CINEMA A MEDIUM OF CHANGING SOCIETY
Introduction:
Cinema a medium has emerged through
various cultural entertainments in where it is being shaped, modified and
influenced through both realism and fiction in nature. Cinema in a larger sense
adapted from folk culture and transformed into a professional street drama then
finally come up with a theatre play that innovated into a big screen recording
engaged into a certain camera technology, music, production and post-production
editing brought together big number of crews to make them lively. As we all know
that initially content in cinema talked about mythology and history. A
discovery and adaptation in cinema has been critically analysed in to various
ethical and cultural norms based on the society.
The concept of neorealism has been adopted from Italian cinema during
post world war II, Which dominantly progressed the nature of cinema towards
social reality, where it broke out hidden ideology in society anarchy
hierarchy to examine the concepts of psyche and the conditions of
everyday life, which extents in the context of defeat, poverty and desperation.
The book deals with cinema as an art and sound medium, how effectively taking
roles to play in human life,?, practising of cinema in daily life, culture
based cinema contents in chronological order in different countries of the
world, Cinema business, influencing factors in cinema.
Cinema is an art medium
Well, we all know that cinema is an art
medium, explores a quality effect and technology along with contents informing society
and make them aware of what they do in their real life through the term “entertainment”
filed joy and fun. Cinema initially played through content then after eventually
focused on characters, especially the film directors realized that characters
in a film are equal to the contents and that is how, social concepts were
screened out and later, they delved in to psyche and feelings of the
characters, Although this deep understanding caused in to a male and female
relationship, such as love and friendship. This has been grinded as equal to
any other contents in cinema history.
Often a question arises for the beginners, who
love film making! That follows as, what would be the difference between Film
and Cinema? Usually professors in film studies class put a question of asking
students repeatedly to understand the nature of cinema views. Film is a format
in which it talks about the directorial and production work as a whole as
movie. Cinema differs as a medium of content and shot, which can be segregated
as the director encountered reality and imagination. To make it simple, cinema
is a matter of reality; film is a format in making cinema. The world loves
cinema, since the characters in a scene speaks about fact along with fiction.
I would like to introduce a term fanatic, as
we all know that cinema is a multipurpose ship, where it deals with concepts
like history, social, psyche, emotional sink. Indeed the film makers have
indulged and insisted to be a screen slave as well making our life into is an
episodic all drama. Many could wonder, what is that? Well, what we see on the
screen, the things that we access, mind that passionate, attitude and character
elements have been put together to deny on a film, yes cinema is a cause of
change in life one or the other way, we learn to act through cinema views.
Especially people, who go beyond the normal and crazy about particular
character of an actor, become a slave or fanatic of that particular actor. It
is not that you and I decide what we should see; indeed the fact is with film
makers and producers, that is how we become slave for particular character or
action shown in the film. This book will deal with wide range of ideas to
hinder cinema and film making process and examine the research on everyday life
and cinema.
World cinema VS Modern cinema
Cinema has been a tool of technology that
keeps adding features in every second of its release. The idea of science much
more conveyed through cinema medium, which let too many concepts in
communication in every era. For example the internet usage and the urge to
communication, business, Understanding of world culture and Comfort living were
brought out by both world and modern cinema. World cinema depends on the
ideology of reality, no expanded settings, though only carried out by real
contents and characters in the film. Especially the characters doesn't focus on
any type of fame or fiction to create curiosity in a story but just tells the
content as it is so that the cinema lovers can easily access to the content and
amount of message from characters.
Cinema is a manipulation of reality through
image and sound
-Alain Resnais
World cinema is not possible to show the best
results all the time, since the examples of world cinema depends on the
particular culture and year of scenario. But unfortunately the role of
technology and global adaptation influenced people around the world to go with
imagination as a whole picture. For example marriage album would be one of the
fine examples of modern cinema, the question of how the bridegroom and bride is
portrait in the album. New cinema deals with one of the first questions asked
these days are, when a decision is made on choosing a movie is "who is in it?"
