎﺘﻤﻲ ﻴﻠﻘﻲ ﺨﻁﺎﺒـﺎﺕ‬

‫ﺠﻴﺩﺓ‪ .‬ﻓﻬل ﺴﺘﺭﻯ ﺩﻭﻝﺔ ﺇﺴﻼﻤﻴﺔ ﻗﻭﻴﺔ ﺒﻨﻅﺎﻡ ﺍﻗﺘﺼﺎﺩﻱ ﺩﻴﻤﻘﺭﺍﻁﻲ ﻏﺭﺒﻲ؟‪ -‬ﻝﻘﻁﺔ ﻜﺒﻴﺭﺓ‪ :‬ﻤﻤﻜﻥ‪،‬‬

‫ﻫﺫﺍ ﻤﻌﻘﺩ – ﺍﻝﺴﻴﺩﺓ ﻤﻘﺎﻁﻌﺔ‪ :‬ﺃﺠل ﺒﺎﻝﺘﺄﻜﻴﺩ ﺸﻜﺭﺍ ﻋﻠﻰ ﻭﻗﺘﻙ – ﺒﺎﺭﻨﺯ ﻴﻠﻡ ﺃﻭﺭﺍﻗﻪ ﻤﻨﻬﻴﺎ ﺍﻝﺤﺩﻴﺙ‪:‬‬

‫ﻝﻘﺩ ﺘﺭﻭﻜﻭﺍ ﺍﻝﺸﺒﺎﺏ ﻴﺘﻅﺎﻫﺭﻭﻥ ﻭﺃﻏﻠﻘﻭﺍ ﺨﻤﺴﻴﻥ ﺼﺤﻴﻔﺔ ﻓﻲ ﺍﻝﻴﻭﻡ ﺍﻝﺘﺎﻝﻲ‪ ،‬ﺭﺍﻗﺒﻲ ﺃﻗﻤﺎﺭ ﺍﻝﺘﺠﺴﺱ‬

‫ﻭﺴﺘﺭﻴﻥ ﺍﺯﺩﻭﺍﺠﻴﺔ ﺍﻝﻤﻌﺎﻴﻴﺭ ﻝﺩﻴﻬﻡ! ﻜﻤﺎ ﺃﻥ ﻫﺫﺍ ﻻ ﻴﻌﻨﻲ ﺘﺨﻠﻲ ﺁﻴﺔ ﺍﷲ ﻋﻥ ﺸﺒﺭ ﻭﺍﺤﺩ ﻤﻥ ﺃﺭﺽ‬

‫ﺍﻷﻤﺔ!‪ -‬ﺍﺤﺩﻫﻡ ﻤﻘﺎﻁﻌﺎ )ﺍﻝﻬﺎﻝﺔ ﻤﻅﻠﻤﺔ( ﺴﻴﺩ ﺒﺎﺭﻨﺯ ﺇﺼﻼﺡ ﺇﻴﺭﺍﻥ ﺃﺤﺩ ﺁﻤﺎل ﺍﻝﺭﺌﻴﺱ ﻝﻠﻤﻨﻁﻘـﺔ‪.‬‬

‫ﻭﻤﻬﻤﺔ ﺃﻴﻀﺎ ﻝﺘﺤﻘﻴﻕ ﺍﻷﻤﻥ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ‪-.‬ﺁﺨﺭ‪ :‬ﻫﺫﺍﻥ ﺍﻝﺴﻴﺩﺍﻥ ﻤﻥ ‪ CLI‬ﺠﻤﺎﻋﺔ‬

‫ﻨﺸﺭ ﺍﻝﺤﺭﻴﺔ ﺒﺈﻴﺭﺍﻥ ‪.2‬‬

‫ﺠﻨﻭﺏ ﺍﺴﺒﺎﻨﻴﺎ – ﺍﻷﻤﻴﺭ ﺍﻝﺼﺒﺎﺡ ﻴﻘﻴﻡ ﺍﺤﺘﻔﺎﻻ ﻀﺨﻤﺎ ﻴﻔﺘﺘﺢ ﺨﻼﻝﻪ ﻗـﺼﺭ ﻤـﺎﺭﺒﻴﻼ‪ .‬ﺍﻝﻬﺎﻝـﺔ‬

‫ﻤﻀﻴﺌﺔ ﻝﺤﺩﺍﺌﻕ ﻭﺍﺭﻓﻪ ﻭﻗﺼﻭﺭ ﻓﺎﺭﻫﺔ ﻭﺃﻭﻻﺩ ﻴﻘﻭﻤﻭﻥ ﻋﻠﻰ ﻀﻴﺎﻓﺔ ﺍﻝﺘﻤﺭ ﻭﺍﻝﻘﻬﻭﺓ‪ .‬ﺍﻝﻤـﺩﻋﻭﻭﻥ‬

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‫ﺒﻭﺏ ﺒﺎﺭﻨﺯ ﺸﺨﺼﻴﺔ ﺘﻤﺜل ﻋﻤﻴل ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻲ ﺍﻝﺫﻱ ﻴﻘﻭﻡ ﺒﻌﻤﻠﻴﺎﺕ ﻋﻠﻰ ﺍﻷﺭﺽ‪.‬ﺤﻴـﺙ ﻗـﺎﻡ ﺒـﺎﺨﺘﺭﺍﻕ ﺤـﺯﺏ ﺍﷲ ﻓـﻲ‬
‫ﺍﻝﺜﻤﺎﻨﻴﻨﻴﺎﺕ‪.‬ﻜﻤﺎ ﻋﻤل ﻜﻤﺘﻌﻘﺏ ﻝﺘﺠﺎﺭ ﺍﻷﺴﻠﺤﺔ ﻓﻲ ﻁﻬﺭﺍﻥ ‪.‬ﻭﻗﺩ ﻓﻘﺩ ﻓﻲ ﺍﺤﺩ ﻋﻤﻠﻴﺎﺘﻪ ﺼﺎﺭﻭﺨﺎ ﻤﻀﺎﺩﺍ ﻝﻠـﺩﺒﺎﺒﺎﺕ ﻝﺠﻬـﺎﺕ ﻻ ﻴﻌﻠـﻡ‬
‫ﻤﺼﺩﺭﻫﺎ‪.‬‬
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‫ﻴﻅﻬﺭ ﺃﺼﺤﺎﺏ ﺸﺭﻜﺎﺕ ﺘﻨﻘﻴﺏ ﺍﻝﻨﻔﻁ ﻜﺄﻋﻀﺎﺀ ﻝﺠﻤﺎﻋﺔ ﻨﺸﺭ ﺍﻝﺤﺭﻴﺔ ﺒﺈﻴﺭﺍﻥ‪ .‬ﻜﻤﺎ ﻴﻅﻬﺭ ﺃﻥ ﺭﺴـﺎﻝﺘﻬﻡ ﺘﻜﻤـﻥ ﻓـﻲ ﻨـﺸﺭ ﺃﺠـﻭﺍﺀ‬
‫ﺍﻝﺩﻴﻤﻘﺭﺍﻁﻴﺔ ﻭﺍﻝﺘﻌﺎﻤل ﻤﻊ ﺍﻴﺭﺍﻥ ﻜﻼﻋﺏ ﻤﻬﻡ ﻓﻲ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‪.‬‬

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‫ﻴﺘﻭﺍﻓﺩﻭﻥ‪ ،‬ﻭﻫﻡ ﺃﺼﺤﺎﺏ ﺸﺭﻜﺎﺕ ﻨﻔﻁﻴﺔ ﻭﻤﺴﺘﺸﺎﺭﻭﻥ ﺍﻗﺘﺼﺎﺩﻴﻭﻥ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻤﻭﻅﻔﻲ ﺍﻝﺸﺭﻜﺎﺕ‬

‫ﺍﻷﺠﻨﺒﻴﺔ ﺍﻝﻌﺎﻤﻠﺔ ﻓﻲ ﺍﻝﺼﻨﺎﻋﺎﺕ ﺍﻝﻨﻔﻁﻴﺔ‪.‬ﺃﻗﺴﺎﻡ ﺨﺎﺼﺔ ﺒﺎﻷﻁﻔﺎل‪ .‬ﻤﺴﺎﺒﺢ ﻀﺨﻤﺔ‪ .‬ﺨﻠﻔﻴﺔ ﻤـﺴﺠﻠﺔ‬

‫ﻝﺼﻭﺕ ﺍﻷﻤﻴﺭ ﺍﻝﺼﺒﺎﺡ ﻤﺭﺤﺒﺎ ﺒﺎﻝﻀﻴﻭﻑ ﻁﺎﻝﺒﺎ ﻤﻨﻬﻡ ﺍﻻﺴﺘﻤﺘﺎﻉ ﻭﺍﻻﺴﺘﺭﺨﺎﺀ ﻓﻲ ﻅﻼل ﺤـﺩﺍﺌﻕ‬

‫ﻭﻗﺼﺭ ﻤﺎﺭﺒﻴﻼ‪ ،‬ﺒﻴﻨﻤﺎ ﻴﻘﻭﻡ ﺍﻷﻤﺭﺍﺀ ﺒﺘﻭﻗﻴﻊ ﻋﻘﺩ ﻴﻤﻨﺢ ﺍﻝﺸﺭﻜﺎﺕ ﺍﻝﺼﻴﻨﻴﺔ ﺍﻝﺘﻲ ﻗـﺩﻤﺕ ﺍﻝﻌـﺭﺽ‬

‫ﺍﻷﻓﻀل ﺤﻕ ﺍﻝﺘﻨﻘﻴﺏ ﻋﻥ ﺍﻝﻐﺎﺯ ﺍﻝﻁﺒﻴﻌﻲ‪.‬‬

‫ﻤﺸﺎﻫﺩ ﺨﻠﻔﻴﺔ ﺘﻅﻬﺭ ﺍﻝﻤﺴﺘﺸﺎﺭ ﺍﻻﻗﺘﺼﺎﺩﻱ ﺒﺭﻴﺎﻥ ﺍﻝﺫﻱ ﺘﻭﺠﻪ ﻝﻠﻤﻜﻠﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ – ﻴﺘﺤﺩﺙ ﺇﻝﻰ‬

‫ﺯﻭﺠﺘﻪ ﻋﺒﺭ ﺍﻝﻬﺎﺘﻑ‪ ،‬ﺘﻭﻝﻴﻑ ﻝﻤﺸﺎﻫﺩ ﻤﺨﺘﻠﻔﺔ ﺃﺜﻨﺎﺀ ﺴﻴﺭﻩ ﻓﻲ ﺍﻝﻁﺭﻴﻕ‪ ،‬ﺍﺴﺘﻠﻘﺎﺀﻩ‪ ،‬ﺠﻠﻭﺴـﻪ ﻋﻠـﻰ‬

‫ﺍﻷﺭﻴﻜﺔ‪ ،‬ﺍﻝﻬﺎﻝﺔ ﻝﺼﻭﺘﻪ ﺍﻝﻬﺎﺩﺉ – ﻫﻨﺎﻙ ﺃﺴﻬﻡ ﺘﺭﺸﺩ ﺇﻝﻰ ﻤﻜﺔ‪ ،‬ﺍﻝﺘﻜﻴﻑ ﻝﺸﺭﻜﺔ ﺒـﻥ ﻻﺩﻥ‪ ،‬ﺇﻨﻬـﻡ‬

‫ﻴﺠﻨﻭﻥ ﻤﻥ ﻭﺭﺍﺀﻫﺎ ﻤﻼﻴﻴﻥ ﺍﻝﺩﻭﻻﺭﺍﺕ! ﻋﻨﺩﻤﺎ ﻭﺼﻠﺕ ﺇﻝﻰ ﺍﻝﻤﻁﺎﺭ ﻜﺄﻥ ﺼﺎﻋﻘﺔ ﻭﻗﻌﺕ ﻋﻠﻲ‪ .‬ﻜل‬

‫ﺍﻝﺭﺠﺎل ﻴﺭﺘﺩﻭﻥ ﺠﻼﺒﻴﺏ ﺒﻴﻀﺎﺀ‪ .‬ﺩﻭﻥ ﻭﺠﻭﺩ ﺒﻘﻌﺔ ﻭﺍﺤﺩﺓ ﺃﻨﺎ ﻻ ﺃﻓﻬﻡ ﻫﺫﺍ‪ .‬ﺍﻝﻨﺴﺎﺀ ﻴﺭﺘﺩﻴﻥ ﺍﻷﺴﻭﺩ‬

‫ﻤﻥ ﺍﻝﺭﺃﺱ ﺤﺘﻰ ﺍﻝﻘﺩﻡ ﻭﻴﻤﺸﻴﻥ ﻋﻠﻰ ﺒﻌﺩ ﺨﻤﺴﺔ ﺃﻗﺩﺍﻡ ﻤﻥ ﺍﻝﺭﺠﺎل‪ .‬ﻤﻥ ﺠﻤﻠﻬﻡ ﺍﻝﻤﻌﺘﺎﺩﺓ" ﺍﻝﺠﻭ ﺤﺎﺭ‬

‫ﻫﺫﺍ ﺍﻝﻴﻭﻡ ﻝﻴﺱ ﻋﻠﻴﻨﺎ ﺍﻝﻌﻤل" ﺃﻨﺎ ﻻ ﺍﻓﻬﻡ ﻜﻴﻑ ﻴﻨﺠﺯﻭﻥ ﺍﻷﻋﻤﺎل‪ .‬ﺍﻭﻭﻩ ﺃﻭﺩ ﺃﻥ ﺃﺭﺍﻫـﻡ ﻴﻠﻌﺒـﻭﻥ‬

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‫ﺍﻝﺒﻴﺴﺒﻭل‪.‬‬

‫ﺼﻼﺓ ﺠﻤﺎﻋﺔ ﻓﻲ ﺃﺤﺩ ﺍﻝﻤﺴﺎﺠﺩ‪ :‬ﺍﻝﺠﻤﻴﻊ ﻴﺭﺘﺩﻭﻥ ﺠﻼﺒﻴﺏ ﺒﻴﻀﺎﺀ‪ ،‬ﺁﺨﺭﻭﻥ ﻴﻘﺭﺍﺅﻥ ﺍﻝﻘـﺭﺁﻥ‪،‬‬

‫ﻝﻘﻁﺔ ﻋﺎﻤﺔ ﻝﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻌﻤﺎل ﺍﻝﻬﻨﻭﺩ ﻴﺘﻨﺎﻭﻝﻭﻥ ﺍﻝﻁﻌﺎﻡ‪ .‬ﺸﻴﺦ ﻴﺘﻭﺴﻁ ﺤﻠﻘﺔ‪" :‬ﺴﻴﺤﺎﻭﻝﻭﻥ ﻁﻤﺱ‬

‫ﺍﻻﺨﺘﻼﻑ ﺤﺘﻰ ﻴﺒﺩﻭ ﺍﻝﻤﺘﺩﻴﻨﻭﻥ ﻜﺎﻝﻤﺘﻌﺼﺒﻴﻥ ﻭﺍﻝﻤﺘﺨﻠﻔﻴﻥ‪ .‬ﺴﻴﻘﻠﻭﻥ ﺃﻥ ﺍﻻﺨﺘﻼﻑ ﻫﻭ ﺍﺨﺘﻼﻑ ﻓﻲ‬

‫ﺍﻝﻤﻭﺍﺭﺩ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻝﻘﻭﺓ ﺍﻝﻌﺴﻜﺭﻴﺔ‪ ،‬ﻭﻝﻭ ﺼﺩﻗﻨﺎ ﺫﻝﻙ ﺴﻨﺼﺒﺢ ﻝﻌﺒﺔ ﻓﻲ ﺃﻴﺩﻴﻬﻡ! ﻭﻻ ﻴﻤﻜﻥ ﺴـﺩ‬

‫ﺍﻝﻔﺠﻭﺓ ﺒﻴﻥ ﺍﻝﻁﺒﻴﻌﺔ ﺍﻝﺒﺸﺭﻴﺔ ﻭﺍﻝﺤﻴﺎﺓ ﺍﻝﺤﺩﻴﺜﺔ ﺒﺎﻝﺘﺠﺎﺭﺓ ﺍﻝﺤﺭﺓ‪.‬ﺍﻝﺩﻴﻥ ﻭﺍﻝﺩﻭﻝـﺔ‪ .‬ﺍﻝـﺩﻴﻥ ﻭﺍﻝﺩﻭﻝـﺔ‬

‫ﻤﻠﻬــﻭﻤﺵ ﺇﻻ ﻤﻔﻬــﻭﻡ ﻭﺍﺤــﺩ ﺍﻝﻘــﺭﺁﻥ‪..‬ﺍﻝﻘــﺭﺁﻥ ‪..‬ﻭﻻ ﻴﻤﻜﻨﻨــﺎ ﺍﻝﻔــﺼل ﺒــﻴﻥ ﺍﻝــﺩﻴﻥ‬

‫‪ 1‬ﺇﺸﺎﺭﺓ ﺇﻝﻰ ﺒﻌﺽ ﺍﻝﺴﻠﻭﻜﻴﺎﺕ ﻭﺍﻝﻌﺎﺩﺍﺕ ﺍﻝﻌﺭﺒﻴﺔ‪ .‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﻁﺭﻴﻘﺔ ﺍﻝﻠﺒﺎﺱ‪.‬‬

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‫ﻭﺍﻝﺩﻭﻝﺔ‪...‬ﺍﻝﻘﺭﺁﻥ‪..‬ﻤﺵ ﻤﻠﻭﻙ ﻭﻋﺒﻴﺩ‪..‬ﻻ ‪..‬ﻭﻻ ﻴﻤﻜﻥ ﺍﻝﻘﻀﺎﺀ ﻋﻠﻰ ﻀﻨﻙ ﺍﻝﻌﻴﺵ ﻋـﻥ ﻁﺭﻴـﻕ‬

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‫ﺍﻝﻠﻴﺒﺭﺍﻝﻴﺔ‪ ،‬ﻭﺍﻝﺩﻝﻴل ﺴﻜﻭﺕ ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﻠﻴﺒﺭﺍﻝﻴﺔ‪ ،‬ﺴﻜﻭﺕ ﺍﻝﻼﻫﻭﺕ ﺍﻝﻤﺴﻴﺤﻲ ‪،‬ﺴﻜﻭﺕ ﺍﻝﻐﺭﺏ "‪.‬‬

‫ﻤﺤﺎﻤﻭﻥ ﻭﺭﺠﺎل ﺸﺭﻜﺎﺕ ﺍﻝﻨﻔﻁ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻴﺠﻠﺴﻭﻥ ﺒﺼﺤﺒﺔ ﺍﻷﻤﻴﺭ ﺍﻝﺼﻐﻴﺭ ﻤﺸﻌل‪ ،‬ﻴﺤﺘﺴﻭﻥ‬

‫ﺍﻝﺸﺭﺍﺏ – ﺃﺤﺩﻫﻡ‪ :‬ﺍﻝﺭﺃﺴﻤﺎﻝﻴﺔ ﻝﻥ ﺘﻘﺒل ﺍﻝﺨﺴﺎﺭﺓ!‪ -‬ﺴﻴﺩﻱ ﺍﻷﻤﻴﺭ ﻫل ﺜﻤﺔ ﻤﺎ ﻨﻔﻌﻠـﻪ ﻝـﻙ ؟ ‪-‬‬

‫ﺍﻷﻤﻴﺭ‪ :‬ﻫﻬﻬﻪ ﺍﻷﻤﺭﻴﻜﻴﻭﻥ ﻴﺴﻌﺩﻭﻥ ﺒﺎﻝﺘﻨﻘﻴﺏ ﺒﺄﺭﺍﺽ ﺍﻵﺨﺭﻴﻥ!‪ -‬ﺍﻤﻡ ﺃﻋﺭﻑ ﺃﺨﺎﻙ ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ‬

‫ﺇﻨﻪ ﻭﺯﻴﺭ ﺨﺎﺭﺠﻴﺔ ﻻﻤﻊ! ﻭﻗﺩ ﺤﺎﻥ ﺩﻭﺭﻙ ﺍﻵﻥ‪-.‬ﺁﺨﺭ –ﻝﻬﺠﺔ ﺴﺨﺭﻴﺔ ﻤﺘﻌﻤﺩﺓ‪ :-‬ﻫﻬـﻪ ﺍﻻﺒـﻥ‬

‫ﺍﻝﺜﺎﻨﻲ ﻤﻐﻤﻭﺭ ﺒﺴﺒﺏ ﻋﺎﺌﻠﺘﻪ ﻭﻻ ﻴﺠﻴﺏ ﻋﻥ ﺭﻏﺒﺎﺘﻪ ﻋﻨﺩﻤﺎ ﻴﺴﺎل ﻋﻨﻬﺎ! ﺭﻀﻴﻊ ﺨﺎﺌﻑ ﻤﻥ ﺃﺨﻴـﻪ‬

‫ﺍﻝﻜﺒﻴﺭ!‪ -‬ﻝﻬﺠﺔ ﺴﺎﺨﺭﺓ‪-‬ﺭﺒﻤﺎ ﻴﺭﻴﺩ ﺃﻥ ﻴﻜﻭﻥ ﻤﻠﻜﺎ ‪.‬ﺤﺴﻨﺎ ﺃﻴﻬﺎ ﺍﻷﻤﻴﺭ ﻫل ﺃﻨﺕ ﺍﻝﻤﻠﻙ ‪،‬ﻫﺎﺍ ﺃﺨﺒﺭﻨﻲ‬

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‫ﺒﻤﺎ ﺘﺭﻴﺩ‪.‬‬

‫ﺒﻴﺭﻭﺕ – ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ ﻴﻠﻘﻲ ﺨﻁﺎﺒﺎ ﺃﻤﺎﻡ ﺍﻝﻔﻨﺩﻕ ﻓﻲ ﻤﺅﺘﻤﺭ ﺼﺤﻔﻲ )ﻤﺭﺘﺩﻴﺎ ﺠﻠﺒﺎﺒﺎ ﺃﺒـﻴﺽ‬

‫ﻭﻋﺒﺎﺀﺓ ﻋﺭﻴﻀﺔ ‪ :‬ﻨﻌﺩ ﺠﻴﻼ ﻋﺭﺒﻴﺎ ﺠﺩﻴﺩﺍ ‪.‬ﻋﻠﻰ ﻋﻜﺱ ﻭﺍﺸﻨﻁﻥ‪ ،‬ﻓﺎﻝﻁﻤﻭﺤﺎﺕ ﺍﻝﺸﺭﻕ ﺃﻭﺴـﻁﻴﺔ‬

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‫ﺃﻗﻭﻯ ﺒﻜﺜﻴﺭ‪ .‬ﻭﻨﺤﺘﺭﻡ ﻜل ﺩﻭﻝﺔ ﺘﺴﻴﺭ ﻋﻠﻰ ﺨﻁﺎﻫﺎ ﻫﻲ‪.‬‬

‫ﺴﻭﻴﺴﺭﺍ –ﻏﺭﻓﺔ ﻓﻨﺩﻕ – ﺍﻝﻤﻠﻙ ﺍﻝﺼﺒﺎﺡ ﻴﺘﻠﻘﻰ ﻋﻼﺠﺎ –ﻫﺎﻝﺔ ﺭﻴﺒـﺔ ﺘﻌـﻡ ﺃﺭﺠـﺎﺀ ﺍﻝﻤﻜـﺎﻥ‬

‫‪،‬ﻤﺠﻤﻭﻋﺔ ﻤﻥ ﺍﻝﻤﺤﺎﻤﻴﻥ ﺍﻻﻤﺭﻴﻜﻴﻥ ﻴﺘﺤﺎﺩﺜﻭﻥ ﻓﻲ ﺍﻝﺼﺎﻝﺔ ﺇﻝﻰ ﺍﻷﻤﻴﺭ ﻤﺸﻌل ‪ -.‬ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ ‪:‬‬

‫ﺒﻤﺎﺫﺍ ﻴﻔﻜﺭ ﻫﺅﻻﺀ ﺍﻷﻤﺭﻴﻜﻴﻭﻥ ﻭﺃﺨﻲ ؟ ﻫﺎﺍ؟ ﻤﺎﺫﺍ ﻴﺨﻁﻁﻭﻥ ﻝﻲ )ﻴﻨﻅﺭ ﺒﺎﺘﺠﺎﻫﻬﻡ ﻋﻥ ﺒﻌـﺩ ‪-.‬‬

‫ﺒﺭﺍﻴﺎﻥ‪ :‬ﻫﺎﺍ‪ .‬ﺒﻤﺎﺫﺍ ﻴﻔﻜﺭﻭﻥ ﻴﺎ ﺘﺭﻯ )ﻏﺎﻀﺒﺎ( ﺒﻤﺎﺫﺍ ﻴﻔﻜﺭﻭﻥ؟ ﻤﺎﺫﺍ ﻴﺨﻁﻁﻭﻥ ﻝـﻙ؟ ﺘﺒـﺎ؟ ﺍﻨـﻪ‬

‫ﻴﻨﻔﺫ‪..‬ﻴﻨﻔﺫ‪ .‬ﻭﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ﻝﺩﻴﻪ ﺘﺴﻌﻭﻥ ﺒﺎﻝﻤﺎﺌﺔ ﻤﻨﻪ‪ .‬ﺍﻨﻅﺭ ﻤﺠﺭﻯ ﺍﻷﺤﺩﺍﺙ ﺘـﺄﻤﻴﻡ ﺍﻝـﺴﻭﻴﺱ‬

‫ﺨﻁﺎﺏ ﻷﺤﺩ ﺭﺠﺎل ﺍﻝﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ ‪.‬ﻨﻼﺤﻅ ﺍﻝﺘﻐﻴﺭ ﻓﻲ ﻤﻀﻤﻭﻥ ﺍﻝﺨﻁﺎﺏ‪ ،‬ﻓﻘﺩ ﺨﺭﺝ ﻋﻥ ﺍﻻﻋﺘﻴﺎﺩﻴﺔ ﺍﻝﺘﻲ ﺘﺸﺭﻱ ﺇﻝﻰ ﺃﻫﺩﺍﻑ‬ ‫‪1‬‬

‫ﺍﻝﺠﻤﺎﻋﺔ ﺍﻹﺴﻼﻤﻴﺔ ﻓﻲ ﻁﺭﺩ ﺍﻻﻤﺭﻴﻜﻴﻥ ﻭﻗﺘﻠﻬﻡ ﺇﻝﻰ ﺤﺎﻝﺔ ﻭﺼﻑ ﺍﻝﻭﺍﻗﻊ ﻭﺘﺤﺩﻴﺩ ﺍﻝﻤﺸﻜﻠﺔ ﻜﻤﺎ ﻴﺘﻡ ﺇﺩﺨﺎل ﻤﺼﻁﻠﺤﺎﺕ ﻝﻬﺎ ﻋﻼﻗﺔ‬
‫ﺒﺎﻹﺴﻼﻡ ﺍﻝﺴﻴﺎﺴﻲ ﻭﺍﻻﻗﺘﺼﺎﺩ‪..‬ﻨﻘﺩ ﺍﻝﻠﻴﺒﺭﺍﻝﻴﺔ‪.‬‬
‫‪ 2‬ﻴﺤﺎﻭل ﺒﻌﺽ ﺃﺼﺤﺎﺏ ﺍﻝﺸﺭﻜﺎﺕ ﺍﻝﻨﻔﻁﻴﺔ ﺍﻝﺤﺼﻭل ﻋﻠﻰ ﺤﻘﻭﻕ ﺍﻝﺘﻨﻘﻴﺏ ﻤﻥ ﺨﻼل ﺇﻏﻭﺍﺀ ﺍﻷﺥ ﺍﻝﺼﻐﻴﺭ‪-‬ﺍﻷﻤﻴﺭ ﻤﺸﻌل‪ -‬ﻝﻌﻠﻤﻬﻡ ﺍﻨﻪ‬
‫ﻴﻤﻴل ﺇﻝﻰ ﺍﻝﺘﺭﻑ‪ .‬ﻭﺍﻥ ﺜﻤﺔ ﺇﻤﻜﺎﻨﻴﺔ ﻻﺴﺘﻐﻼﻝﻪ‪.‬‬
‫ﺇﺸﺎﺭﺓ ﻤﺘﻌﺎﺭﻀﺔ ﻓﻬﺫﺍ ﺍﻷﺥ ﺍﻷﻜﺒﺭ –ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ‪ -‬ﺭﺠل ﺘﻐﻴﻴﺭ‪ .‬ﻴﺭﻴﺩ ﺍﺴﺘﺜﻤﺎﺭ ﺍﻹﻤﻜﺎﻨﺎﺕ ﻝﺨﻠﻕ ﺠﻴل ﺠﺩﻴﺩ ﻗﺎﺩﺭ ﻋﻠﻰ ﺍﻝﻨﻬﻭﺽ‬ ‫‪3‬‬

