Using the ‘signature’ narrative attributes of Indian cinema as reference, discuss whether they make it a ‘unique’ world cinema. When comparing Indian cinema with other cinema from around the world it is evident that narrative attributes are one of the key components that contribute to Indian film’s reputation as a ‘unique world cinema.’ Indian cinema separates itself from other world cinema styles through a number of aspects including its approach to aesthetic elements, such as camera angles and acting methods as well as its integration of song and dance. In order to further explore the proposed explanations for its unique narrative characteristics, I will examine the history behind aspects of Indian cinema and how they have developed. In addition to this, I will compare and contrast cinematic components of Western and Indian cinema including plot development, character/actor attributes, and song and dance origins. I will also look at the role historical and mythical tradition play within the context of cinematic theme and examine several theories that explore the underpinnings of narrative attributes that make Indian cinema unlike any other. Indian film is known for its highly expressive acting, encompassing an array of emotions often times within very short time intervals. In fact, frequently referred to as ‘masala’, many Indian films cannot be classified under one general genre as is commonly done with Western films due to the variety of emotions and genre categories that are included within a single film (Dudrah 2006: 49). ‘The very swiftness of the transition from one to another, that to a Western eye may seem improbable, is a mark of a film-maker’s skill, of including something for everybody while maintaining the film’s... ... middle of paper ... ... focus that the Hindu religion places on seeing and the eye, and how the viewer is able to experience the scene in a more intimate manner by having the opportunity to see through various characters’ gazes (Lutgendorf: 2006: 232-233). In conclusion, by taking a more in-depth analysis of several of the key narrative attributes of Indian cinema, it is evident that these are the features that make it a ‘unique’ world cinema. Taking into account its historical background and comparing and contrasting it with Western cinema, one is able to make sense of the way features such as song and dance or camera operations have been incorporated into the artistic craft. With a distinctive approach to emotional display, plotline, incorporation of mythical and religious subject matter, and a number of other attributes, Indian cinema upholds its reputation as a ‘unique’ world cinema.
Senses are an important gateway for receiving information about the world around us. However, in Indian culture, various forms of sights such as gaze, glances, darshan were not only used to receive information but were often used to communicate with one another without speaking anything. Hence, sight held a significant position in all major Indian religions.
fragmented by the interruptions of song and dance, lending a sense of unreality. I believe Mira Nair successfully achieved her aim to make a Bollywood film on her own terms. As a director, she effectively combined the techniques of sound, editing, costume, colour and location to produce a fairly unique Bollywood film. Her message of the continuing modernisation of India, and her criticisms of both the societies she illustrates in the film comes across clearly, as do the more controversial points she brings up that Bollywood, as a film industry, does not typically address. Its appeal and effectiveness can be measured by the huge range of global audiences it has attracted, both Western and Eastern, which indicates that she accomplished her goal of making a realistic movie, breaking the traditional Bollywood mould.
Cinema has been represented in numerous ways, however classical Hollywood cinema truly had an independent grasp since its debut in the 1910’s. The style created by the large producers of the time including Warner Brothers, MGM, RKO, Fox and Paramount shaped the genre not only during its birth but also through its Golden Age and into the present. As a style it has many characteristics that make it unique and poplar among viewers. The most salient of these aspects is the classical films plot structure and construction; unlike other styles including the art film the classical film creates a consistent and coherent plot for its viewers as David Bordwell states in his article, The Art Cinema as a Mode of Film Practice “The view...
The film’s story does not simply shines forth, but is also the foundation of the plot. The film’s plot makes the traditional guidelines applicable...
In addition to, the main actors in the film looked the part and associated with the main idea of the culture of an Indian family. For instance, Samir’s appearance showed he had drifted away from his family’s culture and developed a professional understanding and love for the cooking industry. Farida’s appearance showed she was highly involved with her
Wood, Michael, and Jeremy Jeffs. The Story Of India [Videorecording] / Maya Vision International ; Written And Presented By Michael Wood ; Directed By Jeremy Jeffs ; Produced By Rebecca Dobbs. n.p.: [London] : Distributed by PBS Home Video, 2008., 2008. Milner Library. Web. 7 Mar. 2014.
