Featured in the Vol 2 – Issue 3 – Sept 2014

“Knowledge is Memory…Memory is Sound”
Interview with Resul Pookutty
Arshak M.A
Translated by Mammed N.

We see, but we in turn are not seen
Algorithms
C .S Venkiteswaran

Woody Allen: The Man, the Persona and the Self-reflexive Nature of his Cinema
Sucheta Chakraborty

Ek Cup Chai : A Gandhain Prescription to Tame the system
Vidyarthy Chatterjee

“Cinema should represent the vastness of our distinct culture”
Interview with T.S. Nagabharana
N. Vidyashankar

A Matter of Perspective: Artist making handmade films
Deborah S. Phillips

From Fiction to Film – Issues of Representation in Life of Pi
Saptaparna Roy

The Creed of Nationalism in the Aftermath of 9/11: A Study of the Cinematic Representation of ‘The Reluctant Fundamentalist’
Akaitab Mukherjee and Dr. Rajni Singh

Book Reviews

The Poet of Celluloid
Editor: Premendra Mazumder
Amitava Nag

Filmi Jagat: A Scrapbook
Rahaab Allana Collection
Anuja Ghosalkar

Report

Moving On: South Asian Screen Cultures in a Broader Frame at University of Westminister, London.
Darshana Sreedhar

Opportunity in Film & Television Industry: A Seminar at iLEAD, Kolkata
Manali Biswas

3rd Chandigarh Cinema Festival
Sanjay R. Wadhwa

9th Voices from the Waters International Travelling Film Festival
Georgekutty A.L.

Advertisement Collaborations in this Issue

NEO Film School, Kochi
Woodpecker Film Festival, New Delhi
The Inner Path, Festival of Buddhist Film, Art & Philosophy, New Delhi
Kathmandu International Mountain Film Festival
Dharamshala International Film Festival
American Film Market
Institute of Digital Design & Films, Lajwanti Education, Jalandhar
Intellect books
Kochi- Muziris Biennale 2014

Excerpts

“Knowledge is Memory…Memory is Sound.”

Ours is a culture transferring knowledge through generations down to the present by its oral/aural narrative tradition. Our society has come to forget this altogether. Today, mankind lives in societies besieged by noises. The sound in cinema is a subconscious art; an art operating in the human subconscious. Only a sound designer can deconstruct it most artistically.

M.A Arshak in conversation with Oscar Winning sound designer Resul Pookutty.
Translated from Malayalam by Mammed N.

You have played a major role in bringing about massive awareness in India about the craft of sound in cinema. Through your works, you convinced the viewers that sound is something to be specifically investigated in films. Your achievements in this area are so inspiring that even the lay audience listens to the sounds in cinema with special concentration. On this ground, how do you view your own works?
As far as I’m concerned, I persistently work on something until I’m thoroughly satisfied. When I watch a picture, a lot of sounds rush to my mind. They arise as knowledge. My work is a step into that. I don’t view it as a sort of doing a work. Even my family has remarked that I forget everything else once I get into the studio to work. That’s what my life is. May be, that’s the knowledge I’ve acquired from others. The rest is the memories that linger in my mind for long. Then there are certain things about which I do have some strategies and plans. Actually, my works are the highways of enquiry to access them. The delight that I derive when someone calls from a foreign land watching and commenting such a work is an assurance. Think of the film Saawariya for which I’ve done sound. For me it was something very important as it was a short story by Dostoevsky. Luchino Visconti has made it into a movie. There’s a Hollywood version, too. Saawariya was a Hindi version of it. For me it was a remarkable work. A work of this sort was really strenuous as it was done in the idiom of the Indian commercial cinema. As a person working on sound, the primary thing of attraction for me was the fact that the span of the film is comprised of four nights. Bresson has made a movie of this with a title like Four Nights of a Dream. The benchmark he has made there is inimitable. For, Bresson shifts one whole season through the sound of a footstep in his films. A film maker of his breed has the calibre to device the possibilities of sounds to such extents.

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A Matter of Perspective:
Artist making Handmade films

Deborah S. Phillips

In this age of rapid technological advances, it is common for any new development to be hailed as better than what preceded it. One of many examples of exceptions to this widespread assumption is manifested in different ways of realising moving images. Nowadays, people capture even the most banal events on devices that they use for other purposes, like telephones; a special camera doesn’t seem necessary. Yet there is a lot that older technologies offer, especially in terms of the possibilities inherent therein and an exemplary case is that of film as a tangible medium as opposed to merely a virtual one. As is the case with many other materials that some consider obsolete, such developments have made the differences between the approaches all the more clear to those interested in the formal aspects of the images they create, like artists.

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Book Review:
Filmi Jagat: A Scrapbook
Shared Universe of Early Hindi Cinema
Rahaab Allana Collection
Publisher: Niyogi Books in association with ART HERITAGE
Price: Rs. 995
ISBN: 978-93-83098-40-8

Anuja Ghosalkar

Filmi Jagat, A Scrapbook – Shared Universe of Early Hindi Cinema, is a fantastic reproduction of Mangaldas V. Lohanas’s scrapbook on Hindi cinema from 1938 to the late 1940’s. Published by Niyogi books, edited by Nandita Jaishankar, it has a foreword by Shyam Benegal. Before the reader can witness the scrapbook in its entirety, three insightful essays by Kaushik Bhaumik, Rahaab Allana and Debashree Mukherjee, frame Lohana’s personal collection of photos, song books, publicity stills, advertisements and magazine cut outs. Bhaumik’s essay, titled ‘Filmi’ Nationalism, c.1940 lays a solid foundation for the period in cinema during which Lohana was collecting and possibly making his scrapbook. His essay begins by setting the context that “film still remains a critically under-theorised subject as a photographic object”. Bhaumik makes a pertinent point that Lohana’s scrapbook is of significant value, since films and their reference materials from that era are scarce. “The scrapbook presents us with a fascinating sliver of the Indian cinematic past”, continues Bhaumik, “and in the context of this publication, of the photographic past of India as well.”

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Report
Moving On: South Asian Screen Cultures in a Broader Frame at University of Westminister, London.
(12th – 14th June, 2014)

Darshana Sreedhar.M

The three day conference on Indian cinema hosted by the School of Media, Arts and Design, University of Westminister in collaboration with the Sage Journal ‘Bioscope: South Asian Screen Studies’ from 12-14 June, 2014 was an event marked by vibrant discussions and deliberations on the future of Cinema Studies as a discipline. The multidisciplinary nature of the conference proceedings rendered historical, anthropological and literary resonance of cinema quite visible. But more than that, “Moving On” signposted the need to expand the contours of the discipline from a concentration on questions related to what can be considered to be the mainstream of Indian cinema both at home and abroad, to include and investigate other modalities of the Indian cinemas. This included forays into other vernacular(s) than Hindi cinema, other industrial formations than Bollywood, alternative archives such as oral accounts, fan-collections and online forums and so on and so forth.

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