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‫ﻭﺤﺭﺏ‪ 73‬ﺜﻡ ﺤﺭﺏ ﺍﻝﺨﻠﻴﺞ ﺍﻷﻭﻝﻰ ﺜﻡ ﺍﻝﺜﺎﻨﻴﺔ‪ .‬ﺴﻤﻭ ﺍﻷﻤﻴﺭ ﺇﻨﻬﺎ ﻤﻌﺭﻜﺔ ﺍﻝﺤﻴﺎﺓ ﺃﻭ ﺍﻝﻤﻭﺕ! ﻭﺘﺴﺄل‬

‫ﺒﻤﺎ ﻴﻔﻜﺭﻭﻥ‪ .‬ﺍﺴﺘﻤﺭ ﺒﺼﺭﻑ ﺨﻤﺴﻴﻥ ﺃﻝﻑ ﺩﻭﻻﺭ ﻤﻥ ﺃﺠل ﻏﺭﻓﺔ ﻓﻲ ﻓﻨﺩﻕ ﻭﻻ ﺘﺴﺘﺜﻤﺭﻫﺎ ﻓـﻲ‬

‫ﺍﻝﺒﻨﻴﺔ ﺍﻝﺘﺤﺘﻴﺔ! ﻻ ﺘﺒﻨﻲ ﺍﻗﺘﺼﺎﺩﺍ ﺤﻘﻴﻘﻴﺎ ﻭﻋﻨﺩﻤﺎ ﺘﺘﻴﻘﻅ ﺴﻴﻜﻭﻨﻭﻥ ﻗﺩ ﺍﻤﺘﺼﻭﻙ ﻭﻗﺩ ﺠﻔـﺕ ﺃﻋﻅـﻡ‬

‫ﻤﺼﺎﺩﺭ ﺍﻝﻁﺒﻴﻌﺔ! ل‪.‬ﻙ ﻜﺒﻴﺭﺓ‪ :‬ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ‪ :‬ﺘﻌﺎل ﺃﺭﺠﻭﻙ –ﻴﺩﺨﻠﻭﻥ ﺇﻝﻰ ﻏﺭﻓﺔ ﻤﻐﻠﻘﺔ – ﺒﺭﺍﻴﺎﻥ‬

‫ﺍﺴﻤﻊ ﻝﻘﺩ ﺩﺭﺴﺕ ﻓﻲ ﺃﻜﺴﻔﻭﺭﺩ ﻭﻨﻠﺕ ﺍﻝﺩﻜﺘﻭﺭﺍﻩ ﻤﻥ ﺠﺎﻤﻌﺔ ﺠﻭﺭﺠﺘﺎﻭﻥ‪ .‬ﺃﺭﻴﺩ ﺃﻥ ﺃﺼﻨﻊ ﺒﺭﻝﻤﺎﻨﺎ‪،‬‬

‫ﻭﺃﺴﻤﺢ ﻝﻠﻨﺴﺎﺀ ﺒﺎﻝﺘﺼﻭﻴﺕ‪ ،‬ﺃﺭﻴﺩ ﻨﻅﺎﻤﺎ ﻗﻀﺎﺌﻴﺎ ﺤﺭﺍ‪ .‬ﺘﺒﺎﺩﻻ ﺘﺠﺎﺭﻴﺎ ﻓﻲ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ﺃﺭﻴـﺩ ﺃﻥ‬

‫ﺃﻁﺭﺩ ﺍﻹﻗﻁﺎﻋﻴﻴﻥ ﻭﺃﻗﺒل ﺍﻝﻌﺭﻭﺽ ﺍﻷﻓﻀل ﻝﻼﺴﺘﺜﻤﺎﺭ‪ .‬ﺃﻗﻴﻡ ﺨﻁﻭﻁـﺎ ﻷﻭﺭﻭﺒـﺎ ﻭﺃﻥ ﺃﺸـﺤﻥ‬

‫ﻝﻠﺼﻴﻥ‪ .‬ﺃﺠﻨﻲ ﺍﻝﺭﺒﺢ ﻭﺍﺴﺘﺨﺩﻤﻪ ﻝﺒﻨﺎﺀ ﺒﻼﺩﻱ – ﻫﺫﺍ ﻤﺩﻫﺵ – ﻫﺎ ﻫﺫﺍ ﻤﺩﻫﺵ! ﻭﻝﻜـﻥ ﺭﺌﻴـﺴﻙ‬

‫ﺴﻴﺘﺼل ﺒﺄﺒﻲ ﻭﻴﻘﻭل‪ :‬ﻝﺩﻱ ﺒﻁﺎﻝﺔ ﻓﻲ ﻜﻨﺴﺎﺱ ﻭﺘﻜﺴﺎﺱ ﻭﻭﺍﺸﻨﻁﻭﻥ‪ .‬ﻭﺴﻭﻑ ﻨﺸﺘﺭﻱ ﻁـﺎﺌﺭﺍﺕ‬

‫ﺒﺄﺜﻤﺎﻥ ﺃﻏﻠﻰ! ﻝﻘﺩ ﻗﺒﻠﺕ ﺍﻝﻌﺭﺽ ﺍﻝﺼﻴﻨﻲ ﻭﻫﺎﻨﺎ ﺃﺼﺒﺢ ﺇﺭﻫﺎﺒﻴﺎ ﻭﺸﻴﻭﻋﻴﺎ ﻤﻠﺤﺩﺍ! ﻭﺍﻴﺘـﻨﺞ ﻝـﻴﺱ‬

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‫ﺭﺠل ﺃﺨﻲ‪ ،‬ﻭﺍﻷﻤﺭﺍﺀ ﺍﻝﻐﺎﻀﺒﻭﻥ‪ ،‬ﺇﻨﻪ ﺸﺭﻜﺔ ﻜﻭﻨﻴﻜﺱ ﺇﻨﻬﻡ ﻴﻀﻐﻁﻭﻥ ﻹﻝﻐﺎﺀ ﺍﻝﻌﻘﺩ ﺍﻝﺼﻴﻨﻲ‪.‬‬

‫ﺍﻝﻤﺸﺎﻫﺩ ﺒﻴﻥ ﺍﻝﺤﻴﻥ ﻭﺍﻵﺨﺭ ﻝﻤﺩﺭﺴﺔ ﺇﺴﻼﻤﻴﺔ ﻓﻲ ﺍﻝﺨﻠﻴﺞ ﺍﻝﻔﺎﺭﺴﻲ ﻴﺩﻴﺭﻫﺎ ﻋﺩﺩ ﻤﻥ ﺍﻝـﺸﻴﻭﺥ‬

‫ﺍﻝﻤﺼﺭﻴﻴﻥ ﻭﻴﻘﻭﻤﻭﻥ ﺒﺎﺴﺘﻘﻁﺎﺏ ﺍﻝﻌﻤﺎل ﺍﻝﻬﻨﻭﺩ ﻭﺍﻝﺒﺎﻜﺴﺘﺎﻨﻴﻴﻥ‪ :‬ﻴﺤﻀﺭﻭﻥ ﺍﻻﺠﺘﻤﺎﻋﺎﺕ ﻭﺍﻝﺤﻠﻘﺎﺕ‬

‫ﺍﻝﺩﻴﻨﻴﺔ‪ ،‬ﻴﻘﺩﻤﻭﻥ ﻝﻬﻡ ﺍﻝﻁﻌﺎﻡ‪ .‬ﻭﻴﺸﺎﻫﺩﻭﻥ ﺃﺸﺭﻁﺔ ﻓﻴﺩﻴﻭ ﻝﻭﺼﺎﻴﺎ ﺸﻬﺩﺍﺀ ﻗـﺎﻤﻭﺍ ﺒﺘﻔﺠﻴـﺭﺍﺕ ﻓـﻲ‬

‫ﺍﻝﺨﻠﻴﺞ ﺍﻝﻔﺎﺭﺴﻲ‪.‬‬

‫ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ ﻓﻲ ﺃﺤﺩ ﺍﻝﻤﺴﺎﺠﺩ ﻤﺘﺤﺩﺜﺎ ﺇﻝﻰ ﻋﺩﺩ ﻤﻥ ﺍﻝﺭﺠﺎل ﻓـﻲ ﺤﻠﻘـﺔ ﺩﻴﻨﻴـﺔ‪ :‬ﺍﻝﻌـﺭﺏ‬

‫ﻴﺤﻜﻤﻭﻨﻬﻡ ﻨﺎﺱ ﻤﺎ ﻴﺤﺘﺭﻤﻭﻥ ﺍﻝﻘﺎﻨﻭﻥ‪ .‬ﻴﺤﺘﻜـﺭﻭﻨﻬﻡ‪ ،‬ﻴـﺅﺨﺭﻭﻥ ﺍﻝﻌﻤﺎﻝـﺔ ﺍﻝﺘﺠﺎﺭﻴـﺔ‪ ,‬ﻭﻴﻠﻘـﻭﺍ‬

‫ﺒﻤﻌﺎﺭﻀﻴﻬﻡ ﺒﺎﻝﺴﺠﻭﻥ ﺃﻭ ﻴﻘﺘﻠﻭﻨﻬﻡ‪ .‬ﻭﺍﻝﻨﺴﺎﺀ ﻴﻌﺎﻤﻠﻭﻫﻥ ﻜﻨﻬﻡ ﻤﻥ ﺍﻝﺩﺭﺠـﺔ ﺍﻝﺜﺎﻨﻴـﺔ – ﺃﺤـﺩﻫﻡ‪:‬‬

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‫ﺍﻝﺘﻔﺎﺘﺔ ﻤﺘﻜﺭﺭﺓ ﺇﻝﻰ ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ‪ .‬ﺒﺤﻴﺙ ﻴﺒﺩﻭ ﺭﺠﻼ ﻤﺘﻌﻠﻤﺎ ﻭﻤﺘﻨﺒﻬﺎ‪،‬ﻤﺤﻴﻁﺎ ﺒﺎﻷﻤﻭﺭ ﻤﻥ ﺤﻭﻝﻪ‪،‬ﻜﻤﺎ ﻴﺭﻴﺩ ﺃﺤﺩﺍﺙ ﺘﻐﻴﺭﺍ ﻋﻠﻰ ﺍﻷﺼﻌﺩﺓ‬
‫ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻻﺴﺘﺜﻤﺎﺭﻴﺔ ﻭﺃﻤﻭﺭ ﺘﺨﺹ ﺍﻝﺒﻨﻴﺔ ﺍﻝﺘﺤﺘﻴﺔ‪ .‬ﻜﻤﺎ ﺍﻨﻪ ﻴﻌﻠﻡ ﺃﻥ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺴﺘﻌﻤل ﺠﺎﻫﺩﺓ ﻝﻠﺴﻴﻁﺭﺓ ﻋﻠﻰ ﺍﻝﺼﻨﺎﻋﺎﺕ‬
‫ﺍﻝﻨﻔﻁﻴﺔ ﻓﻲ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‬

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‫ﺍﻷﻤﺭﻴﻜﺎﻥ ﻴﺭﻴﺩﻭﻥ ﻴﺘﻭﺠﻭﻥ ﺃﺨﻭﻙ ﻭﻴﺩﻋﻤﻭﻨﻪ ﻭﻋﻨﺩﻫﻡ ﺤﻭﺍﻝﻲ ﻋﺸﺭ ﺁﻻﻑ ﺠﻨﺩﻱ ﻓﻲ ﺒﻼﺩﻨـﺎ‪-.‬‬

‫ﺼﺢ‪ ،‬ﺃﺒﻭﻱ ﻤﺭﻴﺽ ﻤﺎ ﻴﺒﻐﻲ ﻴﺤﺎﺭﺏ ﺍﻷﻤﺭﻴﻜﺎﻥ ﻝﻜﻥ ﻓﻲ ﻨﺎﺱ ﻴﺒﻐﻭﻥ‪ .‬ﺒﻠـﺩ ﻋـﺩﺩ ﺴـﻜﺎﻨﻬﺎ ﻻ‬

‫ﻴﺘﺠﺎﻭﺯ ‪ %5‬ﻭﺇﻨﻔﺎﻗﻬﺎ ﺍﻹﺠﻤﺎﻝﻲ ﻤﻨﻪ ‪ %50‬ﻋﻠﻰ ﺍﻝﺘﺴﻠﻴﺢ ﻫﺫﺍ ﻤﻌﻨﺎﻩ ﺇﻨﻪ ﻗﺩﺭﺘﻬﺎ ﻋﻠـﻰ ﺍﻹﻗﻨـﺎﻉ‬

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‫ﻀﻌﻴﻔﺔ‪.‬‬

‫ﺜﻼﺙ ﻤﺸﺎﻫﺩ ﺘﻭﻝﻑ ﻝﺫﺍﺕ ﺍﻝﻠﺤﻅﺔ ﺍﻝﺘﻲ ﺘﺩﺸﻴﻥ ﻓﻴﻬﺎ ﺘﺤﺎﻝﻔﺎﺕ ﺸﺭﻜﺎﺕ ﻨﻔﻁ ﻋﺎﻝﻤﻴﺔ ﻜـﻭﻨﻴﻜﺱ‬

‫ﻜﻴﻠﻴﻥ‪.‬ﺍﻏﺘﻴﺎل ﺍﻷﻤﻴﺭ ﻨﺎﺼﺭ‪ ،‬ﻋﺎﻤﻼﻥ ﻴﻘﻭﻤﺎﻥ ﺒﻬﺠﻭﻡ ﺍﻨﺘﺤﺎﺭﻱ ﻋﻠـﻰ ﺇﺤـﺩﻯ ﻨـﺎﻗﻼﺕ ﺍﻝـﻨﻔﻁ‬

‫ﺍﻷﻤﺭﻴﻜﻴﺔ ﻓﻲ ﺍﻝﺨﻴﻠﻴﺞ ﺍﻝﻔﺎﺭﺴﻲ‪ .‬ﺍﻝﻬﺎﻝﺔ ﺒﻴﻀﺎﺀ ‪..‬ﻝﻜﻼ ﺍﻝﻤﺸﻬﺩﻴﻥ‪.‬‬

‫‪ 5.6.1‬ﺭﺅﻴﺔ ﻨﻘﺩﻴﺔ ﻝﻸﻓﻼﻡ‬

‫ﻜﺎﻨﺕ ﺘﻠﻙ ﻗﺭﺍﺀﺓ ﻝﻠﺴﻴﻨﺎﺭﻴﻭ ﻝﻌﺩﺩ ﻤﻥ ﺍﻻﻓﻼﻡ‪ ،‬ﺍﻝﺘﻲ ﺍﺠﺘﻤﻌﺕ ﻝﻜﻭﻨﻬﺎ ﻫﻭﻝﻴﻭﺩﻴﺔ ﺃﻭﻻ ﺜﻡ ﺘﺎﺭﻴﺦ‬

‫ﺇﻨﺘﺎﺠﻬﺎ ﺍﻝﺫﻱ ﻴﻠﻲ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪ ،2001‬ﻜﻤﺎ ﺃﻥ ﻜﻼ ﻤﻥ ﺃﻓﻼﻡ ﺍﻝﻌﻴﻨﺔ ﺤﻘﻘﺕ ﺸﺭﻁ‬

‫ﻜﻭﻨﻬﺎ ﺘﺘﻨﺎﻭل ﺍﻝﻌﺭﺒﻲ ﻓﻲ ﺘﻨﻭﻉ ﻝﻠﻁﺭﺡ ﻭﺍﺨﺘﻼﻑ ﻓﻲ ﺍﻝﺭﺅﻯ‪ ،‬ﺃﻤﺎ ﻤﻨﻬﺠﻴﺔ ﺍﻝﺭﺅﻴﺔ ﺍﻝﺘﺤﻠﻴﻠﻴﺔ ﻓﻘﺩ‬

‫ﻜﺎﻨﺕ ﺘﺄﻭﻴﻼ ﻝﻠﻤﺸﺎﻫﺩ ﻓﻲ ﻁﺭﻴﻘﺔ ﻁﺭﺤﻬﺎ ﻝﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻭﺘﻘﺩﻴﻤﻬﺎ ﺇﻴﺎﻩ ﻓﻲ ﺍﻝﻠﻘﻁﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‬

‫ﺍﻝﻭﺍﺤﺩﺓ‪.‬‬

‫ﻓﻔﻴﻠﻡ ﺴﻴﺭﻴﺎﻨﺎ ﺘﻨﺎﻭل ﺼﻭﺭﺓ ﺍﻹﺭﻫﺎﺒﻴﻴﻥ‪ ،‬ﻭﻜﺎﻝﺔ ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ ﺍﻝﻤﺭﻜﺯﻴﺔ‪ ،‬ﻭﺸـﺭﻜﺎﺕ ﺍﻝـﻨﻔﻁ‪،‬‬

‫ﻭﺤﻜﻭﻤﺔ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ ،‬ﻓﻴﻠﻡ ﻤﻌﻘﺩ ﻓﻲ ﺤﺒﻜﺘﻪ ﻭﻓﻲ ﺭﺴﺎﻝﺘﻪ ﺍﻝﺴﻴﺎﺴﻴﺔ‪ ،‬ﻭﻴﺤﺘﺎﺝ ﻝﺒﻌﺽ ﺍﻝﺠﻬـﺩ‬

‫ﺍﻝﺫﻫﻨﻲ ﻝﺭﺒﻁ ﺨﻴﻭﻁﻪ ﺍﻝﻤﺘﺸﺎﺒﻜﺔ‪ ،‬ﻜﻤﺎ ﻴﺨﻠﻕ ﺍﻝﺭﻏﺒﺔ ﻓﻲ ﺍﻝﻨﻬﺎﻴﺔ ﻝﻤﺸﺎﻫﺩﺘﻪ ﻤﻥ ﺠﺩﻴﺩ‪ ) .‬ﺴـﻴﺭﻴﺎﻨﺎ(‬

‫ﺍﺴﺘﺨﺩﻡ ﺍﻝﻭﻗﺎﺌﻊ ﺍﻝﻤﻨﻅﻭﺭﺓ‪ ،‬ﻤﺘﻌﺩﺩﺓ ﻤﺘﻭﺍﺯﻴﺔ‪ ،‬ﻜﻤﺎ ﺘﻨﻘﻠﺕ ﻤﺸﺎﻫﺩﻩ ﺒﻜﺜﺭﻩ‪ ،‬ﻓـﻲ ﻭﻻﻴـﺔ ﺘﻜـﺴﺎﺱ‪،‬‬

‫ﻭﺍﺸﻨﻁﻥ ﺍﻝﻌﺎﺼﻤﺔ‪ ،‬ﻭﺴﻭﻴﺴﺭﺍ‪ ،‬ﻭﺍﺴﺒﺎﻨﻴﺎ‪ ،‬ﻭﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‪ ،‬ﺤﻴﺙ ﺃﻤﻜﻥ ﺘﺴﻤﻴﺘﻪ ﺒﻔـﻴﻠﻡ ﺍﻝـﺴﻴﻨﻤﺎ‬

‫ﻨﻼﺤﻅ ﺃﻥ ﺍﻝﺨﻁﺎﺒﺎﺕ ﻓﻲ ﺴﻴﺭﻴﺎﻨﺎ ﺘﺤﺎﻭل ﻁﺭﺡ ﺭﺅﻴﺔ ﺘﺤﻠﻴﻠﻴﺔ ﻝﻁﺒﻴﻌﺔ ﺍﻝﻌﻼﻗﺔ ﺒﻴﻥ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻭﺍﻝﺸﺭﻕ ﺍﻷﻭﺴـﻁ ﻓﻴﻤـﺎ ﻴﺘﻌﻠـﻕ‬ ‫‪1‬‬

‫ﺒﺎﻝﻘﻀﺎﻴﺎ ﺍﻻﻗﺘﺼﺎﺩﻴﺔ ﻭﺍﻝﺘﻨﻤﻭﻴﺔ ﻭﺍﻝﺴﻴﺎﺴﻴﺔ‪.‬‬

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‫ﺍﻝﺘﺸﻌﺒﻴﺔ‪ .‬ﺘﺩﺍﺨل ﺨﻴﻭﻁ ﺤﻜﺎﻴﺔ ﺍﻝﻔﻴﻠﻡ ﻝﺘﻨﺘﺞ ﻤﺸﻬﺩﺍ ﻝﻠﺸﺭﻕ ﺍﻝﻨﻔﻁﻲ‪ ،‬ﺃﺠﺯﺍﺅﻩ ﺍﻝﺭﺌﻴﺴﻴﺔ ﻤﻥ ﺍﻝﺸﺭﻜﺎﺕ‬

‫ﺍﻝﻨﻔﻁﻴﺔ ﺍﻝﻜﺒﺭﻯ‪ ،‬ﺍﻝﺘﺩﺨﻼﺕ ﺍﻷﻤﻨﻴﺔ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺒﺫﺭﻴﻌﺔ ﺤﻤﺎﻴﺔ ﺍﻷﻤﻥ ﺍﻝﻘﻭﻤﻲ ﺍﻷﻤﺭﻴﻜـﻲ )ﺤﻤﺎﻴـﺔ‬

‫ﺘﺩﻓﻕ ﺍﻝﻨﻔﻁ ﻭﻤﺼﺎﻝﺢ ﺍﻝﺸﺭﻜﺎﺕ ﺍﻝﻜﺒﺭﻯ(‪ ،‬ﺃﻤﺭﺍﺀ ﻴﺘﺼﺎﺭﻋﻭﻥ ﻋﻠﻰ ﺍﻝﺴﻠﻁﺔ ﻓﻲ ﺩﻭل ﻨﻔﻁﻴﺔ ﻏﻴـﺭ‬

‫ﺩﻴﻤﻘﺭﺍﻁﻴﺔ‪ ،‬ﻤﺸﺭﻭﻉ ﺘﺤﺩﻴﺜﻲ ﻴﻨﻁﻠﻕ ﻤﻥ ﺍﻝﻘﺼﺭ‪ ،‬ﺸﻌﺏ ﻤﻬﻤﺵ‪ ،‬ﺃﺼﻭﻝﻴﺔ ﺘﻨﺘﺞ ﺍﻹﺭﻫﺎﺏ ﻭﺘﻐﺫﻴﻬﺎ‬

‫ﺍﻝﻨﻘﻤﺔ‪ ،‬ﻭﺃﻓﺭﺍﺩ ﺃﻤﺭﻴﻜﻴﻴﻥ ﻴﺴﻌﻭﻥ ﻝﺘﺤﻘﻴﻕ ﺴﻌﺎﺩﺘﻬﻡ ﻭﻤﺼﺎﻝﺤﻬﻡ ﺍﻝﻔﺭﺩﻴﺔ ﺒﻼ ﺃﺠﻨﺩﺓ ﺴﻴﺎﺴﻴﺔ ﺃﻭ ﻭﻋﻲ‬

‫ﺍﺠﺘﻤﺎﻋﻲ ﻝﻴﺼﺒﺤﻭﺍ ﻤﺠﺭﺩ ﻗﻁﻊ ﻏﻴﺎﺭ ﻓﻲ ﺍﻵﻝﺔ ﺍﻝﻜﺒﺭﻯ‪ ،‬ﺍﻝﺘﻲ ﻴﺘﺸﻜل ﻤﻨﻬﺎ ﺍﻻﻗﺘـﺼﺎﺩ ﺍﻝـﺴﻴﺎﺴﻲ‬

‫ﻝﻠﻨﻔﻁ‪ ،‬ﻭﻋﻠﻰ ﺍﻝﻬﺎﻤﺵ‪ ،‬ﻴﻌﻴﺵ ﻫﺅﻻﺀ ﻤﺂﺴﻴﻬﻡ ﺍﻝﻔﺭﺩﻴﺔ ﻜﺤﺎﻻﺕ ﺨﺎﺼﺔ ﻝﻴﺱ ﺇﻻ ‪ .‬ﻴﺘﻨـﺎﻭل ﺍﻝﻔـﻴﻠﻡ‬

‫ﺍﻝﺸﺭﻜﺎﺕ ﺍﻝﻨﻔﻁﻴﺔ ﺍﻝﻜﺒﺭﻯ ﺒﺎﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻜﻤﺎ ﻴﻨﺘﻘﺩ ﻜﻼ ﻤﻥ ﻭﺯﺍﺭﺘﻲ ﺍﻝﺩﻓﺎﻉ ﻭﺍﻝﻌـﺩل ﺍﻝﻠﺘـﺎﻥ‬

‫ﻗﺎﻤﺘﺎ ﺒﺘﻐﻁﻴﺔ ﺍﻝﺸﺭﻜﺎﺕ ﻓﻲ ﺴﻴﺎﺴﺎﺘﻬﺎ ﺍﻝﺭﺍﻤﻴﺔ ﺇﻝﻰ ﺍﻝﺴﻴﻁﺭﺓ ﻋﻠﻰ ﺤﻘﻭل ﺍﻝﻨﻔﻁ ﻓﻲ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‪.‬‬

‫ﺃﻤﺎ ﺍﻝﺒﻨﻴﺔ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻠﻔﻴﻠﻡ ﻓﺘﻨﻁﻠﻕ ﺒﺩﻋﻭﺓ ﻝﻴﺒﺭﺍﻝﻴﺔ ﻝﺘﻔﺎﻫﻡ ﺜﻘﺎﻓﻲ ﺃﻜﺜﺭ ﻋﻤﻘﺎ ﺒﻴﻥ ﺍﻝﺸﺭﻕ ﻭﺍﻝﻐـﺭﺏ‪.‬‬

‫ﻓﻘﺩ ﺘﺠﺎﻭﺯ ﺍﻝﻔﻴﻠﻡ ﺼﻭﺭﺓ ﺍﻷﻤﺭﻴﻜﻲ ﺍﻝﺒﻁل ﺍﻝﻁﻴﺏ ﺇﻝﻰ ﺤﻘﻴﻘﺔ ﺍﻷﻭﻝﻭﻴﺔ ﺍﻷﻤﺭﻴﻜﻴـﺔ ﻓـﻲ ﺘـﺄﻤﻴﻥ‬

