‘Bombay filmmakers repeatedly stress that they are aiming to make films which differ in both format and content from western films, that there is a definite skill to making films for the Indian audience, that this audience has specific needs and expectations, and that to compare Hindi films to those of the West, or the Indian ‘art’ cinema is irrelevant’ (Thomas, 1985). In comparison to much of Western Cinema, Hindi films have much more hyperbolic narratives, hyper-stylised and exaggerated acting mixed with overblown dialogue and tend to show disregard for characterisation, history, geography and occasionally camera placement. The format in which all these features conjoin is known affectionately as ‘Masala’ and considered by Hindi filmmakers as a genre rather than a simple format of narrative. Masala, in culinary terms describes a blend of many spices to create the final dish. Similarly, in film, the term masala is used metaphorically to describe the blend of many genres such as, comedy, musical, action, romance and drama (or melodrama) to ‘create something new out of old ingredients’ (Cook, Pg.102). The song and dance sequences in demonstrate the most obvious example of where Hindi films defy certain rules that are commonly practiced in Western films. The songs seem to be tightly woven into the narrative and removal of them would certain hinder the development of the narrative and would prove fatal to the films. However, excessive fantasy often comes in to play within the song sequences, disregarding continuities of time and space, which can prove problematic to the rest of the narrative and the already established narrative context. It is also in these sequences in which the acting becomes particularly hyper-exaggerated with... ... middle of paper ... ...as of the third world, where the films are more avidly consumed than films from Hollywood, Indian cinema dominates world film production. Such popularity and preference provides evidence that Hindi cinema delivers something positively unique having undergone continual changes that brings together influence and assimilation from Hollywood. With the ‘Masala’ format at the forefront of genre and style in Hindi films with resounding, lasting success for over five decades ‘Indian cinema has remained remarkably distinctive’ (Thomas, 1985). Works Cited Cook, Pam (Editor) (3rd Edition, 2007) The Cinema Book. London: British Film Institute Gokulsing, K. Moti, K. Gokulsing and Wimal Dissanayake (2004). Indian Popular Cinema: A Narrative of Cultural Change. Trentham Books Thomas, Rosie (1985) Indian Cinema: Pleasures and Popularity, Screen (May- Aug. 1985) Pp. 116-131
Hollows, J and Jancovich, M [eds]. (1995), Approaches to popular film, Manchester: Manchester University Press.
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.
In Hollywood today, most films can be categorized according to the genre system. There are action films, horror flicks, Westerns, comedies and the likes. On a broader scope, films are often separated into two categories: Hollywood films, and independent or foreign ‘art house’ films. Yet, this outlook, albeit superficial, was how many viewed films. Celebrity-packed blockbusters filled with action and drama, with the use of seamless top-of-the-line digital editing and special effects were considered ‘Hollywood films’. Films where unconventional themes like existentialism or paranoia, often with excessive violence or sex or a combination of both, with obvious attempts to displace its audiences from the film were often attributed with the generic label of ‘foreign’ or ‘art house’ cinema.
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
...e different types of movies but also the types of movies that Australia produce. As I have outlined in this essay many factors come into account when a film industry can be in crisis such as competition with similar industries, financial support to have the technology and equipment to create a movie. Although these factors may be true, globalisation has made it possible, through studios in Australian being more affordable for American directors. This then gives Australian’s the open doors that are needed to create a sophisticated film even if it is an American Australian film. Just like Rowley explains ‘in the last five years, it has been to more ‘local’ films, that aims at the Australian market and feature recognisable, everyday settings. The engagement of Hollywood genres often remains, but is no longer done in an attempt to emulate Hollywood slavishly’. (1998)
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).”
Since the creation of films, their main goal was to appeal to mass audiences. However, once, the viewer looks past the appearance of films, the viewer realizes that the all-important purpose of films is to serve as a bridge connecting countries, cultures, and languages. This is because if you compare any two films that are from a foreign country or spoken in another language, there is the possibility of a connection between the two because of the fact that they have a universally understanding or interpretation. This is true for the French New Wave films; Contempt and Breathless directed by Jean-Luc Godard, and contemporary Indian films; Earth and Water directed by Deepa Mehta. All four films portray an individual’s role in society using sound and editing.
" Cinema and the Nation. Ed. Mette Hjort and Scott Mackenzie. New York City, NY: Routledge, 2000. 260-277.
His Girl Friday, Citizen Kane and Rashomon are all very well recognized films in the cinema & media world as well as from avid movie viewers worldwide. Although all three are iconic films, they vary greatly in the film form in which they’re presented. His Girl Friday is a prime example of a classical form, whereas Rashomon can be classified as an example of art cinema. The third film, Citizen Kane cannot be grouped into either one of these distinct categories because it shares similarities that both classical and art cinema film involve. Citizen Kane belongs in a category of its own and can be seen as a “hybrid” combination of both classical and art cinema.
Fifteen years ago, South Korean cinema was in precipitous decline. It was facing deadly competition from Hollywood as import barriers were dismantled, and had almost no export market. Today, South Korean cinema is widely considered the most successful and significant non-Hollywood cinema anywhere in the world today. It is successful both in the domestic market, and internationally. This essay sets out to understand this phenomenon. First, it attempts to trace South Korean cinema’s comeback story. I feel a need to do this because I find that so many of my South Korean friends and colleagues are reluctant to admit this, or focus solely on the problems the industry is facing in the future. There may be worries about the future and there may be “ifs” and “buts” about the present state of the South Korean film industry. But we should start out by acknowledging its success.
Kathakali is unique on it’s own and it isn’t like the different types of dance such as the contemporary Bharata natyam, neither is it like the courtly dance like Kathak nor the Manipuri which is rather lyrical throughout. The first impression of Kathakali is through the dance style that carries an overwhelming dramatic quality that the gods and heros, demons and spirits appear from a different world in the various head-gears and costumes which are stunning. The characters do not exist in the real world of human beings, however they belong to the world of myth and legend. The kathakali of today has been preserved down to the basic objective of arousing the state of being. Besides being a theatrical spectacle and the basic objective, Kathakali is used to educate the masses by entertaining and informing them about the stories of the gods, the moral qualities, the advantages of virtue as well as certain philosophies through theatre. Although Kathakali of today have evolved, keeping as closely to the roots with the objective and stories in mind, the people of today’s society have a different interests. “Oh, no, I am not interested in Kathakali at all. Most people my age are not interest at all. We had rather go to films or watch television.” says Mohan, a young Malayalis staying in Kerala of South India.
...st of the film uses songs to tell the story forward. They are sung by playback singers for the actors to dance on-screen. The history of Nepali Cinema is not long, so it has not yet acquired its full presence.
Rao, S. (2007). The globalization of bollywood: An ethnography of non-elite audiences in india. The communication Review, 10(1), 57-76. doi: 10.1080/10714420601168491
In conclusion, it is worth stating that there are certain characteristics that stand out in a great film. For one, there should be a strong cast and a dominant director. With these two aspects, the standard of a film is greatly increased. Also the musical score and special effects added to a film, can raise the plateau in making it notable. It can also be seen that the criteria for making a film great, has changed over the years. What once made a film stand out in the past, doesn’t make it at present. However, this generally goes to the special effect features. Nevertheless, it can be said overall, that all these characteristics resulted in the creation of a great film, in ground breaking style and as a result, this has helped us define cinema or a film as we know it.