This is not an unreasonable question, except that it has become not just one of
the determining factors, but for many moviegoers, the only determining factor.
The movie's plot or moral tone is of little concern, as is the identity of the
producer, director, cinematographer, or scriptwriter. Since today's movies are
nearly devoid of content, the public needs a recognizable face, so the movies
are marketed on this basis. The face need not belong to one that possesses
remarkable acting skill - only that it belong to one who inhabits the exclusive
society of the Celebrity. The movie gets more viewers in the basis of mass,
trendy content with little information and profound actors, directors, and
producers, who market all the elements to make the film successful and out
spoken.
World cinema is not only means of Hollywood
cinema, though it takes through worldwide cultures and practices that denies on
the reality rather than settings, i would like to give a list of films that
examines in the category of world cinema.
1, The Kid (1921)
2, Charles Chaplin - Modern Times (1936)
3, Bicycle Thieves (1948)
4, Rashomon (1950)
5, Pather Panchali (1955)
6, The Night of the Hunter (1955)
7, A Man Escaped (1956)
8, The 400 Blows (1959)
9, Pickpocket (1959)
10, A Gentle Woman (1969
11, Psycho (1960)
12, The Railway Children (1970)
13, The Outsiders (1983)
14, My Life as a Dog (1985)
15, The First Grader (2010)
16, Great train robbery by Edwin porter
These are some of the examples of world
cinema, where we could come across cultural and in depth story format in
establishing realism in the content.
World cinema alone doesn't mean only Hollywood
cinema, though it means of every country that brings attention through screen
content. But unfortunately modern cinema denies on celebrity image, money and
cinema marketing to make people believe and establish a new persuasion towards
sex and love. For example if we could take Indian cinema the stories that the
film makers think of would be related to love, friendship and violence. It is
not that they have been into to this process of making commercially worst
cinema, but they have been influenced, practised and stereotyped to make films
through violence, sex and love. Most of the Indian cinema will have number of
songs and one among them would be an item song, where the dancer wear a kind of
silky half dress and expose her skin to the crowd to spice it up, in order to
make the film successful. I believe you guys might have heard about "Dirty
Picture" an Indian film would be one of the fine example, how the women
basically portrait in Indian cinema, how the market works out in Indian cinema?
How cinemas and art become a sex charger for the audience through its content?
People who love world cinema are belong to a
category group of film makers, indeed it is true that most of the stories are
stolen from world cinema and developed through technology and slide changes in
the story format to fit their local audience. You guys may wonder! Those is why most of the film makers run
abroad and attend various film festival and adapt them to their culture,
finally make them run on the screen.
One of the reasons could be the lack of story
content in modern cinema leads to such addition vulgarity and opens up bodily
organs to make things worse to make money out of.
Celebrities instead of story lines
Modern cinema has fallen into a well of business and movies are made to
portray heroism in all the possible angles of screen. The representation of
realism has been limited and the art of cinema has been converted and
segregated in to a dynamic manipulation. People who study about films and film
making often segregate them in to two categories as Formalism and Realism. Film
as a medium of representation is often focusing on realism in the contest of
culture, politics, location and social ethics of the particular society. People
who have made films that related to realism never attempt to make films in any
other culture. Indeed formalism believes in the artistic part of cinema, where
the adaptation of literary works. Today's modern cinema adapts formalism and
makes story format in a way that characters want. This format let the way in
changing cinema influenced by so called "Heroism" in cinema, since
the ideology in cinema more talked about gender difference to add spice through
both artistic purpose and representational purpose.
"Every film maker holds a
representational ideology of his own culture and social environment, to speak
out his origin through his plot, character and shots".
When we
talk about Indian cinema in the context of heroism and then the so called mass
culture effect seems to be getting renowned in these modern eras. For example,
In Indian cinema the Plot just acts as a functional structure, indeed the
ingredients like songs, dance, music and fights portraying the hero valued to
make a film commercially successful and box office hit, especially a
overwhelmed emotional in the story tents to touch and react the B, C audience,
who are often recognized to live a practical life with comparatively less
imagination than the A ones.