‫ﻤﻭﺍﺭﺩﻫﺎ ﺍﻝﻨﻔﻁﻴﺔ ﻷﻋﻭﺍﻡ ﺃﺨﺭﻯ ﻗﺎﺩﻤﺔ‪ ،‬ﻤﻬﻤﺎ ﻜﺎﻨﺕ ﺍﻝﻭﺴﺎﺌل ﺒﺎﻝﺭﻏﻡ ﻤﻥ ﺃﻥ ﺴﺘﻴﻔﻥ ﺠﻴﺠـﺎﻥ ﻗـﺩ‬

‫ﺘﺭﺩﺩ ﻓﻲ ﻨﻘﺩ ﺍﻝﻨﻅﺎﻡ ﺒﻁﺭﻴﻘﺔ ﺼﺭﻴﺤﺔ‪ .‬ﺤﺼل ﺠﻭﺭﺝ ﻜﻠﻭﻨﻲ ﺒﻁل ﺍﻝﻔﻴﻠﻡ ﻋﻠﻰ ﺠـﺎﺌﺯﺓ ﺍﻭﺴـﻜﺎﺭ‬

‫ﻜﺎﻓﻀل ﻤﻤﺜل‪ ،‬ﻭﺼﻨﻑ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻜﺄﻓﻀل ﻨﺹ ﻤﻘﺘﺒﺱ ﻝﺴﻨﺔ ‪ ،2005‬ﻜﻤﺎ ﺍﻋﺘﺒﺭ )ﺴﻴﺭﻴﺎﻨﺎ( ﺍﻝﻔﻴﻠﻡ‬

‫ﺍﻷﻓﻀل ﻝﺫﺍﺕ ﺍﻝﺴﻨﺔ ﺃﻴﻀﺎ‪.‬‬

‫ﻻ ﺭﻴﺏ ﻤﻥ ﻋﺩﻡ ﺨﻠﻭ ﺍﻝﻔﻴﻠﻡ ﻤﻥ ﻨﻅﺭﺍﺘﻪ ﺍﻻﺴﺘﺸﺭﺍﻗﻴﺔ‪ ،‬ﻭﺍﻝﺘﻲ ﻜﺎﻨﺕ ﺠﻠﻴﺔ ﻤﻨﺫ ﺍﻝﻠﺤﻅﺔ ﺍﻷﻭﻝﻰ‬

‫ﻤﻥ ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺤﺘﻰ ﻭﺼﻭﻝﻪ ﺇﻝﻰ ﻝﺤﻅﺔ ﺍﻝﺫﺭﻭﺓ ﺍﻻﻨﻔﻌﺎﻝﻴﺔ ﺍﻝﻤﺅﺩﺭﻤﺔ‪) .‬ﺴﻴﺭﻴﺎﻨﺎ( ﻜﺎﻥ ﺸـﺎﺤﺫﺍ ﻝﻠﻔﻜـﺭ‬

‫ﻴﺘﻁﻠﺏ ﺠﻬﺩﺍ ﺫﻫﻨﻴﺎ ﻝﻔﻬﻤﻪ ﻭﺇﺩﺭﺍﻙ ﻋﻼﻗﺎﺘﻪ‪ ،‬ﻓﻲ ﺍﻝﻭﻗﺕ ﺍﻝﺫﻱ ﻗﺎل ﻓﻴﻪ ﺍﻝﻨﻘﺎﺩ ﺃﻥ ﻜﺎﻥ ﻋﻠﻰ ﺠﻴﺠﺎﻥ‬

‫ﺘﺠﺎﻭﺯ ﺍﻝﺘﻌﻘﻴﺩ ﺇﻝﻰ ﺍﻹﻗﻨﺎﻉ‪ ،‬ﺇﺫ ﺃﻨﻪ ﺃﺨﻔﻰ ﺍﻹﺩﻻﺀ ﺍﻝﺼﺭﻴﺢ ﺒﻀﺭﻭﺭﺓ ﺍﻝﺘﺼﺤﻴﺢ ﺍﻝﺴﻴﺎﺴﻲ‪.‬‬

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‫ﺇﻥ ﻜﻼ ﻤﻥ ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﻡ ﺍﺴﺘﻌﺭﺍﻀﻬﺎ‪ ،‬ﻤﻥ ﺤﻴﺙ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ ﻭﺍﻝﺒﻁﺎﻗﺔ ﺍﻝﺘﻘﺕ ﻓـﻲ‬

‫ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﻨﻘﺎﻁ ﻋﻨﺩ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ﻜﺎﻥ ﺃﻫﻤﻬﺎ‪ :‬ﺍﻝﺼﻨﺎﻋﺎﺕ ﺍﻝﻨﻔﻁﻴﺔ‪ ،‬ﺍﻹﺭﻫـﺎﺏ‪ ،‬ﺍﻝﺘﻔـﺎﻋﻼﺕ‬

‫ﺍﻝﻔﻜﺭﻴﺔ ﻭﺍﻝﺤﻀﺎﺭﻴﺔ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺍﻝﻌﺩﻴﺩ ﻤﻥ ﺍﻝﺠﺩﻝﻴﺎﺕ ﺍﻝﺘﻲ ﻁﺭﺡ ﺒﻌﻀﻬﺎ ﺒﻌﻤﻕ ﺃﻜﺒﺭ‪ ،‬ﻭﺃﺨـﺭﻯ‬

‫ﺒﺴﻁﺤﻴﺔ ﺘﺎﻤﺔ‪ ،‬ﺘﺒﻌﺎ ﻝﻠﻨﻤﻭﺫﺝ ﺍﻝﺫﻱ ﺭﺴﻡ ﺴﺎﺒﻘﺎ ﻗﺒل ﺍﻝﺤﺎﺩﻱ ﻋـﺸﺭ ﻤـﻥ ﺃﻴﻠـﻭل ‪ .2001‬ﻭﻝﻨـﺎ‬

‫ﺍﻻﺴﺘﻔﺎﻀﺔ ﻓﻲ ﺭﺅﻴﺔ ﻨﻘﺩﻴﺔ ﻤﻘﺎﺭﻨﺔ ﻝﻜل ﻤﻥ )ﺍﻝﻤﻤﻠﻜﺔ(‪)،‬ﺍﻝﺘـﺴﻠﻴﻡ(‪) ،‬ﺠـﺴﺩ ﻤـﻥ ﺍﻷﻜﺎﺫﻴـﺏ(‪،‬‬

‫ﻭ)ﺴﻴﺭﻴﺎﻨﺎ( ‪..‬‬

‫ﻴﺴﺘﻌﺭﺽ ﻓﻴﻠﻡ )ﺍﻝﻤﻤﻠﻜﺔ( ﻁﻴﻠﺔ ﺍﻝﻤﺸﻬﺩ ﺍﻷﻭل ﺍﻝﻌﻼﻗﺎﺕ ﺍﻝﺘﻲ ﺘﺭﺒﻁ ﺒﻴﻥ ﺍﻝﻭﻻﻴـﺎﺕ ﺍﻝﻤﺘﺤـﺩﺓ‬

‫ﻭﺍﻝﺘﻲ ﺘﻌﺘﻤﺩ ﻋﻠﻰ ﺍﻝﺼﻨﺎﻋﺎﺕ ﺍﻝﻨﻔﻁﻴﺔ ﻤﻨﺫ ﺘﺄﺴﻴﺱ ﺍﻝﻤﻤﻠﻜﺔ‪ ،‬ﻤﺭﻭﺭﺍ ﺒﺄﺯﻤﺔ ﺍﻝﻨﻔﻁ ﻭﺤﺭﺏ ﺍﻝﺨﻠـﻴﺞ‬

‫ﻤﻨﺘﻬﻴﺔ ﺒﺄﺤﺩﺍﺙ ﺃﻴﻠﻭل ‪ ،2001‬ﻭﺍﻝﺘﻘﺎﺀ ﺍﻻﺜﻨﺘﺎﻥ ﻋﻠﻰ ﻤﺤﺎﺭﺒﺔ ﺍﻹﺭﻫﺎﺏ‪ ،‬ﻓﻴﻤﺎ ﺘﺘﻨﺎﻭﻝﻬـﺎ ﻋﻨـﺼﺭ‬

‫ﺍﻝﺤﻜﺎﻴﺔ ﻓﻲ ﺍﻝﻔﻴﻠﻡ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺇﻴﺤﺎﺀﺍﺕ ﺠﺎﻨﺒﻴﺔ ﺃﺨـﺭﻯ ﺘـﺭﺘﺒﻁ ﺒﻁﺒﻴﻌـﺔ ﺍﻝﻌﺭﺒـﻲ‪ :‬ﻝﺒﺎﺴـﻪ‪،‬‬

‫ﻤﻌﺘﻘﺩﺍﺘﻪ‪،‬ﻋﺎﺩﺍﺘﻪ‪ ،‬ﺘﻘﺎﻝﻴﺩﻩ‪ ،‬ﻭﺇﻴﺤﺎﺀﺍﺕ ﺃﺨﺭﻯ ﺘﺭﺴﻡ ﺍﻝﻨﻤﻭﺫﺝ ﺍﻝﺴﺎﺒﻕ ﻝﻤﺎ ﻗﺒل ﺃﻴﻠﻭل ‪ ،2001‬ﻭﻜﻤـﺎ‬

‫ﺫﻜﺭﻨﺎ ﻓﻘﺩ ﻤﻨﻌﺕ ﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ﺘﺼﻭﻴﺭﻩ ﻓﻲ ﺃﺭﺍﻀـﻴﻬﺎ ﻓـﺘﻡ ﺍﺴـﺘﺒﺩﺍل ﺍﻝﻤـﺸﺎﻫﺩ‬

‫ﻭﻤﻭﺍﺌﻤﺘﻬﺎ ﻭﺼﺤﺭﺍﺀ ﺍﺭﻴﻭﺯﻨﺎ‪ ،‬ﺇﻀﺎﻓﺔ ﺇﻝﻰ ‪ %30‬ﻤﻥ ﺍﻝﻤﺸﺎﻫﺩ ﺍﻝﺘﻲ ﺼﻭﺭﺕ ﻓـﻲ ﺃﺒـﻭ ﻅﺒـﻲ‬

‫ﻭﺃﻨﺤﺎﺀ ﺃﺨﺭﻯ ﻤﻥ ﺍﻹﻤﺎﺭﺍﺕ ﺍﻝﻌﺭﺒﻴﺔ ﺍﻝﻤﺘﺤﺩﺓ‪ .‬ﻴﺒﺭﺯ )ﺍﻝﻤﻤﻠﻜﺔ( ﺍﻝﻨﻔﻁ ﻜﺄﻭﻝﻭﻴﺔ ﻝﻸﻤـﻥ ﺍﻝﻘـﻭﻤﻲ‬

‫ﺍﻷﻤﺭﻴﻜﻲ‪ ،‬ﺜﻡ ﻤﻁﻠﺏ ﺁﺨﺭ ﻴﻜﻤﻥ ﻓﻲ ﻤﺤﺎﺭﺒﺔ ﺍﻹﺭﻫﺎﺏ ﻓﻲ ﻜل ﻤﻌﺎﻗﻠﻪ‪ ،‬ﺤﻴﺙ ﺘﺴﺎﺌل ﺍﻝﻔﻴﻠﻡ ﻋـﻥ‬

‫ﺴﺒﺏ ﺍﻀﻁﻼﻉ ﺨﻤﺴﺔ ﻋﺸﺭ ﺸﺎﺒﺎ ﻤﻥ ﺃﺼﺤﺎﺏ ﺍﻝﺠﻨﺴﻴﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ﻤﻤﻥ ﻓﺠ‪‬ﺭﻭﺍ ﺃﻨﻔﺴﻬﻡ ﻓﻲ ﻫﺠﻭﻡ‬

‫ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪ ،2001‬ﻝﻤﺎ ﻴﺩﻓﻊ ﻫﺅﻻﺀ ﻝﻠﻘﻴﺎﻡ ﺒﻬﺫﺍ ﺍﻝﻌﻤل؟ ﻫل ﻤﻌﺎﻗل ﺍﻹﺭﻫـﺎﺏ ﻓـﻲ‬

‫ﺍﻝﻤﻤﻠﻜﺔ ؟ ﻭﻫل ﺍﻷﺠﺎﻨﺏ ﺁﻤﻨﻭﻥ ﻓﻲ ﺍﻝﻤﻤﻠﻜﺔ ؟ ﺜﺎﻝﺜﺎ ﺘﻁﺭﺡ ﺨﻼل ﺍﻝﻔﻴﻠﻡ ﺠﺩﻝﻴﺎﺕ ﻓﻜﺭﻴﺔ ﻭﺤﻀﺎﺭﻴﺔ‬

‫ﻜﺒﻴﺭﺓ ﻝﻬﺎ ﻋﻼﻗﺔ ﺒﺎﻷﻓﻜﺎﺭ ﺍﻝﺘﻲ ﻴﻐﺫﻯ ﺒﻬﺎ ﺍﻝﺸﺎﺏ ﻗﺒل ﻗﻴﺎﻤﻪ ﺒﺎﻝﺘﻔﺠﻴﺭ‪ .‬ﺍﺴﺘﻌﺭﺽ ﻝﻠﻬﺎﻻﺕ ﺍﻝﺘﻲ ﻝﻬﺎ‬

‫ﻋﻼﻗﺔ ﺒﺘﻔﺠﻴﺭ ﺍﻝﺠﺴﺩ ﻜﻤﺎ ﺍﻝﻤﻌﺩﺍﺕ ﻭﺍﻵﻝﻴﺎﺕ ﺍﻝﻴﺩﻭﻴﺔ ﺍﻝﺘﻲ ﻴﻘﻭﻡ ﻤﻥ ﺨﻼﻝﻬﺎ ﺒﻬﺫﺍ ﺍﻝﻌﻤل‪ .‬ﺨﻁـﺎﺏ‬

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‫ﺍﻝﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ‪ ،‬ﺭﺩﺍﺕ ﺍﻝﻔﻌل‪ ،‬ﺍﺴﺘﻌﺭﺍﺽ ﺍﻻﻨﺤﺭﺍﻓﺎﺕ ﺍﻝﻔﻜﺭﻴﺔ ﺍﻝﻤﻤﻜﻨﺔ ﻓـﻲ ﺭﺅﻯ ﺘﻨﻅـﻴﻡ‬

‫ﺍﻝﻘﺎﻋﺩﺓ –ﻜﻤﺎ ﻴﻁﺭﺤﻬﺎ ﺍﻝﻔﻴﻠﻡ ‪ .-‬ﻴﻘﺩﻡ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺠﺎﻨﺏ ﺍﻝﻤﺘﻨﺎﻗﺽ ﻝﻠﻌﺭﺒﻲ ﻤﻥ ﻭﺠﻬﺔ ﻨﻅﺭ ﺴـﻴﻨﻤﺎﺌﻴﺔ‬

‫ﻓﻴﻤﺎ ﻴﺨﺹ ﻋﻼﻗﺘﻪ ﺒﺎﻷﺠﻨﺒﻲ ﺤﻴﺙ ﺘﺒﺩﻭ ﺍﻝﻌﻴﻭﻥ ﺤﺎﻗﺩﺓ ﻓﻲ ﻤﺭﺁﻫﺎ ﻝﻸﺠﻨﺒﻲ ﺍﻝﺫﻱ ﻴﺒﺩﻭ ﻤﻬﻴﻤﻨﺎ ﻭﻫﻭ‬

‫ﺁﺕ ﻝﺴﺭﻗﺔ ﺍﻝﻤﻭﺍﺭﺩ ﺍﻝﻌﺭﺒﻴﺔ‪ 1،‬ﺘﺤﺼﺭ ﻓﻴﻪ ﻨﻅﺭﺓ ﺍﻝﻜﺎﻓﺭ ﺍﻝﺫﻱ ﻴﺠﺏ ﻗﺘﻠﻪ ﺃﻴﻨﻤﺎ ﻭﺠﺩ‪ ،2‬ﻭﻨﻅـﺭﺍﺕ‬

‫‪ ..." 1‬ﻫل ﺴﺘﻤﻭﺕ ﻭﺃﻨﺕ ﺘﺩﺍﻓﻊ ﻋﻥ ﻋﺩﻭﻙ"‪ ،‬ﺴﺅﺍل ﺴﺎﺨﺭ ﻭﺠﻪ ﺇﻝﻰ ﺍﻝﻀﺎﺒﻁ ﻏﺎﺯﻱ ﺍﻝﻔﺎﺭﺱ ﺍﻝﺫﻱ ﻴﻘﻭﻡ ﺒﻤـﺴﺎﻋﺩﺓ ﻓﺭﻴـﻕ‬
‫ﺍﻝﺘﺤﻘﻴﻕ ﺍﻷﻤﺭﻴﻜﻲ ﻭﺘﺎﻤﻴﻥ ﺍﻝﺤﻤﺎﻴﺔ ﻝﻪ‪ ،‬ﺇﺫ ﺃﻥ ﺍﻝﻨﻅﺭﺓ ﺘﺠﺎﻩ ﺍﻝﻐﺭﺒﻲ ﺒﺩﺕ ﻋﺩﺍﺌﻴﺔ‪ ،‬ﻓﻠﻡ ﻴﻌﺘﺒﺭ ﺍﻷﺠﻨﺒﻲ ﺇﻻ ﻋﺩﻭﺍ ﻴﺠﺏ ﻗﺘﻠـﻪ‬
‫ﻭﺩﺤﺭﻩ‪" .‬ﻤﻥ ﻫﺫﺍ ﺍﻝﻴﻬﻭﺩﻱ ﺍﻝﺤﻤﺎﺭ"‪ ،‬ﺇﺤﺩﻯ ﺍﻝﻨﺴﺎﺀ ﺴﺎﺨﺭﺓ ﻤﻥ ﻓﺭﻴﺱ ﻋﻤﻴل ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺤﻴﺙ ﻭﺠـﺩﺕ ﻓﻴـﻪ‬
‫ﺍﻝﻤﺭﺃﺓ ﻴﻬﻭﺩﻴﺎ ﻏﺒﻴﺎ ﻜﻭﻨﻪ ﺃﺠﻨﺒﻴﺎ ﻓﻘﻁ‪ ،‬ﺭﻏﻡ ﻋﺩﻡ ﻤﻌﺭﻓﺘﻬﺎ ﻝﺩﻴﺎﻨﺘﻪ ﺍﻝﺤﻘﻴﻘﻴﺔ‪.‬‬

‫ﺘﻡ ﺍﺴﺘﻌﺭﺍﺽ ﻋﺩﺩ ﻤﻥ ﺍﻝﺨﻁﺎﺒﺎﺕ ﺍﻝﺘﻲ ﻭﺭﺩﺕ ﻋﻠﻰ ﻝﺴﺎﻥ ﺍﻝﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ ﺍﻝﺘﻲ ﺘﻨﺘﻤﻲ ﺇﻝﻰ ﺘﻨﻅﻴﻡ ﺍﻝﻘﺎﻋـﺩﺓ‪ ،‬ﺤﻴـﺙ‬ ‫‪2‬‬

‫ﻴﻌﻘﺏ ﻋﻤﻠﻴﺎﺕ ﺍﻝﺘﻔﺠﻴﺭ ﺨﻁﺎﺒﺎﺕ ﻤﻌﻠﻨﺔ ﻤﺴﺅﻭﻝﻴﺘﻬﺎ ﻋﻥ ﺍﻝﻌﻤﻠﻴﺔ ﺃﻭ ﻤﺒﺎﺭﻜﺔ ﻷﻋﻀﺎﺌﻬﺎ ﻨﺠﺎﺤﻬﺎ‪ ،‬ﻨﺫﻜﺭ ﻤﻨﻬﺎ ﻓﻴﻠﻡ )ﺍﻝﻤﻤﻠﻜﺔ(‪،‬‬
‫ﺤﻴﺙ ﺘﻼ ﺃﺒﻭ ﺤﻤﺯﺓ ﺨﻁﺎﺒﻪ ﻝﺭﺠﺎﻝﻪ ﻤﻌﺘﻤﺭﺍ ﻤﻜﺎﻨﺎ ﻋﻠﻴﺎ‪ ،‬ﻗﺎﺌﻼ‪" :‬ﻜﺎﻨﺕ ﺍﻝﺒﺩﺍﻴﺔ ﻓﻲ ﻋﻤﻠﻴﺔ ﺍﻝﺭﺤﻤﺔ‪ ،‬ﺴﻭﻑ ﻨﻁﺭﺩ ﺍﻝﻜﻔﺎﺭ ﻤﻥ‬
‫ﺍﺭﺽ ﺍﻹﺴﻼﻡ‪ .‬ﺒﺎﺭﻙ ﺍﷲ ﻓﻴﻜﻡ ﻴﺎ ﺃﻭﻻﺩﻱ‪ ،‬ﻭﺍﻝﻨﺼﺭ ﻤﻥ ﺍﷲ‪ .‬ﻭﺍﷲ ﺍﻜﺒﺭ"‪ .‬ﺃﻤﺎ ﺁل ﺴﻠﻴﻡ ﻗﺎﺌﺩ ﺘﻨﻅﻴﻡ ﺍﻝﻘﺎﻋﺩﺓ ﻓﻲ ﻓﻴﻠﻡ)ﺠـﺴﺩ‬
‫ﺍﻷﻜﺎﺫﻴﺏ( ﻓﻘﺩ ﺘﻼ ﺨﻁﺎﺒﻪ‪ ،‬ﻤﺒﺎﺭﻜﺎ ﻝﺭﺠﺎﻝﻪ ﻗﺎﺌﻼ‪" :‬ﻭﻜﻤﺎ ﻓﺠﺭﻨﺎ ﻨﺎﻗﻠﺔ ﺍﻝﺭﻜﺎﺏ ﻓﻲ ﺤﻲ ﺸﻴﻔﻠﺩ ﺍﻷﺴﺒﻭﻉ ﺍﻝﻤﺎﻀﻲ‪ ،‬ﺴـﻨﻜﻭﻥ‬
‫ﻋﻠﻰ ﺍﺴﺘﻌﺩﺍﺩ ﺘﺎﻡ ﻝﻠﻘﻴﺎﻡ ﺒﻌﻤﻠﻴﺎﺕ ﺃﺨﺭﻯ ﻓﻲ ﺒﺭﻴﻁﺎﻨﻴﺎ‪ .‬ﺴﻭﻑ ﻨﻨﺘﻘﻡ ﻤﻥ ﺤﺭﺏ ﺃﻤﺭﻴﻜﺎ ﺍﻝﺘﻲ ﺘﺸﻥ ﺤﺭﺒﻬـﺎ ﻋﻠـﻰ ﺍﻝﻌـﺎﻝﻡ‬
‫ﺍﻹﺴﻼﻤﻲ‪ ،‬ﺴﻨﻜﻭﻥ ﻝﻬﻡ ﺒﺎﻝﻤﺭﺼﺎﺩ ﺃﻴﻨﻤﺎ ﻜﺎﻨﻭﺍ‪ ،‬ﺴﻨﻘﻭﻡ ﺒﻀﺭﺒﺎﺕ ﻋﺸﻭﺍﺌﻴﺔ‪ ،‬ﺴﻨﻨﺯﻑ ﻭﻴﻨﺯﻓﻭﻥ‪ ،‬ﺍﷲ ﺍﻜﺒـﺭ"‪ .‬ﻜﻤـﺎ ﻅﻬـﺭ‬
‫ﺨﻁﺎﺏ ﺘﻌﺒﻭﻱ ﺁﺨﺭ ﻓﻲ ﻓﻴﻠﻡ)ﺍﻝﺘﺴﻠﻴﻡ( ﻋﻠﻰ ﺫﺍﺕ ﺍﻝﺸﺎﻜﻠﺔ‪ ،‬ﺤﻴﺙ ﺍﻹﻤﺎﻡ ﻴﺭﺘﺩﻱ ﻋﺒﺎﺀﺓ ﺒﻴﻀﺎﺀ ﻤﻌﺘﻠﻴﺎ ﻜﺭﺴﻴﺎ ﻤﺨﺎﻁﺒﺎ ﺭﺠﺎﻻ‬
‫ﻤﻥ ﺤﻭﻝﻪ‪" :‬ﺇﻥ ﺍﻝﺠﻬﺎﺩ ﺠﻬﺎﺩ ﺍﻝﻴﻬﻭﺩ ﻭﺍﻝﺼﻠﻴﺒﻴﻥ‪ ،‬ﺍﻨﻪ ﺠﻬﺎﺩ ﺒﻴﻥ ﺍﻝﻜﻔﺭ ﻭﺍﻹﻴﻤﺎﻥ‪ ،‬ﺒﻴﻥ ﺍﻝﺨﻴـﺭ ﻭﺍﻝـﺸﺭ‪ .‬ﺇﻥ ﻗﺘـل ﺍﻝﻜﻔـﺎﺭ‬
‫ﻭﺍﻝﻤﺠﺭﻤﻴﻥ ﻭﺍﻝﻤﻨﺎﻓﻘﻴﻥ ﻫﻭ ﻭﺍﺠﺒﻜﻡ ﺍﻝﻤﻘﺩﺱ "ﺇﺫﺍ ﻝﻘﻴﺘﻡ ﺍﻝﺫﻴﻥ ﻜﻔﺭﻭﺍ ﻓﻀﺭﺏ ﺍﻝﺭﻗﺎﺏ"‪ .‬ﻴﺘﺤﺩﺙ ﺍﻝﺼﻠﻴﺒﻲ ﻋﻥ ﺍﻝﺤﺭﻴـﺔ‪ ،‬ﺇﻥ‬
‫ﺍﻝﺠﻬﺎﺩ ﻫﻭ ﺍﻝﺤﺭﻴﺔ‪ ،‬ﻓﻲ ﻴﻭﻡ ﺍﻝﻘﻴﺎﻤﺔ ﺴﺘﻘﻔﻭﻥ ﺃﻤﺎﻡ ﺍﻝﻤﻭﻝﻰ ﻭﺴﻴﺴﺄﻝﻜﻡ‪ :‬ﻤﺎﻝﻜﻡ ﻻ ﺘﻘﺎﺘﻠﻭﻥ ﻓﻲ ﺴﺒﻴل ﺍﷲ ﻭﺍﻝﻤﺴﺘﻀﻌﻔﻴﻥ ﻤـﻥ‬
‫ﺍﻝﺭﺠﺎل ﻭﺍﻝﻨﺴﺎﺀ ﻭﺍﻝﻭﻝﺩﺍﻥ ؟ﻭﻤﺎﺫﺍ ﻓﻌﻠﺕ ﺒﺴﻼﺤﻙ ﺍﻝﻭﺤﻴﺩ ﺍﻝﺫﻱ ﺃﻋﻁﻴﺘﻙ ﺇﻴﺎﻩ ؟‪..‬ﺠﺴﺩﻙ‪ ،‬ﻫل ﺴﺘﺴﻴﺭ ﺒﺠﺴﺩﻙ ﺍﻝﻤﻤﺯﻕ ﻓﻲ‬
‫ﺭﺤﺎﺏ ﺠﻨﺔ ﺍﻝﺨﻠﺩ ؟ﺃﻡ ﺴﺘﻁﺄﻁﺊ ﺭﺍﺴﻙ ﺨﺠﻼ ﻓﺘﻠﻘﻰ ﻓﻲ ﻨﺎﺭ ﺠﻬﻨﻡ ؟ ﻫﺫﺍ ﻭﺒﺎﷲ ﺍﻝﺘﻭﻓﻴﻕ‪ .‬ﺍﷲ ﺃﻜﺒﺭ‪ .‬ﺃﻤﺎ ﻓـﻴﻠﻡ )ﺴـﻴﺭﻴﺎﻨﺎ(‬
‫ﻓﻴﺤﺘﻭﻱ ﺨﻁﺎﺏ ﻤﺨﺘﻠﻔﺎ ﻝﻠﺠﻤﺎﻋﺎﺕ ﺍﻹﺴﻼﻤﻴﺔ‪ ،‬ﻓﻬﻭ ﺨﻁﺎﺏ ﻤﺴﺠﺩ ﺫﻭ ﺼﺒﻐﺔ ﺘﻭﻋﻭﻴﺔ‪" :‬ﺴﻴﺤﺎﻭﻝﻭﻥ ﻁﻤـﺱ ﺍﻻﺨـﺘﻼﻑ‪،‬‬
‫ﺤﺘﻰ ﻴﺒﺩﻭ ﺍﻝﻤﺘﺩﻴﻨﻭﻥ ﻜﺎﻝﻤﺘﻌﺼﺒﻴﻥ ﻭﺍﻝﻤﺘﺨﻠﻔﻴﻥ‪ ،‬ﺴﻴﻘﻭﻝﻭﻥ ﺃﻥ ﺍﻻﺨﺘﻼﻑ ﻫﻭ ﺍﺨﺘﻼﻑ ﻓﻲ ﺍﻝﻤـﻭﺍﺭﺩ ﺍﻻﻗﺘـﺼﺎﺩﻴﺔ ﻭﺍﻝﻘـﻭﺓ‬
‫ﺍﻝﻌﺴﻜﺭﻴﺔ‪ ،‬ﻭﻝﻭ ﺼﺩﻗﻨﺎ ﺫﻝﻙ ﺴﻨﺼﺒﺢ ﻝﻌﺒﺔ ﻓﻲ ﺃﻴﺩﻴﻬﻡ‪ ،‬ﻭﻻ ﻴﻤﻜﻥ ﺴﺩ ﺍﻝﻔﺠﻭﺓ ﺒﻴﻥ ﺍﻝﻁﺒﻴﻌـﺔ ﺍﻝﺒـﺸﺭﻴﺔ ﻭﺍﻝﺤﻴـﺎﺓ ﺍﻝﺤﺩﻴﺜـﺔ‬
‫ﺒﺎﻝﺘﺠﺎﺭﺓ ﺍﻝﺤﺭﺓ‪ ،‬ﺍﻝﺩﻴﻥ ﻭﺍﻝﺩﻭﻝﺔ‪ ،‬ﺍﻝﺩﻴﻥ ﻭﺍﻝﺩﻭﻝﺔ ﻤﻠﻬﻭﻤﺵ ﺇﻻ ﻤﻔﻬﻭﻡ ﻭﺍﺤﺩ ﺍﻝﻘﺭﺁﻥ‪..‬ﺍﻝﻘﺭﺁﻥ ‪..‬ﻭﻻ ﻴﻤﻜﻨﻨﺎ ﺍﻝﻔﺼل ﺒﻴﻥ ﺍﻝﺩﻴﻥ‬
‫ﻭﺍﻝﺩﻭﻝﺔ‪..‬ﺍﻝﻘﺭﺁﻥ‪..‬ﻤﺵ ﻤﻠﻭﻙ ﻭﻋﺒﻴﺩ‪..‬ﻻ ‪..‬ﻭﻻ ﻴﻤﻜﻥ ﺍﻝﻘﻀﺎﺀ ﻋﻠﻰ ﻀﻨﻙ ﺍﻝﻌﻴﺵ ﻋﻥ ﻁﺭﻴﻕ ﺍﻝﻠﻴﺒﺭﺍﻝﻴﺔ‪ ،‬ﻭﺍﻝﺩﻝﻴل ﺴـﻜﻭﺕ‬
‫ﺍﻝﻤﺠﺘﻤﻌﺎﺕ ﺍﻝﻠﻴﺒﺭﺍﻝﻴﺔ‪ ،‬ﺴﻜﻭﺕ ﺍﻝﻼﻫﻭﺕ ﺍﻝﻤﺴﻴﺤﻲ ‪،‬ﺴﻜﻭﺕ ﺍﻝﻐﺭﺏ"‪ .‬ﻭﺨﻁﺎﺏ ﺁﺨﺭ ﻝﻸﻤﻴﺭ ﺍﻝﻁﺎﻤﺢ ﻨﺎﺼـﺭ ﻓـﻲ ﺍﺤـﺩ‬
‫ﺯﻴﺎﺭﺍﺘﻪ ﻝﻤﺩﻴﻨﺔ ﺒﻴﺭﻭﺕ‪" :‬ﻨﻌﺩ ﺠﻴﻼ ﻋﺭﺒﻴﺎ ﺠﺩﻴﺩﺍ‪ ،‬ﻋﻠﻰ ﻋﻜﺱ ﻭﺍﺸﻨﻁﻥ‪ ،‬ﻓﺎﻝﻁﻤﻭﺤﺎﺕ ﺍﻝﺸﺭﻕ ﺃﻭﺴـﻁﻴﺔ ﺃﻗـﻭﻯ ﺒﻜﺜﻴـﺭ‪.‬‬
‫ﻭﻨﺤﺘﺭﻡ ﻜل ﺩﻭﻝﺔ ﺘﺴﻴﺭ ﻋﻠﻰ ﺨﻁﺎﻫﺎ ﻫﻲ"‪ .‬ﻜﻤﺎ ﻭﺭﺩ ﻝﻪ ﺨﻁﺎﺏ ﺁﺨﺭ ﻤﻥ ﺍﻝﻤﺴﺠﺩ‪" :‬ﺍﻝﻌﺭﺏ ﻴﺤﻜﻤﻭﻨﻬﻡ ﻨﺎﺱ ﻤﺎ ﻴﺤﺘﺭﻤﻭﻥ‬
‫ﺍﻝﻘﺎﻨﻭﻥ‪ ،‬ﻴﺤﺘﻜﺭﻭﻨﻬﻡ‪ ،‬ﻴﺅﺨﺭﻭﻥ ﺍﻝﻌﻤﺎﻝﺔ ﺍﻝﺘﺠﺎﺭﻴﺔ‪ ،‬ﻭﻴﻠﻘﻭﺍ ﺒﻤﻌﺎﺭﻀﻴﻬﻡ ﺒﺎﻝﺴﺠﻭﻥ ﺃﻭ ﻴﻘﺘﻠﻭﻨﻬﻡ‪ ،‬ﻭﺍﻝﻨﺴﺎﺀ ﻴﻌﺎﻤﻠﻭﻫﻥ ﻜﻨﻬﻡ ﻤﻥ‬
‫ﺍﻝﺩﺭﺠﺔ ﺍﻝﺜﺎﻨﻴﺔ –ﺍﺤﺩﻫﻡ‪ :‬ﺍﻷﻤﺭﻴﻜﺎﻥ ﻴﺭﻴﺩﻭﻥ ﻴﺘﻭﺠﻭﻥ ﺃﺨﻭﻙ ﻭﻴﺩﻋﻤﻭﻨﻪ ﻭﻋﻨﺩﻫﻡ ﺤﻭﺍﻝﻲ ﻋﺸﺭ ﺁﻻﻑ ﺠﻨﺩﻱ ﻓﻲ ﺒﻼﺩﻨـﺎ‪-.‬‬
‫ﺼﺢ‪ ،‬ﺃﺒﻭﻱ ﻤﺭﻴﺽ ﻤﺎ ﻴﺒﻐﻲ ﻴﺤﺎﺭﺏ ﺍﻷﻤﺭﻴﻜﺎﻥ ﻝﻜﻥ ﻓﻲ ﻨﺎﺱ ﻴﺒﻐﻭﻥ‪ .‬ﺒﻠﺩ ﻋـﺩﺩ ﺴـﻜﺎﻨﻬﺎ ﻻ ﻴﺘﺠـﺎﻭﺯ ‪ %5‬ﻭﺇﻨﻔﺎﻗﻬـﺎ‬
‫ﺍﻹﺠﻤﺎﻝﻲ ﻤﻨﻪ ‪ %50‬ﻋﻠﻰ ﺍﻝﺘﺴﻠﻴﺢ ﻫﺫﺍ ﻤﻌﻨﺎﻩ ﺇﻨﻪ ﻗﺩﺭﺘﻬﺎ ﻋﻠﻰ ﺍﻹﻗﻨﺎﻉ ﻀﻌﻴﻔﺔ"‪ .‬ﺃﻨﻅﺭ ﺍﻝﺒﺤﺙ ﺹ ‪76‬‬

