Dimensions of the cinematic image and its relationship to cinematic rhythm ( With the application on the movie Nasser Salah El-Din )

The attractiveness of the cinematic image is created for the spectator through two basic stages, the first is in which the director, the photographer and the rest of the team of interior designers, accessories, sound engineers and others pour into all their creative energies from ideas and advanced technical methods in order for the presented film image to be formed at its desired artistic level, as for The second stage: It is related to the presentation on the cinema screen and the meaning that the viewer’s reach as a result of this presentation. One of the most important elements of the film on which the style of both the director and cinematographer depends and the content of the film is the rhythm, which means the pace or the so-called repetition through which similar or different units (units) are created, and that rhythm film depends on a group of vocabulary Including montage with all its elements of time, selection, arrangement, sound and movement, whether camera movement or movement within the shot, drama and representational performance, this rhythm on which a large percentage of the success of any artwork depends. Knowing the extent of the recipient’s ability to receive the cinematic image means addressing the language of the cinematic image, of which the dimensions of the image (the ratio of height and width of the cinematic staff) are what the research will propose, and they are the most important decisions that the director takes and implements with him the director of cinematography. Directly with the technique of execution and presentation. From here, the importance of research appeared in the existence of a study that clarifies the relationship between the dimensions of the cinematic image and the film rhythm, and thus adding a new term to the vocabulary of analyzing and studying the cinematic image or a new language that affects the form of creativity for the film.