Film stars have been selective in choosing
such emotional subjects and mingled with commercial expressions to make
audience more impressive, so that at the end of the story spectators become
fanatic over the act of the hero and they stand for the hero worship in the
entire Indian cinema. There is an optional with few film-makers in India, who
would showcase the service of reality among the audience. Such film-makers
failed to compete with commercial ones and often find a place at festivals to
get recognition.
I would like to record a sensible review of my
all time favorate film first grader, " Here is a man who is at his age of
84 standing in front of the school for his admission, since government
announces through radio channels stating the Kenyan citizen can receive a free
education. The news was wide spread among rural, remote villages of the
country. The particular school in the area was crowded with parents and their
children. But poorly the school can afford only 247 students. Maruge the
freedom fighter is a protagonist in the story, who victimized by holding the
newspaper stating government announced free education scheme for everyone in
the country. The In charges and representatives of the school Jane and David
chege refused to take him, since there are too many number of students and
there is no enough space to keep everyone in. Maruge's approach is being aghast
and shock, because he went to a market, purchased couple of clothes and old
shoes and made them as uniform, finally comforted him as a school boy. The
cinematographer must be appreciated for his receptive and logical abilities of
handling camera to express wide angle shots to fit the situation
understandable. Maruge reached hill, where the school located, and stands
outside school again, it is an immense gift for maruge to be accepted in to
school due to his internal approach and his promises of putting hard in study
impressed by teacher Jane. So she allows him to sit in class. The story
provides open forum to discuss many parameters and situation aspects relating
on maruge the man of real time hero. He joined in class, the place where he sat
on was quit congested and he was unable to accommodate but later he found to be
interesting with all his industrial extra ordinary efforts in learning as ever
he dreamed. It is so privy, when he learns something; his smile makes audience
to feel great sense of inspirational learning experience. The humming rhetoric
stanza following “my pencil is my friend, I will keep it till the end” this
reforms the rhyming sense of bliss in heart and mind as ever melody and to
implement How does the new holistic teaching helps in class atmosphere?. After
few weeks maruge finds children fighting each other and he tried to solve them
but poorly gone up to beat those children to stop their anger. This particular
incident is being lively seen by the correspondent of the school and later he
asks teacher Jane to send him away. Later maruge was asked to study in adult
school but he delved that the guys ion adult school were too smart and modern
in nature to conclude most of them were drug addicts. He went to adult to
school keeping the aim “Learning to read and write are greater achievement that
I must encounter to walk on”. Maruge feels incredible pain and walks towards
children school. His approaches especially when he entered into class room, he
started teaching what he learned, that interest was seen by teacher Jane so she
appreciates and appoints him as an assistant teacher.
Now there are many diagrams of doubt arise
between old man Maruge and teacher Jane, due to their good rapport company in
school. Since media covers maruge as 84year old man going back school to
receive his education. So maruge become popular gained enough publicity among
people and media. This incident made people around Jane to doubt thinking old
man and Jane share huge amount of money that they received from the media but
actually it was a false one indeed from the characters that is being doubted.
The portrayal of second image maruge shared
his life story to a teacher stating his wife and two children were shot, before
him are really striking. This incident made her sympathy towards maruge, but
people around them created a false image informing her husband Jane's behaviour
was ruined and she has bad confided relationships with an old man. When she
heard such stories from her husband she was totally confuted to her husband
about the statement and went further not to agree for the deal of resigning
from the school. But what to do, to make herself perfect she agrees to the deal
to resign job. From Juli Jane's character teaches how the teacher must be
towards his/her students to teach the world of knowledge. This was true indeed
because when students opposed new teacher who was greedier and tyrant in her
nature. And the other way the students love towards their teacher Julie Jane
are internally experimental when she came back to school again. Being a student
maruge found overwhelming happiness as his teacher had comeback realizing I too
was mould by the same hands, this was really a touchable screen play delivered
by cinematographers, and especially second and third class audience would have
experienced tears in their eyes… Being freedom fighter learning is essential as
living in the earth, if a person is not able to read and write in his life are
equal to dead man in living in the dark room are efficient dialogues written by
Justin Chadwick.