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‫ﺃﺨﺭﻯ ﺘﻬﺩﻑ ﺇﻝﻰ ﺠﻠﺏ ﺍﻷﻤﻥ ﻭﺍﻝﺴﻼﻡ ﺃﻴﺎ ﻜﺎﻥ ﻫﺫﺍ ﺍﻝﺸﺭﻴﻙ‪ .‬ﻜﻤﺎ ﺘﻁﻤﺢ ﻝﻠﺤﺼﻭل ﻋﻠﻰ ﺍﻝﺨﺒﺭﺍﺕ‬

‫ﻭﺍﻻﺴﺘﻔﺎﺩﺓ ﻤﻥ ﻫﺫﺍ ﺍﻷﺠﻨﺒﻲ‪ ،‬ﻜﻤﺎ ﺘﻨﻅﺭ ﺇﻝﻴﻪ ﻜﺸﺨﺹ ﺼﺩﻴﻕ ﻝﻪ ﺯﻭﺠﺔ ﻭﺃﻁﻔﺎل ﻴﺭﻴـﺩ ﺍﻝﻌـﻭﺩﺓ‬

‫ﺇﻝﻴﻬﻤﺎ ﺁﺨﺭ ﺍﻝﻨﻬﺎﺭ ﺩﻭﻥ ﺤﺩﻭﺙ ﺃﻱ ﻤﺸﺎﻜل‪ ،‬ﻭﻴﻘﻊ ﻋﻠﻰ ﻋﺎﺘﻘﻪ ﺘﺄﻤﻴﻥ ﺤﻤﺎﻴﺘﻪ ﻭﺍﻝﺤﻔﺎﻅ ﻋﻠﻴﻪ‪ ،‬ﻷﻥ‬

‫ﻫﺫﺍ ﻤﻥ ﻭﺍﺠﺒﻪ ﻓﻬﻭ ﺘﺤﺕ ﻋﻬﺩﺘﻪ ﻭﻤﺸﻤﻭل ﺒﻀﻴﺎﻓﺘﻪ‪ ،‬ﻫﺫﻩ ﺭﺅﻴﺔ ﺍﻝﻌﺭﺒﻲ ﻝﻠﻐﺭﺒﻲ "ﻤـﻥ ﻤﻨﻅـﻭﺭ‬

‫ﻏﺭﺒﻲ"‪ ،‬ﺃﻤﺎ ﻋﻥ ﻨﻅﺭﺓ ﺍﻝﻐﺭﺒﻲ ﻝﻠﻌﺭﺒﻲ ﻤﻥ "ﻤﻨﻅﻭﺭ ﻏﺭﺒﻲ" ﻓﺒﺭﺯﺕ ﺒﻴﻥ ﺍﻝﺤﻴﻥ ﻭﺍﻵﺨﺭ‪ .1،‬ﻴﻌﻠﻕ‬

‫ﺍﻝﻤﺨﺭﺝ ﺒﻴﺘﺭ ﺒﻴﺭﻍ ﻋﻠﻰ ﺒﻌﺽ ﺍﻻﻨﺘﻘﺎﺩﺍﺕ ﺍﻝﺘﻲ ﺴﻠﻁﺕ ﺍﻝﻀﻭﺀ ﻋﻠﻰ ﺇﻅﻬﺎﺭ ﻗﻠﺔ ﻤﻬﺎﺭﺓ ﻭﺨﺒﺭﺍﺕ‬

‫ﺍﻷﺠﻬﺯﺓ ﺍﻝﺴﻌﻭﺩﻴﺔ‪ ،‬ﻭﺭﺃﻯ ﺃﻨﻬﺎ ﻓﻌﻼ ﺘﻌﺎﻨﻲ ﻋﺩﺩ ﻤﻥ ﺍﻝﻤﺸﺎﻜل‪ ،‬ﻭﺍﻷﺠﻬﺯﺓ ﺍﻷﻤﺭﻴﻜﻴﺔ ﺃﻜﺜﺭ ﻤﻬﺎﺭﺓ‬

‫ﻭﺨﺒﺭﺓ‪. 2‬‬

‫ﻁﺭﺡ ﻓﻴﻠﻡ )ﺍﻝﻤﻤﻠﻜﺔ( ﺇﺸﻜﺎﻝﻴﺔ ﺍﻝﺘﻌﺫﻴﺏ ﻓﻲ ﺤﺎﻻﺕ ﻤﺘﻜﺭﺭﺓ ﺩﻭﻥ ﺠﺩﻭﺍﻫﺎ ﻝـﺩﻯ ﺍﻷﻤـﺭﻴﻜﻴﻴﻥ‪،‬‬

‫ﻭﻋﻭﺩﺓ ﻤﺘﻜﺭﺭﺓ ﻝﺩﻯ ﺍﻝﻌﺭﺏ ﻻﺴﺘﻨﻁﺎﻕ ﺃﻤﺭ ﻤﻨﻪ ﻭﻝﻜﻥ ﺩﻭﻥ ﺠﺩﻭﻯ ﺃﻴﻀﺎ‪ ،‬ﺍﻝﻨﺎﻗﺩ ﺍﻭﺩﻝﻑ ﺍﻭﻏـﻲ‬

‫ﺴﻜﻭﺕ ﻜﺎﻥ ﻗﺩ ﺫﻜﺭ ﻝﻤﺠﻠﺔ ﻨﻴﻭﺭﻙ ﺃﻥ ﻓﻴﻠﻡ ﺍﻝﻤﻤﻠﻜﺔ ﻝﻡ ﻴﻜﻥ ﺃﻜﺜﺭ ﻤﻤﺎ ﻜﺎﻥ ﻝﺩﻯ ﺭﺍﻤﺒﻭ ﻓﻲ ﻓﻴﺘﻨﺎﻡ‪،‬‬

‫ﺃﻭ ﺘﻜﺭﺍﺭﺍ ﻝﻔﻌﻠﻪ ﻫﻨﺎﻙ‪ ،‬ﻭﻫﻭ ﻤﺤﺽ ﺨﻴﺎل ﻻ ﺃﻜﺜﺭ ﻜﻤﺎ ﺃﻥ ﻝﻡ ﻴﻌﻁ ﺼﻭﺭﺓ ﺃﻜﺜﺭ ﺘﻔـﺎﺅﻻ ﻝﻠـﺭﺩ‬

‫ﺍﻷﻤﺭﻴﻜﻲ ﺍﻷﻤﺜل ﻋﻠﻰ ﺍﻹﺭﻫﺎﺏ‪ ،‬ﻭﺍﻝﺠﻤﺎﻋﺎﺕ ﺍﻷﺼﻭﻝﻴﺔ‪ ،3‬ﻋﻠﻰ ﺍﻝﻨﻘﻴﺽ ﻤﻥ ﺍﻝﻨﺎﻗـﺩ ﺍﻷﺴـﺘﺭﺍﻝﻲ‬

‫"ﺇﻥ ﺍﻝﻤﻤﻠﻜﺔ ﺘﺸﺒﻪ ﻤﻜﺎﻨﺎ ﻜﺎﻝﻤﺭﻴﺦ"‪ ،‬ﻜﺎﻥ ﻫﺫﺍ ﺭﺃﻱ ﺃﻋﻀﺎﺀ ﻤﻜﺘﺏ ﺍﻝﺘﺤﻘﻴﻘﺎﺕ ﺍﻝﻔﻴﺩﺭﺍﻝﻴﺔ ﺃﺜﻨﺎﺀ ﻁﻴﺭﺍﻨﻬﺎ ﻝﻠﻤﻠﻜﺔ ﺍﻝﻌﺭﺒﻴﺔ‬ ‫‪1‬‬

‫ﺍﻝﺴﻌﻭﺩﻴﺔ‪ .‬ﻭﻤﺸﻬﺩ ﺁﺨﺭ ﻴﺭﻯ ﻓﻴﻪ ﺍﻝﻌﻜﻴل ﺍﻷﻤﺭﻴﻜﻲ ﺴﺎﻴﻜﺱ ﺍﻝﻤﺤﻘﻘﻴﻥ ﺍﻝﻌﺭﺏ ﻏﻴﺭ ﻤﺘﻤﻜﻨﻴﻥ‪ " :‬ﻋﻠﻴﻨﺎ ﺠﻤﻊ ﺍﻷﺩﻝﺔ‪،‬‬
‫ﺍﻝﻤﻌﺩﺍﺕ‪ ،‬ﻻ ﺘﺨﺎﻓﻭﺍ ﻋﻠﻰ ﺃﻨﻔﺴﻜﻡ ﻤﻥ ﺍﻝﻘﺫﺍﺭﺓ ﺍﺨﺭﺠﻭﺍ ﺍﻝﻤﻴﺎﻩ ﻤﻥ ﻫﻨﺎ‪.‬ﻴﺎ ﺍﻝﻬﻲ ﻤﺎ ﻫﺅﻻﺀ‪ ..‬ﻴﺒﺩﻭ ﻋﻠﻴﻬﻡ ﺃﻨﻬﻡ ﻝﻡ ﻴﻔﻬﻤﻭﻥ ﺃﻱ‬
‫ﻜﻠﻤﺔ ﻜﻤﺎ ﺃﻨﻬﻡ ﻏﻴﺭ ﻤﺘﻤﻜﻨﻴﻥ ﻤﻥ ﺃﺩﺍﺀ ﻋﻤﻠﻬﻡ"‪ .‬ﺃﻤﺎ ﻓﻲ ﻓﻴﻠﻡ )ﺴﻴﺭﻴﺎﻨﺎ( ﻓﺘﻔﺼﻴل ﻝﻁﺒﻴﻌﺔ ﺍﻝﻨﻅﺭﺓ ﻤﻥ ﻋﺩﺴﺎﺕ ﻋﻴﻭﻥ‬
‫ﺍﻝﻐﺭﺒﻲ‪ ،‬ﺤﻴﺙ ﻫﺘﻑ ﻓﻲ ﺨﺎﻁﺭ ﺒﺭﻴﺎﻥ ﻋﻨﺩﻤﺎ ﻗﺼﺩ ﺍﻝﻤﻤﻠﻜﺔ ﻓﻲ ﻋﻤل ‪" :‬ﻋﻨﺩﻤﺎ ﻭﺼﻠﺕ ﺇﻝﻰ ﺍﻝﻤﻁﺎﺭ ﻜﺄﻥ ﺼﺎﻋﻘﺔ ﻭﻗﻌﺕ‬
‫ﻋﻠﻲ ‪.‬ﻜل ﺍﻝﺭﺠﺎل ﻴﺭﺘﺩﻭﻥ ﺠﻼﺒﻴﺏ ﺒﻴﻀﺎﺀ‪.‬ﺩﻭﻥ ﻭﺠﻭﺩ ﺒﻘﻌﺔ ﻭﺍﺤﺩﺓ ﺃﻨﺎ ﻻ ﺃﻓﻬﻡ ﻫﺫﺍ‪.‬ﺍﻝﻨﺴﺎﺀ ﻴﺭﺘﺩﻴﻥ ﺍﻷﺴﻭﺩ ﻤﻥ ﺍﻝﺭﺃﺱ‬
‫ﺤﺘﻰ ﺍﻝﻘﺩﻡ ﻭﻴﻤﺸﻴﻥ ﻋﻠﻰ ﺒﻌﺩ ﺨﻤﺴﺔ ﺃﻗﺩﺍﻡ ﻤﻥ ﺍﻝﺭﺠﺎل‪.‬ﻤﻥ ﺠﻤﻠﻬﻡ ﺍﻝﻤﻌﺘﺎﺩﺓ" ﺍﻝﺠﻭ ﺤﺎﺭ ﻫﺫﺍ ﺍﻝﻴﻭﻡ ﻝﻴﺱ ﻋﻠﻴﻨﺎ ﺍﻝﻌﻤل‪ ،‬ﺃﻨﺎ ﻻ‬
‫ﺍﻓﻬﻡ ﻜﻴﻑ ﻴﻨﺠﺯﻭﻥ ﺍﻷﻋﻤﺎل‪.‬ﺍﻭﻭﻩ ﺃﻭﺩ ﺃﻥ ﺃﺭﺍﻫﻡ ﻴﻠﻌﺒﻭﻥ ﺍﻝﺒﻴﺴﺒﻭل"‪ ،‬ﻜﻤﺎ ﺃﻥ "ﻻ ﺍﺤﺩ ﻴﺤﺏ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ‪ ،‬ﻭﻻ ﺸﻲﺀ‬
‫ﻝﺘﺤﺒﻪ ﻫﻨﺎﻙ" ﻋﻠﻰ ﺤﺩ ﺘﻌﺒﻴﺭ ﻤﺴﺌﻭل ﺍﻝﻌﻤﻠﻴﺎﺕ ﻓﻲ ﺍﻝﻤﺨﺎﺒﺭﺍﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻓﻲ ﻓﻴﻠﻡ )ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ(‪ .‬ﺍﻨﻅﺭ ﺍﻝﺒﺤﺙ‬
‫ﺹ‪53-47‬‬
‫‪2‬‬
‫‪Interview with peter berg by Edward Douglas September 21, 2007.‬‬
‫‪http://www.comingsoon.net/news/movienews.php?id=37397 retrieved 25.10.2009‬‬
‫‪3‬‬
‫‪http://nymag.com/movies/reviews/38019/index1.html retrieved 25.10.2009‬‬

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‫ﺍﻴﻔﺎﻥ ﻭﻝﻴﻤﺯ ﺍﻝﺫﻱ ﺭﺃﻯ ﺃﻨﻪ ﻓﻴﻠﻡ ﻤﻤﺘﺎﺯ‪ ،‬ﺇﺫ ﺃﻨﻪ ﻤﻥ ﺃﻭﺍﺌل ﺍﻷﻓﻼﻡ ﺍﻝﺘﻲ ﺘﺭﻜـﺯ ﻋﻠـﻰ ﺍﻝﻤـﺸﺎﺭﻜﺔ‬

‫ﺍﻝﺴﻌﻭﺩﻴﺔ ﻝﻤﻭﺍﺠﻬﺔ ﺍﻹﺭﻫﺎﺏ‪ ،‬ﺃﻤﺎ ﺍﻝﻨﺎﻗﺩ ﻝﻭﻤﻨﻴﻙ ﻓﻘﺩ ﺭﺃﻯ ﺃﻥ ﻫﻭﻝﻴﻭﺩ ﻭﻓﺭﺕ ﺴﺒﺒﺎ ﺁﺨﺭ ﻝﻜﺭﺍﻫﻴـﺔ‬

‫ﺃﻤﺭﻴﻜﺎ ﻝﻠﻌﺎﻝﻡ ﺍﻹﺴﻼﻤﻲ‪. 1‬‬

‫ﻓﻴﻤﺎ ﻴﺨﺹ ﺍﻝﻨﻤﻭﺫﺝ ﺍﻝﻤﺴﺘﺭﺩ ﻝﻤﺎ ﻗﺒل ﺃﻴﻠﻭل ‪ 2001‬ﻭﻤﺎ ﺒﻌﺩﻫﺎ ﻓﻘﺩ ﻭﺭﺩ ﻓﻲ ﻜل ﻤﻥ ﺍﻷﻓﻼﻡ‬

‫ﻋﺩﺍ ﺴﻴﺭﻴﺎﻨﺎ ‪،‬ﻭﺴﺘﻜﻭﻥ ﻝﻨﺎ ﻋﻭﺩﺓ ﻷﺴﺒﺎﺏ ﻫﺫﺍ ﺍﻻﺴﺘﺜﻨﺎﺀ‪ ،‬ﺃﻤﺎ ﺸﻜل ﺍﻝﻨﻤﻭﺫﺝ ﺍﻝﺫﻱ ﻅﻬـﺭ‪ ،‬ﻓﻬـﻭ‬

‫ﻴﺘﻌﻠﻕ ﺒﺸﻜل ﺍﻝﻌﺭﺒﻲ ﻭﺼﻭﺭﺘﻪ‪ ،‬ﻋﺎﺩﺘﻪ ﻭﺘﻘﺎﻝﻴﺩﻩ ﻭﻓﻬﻤﻪ ﻝﺩﻴﻨﻪ‪ ،‬ﺍﻝﺸﻜل ﺍﻝﻌﺎﻡ ﻝﻠﺒﻴﺌﺔ‪ ،‬ﻓﻜل ﻤﻥ ﺍﻷﻓﻼﻡ‬

‫)ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ( ﻭ)ﺍﻝﻤﻤﻠﻜﺔ( ﻭ)ﺍﻝﺘﺴﻠﻴﻡ (ﻋﺭﺽ ﻤﺸﺎﻫﺩ ﻝﻠﺼﺤﺭﺍﺀ ﻭﺍﻝﺠﻤﺎل ﺒل ﻜﺎﻨﺕ ﻤﺸﺎﻫﺩ‬

‫ﻤﺘﻜﺭﺭﺓ ﻝﺘﺩﻝﻴل ﻋﻠﻰ ﺃﻥ ﺍﻝﻤﺸﻬﺩ ﻓﻲ ﺇﺤﺩﻯ ﺍﻝﺩﻭل ﺍﻝﻌﺭﺒﻴﺔ‪ ،‬ﻁﺭﻴﻘﺔ ﺍﻝﻠﺒﺎﺱ‪ ،‬ﺜﻭﺏ ﺍﻝﺭﺠﺎل ﺍﻷﺒﻴﺽ‬

‫ﺍﻝﻨﺎﺼﻊ‪ ،‬ﻭﺒﺭﻗﻊ ﺍﻝﻤﺭﺃﺓ ﺍﻝﺫﻱ ﻴﻐﻁﻴﻬﺎ ﻤﻥ ﺭﺃﺴﻬﺎ ﻭﻭﺠﻬﻬﺎ ﺤﺘﻰ ﺃﺨﻤﺹ ﻗﺩﻤﻴﻬﺎ‪ ،‬ﺍﻝﻜﺴل ﺍﻝﻌﺎﻡ ﻭﻗﻠﺔ‬

‫ﺍﻝﻌﻤل‪ ،‬ﺍﻝﺴﺫﺍﺠﺔ ﻭﺍﻝﻐﺒﺎﺀ ﻓﻲ ﺒﻌﺽ ﺍﻷﺤﻴﺎﻥ‪ ،‬ﻤﻤﺎ ﻴﺤﺘﻡ ﻁﻠﺏ ﻤﺴﺎﻋﺩﺓ ﺍﻻﻤـﺭﻴﻜﻴﻥ ﻓـﻲ ﺇﺠـﺭﺍﺀ‬

‫ﺍﻝﺘﺤﻘﻴﻘﺎﺕ‪ ،‬ﻭﻜﻴﻔﻴﺔ ﺍﺴﺘﺨﺩﺍﻡ ﺍﻷﺩﻭﺍﺕ ﻜﻤﺎ ﻓﻲ ﻓﻴﻠﻡ )ﺍﻝﻤﻤﻠﻜﺔ(‪ ،‬ﻜﻤﺎ ﺃﻥ ﻫﻨﺎﻙ ﺍﻝﺘﻔﺎﺘﺎﺕ ﻜﺜﻴﺭ ﺘﻜﺭﺭﺕ‬

