الرؤى البلاغية للتايتل في الأعمال الدرامية

      distinguishes the dramatic works from each other is their introductions (the title), which in turn attract the attention of the recipient and entice him to follow up this work without, other than this, the title may give flashes by which the recipient is enlightened to enter the world of the film or series, soThe periods of the films are greater than being just an identification card for the workers in the film. They are known at the front of the film (before entering into the midst of the dramatic events). Rather, they are a brief artwork that carries in it symbols and metaphors that summarize the message of the film that its makers would like to deliver to the recipient, so the film's title developed in making it. And its makers who started with calligraphers and developed with the development of film technologies to reach its maker and enter the digital world Therefore, a number of makers emerged to him, who distinguished each one of them in his own style in designing the title of the film, and among the names was the designer Nawal who designed many Egyptian movie sequels over decades, and which we decided in our research this dealt with designs for film sequences and rhetorical visions Inspiring her ideas and intellectual and aesthetic diversity in the style of her treatments in the design of the title. Therefore, the research consists of three chapters, which are: -
Chapter One: Methodological Frameworks
The second chapter: The theoretical framework and includes the following investigations:
1- Introduction concept (title) in the cinematic film and TV series
2- Technical treatments for the introductions of cinematic films designed by Nawal
3- Rhetorical visions and title design in the cinematic film
Chapter Three: Research Procedures and includes the conclusion that includes the most important findings that were drawn from the theoretical framework