Friends I watched this film couple of days back and felt to share few of
my experiences throughout this film about the screen play, the content that they
wanted to bring upon. Maruge a freedom fighter is a real character and who made
Guinness record for his effort on learning during his 80's. This great effort
had been perfectly delivered by the characters who acted upon and thanks to
director Justin Chadwick.
Movies are often defined as a medium of
entertainment based on documents, time and place. Movies are artistic forms of
self-expression. Movies we see at theatres, on television, or home video are
typically narrative in nature. They tell stories about characters going through
their experiences. But with all these effort what is the content and whom are
they telling to? Is the real question to be delved? For example the film can be
looked into three perspectives, such as formalism, realism and conceptualism.
Formalists tend to look in to how the story is
being structured, formed and narrated based on the internal evidence such as
character, settings and the life situation that are connected to the plot.
Realism is a part of expression from every
character and tells us through human emotional, such as love, transformation
and everyday experiences. Reality film makers put an effort to emphasize the
audience to experience the travel along the character often to suit their
present reality.
Conceptualism focus on different genre or else
category that carries the story such as psychology, feminism, commercial etc...
The
concepts like feminism are getting noticed by the women writers in each region
influencing through their modernized and matured living through social context
via to express the emotion across their basic writings often, which are being
mostly adapted in films.
Arundhati Roy, Sudha Murthy, Anita Desai,
Shashi Deshpande, Kiran Desai, Janaki Shrinivas Murthy, Anita Nair, are the
notable Indian writers famously introduced feministic approach in to art
culture and that is how Indian cinema had to grow through such eminent
feministic approach in recent days, though we can't conclude it by "It is
all fine these days" but merely ok, when compared to olden days of anarchy
and gender difference , because of women journalists playing a change over in
the art culture through their journalistic approach and efficient involvement
in cinema techniques.
Melodrama and semiotic ideologies have been
highly influential mode that evolves in social and cultural imbalances in
communication, which raises false consciousness among the audience. The reason
behind of all these terms and approaches are connected together with the
everyday experiences on the screen, often which interferes and persuades
according to the play screen mode, Perhaps it is true that directors and
producers have been deciding factors in adding the contents than finding
audience interest towards a acted play and eventually showing an interest among
the sensationalized emotional areas of human, to make money over the framed
ethics and medium of cinema has been propaganda in promoting films, that is
where in the long run people love cinema have been motivated towards such
emotional side war.
When we talk about India cinema in a larger
sense exhibition and distribution has to change. Movies are being made for
money and this has been a central platform of business based on the celebrity
images in trend. There is no scope of
reality existence in modern cinema, to make it rational there are few in the
list often tend to fail back in business and the interest automatically ruins
over few attempts.
Ideology in Indian cinema wiles and reigns to
seduce audience in the favor of the associations “content makers” and giants to
produce films as a package rather than a social crusader. Indeed, if we can
take a time to compare the world cinema with an Indian cinema again in the
modern eon for instance political restrictions in a country like Iran have
produced very unique cinemas. India doesn't have those kinds of restrictions
but there could be restrictions of the marketplace which exerts an enormous
commercial influence on Indian filmmakers. And this can be as damaging as
political restrictions because it limits what you can do. As a filmmaker the
work remains to be unconvinced, this makes him usually to build his conference
than to contest, so that his innovative freshness is revealed. Many out in the
Hollywood and other east and west filmmakers in and around the world hint by
saying Indians right next door to China with a big market and thriving scene.
China is usually engaging with historical stories. But in India what you have
is a conflict between tradition and modernity. It's in every element of Indian
society from the generation conflict to the rural-urban divide. Absolutely we
must agree with Hollywood filmmakers for their compliment stating, “India where
filmmaking is so vital and productive”.