‫ﻓﻲ ﻓﻴﻠﻡ )ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ( ﻭ)ﺍﻝﻤﻤﻠﻜﺔ( ﻭ)ﺍﻝﺘﺴﻠﻴﻡ( ﻓﻲ ﺍﻹﺸﺎﺭﺓ ﺇﻝﻰ ﺍﻝﻔﻬـﻡ ﺍﻝﺨـﺎﻁﺊ ﻝﻠـﺩﻴﻥ‬

‫ﻭﺘﻔﺴﻴﺭ ﺁﻴﺎﺕ ﺍﻝﻘﺭﺍﻥ‪.‬‬

‫ﺘﺒﺭﺯ ﻜل ﻤﻥ ﺍﻷﻓﻼﻡ –ﻋﺩﺍ ﺴﻴﺭﻴﺎﻨﺎ‪ -‬ﻨﻤﻭﺫﺝ ﻜل ﻤﺎ ﻫﻭ ﺍﻷﻓﻀل ﻝﻜل ﻤﺎ ﻫﻭ ﺃﻤﺭﻴﻜﻲ‪ ،‬ﺍﻝﺤﻴﺎﺓ‬

‫ﺍﻻﺠﺘﻤﺎﻋﻴﺔ‪ ،‬ﺍﻝﺘﺭﻑ‪ ،‬ﻨﻤﻭﺫﺝ ﺃﻤﺜل ﻝﻼﺴﺘﺨﺒﺎﺭﺍﺕ ﻭﺍﻝﻘﻁﺎﻋﺎﺕ ﺍﻝﻌﺴﻜﺭﻴﺔ‪ ،‬ﻭﻜﺜﻴـﺭﺍ ﻤـﺎ ﻅﻬـﺭﺕ‬

‫ﺍﻝﻬﺎﻻﺕ ﺍﻝﺭﻭﺤﻴﺔ ﻝﺤﻴﺎﺓ ﻫﺎﺩﺌﺔ ﻭﺴﺎﻜﻨﺔ ﻓﻲ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ ،‬ﻓﻘﺩ ﻅﻬﺭﺕ ﻓﻲ ﻤـﺸﺎﻫﺩ ﻤﻘﻁﻌﻴـﺔ‬

‫ﺒﻬﺎﻝﺔ ﺨﻀﺭﺍﺀ‪ ،‬ﺒﻴﺌﺔ ﻨﺸﻴﻁﺔ‪ ،‬ﺤﻴ‪‬ﺔ‪ ،‬ﺴﺎﻜﻨﺔ‪ ،‬ﻭﻜﺜﻴﺭ ﻤﻥ ﺍﻝﺸﺨﺼﻴﺎﺕ ﻓﻲ ﺍﻷﻓﻼﻡ ﺃﺒﺩﺕ ﺭﻏﺒﺘﻬﺎ ﻓﻲ‬

‫ﺍﻝﻬﺠﺭﺓ ﻝﻠﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﻜﻤﺎ ﺸﻘﻴﻘﺔ ﻋﺎﺌﺸﺔ ﻓﻲ ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ‪ ،‬ﻭﻨـﺯﺍﺭ‪-‬ﺍﻝﺤﺎﺼـل ﻋﻠـﻰ‬

‫ﺸﻬﺎﺩﺍﺕ ﺍﻝﺩﻜﺘﻭﺭﺍﻩ ﻓﻲ ﺍﻝﻌﻠﻭﻡ ﺍﻝﻠﻐﻭﻴﺔ‪ -‬ﺍﻝﺫﻱ ﻗﺩ ﻴﻔﻌل ﺃﻱ ﺸﻲﺀ ﻝﻼﻨﺘﻘﺎل ﺇﻝﻰ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤـﺩﺓ‪،‬‬

‫‪1‬‬
‫‪Asia times. A failed kingdom.2.10.2007. http://www.atimes.com/atimes/Middle_East/IJ02Ak03.html‬‬
‫‪retrieved 20.10.2007‬‬

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‫ﻜﻤﺎ ﺃﻥ ﺍﻝﻘﻭﺍﻋﺩ ﺍﻝﻌﺴﻜﺭﻴﺔ ﻤﻨﺘﺸﺭﺓ ﻓﻲ ﻤﻌﻅﻡ ﺍﻝﺩﻭل ﺍﻝﻌﺭﺒﻴﺔ ﺒﻤﺒﺭﺭ ﺤﻤﺎﻴﺘﻬﺎ ﻭﺍﻝﺤﻔﺎﻅ ﻋﻠﻰ ﺃﻤﻨﻬﺎ‬

‫ﺤﻴﺙ ﺍﻝﻠﻴﺒﺭﺍﻝﻴﺔ ﺍﻝﻤﺠﺩﻴﺔ ﻓﻲ ﺤﺭﺒﻬﺎ ﻀﺩ ﺍﻹﺭﻫﺎﺏ‪ ،‬ﻤﻌﺭﻜﺔ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺍﻝﺘﻲ ﺘﺩﻭﺭ ﺨـﺎﺭﺝ‬

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‫ﺃﺭﺍﻀﻴﻬﺎ‪.‬‬

‫ﻜﻤﺎ ﻁﺭﺤﺕ ﺍﻷﻓﻼﻡ ﺠﺩﻝﻴﺔ ﻤﺎ ﻜﺎﻥ ﻴﻁﻠﻕ ﻋﻠﻴﺔ ﻓﻲ ﺍﻷﻓﻼﻡ "ﺒﺎﻻﺴﺘﺸﻬﺎﺩﻱ" ‪ :‬ﺤﻴﺎﺘـﻪ‪ ،‬ﺒﻴﺌﺘـﻪ‪،‬‬

‫ﻤﻌﻠﻤﻴﻪ‪ ،‬ﺩﻭﺍﻓﻌﻪ‪ ،‬ﻁﺭﻴﻘﺘﻪ‪ ،‬ﻭﻗﺩ ﻅﻬﺭ ﻓﻲ ﺍﻷﻓﻼﻡ‪-‬ﻋﺩﺍ ﺴﻴﺭﻴﺎﻨﺎ‪ -‬ﻨﻤﻭﺫﺠﺎ ﻤﻭﺤﺩﺍ ل ﻤﺤﻤـﺩ ﻋﻁـﺎ‬

‫ﻗﺎﺌﺩ ﻋﻤﻠﻴﺔ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪ ،2001‬ﻓﻤﻌﻅﻤﻬﻡ ﻤﺘﻌﻠﻤﻭﻥ‪ ،‬ﺤﺎﺼﻠﻭﻥ ﻋﻠﻰ ﺸﻬﺎﺩﺍﺕ ﻋﻠﻴـﺎ‬

‫ﻓﻲ ﺍﻝﻬﻨﺩﺴﺔ ﻭﺍﻝﻁﺏ‪ ،‬ﻭﻤﻌﻅﻤﻬﻡ ﺃﻴﻀﺎ ﻤﻤﻥ ﺩﺭﺱ ﻓﻲ ﺃﻤﺭﻴﻜﺎ ﻭﺃﻭﺭﺒﺎ‪ ،‬ﺍﻝﺨﻁﺎﺒﺎﺕ ﺍﻝﻤﻭﺠﻬﺔ ﻝﻬـﻡ‬

‫ﻤﻥ ﻗﺒل ﻤﺸﺎﻴﺨﻬﻡ ﻓﻲ ﺘﻨﻅﻴﻡ ﺍﻝﻘﺎﻋﺩﺓ ﻤﻭﺤﺩﺓ ﻋﻠﻰ ﺍﻹﻁﻼﻕ – ﻋﺩﺍ ﻓﻴﻠﻡ ﺴﻴﺭﻴﺎﻨﺎ – ﻁﺭﻴﻘﺔ ﺍﻝﺘﻔﺠﻴﺭ‬

‫ﻭﺁﻝﻴﺎﺘﻬﺎ ﻤﻭﺤﺩﺓ ﺃﻴﻀﺎ‪ ،‬ﺤﻴﺙ ﻴﺘﻡ ﺘﺠﻬﻴﺯ ﺍﻷﺤﺯﻤﺔ ﺍﻝﻨﺎﺴﻔﺔ ﺒﻜﻤﻴﺎﺕ ﻜﺒﻴﺭﺓ ﻤﻥ ﺍﻝﻤﺴﺎﻤﻴﺭ ﻭﺍﻝﺭﺨـﺎﻡ‬

‫ﻷﺤﺩﺍﺙ ﺘﻔﺠﻴﺭ ﺍﻜﺒﺭ ﻭﺇﻝﺤﺎﻕ ﺍﻝﻌﺩﻭ ﺨﺴﺎﺌﺭ ﻓﺎﺩﺤﺔ ‪،‬ﻜﻤﺎ ﻴﺘﻡ ﺘﺠﻬﻴﺯ ﺍﻝﻘﻨﺎﺒل ﻴﺩﻭﻴﺎ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺒﻌﺽ‬

‫ﺍﻷﺴﻠﺤﺔ ﺭﻭﺴﻴﺔ ﺍﻝﺼﻨﻊ‪ ،‬ﻴﻌﺩ ﺍﻝﺭﺠل ﻨﻔﺴﻪ ﻭﻴﺩﻝﻲ ﺒﻭﺼﻴﺘﻪ ﻋﻠﻰ ﺸﺭﻴﻁ ﻤﺼﻭﺭ‪ ،‬ﻴﺨﺘـﺎﺭ ﺃﻜﺜـﺭ‬

‫ﺍﻷﻤﺎﻜﻥ ﺍﺯﺩﺤﺎﻤﺎ ﻭﻴﻀﻐﻁ ﻋﻠﻰ ﻜﺒﺱ ﺍﻝﺘﻔﺠﻴﺭ ﻤﺭﺩﺩﺍ "ﺍﷲ ﺍﻜﺒﺭ‪ ،‬ﺍﷲ ﺍﻜﺒﺭ "‪ .‬ﺜﻡ ﻴﺘﺒـﻊ ﺍﻝﺘﻔﺠﻴـﺭ‬

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‫ﺇﻋﻼﻥ ﺨﻼﻴﺎ ﺘﻨﻅﻴﻡ ﺍﻝﻘﺎﻋﺩﺓ ﻤﺴﺅﻭﻝﻴﺘﻬﺎ ﻋﻥ ﺍﻝﻌﻤﻠﻴﺔ ﺨﻼل ﺸﺭﻴﻁ ﻓﻴﺩﻴﻭ ﻤﺼﻭﺭ‪.‬‬

‫‪ 1‬ﺃﻤﺎ ﻋﻥ ﻁﺭﻴﻘﺔ ﺘﻘﺩﻴﻡ ﺍﻝﻐﺭﺒﻲ ﻝﻨﻔﺴﻪ ﻓﻲ ﻫﻭﻝﻴﻭﺩ ﻓﺄﻤﺭ ﻴﺴﺘﺤﻕ ﺍﻝﺫﻜﺭ ﺤﻴﺙ ﻴﺭﻏﺏ ﺍﻝﻜﺜﻴﺭﻭﻥ ﻓﻲ ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ ﻫﻨﺎﻙ‪ ،‬ﻋﺎﺌﺸﺔ‬
‫ﺍﻝﺸﺨﺼﻴﺔ ﺍﻝﺜﺎﻨﻭﻴﺔ ﻓﻲ ﻓﻴﻠﻡ )ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ( ﺘﻌﻠﻡ ﺼﺩﻴﻘﻬﺎ ﺍﻷﻤﺭﻴﻜﻲ ﺃﻥ ﺃﻭﻻﺩ ﺸﻘﻴﻘﺘﻬﺎ ﻴﻔﻀﻠﻭﻥ ﺍﻝﺴﺒﺎﻏﺘﻲ‬
‫ﻭﺍﻝﻬﺎﻤﺒﻭﺭﻏﺭﺍﻻﻤﺭﻴﻜﻲ ﻋﻠﻰ ﻁﻌﺎﻡ ﺃﻤﻬﻡ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺍﻷﻡ ﻤﺘﻀﺎﻴﻘﺔ ﻤﻥ ﺍﻝﻭﻀﻊ ﻓﻲ ﺍﻝﻌﺭﺍﻕ ﻭﺘﻔﻀل ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ‬
‫ﻝﻠﻌﻴﺵ ﻫﻨﺎﻙ ﻭﺃﻭﻻﺩﻫﺎ ﺤﻴﺙ ﺍﻷﻤﺎﻥ‪ ،‬ﻜﺫﻝﻙ ﻨﺯﺍﺭ ﺍﻝﻌﺭﺍﻗﻲ ﻴﺴﺘﻌﺩ ﻫﻭ ﺍﻵﺨﺭ ﻝﺘﻤﺭﻴﺭ ﻤﻌﻠﻭﻤﺎﺕ ﻤﻘﺎﺒل ﺤﺼﻭﻝﻪ ﻋﻠﻰ ﺒﻁﺎﻗﺔ‬
‫ﺨﻀﺭﺍﺀ ﺘﻤﻜﻨﻪ ﻤﻥ ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ ﺃﻤﺭﻴﻜﺎ‪ " ،‬ﻴﺭﻴﺩ ﺍﻝﺤﺭﻴﺔ‪ ،‬ﻫﺎﺍ‪..‬ﻜﺎﻥ ﻴﻨﻭﻱ ﺍﻝﺫﻫﺎﺏ ﺇﻝﻰ ﺩﻴﺯﻨﻲ ﻻﻨﺩ" ﺤﻴﺙ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‬
‫ﻤﺭﺍﺩﻓﺔ ﻝﻠﺤﺭﻴﺔ ﻭﺍﻝﻌﻴﺵ ﺍﻷﻤﻥ ﻭﺍﻝﻬﺎﻝﺔ ﺍﻝﺨﻀﺭﺍﺀ ﺍﻝﺴﺎﻜﻨﺔ‪ .‬ﻜﻤﺎ ﺃﻥ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺘﺴﻌﻰ ﺠﺎﺩﺓ= =ﻹﻀﻔﺎﺀ ﺍﻝﺴﻼﻡ‬
‫ﻭﻨﺸﺭ ﺍﻝﺤﺭﻴﺎﺕ ﻋﻠﻰ ﺤﺩ ﺘﻌﺒﻴﺭ ﺍﻝﺴﻴﺩﺓ ﺍﻝﺘﻲ ﺘﻌﻤل ﻓﻲ ﻭﺯﺍﺭﺓ ﺍﻝﻌﺩل ﺍﻷﻤﺭﻴﻜﻴﺔ ﻓﻲ ﻓﻴﻠﻡ )ﺴﻴﺭﻴﺎﻨﺎ(‪ " :‬ﺍﻝﻬﻨﺩ ﺤﻠﻴﻔﺘﻨﺎ ﻭﺭﻭﺴﻴﺎ‬
‫ﺤﻠﻴﻔﺘﻨﺎ ﻭﺍﻝﺼﻴﻥ ﺴﺘﻜﻭﻥ ﺤﻠﻴﻔﺘﻨﺎ‪ ،‬ﻭﺇﻴﺭﺍﻥ ﻫﻲ ﺤﻠﻴﻑ ﻝﺜﻘﺎﻓﻲ ﻁﺒﻴﻌﻲ ﻝﻠﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ﺃﻴﻀﺎ‪ ،‬ﺍﻝﻔﺭﺱ ﻻ ﻴﺭﻴﺩﻭﻥ ﺍﻝﻌﻭﺩﺓ‬
‫ﻝﻠﻘﺭﻥ ﺍﻝﺜﺎﻤﻥ‪ .‬ﺍﻝﻁﻼﺏ ﻴﺘﻅﺎﻫﺭﻭﻥ ﺒﺎﻝﺸﻭﺍﺭﻉ ﻭﺨﺎﺘﻤﻲ ﻴﻠﻘﻲ ﺨﻁﺎﺒﺎﺕ ﺠﻴﺩﺓ‪ ،‬ﺇﺼﻼﺡ ﺇﻴﺭﺍﻥ ﻭﻨﺸﺭ ﺍﻝﺤﺭﻴﺎﺕ ﺃﺤﺩ ﺁﻤﺎل‬
‫ﺍﻝﺭﺌﻴﺱ ﻝﻠﻤﻨﻁﻘﺔ‪ ،‬ﻭﻤﻬﻤﺔ ﺃﻴﻀﺎ ﻝﺘﺤﻘﻴﻕ ﺍﻷﻤﻥ ﺍﻝﺩﺍﺨﻠﻲ ﻝﻠﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ"‪ .‬ا‪ 018‬ا‪ hi4‬ص ‪69-65‬‬
‫‪ 2‬ﺒﺩﺍ ﺍﻹﺭﻫﺎﺒﻲ ﻓﻲ ﻓﻴﻠﻡ )ﺍﻝﻤﻤﻠﻜﺔ( ﻭ )ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ( ﻜﻨﻤﻭﺫﺝ ﻤﻭﺤﺩ‪ ،‬ﺃﻤﺎ ﻓﻲ ﻓﻴﻠﻤﻲ )ﺍﻝﺘﺴﻠﻴﻡ( ﻭ )ﺴﻴﺭﻴﺎﻨﺎ( ﻓﻘـﺩ ﺒـﺩﺍ‬
‫ﻤﺨﺘﻠﻔﺎ‪ .‬ﻤﺎﺫﺍ ﻨﻘﺼﺩ ﺒﺫﻝﻙ؟ ﻝﻘﺩ ﺘﻭﺤﺩﺕ ﻁﺭﻕ ﺘﻌﺒﺌﺔ "ﺍﻹﺭﻫﺎﺒﻲ"‪ ،‬ﻭﺩﻭﺍﻓﻌﻪ ﻭﻜﺫﻝﻙ ﺍﻝﻁﺭﻴﻘﺔ ﺍﻝﺘﻲ ﻴﻘﻭﻡ ﻤﻥ ﺨﻼﻝﻬﺎ ﺒﺘﻔﺠﻴـﺭ‬

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‫ﻁﺭﺤﺕ ﻜل ﻤﻥ ﺍﻷﻓﻼﻡ ﻤﺴﺄﻝﺔ ﺍﻝﺴﻌﻲ ﺍﻝﺩﺍﺌﻡ ﻭﺭﺍﺀ ﺍﻷﺠﻨﺒﻲ ﻻﺨﺘﻁﺎﻓﻪ ﻭﺘﻌﺫﻴﺒﻪ ﺜﻡ ﻗﺘﻠﻪ ﺃﻤـﺎﻡ‬

‫ﻜﺎﻤﻴﺭﺍ ﻓﻴﺩﻴﻭ‪ ،‬ﻤﺸﻬﺩ ﺫﺍﻉ ﻓﻲ ﺍﻷﻓﻼﻡ ﺍﻝﻤﺴﺘﻌﺭﻀﺔ‪ ،‬ﻗﻴﻤﺔ ﺃﺨﺭﻯ ﻝﻠﺘﻌﺫﻴﺏ ﺘﺠﻌل ﺍﻝﻤﺭﺀ ﻴﺩﻝﻲ ﺒـﺄﻱ‬

‫ﺸﻲﺀ ﺘﺤﺕ ﻭﻁﺄﺘﻪ‪.1‬‬

‫ﻁﺭﺡ ﻹﻤﻜﺎﻨﻴﺔ ﺍﻝﺘﻌﺎﻴﺵ ﺍﻝﺤﻀﺎﺭﻱ ﻭﺍﻝﺜﻘﺎﻓﻲ ﺒﻴﻥ ﺍﻹﺴﻼﻡ ﻭﺍﻝﻐﺭﺏ ﺤﻴـﺙ ﻴـﺼﺒﺢ ﻏـﺎﺯﻱ‬

‫ﺍﻝﺸﺭﻁﻲ ﺍﻝﺴﻌﻭﺩﻱ ﺼﺩﻴﻘﺎ ﻝﻌﻤﻴل ﺍﻻﺴﺘﺨﺒﺎﺭﺍﺕ ﻓﻠﻭﺭﻱ ﻓﻲ ﻓﻴﻠﻡ )ﺍﻝﻤﻤﻠﻜﺔ(‪ ،‬ﻜﻤﺎ ﺘﺴﺘﻌﺭﺽ ﺒﻌﺽ‬