Classic narrative cinema is what Bordwell, Staiger and Thompson (The classic Hollywood Cinema, Columbia University press 1985) 1, calls “an excessively obvious cinema”1 in which cinematic style serves to explain and not to obscure the narrative. In this way it is made up of motivated events that lead the spectator to its inevitable conclusion. It causes the spectator to have an emotional investment in this conclusion coming to pass which in turn makes the predictable the most desirable outcome. The films are structured to create an atmosphere of verisimilitude, which is to give a perception of reality. On closer inspection it they are often far from realistic in a social sense but possibly portray a realism desired by the patriarchal and family value orientated society of the time. I feel that it is often the black and white representation of good and evil that creates such an atmosphere of predic...
Rascaroli, Laura. "The Essay Film: Problems, Definitions, Textual Commitments." Framework: The Journal of Cinema and Media 49.2 (2008): 24-47. JSTOR. Web. 08 May 2014.
“But as far as media presenting an authentic, subjective Indian experience, there has been little progress (Meyer, Royer 89).”
Gallagher, T. 2002. Senses of Cinema – Max Ophuls: A New Art – But Who Notices?. [online] Available at: http://sensesofcinema.com/2002/feature-articles/ophuls/ [Accessed: 8 Apr 2014].
Her screenplay is really a cornerstone of the film’s success. Dialogues are full of salt; all events unfold in close connection to the individuality of characters, who take decisions; and, on top of that, all of the characters themselves are quite lively and creatively different. A film always reflects the inner world of its screenpwriter. On the other hand, although an audience might watch the same movie, every viewer perceives and interprets differently the symbolic meaning of presentational media used by a filmmaker, implications of a plot and actions of characters from one's own subjective point of view. It must be noted that a film is able to address the unconscious of a viewer directly via sound and visual effects and can affect a person in a much greater variety of ways than other forms of art like literature, music or painting can do.
Many cinematic experts, such as the famous director, Martin Scorsese in his essay, “The Persisting Vision: Reading the Language of Cinema,” stressed on the importance of being a visual literate to fully understand and truly experience the story being told on a screen through an intricately designed film. Not only does understanding the cultural, historical, and technical significance of film language help one enhance their visual experience when watching a movie, but also helps in understanding how to create better films, and to genuinely appreciate the work put together by a team of directors, producers, writers, actors, etc., in the universal tongue of cinema. This essay explores the role of cinema as a language and discusses how different
This paper will analyze the cinematic elements of the final scene in Slumdog Millionaire (2009), identifying how these elements emphasize the theme of destiny in the film. Slumdog Millionaire is a movie that follows the life of Jamal Malik, an impoverished orphan from Mumbai who has a chance to win 20 million rupees in the most popular game show in India, Who Wants to be a Millionaire? He has lived a difficult life, from his poverty, his complex relationship with his brother and his love for Latika. All of his life experiences has allowed him to answer most of the questions in the game show, but his only goal in life is to be reunited with the girl of his dreams. By the end of the movie, he wins the 20 million rupees, and through the sacrifice of his brother, he is able to finally be with Latika. He is able to achieve all of these because, as the film has stated, “It is written.”
Movies are one of the innumerable varieties of media that are utilized to display information. They might be exercised for numerous purposes depending on their designated audience. Regardless of the genre, all films must employ some organizational structure. Specifically, when evaluating all genres under the topic of fiction, there are vital parts that must be incorporated in order for that particular story to be successful. Although it may appear that there are a great deal of components to composing a successful movie story, the core elements that must be utilized to produce a compelling and fascinating movie story are: characters, plot, theme, and a setting.