الاشتغال السيميائي للترتيب والمدة في الفلم السينمائي (فيلم الساعات نموذجا )

We were interested in covering the chronological order of the narrative as an attempt to observe how that main component moves in the film discourse - and where the arrangement depends on the time-based paradox of retrieval and recruitment that leads to manipulation of the syntactic time. For the stories that have been dealt with, and whether this arrangement is causal or non-causal, the building of the regime acts according to these paradoxes, which liberates the film from the logical system of events. This made the receiver aware of the imaginary time period in the film, but accompanied by a psychological condition that helps to accept the movements despite their spatial and temporal spacing. This allows the filmmakers to deal with various subjects, as well as allowing narrative manipulation according to various narrative formats. As well as the speed and slow narration through the search we wanted to monitor how to reconcile between the time of real events and time on the screen and time movements - within the paradox. Therefore, our research was adopted in its first chapter - in chronological chronological order - because it represents dealing with a reference system connected to the mind of the receiver by its ability to aggregate the mental image, which made us deal with narration as a common factor in the organization of film time.
As for the second subject: it was concerned with the narrative repetitions as a reference structure to know how the time worked through the type of repetitions that varied between iconic images and life works and narrative structures that gave clear explanatory meanings to the ideas and concepts that prepared the idea of ​​accepting the temporal diversity available within the single film discourse. Spatial and temporal stories - confined within the recipient's mind within the total number of repetitions.