‫ﺍﻷﻤﺎﻜﻥ‪ ،‬ﻓﻔﻲ ﻤﺠﻤﻭﻉ ﺍﻷﻓﻼﻡ ﻴﺘﻡ ﺘﺤﻀﻴﺭ ﺍﻝﺤﺯﺍﻡ ﺍﻝﻨﺎﺴﻑ ﻭﺍﺨﺘﻴﺎﺭ ﺍﻷﻤﺎﻜﻥ ﺍﻷﺸﺩ ﺍﺯﺩﺤﺎﻤﺎ‪ ،‬ﻴﺭﺩﺩ ﺍﻝﺘﻜﺒﻴﺭﺍﺕ ﺜـﻡ ﻴﻘـﻭﻡ‬
‫ﺒﺘﻔﺠﻴﺭ ﺠﺴﺩﻩ‪ ،‬ﻜﻤﺎ ﻓﻲ ﻓﻴﻠﻡ) ﺍﻝﻤﻤﻠﻜﺔ( ﺤﻴﺙ ﻴﻘﺘﺭﺏ ﺍﻝﺠﺴﺩ ﺍﻝﻤﻠﻐﻡ ﻤﻥ ﺍﻝﺠﻤﻭﻉ "‪:‬ﺘﻌﺎﻝﻭﺍ ﺇﻝﻲ ‪،‬ﻫﻠﻤﻭﺍ‪،‬ﻻ ﺘﺨﺎﻓﻭﺍ ‪،‬ﺍﷲ ﺍﻜﺒـﺭ‬
‫ﺍﷲ ﺍﻜﺒﺭ ‪،‬ﺍﺸﻬﺩ ﺃﻥ ﻻ ﺍﻝﻪ ﺍﷲ "ﺜﻡ ﺩﻭﻱ ﻜﺒﻴﺭ ﻴﻭﻗﻊ ﺍﻝﻌﺸﺭﺍﺕ ﻤﻥ ﺍﻝﻘﺘﻠﻰ‪ .‬ﻓﻲ ﻓﻴﻠﻡ )ﺠﺴﺩ ﺍﻷﻜﺎﺫﻴـﺏ( ﻴـﺭﺩﺩ "ﺍﻹﺭﻫـﺎﺒﻲ"‬
‫ﻜﻠﻤﺎﺕ ﻤﺸﺎﺒﻪ ﻗﺒل ﻗﻴﺎﻤﻪ ﺒﺎﻝﺘﻔﺠﻴﺭ‪ " :‬ﺭﺠل ﻴﺭﺘﺩ ﺤﺯﺍﻤﺎ ﻨﺎﺴﻔﺎ‪:‬ﺍﷲ ﺍﻜﺒﺭ‪ ،‬ﺍﷲ ﺍﻜﺒﺭ‪ ،‬ﻫﺫﺍ ﻤﻥ ﻓـﻀل ﺍﷲ‪ ،‬ﻴﻔﻠـﺕ ﻤﻘـﺒﺽ‬
‫ﺍﻝﺤﺯﺍﻡ‪ ،‬ﻴﺩﻭﻱ ﺍﻝﻤﻜﺎﻥ"‪ ،‬ﻜﻤﺎ ﺘﻌﺩﺩﺕ ﻤﺸﺎﻫﺩ ﻝﺫﺒﺢ ﺍﻷﺠﺎﻨﺏ ﺃﻤﺎﻡ ﻜﺎﻤﻴﺭﺍ ﺍﻝﻔﻴﺩﻴﻭ‪ ،‬ﻜﻤﺎ ﻓﻲ ﻓﻴﻠﻡ )ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ(‪ ،‬ﺤﻴﺙ‬
‫ﻴﺘﻡ ﺇﻋﺩﺍﺩ ﻜﺎﻤﻴﺭﺍ ﺍﻝﻔﻴﺩﻴﻭ ﺇﻀﺎﻓﺔ ﺇﻝﻰ ﺴﻜﺎﻜﻴﻥ ﺤﺎﺩﺓ‪" :‬ﻗﺎﺘﻠﻭﺍ ﺃﺌﻤﺔ ﺍﻝﻜﻔﺭ ﻓﺎﻨﻪ ﻻ ﺇﻴﻤﺎﻥ ﻝﻬﻡ‪ .‬ﻨﻨﺼﺤﻙ ﺒﺄﻨﻙ ﺘـﺸﺎﻫﺩ ﻋﻠـﻰ‬
‫ﺭﻭﺤﻙ‪..‬ﻻ ﺩﺍﻋﻲ ﻝﻠﻤﻘﺎﻭﻤﺔ ﻝﻘﺩ ﺤﺎﻨﺕ ﻝﺤﻅﺔ ﺍﻝﻭﻓﺎﺓ‪...‬ﺍﷲ ﺍﻜﺒﺭ‪..‬ﺍﷲ ﺍﻜﺒﺭ‪"..‬‬
‫ﺃﻤﺎ ﻋﻥ ﺩﻭﺍﻓﻊ "ﺍﻹﺭﻫﺎﺒﻲ" ﻝﻠﻘﻴﺎﻡ ﺒﻌﻤﻠﺔ ﻓﻘﺩ ﺘﻌﺩﺩﺕ‪ ،‬ﻓﺒﻌﻀﻬﻡ ﺍﺠﺒﺭ ﻋﻠﻰ ﺫﻝﻙ ﻜﻤﺎ ﻓﻲ ﻓﻴﻠﻡ)ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ( ﺤﻴﺙ ﻨﺯﺍﺭ‬
‫ﻴﺠﻴﺏ ﻓﺭﻴﺱ ﻋﻠﻰ ﺴﺅﺍﻝﻪ"ﻝﻤﺎﺫﺍ ﺍﺨﺘﺎﺭﻭﻙ ﻝﻠﻘﻴﺎﻡ ﺒﻌﻤﻠﻴﺔ ﺍﺴﺘﺸﻬﺎﺩﻴﺔ؟" ﻗﺎﺌﻼ‪ :‬ﻋﻨﺩﻤﺎ ﻴﻌﺭﻑ ﺍﻝﺭﺠل ﻋﻨﻬﻡ ﺃﻜﺜﺭ ﻴﺭﺴﻠﻭﻨﻪ‬
‫ﺍﺴﺘﺸﻬﺎﺩﻴﺎ! ﻭﻓﻲ ﻓﻴﻠﻡ)ﺍﻝﻤﻤﻠﻜﺔ( ﻴﺘﺴﺎﺌل ﺴﺎﻴﻜﺱ ﺍﺤﺩ ﺃﻋﻀﺎﺀ ﻓﺭﻴﻕ ﺍﻝﺘﺤﻘﻴﻕ ﺍﻝﺫﻱ ﺃﺭﺴل ﺇﻝﻰ ﺍﻝﻤﻤﻠﻜﺔ ﺍﻝﺴﻌﻭﺩﻴﺔ ‪" :‬ﻜﻡ ﻤﻥ‬
‫ﺍﻝﻌﺫﺍﺭﻯ ﺴﻴﺤﺼل ﻤﻥ ﻴﻘﻭﻡ ﺒﻬﺫﺍ ﺍﻝﻌﻤل‪-‬ﻴﻘﺼﺩ ﺒﻪ ﺍﻝﻌﻤﻠﻴﺔ ﺍﻝﺘﻔﺠﻴﺭﻴﺔ‪ -‬ﺘﺠﻴﺒﻪ ﺍﻝﻌﻤﻴﻠﺔ ﻤﻴﺯ‪" :‬ﺴﺒﻌﻭﻥ"‪ ،‬ﻋﻠﻰ ﺍﻋﺘﺒﺎﺭ ﺃﻥ‬
‫ﺍﻝﺴﺒﺏ ﺍﻝﺫﻱ ﻴﺠﻌل "ﺍﻹﺭﻫﺎﺒﻲ" ﻴﻘﻭﻡ ﺒﻬﺫﺍ ﺍﻝﻌﻤل ﻫﻭ ﻓﻭﺯﻩ ﺒﺎﻝﺤﻭﺭ ﺍﻝﻌﻴﻥ ﻭﺍﻝﺠﻨﺔ‪ ،‬ﻜﻤﺎ ﺃﻥ ﺍﻷﻓﻼﻡ ﺍﻝﻬﻭﻝﻴﻭﺩﻴﺔ ﺘﺭﻯ ﺴﺒﺒﺎ‬
‫ﺁﺨﺭ ﻓﻲ ﺍﻝﻘﻴﺎﻡ ﺒﻌﻤﻠﻴﺔ ﺘﻔﺠﻴﺭﻩ ﺇﻻ ﻭﻫﻭ ﺍﻻﻨﺘﻘﺎﻡ‪ ،‬ﻓﻔﻲ ﻓﻴﻠﻡ ﺍﻝﻤﻤﻠﻜﺔ ﻴﺘﻌﺭﺽ ﺍﺤﺩ ﻝﻀﺒﺎﻁ ﻝﻠﺘﺤﻘﻴﻕ‪" :‬ﺃﻨﺕ ﻤﺘﺭﺒﻲ ﻓﻲ ﺍﻝﺴﻭﻴﺩ‬
‫ﻫﺎ؟ﻭﺃﺨﻭﻙ ﻗﺘل ﻭﻫﻭ ﻴﺤﺎﺭﺏ ﺍﻷﻤﺭﻴﻜﺎﻥ ﻫﺎﺍ؟ﻤﺎ ﻋﻼﻗﺘﻙ ﺒﺎﺒﻭ ﺤﻤﺯﺓ"‪ .‬ﻭﻜﺫﻝﻙ ﻓﻴﻠﻡ)ﺍﻝﺘﺴﻠﻴﻡ( ﺤﻴﺙ ﺃﻥ ﻴﻨﻭﻱ ﺨﺎﻝﺩ ﺍﻝﻘﻴﺎﻡ‬
‫ﺒﻌﻤﻠﻴﺔ ﺘﻔﺠﻴﺭﻩ ﺍﻨﺘﻘﺎﻤﺎ ﻝﻘﺘل ﺃﺨﻴﻪ ﻫﻭ ﺍﻵﺨﺭ‪ .‬ﺃﻤﺎ ﻓﻲ )ﺴﻴﺭﻴﺎﻨﺎ( ﻓﻴﻘﻭﻡ ﺍﻝﺸﻴﺦ ﺍﻝﻤﺼﺭﻱ ﺒﺎﺴﺘﻐﻼل ﻋﻭﺯ ﺍﻝﻤﻬﺎﺠﺭﻴﻥ‬
‫ﺍﻝﺒﺎﻜﺴﺘﺎﻨﻴﻴﻥ ﻝﻠﻘﻴﺎﻡ= =ﺒﺎﻝﺘﻔﺠﻴﺭﺍﺕ‪ ،‬ﺤﻴﺙ ﻴﺤﺭﺹ ﻋﻠﻰ ﺍﻝﺘﻘﺭﺏ ﻤﻨﻬﻡ ﻭﺇﻁﻌﺎﻤﻬﻡ‪ ،‬ﻜﻤﺎ ﻴﻘﻭﻡ ﺒﺘﻌﺒﺌﺘﻬﻡ ﻋﺒﺭ ﻤﺸﺎﻫﺩﺓ ﺃﻓﻼﻡ‬
‫ﻓﻴﺩﻴﻭ ﻷﺸﺨﺎﺹ ﻗﺎﻤﻭﺍ ﺒﻌﻤﻠﻴﺎﺕ ﺘﻔﺠﻴﺭﻴﺔ ﻭﻫﻡ ﺍﻵﻥ ﻴﺴﻜﻨﻭﻥ ﺠﻨﺎﺕ ﺍﻝﺨﻠﺩ‪ .‬ﻜﻤﺎ ﺃﻤﺎ ﻓﻴﻤﺎ ﻴﺘﻌﻠﻕ ﺒﻁﺒﻴﻌﺔ "ﺍﻹﺭﻫﺎﺒﻲ" ﻭﺒﻴﺌﺘﻪ‪،‬‬
‫ﻓﻬﻡ ﻋﻠﻰ ﺤﺩ ﺘﻌﺒﻴﺭ ﺍﻝﻌﻤﻴل ﻓﺭﻴﺱ ﻓﻲ ﻓﻴﻠﻡ )ﺠﺴﺩ ﻤﻥ ﺍﻷﻜﺎﺫﻴﺏ(‪" :‬ﻤﺎ ﺒﻴﻥ‪ 35-18‬ﺴﻨﺔ‪ ،‬ﻤﻌﻅﻤﻬﻡ ﻤﻤﻥ ﻜﺎﻥ ﻴﺩﺭﺱ ﻓﻲ‬
‫ﺍﻝﺨﺎﺭﺝ‪ ،‬ﻤﻬﻨﺩﺴﻭﻥ ﻭﻏﻴﺭ ﺫﻝﻙ‪ ،‬ﻭﻴﺴﻜﺭﻭﻥ ﻭﻴﺘﻌﺎﻁﻭﻥ ﺍﻝﺤﺸﻴﺵ‪ ،‬ﻴﻭﺍﻋﺩﻭﻥ ﺍﻝﻔﺘﻴﺎﺕ ﺃﻴﻀﺎ ﻜﻤﺎ ﻜﺎﻥ ﻴﻔﻌل ﻤﺤﻤﺩ ﻋﻁﺎ‬
‫ﺃﻴﻀﺎ‪ ،‬ﻫﺅﻻﺀ ﺘﻜﻔﻴﺭﻴﻭﻥ ‪،‬ﻫﺫﺍ ﻹﺒﻌﺎﺩ ﺍﻝﺸﺒﻬﺔ"‪ ،‬ﻓﻲ ﻓﻴﻠﻡ ﺍﻝﺘﺴﻠﻴﻡ‪" :‬ﺴﻤﻴﺙ‪-‬ﺼﺩﻴﻕ ﺇﻴﺯﺍﺒﻴﻼ‪ -‬ﻷﺤﺩ ﺍﻝﺴﻨﺎﺘﻭﺭ ‪:‬ﺃﻨﺎ ﺍﻋﺭﻑ‬
‫ﺃﻨﻭﺭ ﻜﺎﻥ ﺠﺎﺩﺍ ﺫﻜﻴﺎ ﻭﺼﻠﺒﺎ ﻤﺴﺘﻘﻴﻤﺎ ‪ -‬ﺍﻝﺴﻴﻨﺎﺘﻭﺭ ‪:‬ﺁﻭﻭﻩ! ﻫﻜﺫﺍ ﻜﺎﻥ ﻤﺤﻤﺩ ﻋﻁﺎ ﻓﻲ ﻫﺎﻤﺒﻭﺭﻍ"‪ ،‬ﺤﻴﺙ ﻤﺤﻤﺩ ﻋﻁﺎ ﻨﻤﻭﺫﺠﺎ‬
‫ﻷﻱ ﺘﻔﺠﻴﺭﻱ ﺁﺨﺭ‪ .‬ﻭﻓﻲ ﻤﻜﺎﻥ ﺁﺨﺭ ﻴﻭﺠﻪ ﺍﻝﻤﺤﻘﻕ ﺨﻁﺎﺒﻪ ﻷﻨﻭﺭ ﻗﺎﺌﻼ‪" :‬ﺃﻨﺕ ﻤﻬﻨﺩﺱ ﻜﻴﻤﻴﺎﺌﻲ ﺘﻌﻠﻡ ﻜﻴﻔﻴﺔ ﺼﻨﻊ ﻗﻨﺒﻠﺔ"‪.‬‬
‫ﺇﻥ ﻤﺠﻤﻭﻋﺔ ﺍﻝﺘﻘﻨﻴﺎﺕ ﺍﺘﺤﺩﺕ ﻭﺘﺄﺭﻤﺔ ﻹﻨﺘﺎﺝ ﻨﻤﻭﺫﺝ ﺍﻻﺭﻫﺎﺒﻲ‪ ،‬ﻴﻤﻜﻥ ﺍﻝﻨﻅﺭ ﻓﻲ ﺍﻝﺒﺤﺙ ﺹ‪78‬‬

‫‪1‬‬
‫‪Nymagazin. Ways of Making You Talk (12.10.2007) http://nymag.com/movies/reviews/39315/ .‬‬
‫‪retrieved 15.11.2009‬‬

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‫ﺍﻝﻤﺸﺎﻫﺩ ﻝﺤﻅﺎﺕ ﺸﺎﻋﺭﻴﺔ ﻹﻅﻬﺎﺭ ﻤﺩﻯ ﺘﻨﺎﻏﻡ ﻭﺍﻨﺩﻤﺎﺝ ﻏﺎﺯﻱ ﻭﺃﻓﺭﺍﺩ ﻋﺎﺌﻠﺘـﻪ‪ ،‬ﻓﻬـﻡ ﻴﻘـﺭﺅﻭﻥ‬

‫ﺍﻝﻘﺭﺁﻥ ﻴﺼﻠﻭﻥ ﻭﻴﻘﻭﻤﻭﻥ ﺒﻭﺍﺠﺒﺎﺘﻬﻡ ﺍﻝﻤﺩﺭﺴﻴﺔ ﻤﻌﺎ‪...‬‬

‫ﻭﻓﻲ ﺍﻷﻓﻼﻡ ﻋﺭﺽ ﻝﻘﻀﻴﺔ ﺍﻝﺘﻌﺫﻴﺏ ﻨﻴﺎﺒﺔ ﻋﻥ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ ‪ 1‬ﻭﺍﻝﺘـﻲ ﺸـﻤﻠﺕ ﺍﻷﻓـﻼﻡ‬

‫ﺍﻝﻤﺴﺘﻌﺭﻀﺔ‪ ،‬ﻝﻜﻥ ﻗﻴﻤﺘﻬﺎ ﺍﻷﺴﺎﺴﻴﺔ ﻜﺎﻨﺕ ﻤﻥ ﺨﻼل ﻓﻴﻠﻡ )‪ (Rendition‬ﻭﺘﻘﺎﺒﻠﻬﺎ ﻓـﻲ ﺍﻝﻌﺭﺒﻴـﺔ‬

‫ﺍﻝﺘﺴﻠﻴﻡ ﻭﺘﻌﻨﻲ ﺍﻝﻜﻠﻤﺔ‪ :‬ﺘﺴﻠﻴﻡ ﺩﻭﻝﺔ ﻷﺴﻴﺭ ﺇﻝﻰ ﺩﻭﻝﺔ ﺃﺨﺭﻯ‪ ،‬ﺤﻴﺙ ﺘﻌﺘﺒﺭ ﺍﻝﻌﻤﻠﻴﺔ ﺨـﺎﺭﺝ ﺇﻁـﺎﺭ‬

‫ﺍﻝﻘﺎﻨﻭﻥ‪ ،‬ﺃﻤﺎ ﻨﻘﻴﻀﻬﺎ ﻓﻬﻲ ﻜﻠﻤﺔ ‪ extradition‬ﺍﻝﺘﻲ ﺘﻌﻨﻲ ﺘﺴﻠﻴﻡ ﺍﻝﻤﻌﺘﻘل ﻤﻥ ﺩﻭﻝﺔ ﺇﻝﻰ ﺃﺨـﺭﻯ‬

‫ﻀﻤﻥ ﺇﻁﺎﺭ ﺍﻝﻘﺎﻨﻭﻥ ﻭﺍﻝﻤﻌﺎﻫﺩﺍﺕ ﺍﻝﺘﻲ ﺘﺤﻜﻡ ﺘﺴﻠﻴﻡ ﺍﻝﻤﻌﺘﻘﻠﻴﻥ ﻋﺎﺩ ﹰﺓ ﻭﻴﺸﻴﺭ ﺇﻝﻴﻪ ﺒﺘﻌﺒﻴﺭ "ﺍﻝﺘـﺴﻠﻴﻡ‬

‫ﺍﻻﺴﺘﺜﻨﺎﺌﻲ"‪ ،‬ﻭﺒﺤﺴﺏ ﺘﻌﺭﻴﻑ ﺍﻻﺘﺤﺎﺩ ﺍﻷﻤﺭﻴﻜﻲ ﻝﻠﺤﺭﻴﺎﺕ ﺍﻝﻤﺩﻨﻴﺔ ﻓﺈﻥ ﻋﻤﻠﻴـﺔ ﺍﻝﺘـﺴﻠﻴﻡ ﺘﻌﻨـﻲ‪:‬‬

‫"ﻤﻤﺎﺭﺴﺔ ﻏﻴﺭ ﻗﺎﻨﻭﻨﻴﺔ ﻻﺨﺘﻁﺎﻑ ﻤﻭﺍﻁﻨﻴﻥ ﺃﺠﺎﻨﺏ ﻻﻋﺘﻘﺎﻝﻬﻡ ﻭﺍﺴﺘﺠﻭﺍﺒﻬﻡ" ﻓﻲ ﺴﺠﻭﻥ ﺃﻤﺭﻴﻜﻴـﺔ‬

‫ﺴﺭﻴﺔ ﻓﻲ ﺍﻝﺨﺎﺭﺝ‪ ،‬ﻭﻫﻲ ﻤﺎ ﻴ‪‬ﻌﺭﻑ ﺒﺎﺴﻡ "ﺍﻝﻤﻭﺍﻗﻊ ﺍﻝﺴﻭﺩﺍﺀ"‪ ،‬ﺒﺎﺴـﺘﺨﺩﺍﻡ ﺍﻝﺘﻌـﺫﻴﺏ ﺤﻴـﺙ ﻴـﺘﻡ‬

‫ﺍﺴﺘﺠﻭﺍﺒﻬﻡ ﻝﺩﻴﻬﺎ‪ ،‬ﻤﺜل ﺍﻷﺭﺩﻥ ﻭﻤﺼﺭ ﻭﺴﻭﺭﻴﺎ ﻭﺍﻝﻤﻐﺭﺏ"‪ .2‬ﻓﻴﻠﻡ ﺍﻝﺘﺴﻠﻴﻡ ﺇﺸﺎﺭﺓ ﺇﻝـﻰ ﺍﻷﺨﻁـﺎﺭ‬

‫ﺍﻝﺘﻲ ﺍﺭﺘﻜﺒﺘﻬﺎ ﺍﻝﺤﺭﺏ ﻋﻠﻰ ﺍﻹﺭﻫﺎﺏ‪ .‬ﻜﺘﺏ ﺭﻭﺠﺭ ﺍﻴﺒﺭﺕ ﺃﻥ ﺍﻝﻘﻴﻤﺔ ﺍﻷﺴﺎﺴﻴﺔ ﻝﻔﻴﻠﻡ ﺍﻝﺘﺴﻠﻴﻡ ﻜﺎﻨﺕ‬

‫ﻓﻲ ﻋﻤﻠﻴﺔ ﺍﻝﺘﺭﺤﻴل ﺍﻝﺴﺭﻱ‪ .‬ﺇﻨﻬﺎ ﻋﻤﻠﻴﺔ ﺘﺘﺤﺩﺙ ﻋﻥ ﺍﻝﻨﻅﺭﻴﺔ ﻭﺍﻝﻤﻤﺎﺭﺴﺔ ﻤﻥ ﺍﻝﺠﻬﺔ ﺍﻷﺨﺭﻯ‪ ،‬ﺒﻴﻥ‬

‫ﺍﻝﺘﻌﺫﻴﺏ ﻭﺍﻝﻤﺴﺅﻭﻝﻴﺔ ﺍﻝﺸﺨﺼﻴﺔ ﻝﻠﺩﻭﻝﺔ‪ ،‬ﻭﻗﺩ ﻗﺩﻡ ﺍﻝﻔﻴﻠﻡ ﻫﺫﻩ ﺍﻝﻘﻴﻤﺔ ﻤﻥ ﺨﻼل ﺩﺭﺍﻤـﺎ ﻤﻘﻨﻌـﺔ ‪.3‬‬

‫ﺍﺩﺭﻤﺔ ﺍﻝﺘﺴﻠﻴﻡ ﻜﺎﻨﺕ ﺍﻷﺴﺎﺱ ﺍﻝﺫﻱ ﻗﺎﺩ ﺇﻝﻰ ﻋﺩﺩ ﻤﻥ ﺍﻝﺠﻭﺍﻨﺏ ﻓﻲ ﺍﻝﺸﻌﺒﻴﺔ ﺍﻝﻘﺼﺼﻴﺔ‪ ،‬ﺍﻨﻔﻌﺎل ﺜـﻡ‬

‫ﺍﺴﺘﺭﺨﺎﺀ‪ ،‬ﻝﻜﻨﻪ ﻴﺒﻘﻰ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺫﻱ ﺍﻁﻠﻌﻨﺎ ﻋﻠﻰ ﻋﺩﺩ ﻤﻥ ﺍﻝﺠﻭﺍﻨﺏ ‪.4‬‬

‫‪1‬‬
‫)‪Nydailynews, 'Rendition' is story of torture. (19.10.2007‬‬
‫‪http://www.nydailynews.com/entertainment/movies/2007/10/19/2007-10-‬‬
‫‪19_rendition_is_story_of_torture.html. retrieved 15.11.2009‬‬
‫‪2‬‬
‫‪Alouch.ibrahim.free Arab voice. http://www.freearabvoice.org/arabi/maqalat/FilmRendition.htm.‬‬
‫‪retrieved 20.10.2009‬‬
‫‪3‬‬
‫‪RogerEbert,19,10,2007,Renditionhttp://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/2007101‬‬
‫‪8/ REVIEWS/710180307 ,retrieved 20.10.2009‬‬
‫‪4‬‬
‫‪NY times. When a Single Story Has a Thousand Sides.(19.10.2007).‬‬
‫‪http://movies.nytimes.com/2007/10/19/movies/19rend.html?ref=movies .retrieved 15.11.2009‬‬

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‫ﻴﺭﻯ ﺒﻌﺽ ﺍﻝﻨﻘﺎﺩ ﺃﻥ ﻤﺜل ﻫﺫﻩ ﺍﻷﻓﻼﻡ ﺍﺘﺨﺫﺕ ﻁﺎﺒﻌﺎ ﻭﺜﺎﺌﻘﻴﺎ ﻭﻝﻡ ﺘﺄﺒﻪ ﻝـﺒﻌﺽ ﺍﻝﺘﻔﺎﺼـﻴل‬

‫ﺍﻷﺨﺭﻯ ﺍﻝﺘﻲ ﻗﺩ ﺘﺴﺎﻋﺩ ﻋﻠﻰ ﺭﻭﺍﺠﻬﺎ ﻜﻤﺎ ﺃﻭﻀﺢ ﺭﺍﺴل ﻜﺭﻭ ﺃﺤﺩ ﺃﺒﻁـﺎل ﻓـﻴﻠﻡ )ﺠـﺴﺩ ﻤـﻥ‬

‫ﺍﻷﻜﺎﺫﻴﺏ( ‪ ،1‬ﻋﻠﻰ ﺍﺨﺘﻼﻑ )ﺴﻴﺭﻴﺎﻨﺎ( ﻤﻥ ﺫﻝﻙ‪ ،‬ﺍﻗﺘﺭﺍﺏ ﺃﻜﺜﺭ ﻝﻠﻨﻅﺭ ﻤﻥ ﻋﺩﺴﺎﺕ ﻋﻴﻭﻥ "ﺍﻵﺨﺭ"‬

‫ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻁﺭﻴﻘﺔ ﺃﻜﺜﺭ ﻗﺭﺒﺎ ﻤﻥ ﻋﻴﺸﺔ ﻭﺒﻴﺌﺘﻪ ﻭﻋﺎﺩﺍﺘﻪ ﻭﻭﺍﻗﻌﻪ‪ ،‬ﺤﺘـﻰ ﻭﺍﻥ ﺘﻨـﺎﻭل ﺫﺍﺕ ﺍﻝﻘـﻴﻡ‬

‫ﺍﻷﺴﺎﺴﻴﺔ ﻷﻓﻼﻡ ﻫﻭﻝﻴﻭﺩ‪ ،‬ﻝﻜﻨﻬﺎ ﻜﺎﻨﺕ ﺭﺅﻴﺔ ﻤﺨﺘﻠﻔﺔ ﻝﻬﺎ ﻋﺩﺴﺔ ﺘﻨﻅﺭ ﻤﻥ ﻋﺩﺓ ﺠﻭﺍﻨﺏ‪ ،‬ﻓـﺎﻷﻤﻴﺭ‬

‫ﺍﻝﻌﺭﺒﻲ ﻨﺎﺼﺭ ﺼﺎﺤﺏ ﺍﻝﺸﺨﺼﻴﺔ ﺍﻝﻤﺭﻜﺯﻴﺔ ﻓﻲ ﺍﻝﻔﻴﻠﻡ ﻴﻁﻤﺢ ﻝﻼﺴﺘﻘﻼل ﻭﺍﻝﺨﺭﻭﺝ ﻋـﻥ ﺤﺎﻝـﺔ‬

‫ﺍﻝﺘﺒﻌﻴﺔ‪ ،‬ﻴﺒﺤﺙ ﻋﻥ ﺍﻝﺩﻴﻤﻘﺭﺍﻁﻴﺔ‪ ،‬ﺃﻨﻅﻤﺔ ﺍﻗﺘﺼﺎﺩﻴﺔ ﻨﺎﺠﺤﺔ‪ ،‬ﺩﻭﻝﺔ ﻤﺅﺴﺴﺎﺕ ﺘﻌﺘﻤﺩ ﻋﻠـﻰ ﺫﺍﺘﻬـﺎ‪.‬‬

‫ﺍﻝﺨﻁﺎﺏ ﺍﻝﺩﻴﻨﻲ ﻜﺎﻨﺕ ﻝﻪ ﺼﻭﺭﺘﻪ ﺍﻝﻤﻐﺎﻴﺭﺓ ﺃﻴﻀﺎ‪ ،‬ﻝﻘﺩ ﻜﺎﻥ ﻓﻲ ﻤﺠﻤﻠﻪ ﻫﺎﺩﻓﺎ ﺇﻝﻰ ﺇﺤﻴﺎﺀ ﺍﻹﺴـﻼﻡ‬

‫ﺍﻝﺴﻴﺎﺴﻲ ﺤﻴﺙ ﺍﻝﺩﻴﻥ ﻗﺎﺩﺭ ﻋﻠﻰ ﺇﻗﺎﻤﺔ ﺩﻭﻝﺔ‪ -‬ﻴﻤﻜﻥ ﺍﻝﻌﻭﺩﺓ ﺇﻝﻰ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻝﻤﺭﺍﺠﻌﺔ ﻫﺫﻩ ﺍﻝﺤﻴﺜﻴﺔ‪.-‬‬

‫ﺍﻨﺘﻘﺩ ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﺎﺴﺎﺕ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻓﻲ ﺍﻝﺸﺭﻕ ﺍﻷﻭﺴﻁ ﻭﺨﺹ ﻤﻨﻬﺎ ﻭﺯﺍﺭﺘﻲ ﺍﻝﻌﺩل ﻭﺍﻝﺩﻓﺎﻉ ﻭﺍﻅﻬﺭ‬

‫ﺃﺼﺤﺎﺏ ﺍﻝﺸﺭﻜﺎﺕ ﻭﺭﺅﻭﺱ ﺍﻷﻤﻭﺍل ﺠﺸﻌﻴﻥ‪ ،‬ﺘﺴﻴﺭﻫﻡ ﺍﻷﻫﻭﺍﺀ ﻭﺍﻷﻁﻤﺎﻉ‪ ،‬ﻭﻫﻡ ﻤﺴﺘﻌﺩﻭﻥ ﻝﻠﻘﻴﺎﻡ‬

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‫ﺒﺄﻱ ﻋﻤل ﻓﻲ ﺴﺒﻴل ﺘﺤﻘﻴﻕ ﻤﺼﺎﻝﺤﻬﻡ‪.‬‬

‫‪1‬‬
‫‪Carroll, Larry (2007-08-24). "Russell Crowe Says ‘Body Of Lies’ Probably Won’t Be Popular".).‬‬
‫‪http://moviesblog.mtv.com/2007/08/24/russell-crowe-says-body-of-lies-probably-wont-be-popular/.‬‬
‫‪Retrieved 25.10.2009.‬‬
‫‪ 2‬ﺘﻡ ﺍﻻﺴﺘﻌﺎﻨﺔ ﺒﺎﻷﻜﺎﺩﻴﻤﻲ ﺍﻹﻋﻼﻤﻲ ﺠﺎﻙ ﺸﺎﻫﻴﻥ ﻹﺘﻤﺎﻡ ﺴﻴﻨﺎﺭﻴﻭ ﻓﻴﻠﻡ )ﺴﻴﺭﻴﺎﻨﺎ( ﻜﻤﺎ ﺘﻤﺕ ﺍﺴﺘﺸﺎﺭﺘﻪ ﻓﻲ ﺘﻜـﻭﻴﻥ ﺍﻝﺨﻁـﺎﺏ ﺍﻝﻌﺭﺒـﻲ‬
‫ﻭﺍﻹﺴﻼﻤﻲ ﺍﻝﺫﻱ ﺠﺭﻯ ﻓﻲ ﺍﻝﻔﻴﻠﻡ‪.‬‬

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 ‫ﺍﻝﻔﺼل ﺍﻝﺨﺎﻤﺱ‬

‫‪ 1.1‬ﺍﻝﺨﺎﺘﻤﺔ‪:‬‬
‫ﺇﻥ ﻫﺩﻑ ﻗﺭﺍﺀﺓ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻝﻴﺱ ﺍﻝﻭﻗﻭﻑ ﻋﻨﺩ ﻤﺎ ﻴﻘﺩﻤﻪ ﺍﻝﻤﻌﻨﻰ ﺍﻝﻤﺒﺎﺸﺭ ﻝﻬﺎ ﻭﻤﺎ ﺘﺤﻴل‬

‫ﺇﻝﻴﻬﺎ ﺍﻷﺸﻴﺎﺀ ﺘﻠﻘﺎﺌﻴﺎ‪ ،‬ﺇﻥ ﻤﻥ ﻭﻅﺎﺌﻑ ﺍﻝﺒﺎﺤﺙ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ‪ ،‬ﺍﻝﺒﺤﺙ ﻋﻥ ﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﺩﺭﻙ ﻭﺍﻝﻭﺍﻗﻊ‬

‫ﺍﻝﻤﺤﻘﻕ ﻓﻲ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﺃﻤﺎ ﺍﻝﻭﺍﻗﻊ ﺍﻝﻤﺤﻘﻕ‪ ،‬ﻓﻬﻭ ﻤﺎ ﻴﺸﺘﺭﻙ ﺒﻪ ﺍﻝﺴﻴﻤﻴﺎﺌﻲ ﻭﺃﻱ ﺭﺠل ﻋﺎﺩﻱ‪ ،‬ﻭﻝﻜﻥ‬

