•  
  •  
 

Abstract

Movement is one of the foundations on which sports and most of the arts depend because of its aesthetic impact on the audience, as it contributes to drawing his attention to what is presented to him in terms of sports skills or artistic works. Its formation and movement is one of the most important of these formative elements, and as it is known that the sports motor skills of the game of volleyball, for example, cannot be comprehended or comprehend the parts and modalities of its motor and skill performance during the game itself, which will make the audience interact overall in front of what they watch from a skillful performance without realizing the merits of the game and its technique, as well. The case with cinematic works that are fully realized without knowing their formative parts. The audience realizes the integrated achievement of the game of volleyball, just as the cinematic work is aware of an integrated and conscious awareness of the data presented to it. The cinematic film or the other. However, sports skills and cinematography have commonalities that unite them, and the rhythm is counted Movement is one of these important contributors, which always works to involve the audience in perceiving the motor performance and skills performed by volleyball players with their offensive, defensive or other skills, just as the audience perceives the rhythm of movement for the scene or the film, based on the foregoing, the researchers found that the research problem is in the ways that Through it, you can control the rhythm of each of the motor skills of the volleyball game (defensive and offensive) and the rhythm of the shots and the scene in the movie

First Page

313

Last Page

318

Creative Commons License

Creative Commons Attribution 4.0 International License
This work is licensed under a Creative Commons Attribution 4.0 International License.

Download

Share

COinS