In India the quality of Indian cinema are
focused on the particular troops, particularly unmatched technology and
domestic audience with a fewer advantages of handling character images would be
a wrong notion to go advance in most of the Indian directors. Ultimately the
cause behind the basis lacking a lot, when people are ready to adapt the
modernization and visualize happenings in the past, on the other hand directors
have never credible to come out of their stereotypes. As a fact, they still
stick to the basis of film logic. To be exact As an Indian filmmaker you have to
be clear who your audience are. If it is the strong domestic market that is
absolutely fine but if you have global aspirations then you will have to think
differently.
We must be delighted and sticking out of
stuffs proudly saying, we Indians are capable of producing thousand films a
year, which is huge in numbers when compared to other countries to the world.
One of the filmmaker and Festival Director of Toronto film festival Cameron
Bailey has been answered in a recent interview for regarding the context of
Indian cinema, “At Toronto we show about six films from India in a regular
year, though this year we had 16 because of the City to City program. But for a
country producing a thousand films, India's representation is low. Compare that
to France from where we are showing an average of 15 films though the country
produces far fewer films than India”.
Celebrating 101 years of Indian cinema- 1912 -
2013
Celebrating the great colors and sounds of Indian cinema brings a
new form of reformation day by day towards ethnic sensibility to stay awake for
the tech innovation. The reason of all becomes possible with of a content
associated with of a human life and most often that supports to explore untold
stories of era. Milestones of Indian cinema have vibrated from the monochrome
pixels of Phalke’s Raja Harishchandra to the sleek montage of Bombay Talkies
from the era of 3rd of May 1913. it is unlikely that either the
exhibitors or the pioneer film maker realized they were unleashing a mass
entertainment medium that would hold millions in sway for the next hundred
years. The French might have introduced the concept of moving images, but
little did anyone know that India would one day become the largest film
industry in the world. It's a miracle that Indian cinema has withstood the test
of time despite the vast cultural differences in the past 100 years.
Indian cinema has an identity that is very unique and unmatched. We
have moved from the black and white silent films to 3D, but our cinema
continues to retain its basic essence - to thrill. Even as internet downloads
and television continue to cannibalize the theatrical revenues of Indian films,
the lure of the 35 mm is something else altogether. It was Phalke who
introduced India to world cinema at a time when working in films was taboo.
After the success of his film 'Raja Harishchandra', several filmmakers in
Bombay and Madras began making silent films. By the mid 1920s, Madras had
become the epicentre for all film related activities. Raghupathi Venkaiah
Naidu, SS Vasan, AV Meiyappan set up production houses in Madras to shoot
Telugu and Tamil films.
AlAM ALAThe silent era came to an end when Ardeshir Irani produced
his first talkie, 'Alam Ara' in 1931. If Phalke was the father of Indian
cinema, Irani was the father of the talkie. The talkies changed the face of
Indian cinema. Apart from looks, the actors not only needed a commanding voice
but also singing skills, as music became a defining element in Indian cinema.
The year also marked the beginning of the Talkie era in South Indian films. The
first talkie films in Bengali (Jumai Shasthi), Telugu (Bhakta Prahlad) and
Tamil (Kalidass) were released in the same year.
The forties was a tumultuous decade; the first half was ravaged by
war and the second saw drastic political changes all over the world. In the
middle of the Second World War in 1945 came 'Kismet' starring Ashok Kumar which
became one of the biggest hits in the history of Indian cinema. It had some
bold themes - the first anti-hero and an unmarried pregnancy. It clearly showed
that the filmmakers of the era were bolder than the times in which they were
living in. A close relationship between epic consciousness and the art of
cinema was established. It was against this backdrop that filmmakers like
V.Shantaram, Bimal Roy, Raj Kapoor and Mehboob Khan made their films. In the
meantime, the film industry had made rapid strides in the South, where Tamil,
Telugu and Kannada films were taking South India by storm. By the late 1940’s films
were being made in various Indian languages with religion being the dominant
theme. 1940s to late 1950s was also the golden era of music. Shankar Jaikishan,
O.P. Nayyar, Madan Mohan, C. Ramchandra, Salil Chaudhury, Naushad, S.D. Burman
- all had their distinctive style. Each vied with the other to produce some of
the most unforgettable melodies India has ever known.