‫ﺍﻝﺘﺠﺭﺒﺔ ﺍﻹﺩﺭﺍﻜﻴﺔ ﻫﻲ ﺃﺼل ﺍﻝﻔﻌل ﺍﻝﺴﻴﻤﻴﺎﺌﻲ‪ ،‬ﻭﻫﺫﺍ ﻴﻌﻨﻲ ﺍﻝﻨﻅﺭ ﺇﻝﻰ ﺍﻝﺼﻭﺭﺓ ﻤﻥ ﺯﺍﻭﻴﺔ‬

‫ﻤﺨﺼﻭﺼﺔ‪ ،‬ﻭﺘﺄﻭﻴﻠﻬﺎ‪ ،‬ﻓﻲ ﻤﺤﺎﻭﻝﺔ ﻝﻠﻜﺸﻑ ﻋﻥ ﺫﺭﻭﺓ ﺍﻝﻤﻌﻨﻰ ﻓﻴﻬﺎ‪ ،‬ﻭﺩﻻﻝﺔ ﺍﻷﺸﻴﺎﺀ ﻀﻤﻥ‬

‫ﻋﻼﻗﺘﻬﺎ ﺍﻝﻤﺭﺘﺒﻁﺔ ﺒﺎﻝﻭﺍﻗﻊ‪ .‬ﺇﻥ ﻤﻬﻤﺔ ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ ﺘﺠﻠﺕ ﻓﻲ ﺭﺅﻴﺔ ﺴﻴﻤﻴﺎﺌﻴﺔ ﻤﻥ ﺨﻼل ﻨﻅﺭﺓ‬

‫ﻤﺨﺼﻭﺼﺔ ﺇﻝﻰ ﻋﻴﻨﺔ ﺍﻷﻓﻼﻡ ﺍﻝﻬﻴﻭﻝﻭﺩﻴﺔ ﺍﻝﺘﻲ ﺃﻨﺘﺠﺕ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪،2001‬‬

‫ﻭﺘﺘﺒﻌﺕ ﺍﻝﺩﺭﺍﺴﺔ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻭﻁﺭﻴﻘﺔ ﺘﻨﺎﻭﻝﻬﺎ ﻓﻲ ﻫﺫﻩ ﺍﻷﻓﻼﻡ ﺒﺄﺩﻭﺍﺕ ﺍﻝﺘﺤﻠﻴل ﺍﻝﺴﻴﻜﻭﻝﻭﺠﻲ‬

‫ﺍﻝﺘﻲ ﺍﺨﺘﺼﺕ ﺒﺎﻝﺴﻤﻌﻲ ﻭﺍﻝﺒﺼﺭﻱ ﻓﻲ ﺍﻝﺴﻴﻨﺎﺭﻴﻭ ﻭﺍﻹﺨﺭﺍﺝ‪ ،‬ﻭﻫﺫﻩ ﺍﻷﺩﻭﺍﺕ ﺸﻤﻠﺕ ﺘﻘﻨﻴﺎﺕ ﺼﻨﻊ‬

‫ﺍﻝﻔﻴﻠﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ ﻭﺩﻭﺭ ﻜل ﻤﻥ ﺍﻝﻌﺎﻤل ﺍﻝﺩﺭﺍﻤﻲ ﻭﺍﻻﻝﻜﺘﺭﻭﻨﻲ ﻓﻲ ﺘﻜﻭﻴﻥ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻓﻲ‬

‫ﺍﻝﻠﻘﻁﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ ،‬ﺜﻡ ﻗﺭﺍﺀﺓ ﺍﻝﻠﻘﻁﺔ ﺒﺼﻔﺘﻬﺎ ﺨﻁﺎﺒﺎ ﺍﺸﻬﺎﺭﻴﺎ‪ ،‬ﻴﻘﺩﻡ ﻤﻌﻨﻰ ﻤﻥ ﺨﻼل ﺫﻜﺎﺀ ﺍﻝﻠﻘﻁﺔ‬

‫ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﺘﻲ ﺘﺠﺘﻤﻊ ﻓﻴﻬﺎ ﻋﻨﺎﺼﺭ ﻜﺜﻴﺭﺓ‪ ،‬ﻜﺎﻷﻝﻭﺍﻥ‪ ،‬ﻭﺍﻝﺨﻁﻭﻁ‪ ،‬ﺍﻹﻁﺎﺭﺍﺕ‪ ،‬ﺍﻹﻀﺎﺀﺓ‪ ،‬ﻤﺠﺎل‬

‫ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻭﺯﺍﻭﻴﺔ ﺍﻻﻝﺘﻘﺎﻁ ﺍﻝﺘﻲ ﺘﻨﻘل ﺍﻝﺤﺎﻝﺔ ﺍﻝﻨﻔﺴﻴﺔ ﻝﻠﻤﺸﻬﺩ ﻋﺒﺭ ﻫﺎﻝﺘﻬﺎ ﺍﻝﺭﻭﺤﻴﺔ ﻝﻜل ﻤﻥ‬

‫ﻤﻭﻀﻭﻉ ﺍﻝﺼﻭﺭﺓ ﻭﺨﻠﻔﻴﺘﻬﺎ ﺍﻝﺩﺍﻋﻤﺔ‪ ،‬ﺤﺘﻰ ﺘﺒﻠﻎ ﺫﺭﻭﺓ ﺍﻻﻨﻔﻌﺎل ﻝﺘﻬﺩﺃ ﺤﻴﻨﺎ ﺤﻴﺙ ﺘﺘﻔﺘﻕ ﻋﻨﺎﺼﺭ‬

‫ﺍﻝﺤﻜﺎﻴﺔ‪.‬‬

‫ﺘﻨﺎﻭﻝﺕ ﺃﺩﺒﻴﺎﺕ ﺴﺎﺒﻘﺔ ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﺍﻝﺘﻲ ﺘﻘﺩﻤﻬﺎ ﺍﻷﻓﻼﻡ ﺍﻷﻤﺭﻴﻜﻴﺔ ﻭﺍﻝﻐﺭﺒﻴﺔ‪ ،‬ﻭﻝﻜﻥ ﻜﺎﻨﺕ ﻓﻲ‬

‫ﻤﺠﻤﻠﻬﺎ ﺩﺭﺍﺴﺎﺕ ﺘﻌﺘﻤﺩ ﺍﻝﻤﻨﻬﺞ ﺍﻝﺘﻭﺜﻴﻘﻲ ﻓﻲ ﻗﺭﺍﺀﺓ ﺘﺎﺭﻴﺨﻴﺔ ﻝﻸﻓﻼﻡ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﺍﻝﺘﻲ ﺘﻨﺎﻭﻝﺕ‬

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‫ﺍﻝﻌﺭﺒﻲ‪ ،‬ﻝﻜﻥ ﻫﺫﻩ ﺍﻷﻁﺭﻭﺤﺔ ﺘﺘﺠﺎﻭﺯ ﺍﻝﺘﻌﺩﺍﺩ ﻭﺍﻝﻭﺜﺎﺌﻘﻴﺔ ﺇﻝﻰ ﺍﻝﺒﺤﺙ ﻓﻲ ﻜﻨﻪ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‬

‫ﻭﻁﺭﻴﻘﺔ ﺘﻘﺩﻴﻤﻬﺎ ﻝﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ‪ ،‬ﺤﻴﺙ ﻻ ﻴﻤﻜﻥ ﺤﺼﺭ ﺍﻹﺠﺎﺒﺔ ﺒﻴﻥ ﺍﻝﺴﻠﺒﻴﺔ ﻭﺍﻻﻴﺠﺎﺒﻴﺔ‬

‫ﻭﺍﻝﻤﺤﺎﻴﺩﺓ‪ ،‬ﺒل ﺘﺘﺠﺎﻭﺯ ﺇﻝﻰ ﻁﺭﻴﻘﺔ ﺘﻘﺩﻴﻡ ﺍﻝﺴﻠﺒﻴﺔ ﻭﺍﻻﻴﺠﺎﺒﻴﺔ ﻓﻲ ﺍﻝﺼﻭﺭﺓ ﻭﺇﺫﺍ ﻤﺎ ﻜﺎﻥ ﻫﺫﺍ ﺍﻝﺘﻘﺩﻴﻡ‬

‫ﻤﺨﺘﻠﻔﺎ ﺤﻘﺎ ﺒﻌﺩ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪.2001‬‬

‫ﻝﻘﺩ ﺘﻡ ﺤﺼﺭ ﺍﻝﻅﺭﻭﻑ ﺍﻝﻤﻭﻀﻭﻋﻴﺔ ﺍﻝﺘﻲ ﺭﺒﻤﺎ ﺘﻜﻭﻥ ﺴﺒﺒﺎ ﻓﻲ ﺘﻘﺩﻴﻡ ﺍﻝﻌﺭﺒﻲ ﺸﺭﻴﺭﺍ ﻓﻲ ﻤﻌﻅﻡ‬

‫ﺃﻓﻼﻡ ﻫﻭﻝﻴﻭﺩ‪ ،‬ﻭﺍﻝﺘﻲ ﻜﺎﻥ ﻝﻬﺎ ﻋﻼﻗﺔ ﺒﺎﻝﺤﺭﻭﺏ ﺍﻝﺘﺎﺭﻴﺨﻴﺔ ﺒﻴﻥ ﺍﻝﻌﺎﻝﻡ ﺍﻹﺴﻼﻤﻲ ﻭﺍﻝﻐﺭﺒﻲ‪ ،‬ﺍﻝﻨﻔﻁ‪،‬‬

‫ﺍﻝﺼﺭﺍﻉ ﺍﻹﺴﺭﺍﺌﻴﻠﻲ ﺍﻝﻌﺭﺒﻲ‪ ،‬ﺃﻀﻑ ﺇﻝﻰ ﺫﻝﻙ ﻤﺯﻴﺩﺍ ﻤﻥ ﺍﻷﺤﺩﺍﺙ ﺍﻝﺘﻲ ﺘﺯﻴﺩ ﻤﻥ ﻓـﺭﺹ ﺘﻘـﺩﻴﻡ‬

‫ﺍﻝﻌﺭﺏ ﺸﺭﻴﺭﺍ ﻓﻲ ﻫﻭﻝﻴﻭﺩ‪ ،‬ﻜﺎﻥ ﻤﻥ ﺃﻫﻤﻬﺎ‪ ،‬ﺘﻔﺠﻴﺭﺍﺕ ﺍﻝﺤﺎﺩﻱ ﻋﺸﺭ ﻤﻥ ﺃﻴﻠﻭل ‪ 2001‬ﺍﻝﺘﻲ ﺘﺒﻨﺕ‬

‫ﺍﻝﻘﺎﻋﺩﺓ ﻤﺴﺅﻭﻝﻴﺘﻬﺎ ﻋﻨﻬﺎ ﻭﻤﺎ ﻜﺎﻥ ﻝﺫﻝﻙ ﻤﻥ ﺘﺒﻌﺎﺕ‪ ،1‬ﺤﻴﺙ ﺃﻋﻠﻨﺕ ﺍﻝﺤـﺭﺏ ﻋﻠـﻰ ﺃﻓﻐﺎﻨـﺴﺘﺎﻥ‬

‫ﻭﺍﻝﻌﺭﺍﻕ‪ ،‬ﻭﻷﻥ ﻫﻭﻝﻴﻭﺩ ﻤﺅﺴﺴﺔ ﺘﻌﺒﺭ ﻓﻲ ﺨﻁﺎﺒﻬﺎ ﻋﻥ ﻤﺼﺎﻝﺢ ﺍﻝﻭﻻﻴﺎﺕ ﺍﻝﻤﺘﺤﺩﺓ‪ ،‬ﻓﻬـﻲ ﻋﻠـﻰ‬

‫ﺍﺴﺘﻌﺩﺍﺩ ﺩﺍﺌﻡ ﻝﻺﺠﺎﺒﺔ ﻋﻥ ﺃﻱ ﺘﺴﺎﺅل ﻝﻪ ﻋﻼﻗﺔ ﺒﺨﻁﺎﺏ ﺍﻝﻤﺅﺴﺴﺔ ﺤﻴﺙ ﻴﻅﻬﺭ ﺃﻥ ﺨﻁﺎﺒﻬﺎ ﺨﺎﻀﻊ‬

‫ﻝﻘﻭﺍﻨﻴﻥ‪ ،‬ﻭﺃﻨﻬﺎ ﺘﺴﻬﺭ ﻤﻨﺫ ﺯﻤﻥ ﻁﻭﻴل ﻋﻠﻰ ﻅﻬﻭﺭﻩ ﻭﺘﺠﻠﻴﻪ ﻋﻠﻰ ﻫﺫﻩ ﺍﻝﺼﻭﺭﺓ‪ ،‬ﻜﻤﺎ ﺃﻋﺩﺕ ﻝـﻪ‬

‫ﻤﻜﺎﻨﺎ ﻴﻌﻠﻲ ﻤﻥ ﺸﺄﻨﻪ‪ ،‬ﻜﻤﺎ ﻴﻘﺩﺭ ﻋﻠﻰ ﺘﺠﺭﻴﺩﻩ ﻤﻥ ﺴﻼﺤﻪ ﺃ ﹼﻨﻰ ﺸﺎﺀﺕ ﺫﻝﻙ‪ ،‬ﻭﺇﻥ ﻜﺎﻨﺕ ﻝﺩﻴﻪ ﺴﻠﻁﺔ‬

‫ﻓﻬﻭ ﻴﺴﺘﻤﺩﻫﺎ ﻤﻨﻬﺎ ﻭﻤﻨﻬﺎ ﻓﻘﻁ‪ .‬ﺇﻥ ﺍﻝﺨﻁﺎﺏ ﺒﺤﺴﺏ ﻓﻭﻜﻭ ﻫﻭ ﻓﻲ ﻅﺎﻫﺭﻩ ﺸﻲﺀ ﺒﺴﻴﻁ‪ ،‬ﻝﻜﻥ ﺍﻝﺘﻲ‬

‫ﺘﻔﻀﻲ ﻋﻨﻪ ﺍﻝﺘﻲ ﺘﻜﺸﻑ ﺒﺴﺭﻋﺔ ﻋﻥ ﺍﺭﺘﺒﺎﻁﻪ ﺒﺎﻝﺭﻏﺒﺔ ﻭﺍﻝﺴﻠﻁﺔ‪ ،‬ﻭﻫﻭ ﺃﻴﻀﺎ ﻤﻭﻀﻭﻉ ﺍﻝﺭﻏﺒـﺔ‬

‫ﻭﻝﻴﺱ ﻫﻭ ﻤﻜﻤﻥ ﺍﻝﺼﺭﺍﻋﺎﺕ ﻭﺃﻨﻅﻤﺔ ﺍﻝﺴﻴﻁﺭﺓ ﻓﻘﻁ‪ ،‬ﺒل ﻫﻭ ﻤﺎ ﻨﺼﺎﺭﻉ ﻤﻥ ﺍﺠﻠﻪ ﻭﻷﺠﻠﻪ‪ ،‬ﻭﻫﻭ‬

‫ﺍﻝﺴﻠﻁﺔ ﺍﻝﺘﻲ ﻨﺤﺎﻭل ﺍﻻﺴﺘﻴﻼﺀ ﻋﻠﻴﻬﺎ‪ 2.‬ﻤﻥ ﺍﻝﻤﻤﻜﻥ ﺃﻥ ﺘﻜﻭﻥ ﻗﻀﻴﺔ ﺍﻝﺫﺍﺕ ﺍﻝﻤﺅﺴﺴﺔ ﻫـﻲ ﺍﻝﺘـﻲ‬

‫ﺘﺴﻤﺢ ﺒﺤﺫﻑ ﻭﺍﻗﻊ ﺍﻝﺨﻁﺎﺏ‪ ،‬ﻓﺎﻝﺫﺍﺕ ﺍﻝﻤﺅﺴﺴﺔ ﻫﻲ ﺍﻝﻤﻜﻠﻔﺔ ﺒﺄﻥ ﺘﻨﺸﻁ ﻤﺒﺎﺸﺭﺓ ﺍﻷﺸﻜﺎل ﺍﻝﻔﺎﺭﻏـﺔ‬

‫ﻝﻠﻐﺔ ﻭ ﺘﺯﻭﺩﻫﺎ ﺒﻤﻘﺎﺼﺩﻫﺎ‪ ،‬ﻓﺎﻝﺫﺍﺕ ﺍﻝﻤﺅﺴﺴﺔ ﺘﺨﺘﺭﻕ ﺴﻤﻙ ﺃﻭ ﺠﻤﻭﺩ ﺍﻷﺸﻴﺎﺀ ﺍﻝﻔﺎﺭﻏﺔ‪ ،‬ﻭﻫﻲ ﺍﻝﺘﻲ‬

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‫‪Shaheen,jack .Guilty Hollywood’s verdict on Arab after 11/9 .Olive branch press.US.2008.35‬‬
‫ﻓﻭﻜﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪9 ،‬‬ ‫‪2‬‬

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‫ﺘﻠﺘﻘﻁ ﻋﺒﺭ ﺍﻝﺨﻁﺎﺏ ﺍﻝﻤﻌﻨﻰ ﺍﻝﻤﻭﻀﻭﻉ ﻓﻴﻬﺎ‪ ،‬ﻭﻫﻲ ﺍﻝﺘﻲ ﺘﺅﺴﺱ ﺁﻓﺎﻗﺎ ﻤﻥ ﺍﻝﺩﻻﻻﺕ ﻴﻘﻭﻡ ﺍﻝﺘﺎﺭﻴﺦ‬

‫ﺒﺘﻭﻀﻴﺤﻬﺎ‪ .‬ﺇﻥ ﺍﻝﺫﺍﺕ ﺍﻝﻤﺅﺴﺴﺔ ﻓﻲ ﻋﻼﻗﺘﻬﺎ ﺒﺎﻝﻤﻌﻨﻰ ﺘﺘﻭﻓﺭ ﻋﻠﻰ ﺭﻤﻭﺯ ﻭﺇﺸـﺎﺭﺍﺕ ﻭﺤـﺭﻭﻑ‬

‫ﻭﻋﻼﻤﺎﺕ ﺤﻴﺙ ﺘﻜﻭﻥ ﻗﺎﺩﺭﺓ ﻋﻠﻰ ﺇﻅﻬﺎﺭ ﻨﻔﺴﻬﺎ ﺒﺎﻝﻘﺩﺭ ﺍﻝﺫﻱ ﺘﺭﻴﺩ‪ ،‬ﻭﺇﻥ ﻜﺎﻨﺕ ﻋﻨﺎﺼﺭ ﺃﺨـﺭﻯ‬

‫ﺘﻘﻨﻴﺔ ﺘﺯﻴﺩ ﻤﻥ ﻓﻌﺎﻝﻴﺔ ﻗﺩﺭﺘﻬﺎ‪ ،‬ﻭﻫﻭ ﻤﺎ ﻴﻤﻜﻨﻨﺎ ﻤﻥ ﺇﺩﺭﺍﻜﻪ ﻋﺒﺭ ﺃﺩﻭﺍﺕ ﺍﻝﺘﺤﻠﻴل ﺍﻝﺴﻴﻤﻴﻠﻭﺠﻲ ﻓـﻲ‬

‫ﺨﻁﺎﺏ ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪.1‬‬

‫ﻴﺒﺩﻭ ﺍﻨﻪ ﻤﻥ ﺍﻝﺼﻌﺏ ﺍﺴﺘﻤﺭﺍﺭ ﺘﻭﺤﻴﺩ ﻨﻤﻭﺫﺝ ﺍﻝﻌﺭﺒﻲ ﻭﺍﻋﺘﺒﺎﺭﻩ‪ :‬ﺇﺭﻫﺎﺒﻴـﺎ‪ ،‬ﻋـﺩﻭﺍ‪ ،‬ﺁﺨـﺭ‪،‬‬

‫ﺒﺎﻋﺘﺒﺎﺭﻩ ﺨﺎﺭﺝ ﺩﺍﺌﺭﺓ ﺍﻝﺤﻀﺎﺭﺓ‪ ،‬ﻝﻴﻜﻭﻥ ﻤﺸﻬﺩﺍ ﻤﻅﻠﻤﺎ‪ ،‬ﻤﺘﺤﺩﺜﺎ ﻝﻐﺔ ﻤﺨﺘﻠﻔـﺔ‪ ،‬ﻤﺭﺘـﺩﻴﺎ ﻤﻼﺒـﺱ‬

‫ﻤﺨﺘﻠﻔﺔ‪ ،‬ﻴﻘﺩﻡ ﺍﻝﻌﻨﻑ ﻋﻠﻰ ﺍﻝﺴﻼﻡ‪ ،‬ﻭﻻ ﻴﻘﺩﺭ ﻗﻴﻤﺔ ﺍﻝﺤﻴﺎﺓ ﺍﻝﺒﺸﺭﻴﺔ‪ ،‬ﺤﻴﺙ ﺘﺒﺭﺯ ﻗﻴﻤﺔ ﺃﺨﺭﻯ ﻭﻫـﻲ‬

‫ﻤﺠﺎﺒﻬﺔ ﺍﻝﺨﻁﺎﺏ ﻤﻥ ﺨﻼل ﺇﻋﺎﺩﺓ ﺍﻝﻨﻅﺭ ﻓﻲ ﺇﺭﺍﺩﺘﻨﺎ ﻝﻠﺤﻘﻴﻘﺔ‪ ،‬ﺇﻋﺎﺩﺓ ﻁﺎﺒﻊ ﺍﻝﺤﺩﺙ ﻝﻠﺨﻁﺎﺏ ﻭﺃﺨﻴﺭﺍ‬

‫ﺭﻓﻊ ﺴﻴﺎﺩﺓ ﺍﻝﺩﺍل‪ ،‬ﻓﻔﻲ ﺤﺎﻝﺔ ﻨﺸﺭ ﻜﻤﻴﺎﺕ ﻫﺎﺌﻠﺔ ﻭﻀﺨﻤﺔ ﻤﻥ ﺍﻝﻤﻌﻠﻭﻤﺎﺕ ﺍﻝﺘﻲ ﺘﻭﺍﻓﻕ ﻭﺠﻬﺔ ﻤـﺎ‪،‬‬

‫ﻴﺒﺭﺯ ﺍﻝﺘﺩﺍﺭﻙ ﻭﻫﻭ ﺤﺎﻝﺔ ﺘﻴﻘﻅ ﺍﻝﻭﻋﻲ‪ ،‬ﻭﻫﻭ ﺃﻴﻀﺎ ﺤﺴﺎﺴﻴﺔ ﻝﻠﻭﺍﻗﻊ ﺘﺴﺒﻕ ﺍﻝﻔﻌل‪ ،‬ﻓﺈﺫﺍ ﻤـﺎ ﺘﺒﻠـﺩ‬

‫ﺍﻝﻭﻋﻲ ﺍﻝﻴﻘﻅ ﺒﺩﺃﺕ ﻋﻤﻠﻴﺔ ﺍﻝﺘﻌﻠﻴﺏ ﻭﺍﺴﺘﻐﻼل ﻤﺼﺩﺭ ﺍﻝﻘﻭﺓ ﺍﻷﺴﺎﺴﻲ ﻝﻠﻭﺠﻭﺩ ﺍﻹﻨﺴﺎﻨﻲ ‪.2‬‬

‫ﻓﻭﻜﻭ‪ ،‬ﻤﺼﺩﺭ ﺴﺒﻕ ﺫﻜﺭﻩ‪35 ،‬‬ ‫‪1‬‬

‫‪ 2‬ﻨﻔﺱ ﺍﻝﻤﺼﺩﺭ‪71 ،‬‬

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 ‫‪ 2.1‬ﺍﻝﻤﺭﺠﻌﻴﺔ‬

‫‪ 1.2.1‬ﺍﻝﻤﺼﺎﺩﺭ ﺒﺎﻝﻠﻐﺔ ﺍﻝﻌﺭﺒﻴﺔ‬

‫ﺇﺒﺭﺍﻫﻴﻡ ﺍﻝﻌﻤﺭﻱ‪" .(1997) .‬ﺤﻴﻨﻤﺎ ﺘﺘﺤﻭل ﺍﻝﺴﻴﻨﻤﺎ ﺇﻝﻰ ﻭﺍﺠﻬﺔ ﻝﻠﺴﻠﻌﺔ ‪:‬ﻋﻥ ﺍﻹﺸﻬﺎﺭ ﺍﻝﻀﻤﻨﻲ‬
‫ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ"‪.‬ﻋﻼﻤﺎﺕ‪.‬ﻉ ‪. 28‬‬

‫ﺍﻴﺯﻨﺸﺘﺎﻴﻥ‪ .‬ﺴﻴﺭﺠﻲ‪" .(1975 ).‬ﺍﻻﺤﺴﺎﺱ ﺍﻝﺴﻴﻨﻤﺎﺌﻲ"‪ .‬ﺴﻬﻴل ﺠﺒﺭ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻔﺎﺭﺍﺒﻲ‪.‬‬

‫ﺒﺎﺒﺎﻥ‪ ،‬ﺒﻴﻴﺭ‪) .‬ﺩﺕ(‪ .‬ﻝﻐﺔ ﻭﺜﻘﺎﻓﻲ ﻭﺴﺎﺌل ﺍﻻﺘﺼﺎل ﺒﻴﻥ ﺍﻷﺒﺠﺩﻱ ﻭﺍﻝﺴﻤﻌﻲ ﺍﻝﺒـﺼﺭﻱ‪ .‬ﺇﺩﺭﻴـﺱ‬
‫ﺍﻝﻘﺭﺒﻲ‪ .‬ﺍﻝﻤﻐﺭﺏ‪ :‬ﺍﻝﻔﺎﺭﺍﺒﻲ ‪.‬‬

‫ﺘﺒﺎﺘﻭ‪ ،‬ﺤﻤﻴﺩ‪" .(2008).‬ﺭﺅﻴﺔ ﺍﻝﻤﻬﻤﺵ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﻤﻥ ﺍﻝﺘﺠﺎﺭﺏ ﺍﻝﻌﺎﻝﻤﻴﺔ"‪ .‬ﺼﻭﺭﺓ ﺍﻝﻤﻬﻤﺵ ﻓﻲ‬
‫ﺍﻝﺴﻴﻨﻤﺎ‪ :‬ﺍﻝﻭﻅﺎﺌﻑ ﻭﺍﻝﺨﺼﻭﺼﻴﺎﺕ‪ .‬ﺍﻝﻤﻐﺭﺏ‪ :‬ﺍﻴﻤﻭﺯﺍﺭ ﻝﻠﺴﻴﻨﻤﺎ‪.‬‬

‫ﺒﺸﺎﺭﻱ‪ ،‬ﻤﺤﻤﺩ‪ .(2004) .‬ﺩﻤﺸﻕ‪ :‬ﻹﺴﻼﻡ ﻓﻲ ﺍﻹﻋﻼﻡ ﺍﻝﻐﺭﺒﻲ‪ .‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﺍﻝﻔﻜﺭ‪.‬‬

‫ﺍﺸﻭﻴﻜﺔ‪ ،‬ﻤﺤﻤﺩ‪"" .(2002).‬ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺴﻴﺴﻴﻭﻝﻭﺠﻴﺎ ﺃﻱ ﻋﻼﻗﺔ ﻤﻤﻜﻨﺔ"‪ .‬ﻓﻜﺭ ﻭﻨﻘﺩ‪،‬ﻉ ‪55-49‬‬

‫ﺍﺸﻭﻴﻜﺔ‪ ،‬ﻤﺤﻤﺩ‪ .(2005).‬ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ‪:‬ﺍﻝﻘﺭﺍﺀﺓ ﻭﺍﻝﺘﻘﻨﻴﺔ‪ .‬ﺩﻤﺸﻕ‪ :‬ﺍﻝﺩﺍﻭﺩﻴﺎﺕ‪.‬‬

