الفهرس 
مقدمةيوجد فقط 14 صفحة متاحة للعرض العام
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المستخلص
Symbol is the origin and basis of social behavior whose symbol may differ from a community to another, also symbols survival contributes to cultures and, in turn, civilizations origination, continuity, continuity and eternity of all their political systems, but folk art is a product of an accumulated culture within human history and was achieved by nation in all ages. Its scholars study the integrated vital humanity essence resulting from the interaction between individual and his / her social and economic frame, beliefs and tradition which depended on audiovisual symbolic systems to which human gave meanings to remain and be inherited by generation. The importance of studying symbols in folk art refers to knowing a nation ideology within time. Accordingly the researcher selected animation techniques to revive the folk Egyptian heritage due to the animation great effect on children and matures alike; accordingly the researcher discussed three chapters as follows : Chapter one: (symbol in Egyptian folk art), as the chapter was subdivided to 2 main topics. The first topic discussed the symbol definition in general, its origin and meanings with comparisons clarifying the difference between different symbols . the second topic is symbol in Egyptian folk art which discussed the Egyptian folk art definition, characteristics and forms of music, dance and different folk performance arts. Then discussed the Egyptian folk art beginning from the ancient Egyptian civilization, Hellenistic civilization, then Coptic and Islamic art reaching to the Egyptian contemporary folk art. Followed by expressive semantics of Egyptian folk art symbols in different civilizations subdivided by the researcher to geometric symbols such as ( line, circle, triangle…..etc ), plant symbols such as ( palm ,grapes, wheat ……etc ), animal symbols such as ( horse , owl, snake ……etc ), human symbols such as ( hand, eye ……), and environment based symbols such as( sword, pot, cross ). And inscription symbolic semantics and color symbols in Egyptian folk art. At the end of the chapter the researcher clarified the symbolic semantics to organize the plastic elements in Egyptian folk art. Chapter two (Animation movie and indication of the movement), which discussed animation definition, animation origination, beginning from The magic lantern till modern techniques, and explane it such as Traditonal animation, stop motion, and digital animation, with explain different kind of each technique. Then explan to animation movies production stage from script, storyboard, illustration, voice and motion, with explan to symbolic connotations of movement. Chapter three (the folk art effect on Egyptian animation films), which discussed animation definition, Egyptian animation origination, beginning from murals expressing movement in ancient Egyptian civilization, folk shows such as scarecrow, puppet and peep show (considered as primary animation attempts) till actual animation films in Egypt, beginning from works of brothers francle in the 1930S,, then works of brothers Mahib of commercial and awareness campaigns. And clarifying the Egyptian folk environment’s effect on all the mentioned works and the Egyptian folk art. Then the researcher discussed Egyptian animation examples and clarified the Egyptian folk art and symbols on such works. Such works included songs, advertisements and breaks for Egyptian TV channels and episodes or the so called short films as follows: - The Song Ya Hadrit Ah Omda (Mr./ Mayor ) - Nozaha’s song - Ancient stories (Qatr Al Nada) - Ancient stories ( Ibn Al Hareth’ Biography ) - Ali Eliwa song - Egyptian TV advertising break in Ramadan - Egyptian TV advertising break - The song Hina Mekas Wa Hina Mekas (here scissors and here scissors) - Stories from proverbs book - International cairo forum promo for animation, session 11 - Folk stories episodes Chapter four (practical experience): the chapter discusses the researcher’s scientific experience represented in designing an animation film for the song Yones for the poet Abd Elrahman Al Abnodi and the singer Mohamed Monir . at the beginning the chapter discussed Azia and Yones story in brief narrated by Dr./ Shawki Abd El Hakeem for whom the song was made. Followed by discussing and analyzing drawings beginning from characters drawings represented in Aziza and Yones (the heroes), Abo Zeid Al Helali , Al Asfora (the parrot) and Al Aziffens (the players). followed by discussing and analyzing the film backgrounds represented in travel background, 2 Egyptian countryside backgrounds, 2 Egyptian house backgrounds, Tunis houses and castles background, 2 Al Azia palace backgrounds, a palace garden’s back ground, 4 Nagd desert backgrounds and the prison background. followed by the story board in which previously discussed characters and backgrounds combined.