By K. Moti Gokulsing
This authoritative and available consultant is written in particular to aid scholars comprehend the complexities and intricacies of Indian cinema. It covers the substantial variety of the cinemas of India, plus the meteoric upward push of Bollywood, and discusses the main theoretical ways to the research of movies, the cinema viewers and viewers segmentation.
The booklet describes how an Indian motion picture is made and explains the expertise entailed. the entire significant matters are mentioned: the connection among solid and staff, the contributions of designers and choreographers, the impression of the corporatization of the movie undefined, censorship, taxation, coverage and advertisements.
The interesting case stories of filmic research remove darkness from the theoretical ways and ideas that scholars require for studying Indian movie. And lecturers will locate that the excellent insurance, wide bibliography and proposals for extra analyzing, the dialogue of pedagogical concerns concerning the educating of Indian cinema and the pattern questions make it an vital source for instructing Indian cinema.
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Additional resources for From Aan to Lagaan and Beyond: A Guide to the Study of Indian Cinema
Example text
Shyam Benegal’s pioneering work in Hindi cinema. Basu Chatterjee and Ketan Mehta and others followed. Shyam Benegal was the first one and he consistently kept making one good film every year, Ankur, Nishant (Night’s End, 1975), Bhumika (The Role, 1977) and I was associated with those films. Before that, the second factor was the background, as I had mentioned earlier 23 Indian Cinema 244 x 170 24/8/12 4:24 pm Page 24 FROM AAN TO LAGAAN AND BEYOND [when talking] about the film society movement. The third was the support from the press, critics and others.
And the end being very simple, it must convey the right kind of mood, the right kind of emotion and the right kind of emphasis. It’s through the images, the graphic size of the images, the movement in the images, the lighting in the images, and the composition of the images that all these things get conveyed. So the director and the cameraman must work in close co-operation, they must understand each other otherwise the job will never get done well. There are some directors who are very particular about how this should be done and then the cameraman feels very restricted to do only that and his creative contribution gets limited.
Manmohan Shetty was starting the laboratory, ‘Adlabs’ in three galas (industrial unit rooms) in Dadar. He told me that he was establishing a 16mm laboratory which would process 16mm film and also he was getting a printer which would print directly from 16mm to 35mm. You feed in 16mm negative and take out 35mm positive. That was a great thing; I went back to my Producer and told him about this development. I set up a meeting between my Producer and Manmohan Shetty and very reluctantly my Producer finally agreed.