Indian cinema50s and 60s were considered as the Golden Age of
Indian cinema. Filmmakers like Satyajit Ray, Ritwik Ghatak, Guru Dutt, Bimal
Roy, Mehboob Khan, K Asif, Raj Kapoor, KV Reddy, L V Prasad and Ramu Kariat
made waves in their respective film industries and they went on to make
classics like Pather Panchali, Madhumati, Do Bheega Zameen, Shree 420, Awaara,
Pyasa, Mother India, Mughal E Azam, Mayabazar and Chemmeen among many other
films. In the south, N.T. Rama Rao, M. G. Ramachandran, Sivaji Ganesan,
Rajkumar, Prem Nazir dominated the film industry for more than three decades
before making way for the next generation of actors like Rajinikanth, Kamal
Haasan, Mammootty, Mohanlal, Chiranjeevi and Balakrishna.
The 70s completely changed the way films were made, especially in
Hindi film industry. Changing social norms and changing economies influenced
movies and the companies that made them. The narrative style changed. The story
structure changed. Characters changed. Content changed. Masala films were the
demand of the time. The genre promised instant attraction and had great
entertainment value. It was the age of the angry young man and Amitabh Bachchan
rose to prominence thanks to the success of Sholay, Zanjeer and Deewar. While
Dev Anand, Rajesh Khanna, Jitendra and Dharmendra continued to bask in the
glory of back to back hits, the actresses were not far behind. Right from the
time of Savitri, Vyjayanthi Mala, Nargis, Waheeda Rahman and Sharmila Tagore to
Sridevi, Rekha, Smita Patil, Hema Malini, several actresses became heartthrobs
of the nation.
While Indian commercial cinema enjoyed popularity among
movie-goers, Indian art cinema did not go unnoticed. Adoor Gopalakrishnan,
Ritwik Ghatak, Aravindan, Satyajit Ray, Shyam Benegal, Shaji Karun and several
other art film directors were making movies that gave India international fame
and glory.
The eighties saw the advent of women film makers such as Vijaya
Mehta ('Rao Saheb'), Aparna Sen ('36- Chouwringhee Lane', 'Parama'), Sai
Pranjpye ('Chashme Baddoor', 'Katha', 'Sparsh'), Kalpana Lajimi ('Ek Pal'),
Prema Karanth ('Phaniamma') and Meera Nair ('Salaam Bombay'). It was also the
decade when sultry siren Rekha wooed audiences with her stunning performance in
'Umrao Jaan' in 1981.
And then in 90's, it was a mixed genre of romantic, thrillers,
action and comedy films. A stark upgrade can be seen on the canvas as
technology gifted the industry Dolby digital sound effects, advanced special
effects, choreography and international appeal. The development brought about
investments from the corporate sector along with finer scripts and
performances. It was time to shift focus to aesthetic appeal. And stars like
Shah Rukh Khan, Rajnikanth, Madhuri Dixit, Salman Khan, Aamir Khan,
Chiranjeevi, Juhi Chawla and Hrithik Roshan began to explore ways to use new
techniques to enrich Indian cinema with their performances.
In recent years, Hindi cinema has undergone a massive change due to
the emergence of new age filmmakers like Anurag Kashyap, Rajkumar Hirani,
Dibakar Banerjee and Vishal Bhardwaj. Of late, Tamil and Marathi cinema has
witnessed similar changes with several new filmmakers coming forth to cater to
a niche audience.
As the world has become a global village, the Indian film industry
has reached out further to international audiences. Apart from regular
screenings at major international film festivals, the overseas market
contributes a sizeable chunk to Bollywood's box office collections. Regular foreign
Investments made by major global studios such as 20th Century Fox, Sony
Pictures, and Warner Bros put a stamp of confirmation that Bollywood has etched
itself on the global podium.
Indian cinema,
despite all its peculiarities, has been a reflection of the socio-economic,
political and cultural changes that took place in the country. Here's hoping
that Indian movies continue to entertain us the way they've been doing since 10
decades.
Authored by steve
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