‫ﺍﻴﻼ‪ ،‬ﺸﻭﻫﺎﺕ‪"" .(2000).‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻹﺴﺭﺍﺌﻴﻠﻴﺔ‪ :‬ﺍﻝﻔﻠﺴﻁﻴﻨﻴﻭﻥ ﻭﻴﻬﻭﺩ ﺍﻝﺸﺭﻕ"‪ .‬ﺃﺩﺏ ﻭﻨﻘـﺩ‪ .‬ﺕ‬
‫ﺃﺤﻤﺩ ﻴﻭﺴﻑ ‪.‬ﻉ‪59‬‬

‫ﺒﻨﻜﺭﺍﺩ‪ ،‬ﺴﻌﻴﺩ‪ .(2003) .‬ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺎ‪ :‬ﻤﻔﺎﻫﻴﻤﻬﺎ‪ ،‬ﺘﻁﺒﻴﻘﺎﺘﻬﺎ‪ .‬ﺍﻝﺭﺒﺎﻁ‪ :‬ﺩﺍﺭ ﺍﻝﺯﻤﺎﻥ‪.‬‬

‫ـــــ‪ .(1999) .‬ﺍﻝﺭﺒﺎﻁ‪ :‬ﺍﻷﻨﺴﺎﻕ ﺍﻝﺒﺼﺭﻴﺔ‪:‬ﺍﻝﺼﻭﺭﺓ ﻨﻤﻭﺫﺠﺎ‪ .‬ﺍﻝﺭﺒﺎﻁ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﺍﻝﺯﻤﺎﻥ‪.‬‬

‫ﺍﻝﺒﺭﺯﻱ‪ ،‬ﺩﻻل‪"" .(1999) .‬ﺍﻵﺨﺭ ﺍﻝﻤﻔﺎﺭﻗﺔ ﺍﻝﻀﺭﻭﺭﻴﺔ"‪ .‬ﺼﻭﺭﺓ ﺍﻵﺨﺭ ﺍﻝﻌﺭﺒﻲ ﻨﺎﻅﺭﺍ ﻭﻤﻨﻅﻭﺭﺍ‬
‫ﺇﻝﻴﻪ‪ ،‬ﺍﻝﻁﺎﻫﺭ ﻝﺒﻴﺏ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺭﻜﺯ ﺩﺭﺍﺴﺎﺕ ﺍﻝﻭﺤﺩﺓ ﺍﻝﻌﺭﺒﻴﺔ‪.‬‬

‫ﺒﻭﻁﺎﻝﺏ‪ ،‬ﻨﺠﻴﺏ‪" .(1999).‬ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ"‪ .‬ﺼﻭﺭﺓ ﺍﻵﺨﺭ ﺍﻝﻌﺭﺒﻲ ﻨـﺎﻅﺭﺍ ﻭﻤﻨﻅـﻭﺭﺍ ﺇﻝﻴـﻪ‪.‬‬
‫ﺍﻝﻁﺎﻫﺭ ﻝﺒﻴﺏ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺭﻜﺯ ﺍﻝﻭﺤﺩﺓ ﺍﻝﻌﺭﺒﻴﺔ‪.‬‬

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‫ﺘﻭﺩﺭﻭﻑ‪ ،‬ﺘﺯﻓﻴﺘﺎﻥ‪ .(1998).‬ﻨﺤﻥ ﻭﺍﻵﺨﺭﻭﻥ‪-‬ﺍﻝﻨﻅﺭﺓ ﺍﻝﻔﺭﻨﺴﻴﺔ ﻝﻠﺘﻨﻭﻉ ﺍﻝﺒـﺸﺭﻱ‪ .‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ‬
‫ﺍﻝﻤﺩﺍﻯ‪.‬‬

‫ﺘﻭﺴﺎﻥ‪ ،‬ﺒﺭﻨﺎﺭ‪ .(2000).‬ﻤﺎ ﻫﻲ ﺍﻝﺴﻴﻤﻴﻭﻝﻭﺠﻴﺎ‪ .‬ﻤﺤﻤﺩ ﻨﻁﻴﻑ‪.‬ﺍﻝﻤﻐﺭﺏ‪ :‬ﺇﻓﺭﻴﻘﻴﺎ ﺍﻝﺸﺭﻕ‪.‬‬

‫ﺤﻤﺩﺍﻭﻱ‪ ،‬ﺠﻤﻴل‪" .(2007).‬ﻤﺩﺨل ﻝﻠﻤﻨﻬﺞ ﺍﻝﺴﻴﻤﻴﺎﺌﻲ"‪ .‬ﺍﻝﺩﺭﺍﺴﺎﺕ ﺍﻷﺩﺒﻴﺔ ﻭﺍﻝﺴﻴﻤﻴﺎﺌﻴﺔ‪ .‬ﻉ ‪-12‬‬
‫‪.13‬‬

‫ﺠﺎﻥ ﺍﻝﻜﺴﺎﻥ‪ .(1982) .‬ﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﺍﻝﻭﻁﻥ ﺍﻝﻌﺭﺒﻲ‪ .‬ﺍﻝﻜﻭﻴﺕ‪ :‬ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ‪.‬‬

‫ﺠﺒﺭﺍﻥ‪ ،‬ﺨﻠﻴل‪" .(2001) .‬ﻤﻥ ﻗﺼﻴﺩﺓ ﺍﻝﺒﻌﺽ ﻨﺤﺒﻬﻡ"‪ .‬ﺍﻷﻋﻤﺎل ﺍﻝﻜﺎﻤﻠﺔ‪ .‬ﻝﺒﻨﺎﻥ‪ :‬ﺩﺍﺭ ﻤﻴﻭﺯﻴﻙ‪.‬‬

‫ﺠﻌﻴﻁ‪ ،‬ﻫﺸﺎﻡ‪ .(1995) .‬ﺃﻭﺭﻭﺒﺎ ﻭﺍﻹﺴﻼﻡ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻁﻠﻴﻌﺔ‪.‬‬

‫ﺠﻌﻴﺩﻱ‪ ،‬ﻤﻭﻻﻱ ﺍﺩﺭﻴﺱ‪ .(2008) .‬ﺍﻝﻤﻬﻤﺵ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ‪ :‬ﺘﻌﺩﺩ ﺍﻝﻭﺍﺤـﺩ‪ .‬ﺍﻝﻤﻐـﺭﺏ‪:‬‬
‫ﺍﻴﻤﻭﺯﺍﺭ ﻝﻠﺴﻴﻨﻤﺎ‪.‬‬

‫ﺠﻭﺘﻴﺭﺍﻥ‪ ،‬ﻓﺭﺍﻨﻙ‪" .(2001) .‬ﻓﻨﻭﻥ ﺍﻝﺴﻴﻨﻤﺎ‪ .‬ﻋﺒﺩ ﺍﻝﻘﺎﺩﺭ ﺍﻝﺘﻠﻤﺴﺎﻨﻲ‪ .‬ﺍﻝﻘﺎﻫﺭﺓ‪ :‬ﺍﻝﻤﺠﻠﺱ ﺍﻷﻋﻠـﻰ‬
‫ﻝﻠﺜﻘﺎﻓﺔ‪.‬‬

‫ﺩﻭﺒﺭﻴﺔ‪ ،‬ﺭﻴﺠﻴﺱ‪ .(2002) .‬ﺤﻴﺎﺓ ﺍﻝﺼﻭﺭﺓ ﻭﻤﻭﺘﻬﺎ‪ .‬ﺍﻝﺩﺍﺭ ﺍﻝﺒﻴﻀﺎﺀ‪ :‬ﺇﻓﺭﻴﻘﻴﺎ ﺍﻝﺸﺭﻕ‪.‬‬

‫ﺩﻭﻜﺎ‪ ،‬ﻝﻭ ‪ .(1989).‬ﺘﻘﻨﻴﺔ ﺍﻝﺴﻴﻨﻤﺎ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﻨﺸﻭﺭﺍﺕ ﻋﻭﻴﺩﺍﺕ ‪.‬‬

‫ﺭﺍﻀﻲ‪ ،‬ﺍﺤﻤﺩ‪"" .(1997).‬ﺍﻹﺸﻬﺎﺭ ﻭﺍﻝﻤﺘﻤﺜﻼﺕ ﺍﻝﺜﻘﺎﻓﻴﺔ"‪ .‬ﻋﻼﻤﺎﺕ‪ .‬ﻉ‪).7‬ﻨﺴﺨﺔ ﺍﻝﻜﺘﺭﻭﻨﻴﺔ(‪.‬‬

‫ﺭﻴﻤﻭﻨﺩ‪ ،‬ﻭﻝﻴﺎﻏﺭ‪ .(2005) .‬ﻁﺭﺍﺌﻕ ﺍﻝﺤﺩﺍﺜﺔ ﻀﺩ ﺍﻝﻤﺘﻭﺍﺌﻤﻭﻥ ﺍﻝﺠﺩﺩ‪ .‬ﻓﺎﺭﻭﻕ ﻋﺒﺩﺍﻝﻘﺎﺩﺭ‪ .‬ﺍﻝﻜﻭﻴﺕ‪:‬‬
‫ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ‪.‬‬

‫ﺴﻌﻴﺩ‪ ،‬ﺍﺩﻭﺍﺭﺩ‪ .(2005) .‬ﺘﻐﻁﻴﺔ ﺍﻹﺴﻼﻡ‪ .‬ﻤﺤﻤﺩ ﻋﻨﺎﻨﻲ‪ .‬ﺍﻝﻘﺎﻫﺭﺓ‪ :‬ﺭﺅﻴﺔ ﻝﻠﻨﺸﺭ‪.‬‬

‫ـــــ‪ .(1995).‬ﺍﻻﺴﺘﺸﺭﺍﻑ‪ :‬ﺍﻝﻤﻌﺭﻓﺔ‪ ،‬ﺍﻝﺴﻠﻁﺔ‪ ،‬ﺍﻹﻨﺸﺎﺀ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺅﺴـﺴﺔ ﺍﻷﺒﺤـﺎﺙ‬

‫ﺍﻝﻌﺭﺒﻴﺔ‪ ،‬ﻁ‪ ،4‬ﺹ‪71‬‬

‫ﺍﻝﺴﻴﺩ‪ ،‬ﺍﻨﺠﻲ‪" .(1998).‬ﺨﻤﺴﻭﻥ ﺴﻨﺔ‪ :‬ﻓﻠﺴﻁﻴﻥ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﺼﺎﻤﺩ ﺍﻻﻗﺘﺼﺎﺩﻱ ‪،‬ﻉ‪.114‬‬

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 ‫ﺸﻤﻴﻁ‪ ،‬ﻭﻝﻴﺩ‪ .(2006).‬ﻓﻠﺴﻁﻴﻥ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ‪ .‬ﻭﺯﺍﺭﺓ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪ .‬ﺩ‪.‬ﻡ‪.‬‬

‫ﺸﻴﻠﻠﺭ‪ ،‬ﻫﺭﺒﺭﺕ‪ .(1999).‬ﺍﻝﻤﺘﻼﻋﺒﻭﻥ ﺒﺎﻝﻌﻘﻭل‪ .‬ﻋﺒﺩ ﺍﻝﺴﻼﻡ ﺭﻀﻭﺍﻥ‪ .‬ﺍﻝﻜﻭﻴﺕ‪ :‬ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ‪.‬‬

‫ﻋﺒﺩﺍﻝﺤﻤﻴﺩ‪ ،‬ﺸﺎﻜﺭ‪ .(2005 ).‬ﻋﺼﺭ ﺍﻝﺼﻭﺭﺓ ﺍﻻﻴﺠﺎﺒﻴﺎﺕ ﻭﺍﻝﺴﻠﺒﻴﺎﺕ‪ .‬ﺍﻝﻜﻭﻴﺕ‪:‬ﻋﺎﻝﻡ ﺍﻝﻤﻌﺭﻓﺔ ‪.‬‬

‫ﻋﺒﺩ ﺍﻝﺤﺎﻓﻅ‪ ،‬ﺍﺤﻤﺩ ﺴﻭﻜﺎﺭﻨﻭ‪" .(2007).‬ﺼﻭﺭﺓ ﺍﻝﻌﺭﺏ ﻭﺍﻝﻤﺴﻠﻤﻴﻥ ﻓﻲ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ"‪ .‬ﻤﺠﻠﺔ‬
‫ﺍﻝﺤﻭﺍﺭ‪ .‬ﻉ‪) .188‬ﻨﺴﺨﺔ ﺍﻝﻜﺘﺭﻭﻨﻴﺔ(‪.‬‬

‫ﺍﻝﻌﺒﺩ‪ ،‬ﻤﺤﻤﺩ‪"".(1999).‬ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺜﻘﺎﻓﺔ ﻭﺍﻻﺘﺼﺎل"‪ .‬ﻓﺼﻭل‪ .‬ﻉ‪.62‬‬

‫ﻋﺒﻴﺩﻭ‪ ،‬ﻤﺤﻤﺩ‪ .(2004) .‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﺸﺎﺸﺔ ﻝﻠﺘﻀﻠﻴل ‪ .‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﻜﻨﻌﺎﻥ ‪.‬‬

‫ﻋﺯﻤﻲ‪ ،‬ﻴﺤﻴﻰ‪"" .(1999).‬ﺍﻝﺼﻭﺭﺓ‪ ،‬ﺍﻝﺯﻤﺎﻥ‪ :‬ﺠﻴل ﺩﻭﻝﻭﺯ ﻭﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﻓﺼﻭل‪ .‬ﻉ‪.63‬‬

‫ـــــ‪"" .(1999).‬ﻝﻐﺔ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺒﺤﺙ ﻋﻥ ﻤﻜﺎﻨﺔ"‪ .‬ﻓﺼﻭل‪ .‬ﻉ‪.62‬‬

‫ﺍﻝﻌﻤﺭﻱ‪ ،‬ﺍﻤﻴﺭ‪"" .(1992).‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﺼﻬﻴﻭﻨﻴﺔ ﺒﻴﻥ ﺍﻝﺫﺍﺕ ﻭﺍﻵﺨﺭ"‪ .‬ﺒﻴﺎﺩﺭ‪ ،‬ﻉ‪.8‬‬

‫ﺍﻝﻌﻤﺭﺍﻨﻲ‪ ،‬ﺤﺴﻥ‪"" .( 2002).‬ﺍﻝﻔﻠﺴﻔﺔ ﻭﺍﻝﺴﻴﻨﻤﺎ"‪ .‬ﻓﻜﺭ ﻭﻨﻘﺩ‪. ،‬ﻉ‪. 50-49‬‬

‫ﻋﻴﺎﺩ‪ ،‬ﻤﺤﻤﺩ‪" .(1997) .‬ﺴﻴﻤﻴﺎﺌﻴﺔ ﺍﻝﺨﻁﺎﺏ ﻭﺨﻁﺎﺏ ﺍﻝﺴﻴﻤﻴﺎﺌﻴﺔ"‪ .‬ﻋﻼﻤﺎﺕ‪.‬ﻉ ‪.29‬‬

‫ﻏﺎﺭﺍﻏﺎﻨﻭﻑ‪ ،‬ﺍﻝﻜﺴﻨﺩﺭ‪) .‬ﺩﺕ(‪" .‬ﺍﻝﺴﻴﻨﻤﺎ ﺒﻴﻥ ﺍﻻﻴﺩﻝﻭﺠﻴﺎ ﻭﺸﺒﺎﻙ ﺍﻝﺘﺫﺍﻜﺭ‪ .‬ﺘﺭﺠﻤﺔ ﺴﺎﻤﻲ ﺍﻝﻜﻌﻜﻲ‪.‬‬
‫ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻁﻠﻴﻌﺔ‪.‬‬

‫ﻜﺭﺍﻜﺎﺭﻭ‪.‬ﺃ ‪ .(1977).‬ﺍﻝﺘﺎﺭﻴﺦ ﺍﻝﻨﻔﺴﻲ ﻝﻠﺴﻴﻨﻤﺎ ﺍﻻﻝﻤﺎﻨﻴﺔ‪ ،‬ﺩﻡ ‪.‬‬

‫ﻜﻤﺎل‪ ،‬ﻋﺒﺩ ﺍﻝﺭﺤﻴﻡ‪"" .(1996) .‬ﺍﻝﺼﻭﺭﺓ ﻭﺍﻝﺫﺍﺕ ﻭﺍﻝﻤﻌﻨﻰ ﻭﺍﻝﻌﻼﻤﺎﺕ"‪ .‬ﻋﻼﻤﺎﺕ‪ ،‬ﻉ ‪.5‬‬

‫ﺍﻝﻘﺤﻁﺎﻨﻲ‪ ،‬ﺴـﻠﻁﺎﻥ‪". (2008).‬ﺼـﻭﺭﺓ ﺍﻝﻌـﺭﺏ ﻓـﻲ ﺍﻝـﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴـﺔ ﺒﻌـﺩ ﻋـﺼﺭ‬

‫ﺍﻻﺴﺘﺸﺭﺍﻑ"‪.‬ﺍﻝﺠﺯﻴﺭﺓ ﺍﻝﺜﻘﺎﻓﻴﺔ‪.‬ﻉ‪15‬‬

‫ﻗﺎﺴﻡ‪ ،‬ﺤﻭل‪ .(1975).‬ﺜﻼﺙ ﺃﻓﻼﻡ ﻋﻥ ﺍﻝﻘﻀﻴﺔ ﺍﻝﻔﻠﺴﻁﻴﻨﻴﺔ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻔﺎﺭﺍﺒﻲ‪.‬‬

‫ﻗﺎﺴﻡ ﻤﺤﻤﻭﺩ ‪"" .(2005).‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻷﻤﺭﻴﻜﻴﺔ "‪ ،‬ﺃﺩﺏ ﻭﻨﻘﺩ‪ ،‬ﻉ ‪5‬‬

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‫ﻓﺭﻴﺩ‪ ،‬ﺴﻤﻴﺭ‪ .(1989).‬ﻤﺩﺨل ﺇﻝﻰ ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺼﻬﻴﻭﻨﻴﺔ‪ .‬ﺒﻐـﺩﺍﺩ‪ :‬ﺍﻝﻤﺅﺴـﺴﺔ ﺍﻝﻌﺎﻤـﺔ ﻝﻠـﺴﻴﻨﻤﺎ‬
‫ﻭﺍﻝﻤﺴﺭﺡ‪.‬‬

‫ﻓﻭﻜﻭ‪ ،‬ﻤﻴﺸﻴل‪ .(2007) .‬ﻨﻅﺎﻡ ﺍﻝﺨﻁﺎﺏ‪ .‬ﻤﺤﻤﺩ ﺒﻴﺭﻭ‪ .‬ﺒﻴﺭﻭﺕ‪ :‬ﺩﺍﺭ ﺍﻝﻔﺎﺭﺍﺒﻲ‪.‬‬

‫ﻓﻴﺭﻝﻭ‪ ،‬ﺒﻭﻝﻭ‪ .(2001 ).‬ﻤﺎﻜﻴﻨﺔ ﺍﻹﺒﺼﺎﺭ‪ .‬ﺇﺤﺴﺎﻥ ﻋﺒﺎﺱ‪ .‬ﺩﺍﺭ ﺍﻝﻤﺩﻯ‪:‬ﺍﻝﻘﺎﻫﺭﺓ‪.‬‬

‫ﻓﻴﺭﺘﻭﻑ‪ .‬ﺩﺯﻴﻐﺎ‪ .(1975) .‬ﺍﻝﺤﻘﻴﻘﺔ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ ﻭﺍﻝﻌﻴﻥ ﺍﻝﺴﻴﻨﻤﺎﺌﻴﺔ‪ .‬ﻋﺩﻨﺎﻥ ﻤﺩﺍﻨﺎﺕ‪ .‬ﺒﻴـﺭﻭﺕ‪:‬‬
‫ﺩﺍﺭ ﺍﻝﻬﺩﻑ‪.‬‬

‫ﻻﺯﺍﺭ‪ ،‬ﺠﻭﺩﻴﺕ‪" .(1996).‬ﺍﻝﺼﻭﺭﺓ"‪ ،‬ﺤﻤﻴﺩ ﺴﻼﺴﻲ‪ ،‬ﻤﺠﻠﺔ ﻋﻼﻤﺎﺕ‪ ،‬ﻉ‪5‬‬

‫ﻝﺒﻴﺏ‪ ،‬ﺍﻝﻁﺎﻫﺭ‪"" .(1999) .‬ﺍﻵﺨﺭ ﻓﻲ ﺍﻝﺜﻘﺎﻓﺔ ﺍﻝﻐﺭﺒﻴﺔ"‪ .‬ﺼﻭﺭﺓ ﺍﻝﻌﺭﺒﻲ ﻨﺎﻅﺭﺍ ﻭﻤﻨﻅﻭﺭﺍ ﺇﻝﻴﻪ‪.‬‬
‫ﺒﻴﺭﻭﺕ‪ :‬ﺍﻝﻭﺤﺩﺓ ﺍﻝﻌﺭﺒﻴﺔ‪.‬‬

‫ﻤﺎﺠﺩﻝﻭﻴﻥ‪ .‬ﺸﺭﻑ ﺍﻝﺩﻴﻥ‪ .(2006) .‬ﺍﻝﺼﻭﺭﺓ ﺍﻝﺴﺭﺩﻴﺔ ﻓﻲ ﺍﻝﺭﻭﺍﻴﺔ ﻭﺍﻝﻘﺼﺔ ﺍﻝﻘﺼﻴﺭﺓ ﻭﺍﻝﺴﻴﻨﻤﺎ‪.‬‬
‫ﺍﻝﻘﺎﻫﺭﺓ ‪ :‬ﺭﺅﻴﺔ‪.‬‬

‫ﻤﻴﺭﻝﻭ‪ ،‬ﺒﻭﻨﺘﻲ‪.(2007) .‬ﺍﻝﻤﺭﺌﻲ ﻭﺍﻝﻼﻤﺭﺌﻲ‪ .‬ﻋﺒﺩ ﺍﻝﻌﺯﻴﺯ ﺍﻝﻌﻴﺎﺩﻱ‪ :‬ﺒﻴﺭﻭﺕ‪ :‬ﻤﺭﻜـﺯ ﺩﺭﺍﺴـﺎﺕ‬
‫ﺍﻝﻭﺤﺩﺓ ﺍﻝﻌﺭﺒﻴﺔ‪.‬‬

‫ﻤﺩﺍﻨﺎﺕ‪ ،‬ﻋﺩﻨﺎﻥ‪ .(2004).‬ﺘﺤﻭﻻﺕ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺭﺒﻴﺔ‪ :‬ﻗﻀﺎﻴﺎ‪ .‬ﺩﻤﺸﻕ‪ :‬ﺩﺍﺭ ﻜﻨﻌﺎﻥ‪.‬‬

‫ﻤﻨﺼﻭﺭ‪ ،‬ﺍﺸﺭﻑ‪" .(1999) .‬ﺼﻨﻤﻴﺔ ﺍﻝﺼﻭﺭﺓ‪ :‬ﻨﻅﺭﻴﺔ ﺒﻭﺭﺩﻴﺎﺭ ﻓﻲ ﺍﻝﻭﺍﻗﻊ ﺍﻝﻔﺎﺌﻕ"‪ .‬ﻓـﺼﻭل‪.‬‬
‫ﻉ‪.6‬‬

‫ﻤﺤﻤﻭﺩ ﻋﻁﺎﷲ ‪" .(1995).‬ﺍﻝﺴﻴﻨﻤﺎ ﺸﺎﺒﺔ ﻋﻤﺭﻫﺎ ﻤﺎﺌﺔ ﻋﺎﻡ"‪.‬ﺍﻝﻌﺭﺒﻲ‪ .‬ﻉ‪439‬‬

‫ﺍﻝﺭﻤﻴﺤﻲ‪ ،‬ﻤﺤﻤﺩ ‪" .(2000).‬ﺍﻝﺴﻴﻨﻤﺎ ﻭﺍﻝﺤﻴﺎﺓ‪ :‬ﺃﻴﻬﻤﺎ ﺃﻜﺜﺭ ﺤﻘﻴﻘﺔ ﻤﻥ ﺍﻵﺨﺭ"‪ .‬ﺍﻝﻌﺭﺒﻲ ‪.‬ﻉ‪.439‬‬

‫ﻤﻨﺎﺼﺭﺓ‪ ،‬ﻋﺯ ﺍﻝﺩﻴﻥ‪ .(1999) .‬ﺍﻝﺴﻴﻨﻤﺎ ﺍﻹﺴﺭﺍﺌﻴﻠﻴﺔ ﻓﻲ ﺍﻝﻘﺭﻥ ﺍﻝﻌﺸﺭﻴﻥ ‪ :‬ﻗـﺭﺍﺀﺓ ﺘﻭﺜﻴﻘﻴـﺔ‪.‬‬
‫ﺒﻴﺭﻭﺕ‪ :‬ﺍﻝﻤﺅﺴﺴﺔ ﺍﻝﻌﺭﺒﻴﺔ ﻝﻠﺩﺭﺍﺴﺎﺕ ﻭ ﺍﻝﻨﺸﺭ‪.‬‬

‫ﻨﻴﻭﻜﻠﺯ ﻨﺒﻴل‪ .(2005) .‬ﺃﻓﻼﻡ ﻭﻤﻨﺎﻫﺞ‪ .‬ﺤﺴﻴﻥ ﺒﻴﻭﻤﻲ ‪.‬ﺝ‪ .1‬ﺍﻝﻘﺎﻫﺭﺓ‪ :‬ﺍﻝﻤﺠﻠﺱ ﺍﻷﻋﻠﻰ ﻝﻠﺜﻘﺎﻓﺔ‪.‬‬

‫‪139‬‬
 . 581 ‫ ﻉ‬.‫ ﺍﻝﻌﺭﺒﻲ‬."‫ ﻋﻠﻰ ﺸﺎﺸﺔ ﺍﻝﺴﻴﻨﻤﺎ‬2001 ‫ ﺃﻴﻠﻭل‬11" .(2007). ‫ﻨﺩﻴﻡ ﺠﺭﺠﻭﺭﺓ‬

‫ ﺍﻝﺜﻘﺎﻓـﺔ‬."‫ ""ﺍﻝﻔﻭﺘﻭﻏﺭﺍﻓﻴﺎ ﻭﺍﻝﺴﻴﻨﻤﺎ ﻓﻲ ﻨﻅـﺎﻡ ﺍﻝﺜﻘﺎﻓـﺔ ﺍﻝﻤﻌﺎﺼـﺭﺓ‬.(2001).‫ ﺼﺎﻝﺢ‬،‫ﻭﺠﺩﻱ‬

.109 ‫ ﻉ‬.‫ﺍﻝﻌﺎﻝﻤﻴﺔ‬

‫ ﺍﻝﻤﺅﺴـﺴﺔ‬:‫ ﺒﻴﺭﻭﺕ‬.‫ ﺘﺎﺭﻴﺦ ﺍﻝﻬﻴﻤﻨﺔ ﺍﻝﺼﻬﻴﻭﻨﻲ ﻋﻠﻰ ﺍﻝﺴﻴﻨﻤﺎ ﺍﻝﻌﺎﻝﻤﻴﺔ‬.(1998).‫ ﺨﺎﻝﺩ‬،‫ﻴﻭﺴﻑ‬

.‫ﺍﻝﻌﺭﺒﻴﺔ ﻝﻠﺩﺭﺍﺴﺎﺕ ﻭﺍﻝﻨﺸﺭ‬

: ‫ ﺍﻝﻤﺼﺎﺩﺭ ﺒﺎﻝﻠﻐﺔ ﺍﻻﻨﺠﻠﻴﺯﻴﺔ‬2.2.1

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k‫@ ا‬.i< l7;8‫ا‬

2010

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