Blog – Fabric of Flavors – Page 11

Fabric of Flavors

How the Moving World speaks

September 21, 2021September 21, 2021
by Sameera Khan Rehmani

When we start analysing cinema, we need to keep in mind the importance of the structure of narrative. It includes both the essence of stories as well as the detailed meaning, structure and language of the film. There is a further complication while going through this narrative. It is its relation with the real world. Cinema has a language of its own and in a way it is quite away from reality. Still when we consider ourselves to be the audience, we must convince ourselves and our mind that what we see is the actual reality. And it is this whole complex dialogue of narrative relationship of elements and narrative as whole, that make it more tedious and tangled complex understanding for the film directors and others involved in movie making.

The understanding about film maker as theorists and vice vera

The change in the storytelling take place with the inclusion of number of scenes, usage of camera in varied angles and proportions, the aspect of editing especially usage of cutting during action. Due to inclusion of these, the concept of genre emerged. This further developed and explained the various language of cinema which is as normal to all of us as we write or speak. Even though it looks very regular, the language of cinema is very deep and has its on connotations and contexts to be understood in depth.

This is how the theory of film emerges which involves understanding, dialogue and reaction of audience to the same. Many film makes are fluent in the art of understanding and imparting the knowledge about the craft. They are eloquent in the medium craft of film making of themselves and others. They know the methodology and means of how to turn a concept into piece of art. So for those movie makers who are new to the field, in depth knowledge about the concept and the theories of film and film making can help in improving the craft and art of film making and its communication. Also the dependency is vice versa. If a theorist does not give weightage to the practicality of film and its production process or, if they think that movies are merely there to entertain and nothing else, then the facts for them need to be rechecked. Theory and practical goes hand in hand and a working information about the whole concept is of equal importance. Thus there should be a consensus and hormonal balance between the knowledge and craft in cinema so as to bring about an experience that is filled with both information and entertainment equally.

Cinema has its own structure that acts as a strength. The written, verbal as-well-as visual aspect when come together, they procreate deeper analysis as a concept.Whe we talk about the term Stucturalism, we should understand that it is like a big envelope with lots of small letters inside. All these letters have different topics but the crux remains similar. Under structuralism all of the information is labelled as ‘text’ that is available for analysis. The analysis should be done of all the different things by same principles broadly.

This term emerged for analysis by Ferdinand de Saussure (1857-1913). His concepts and rules were taken, analysed, worked upon and further applied to every aspect of human conversation, so that people can understand the concept of this term. Cinema has its own language and basis of any thought or movement rely on this language and its study. Like film theorists who have immense knowledge of their subject matter, movie makers also have substantial information and in-depth vision of the craft they are associated with. They may not be using the word by word language of structuralism; however the film makers are unconscious and subconscious consumers of its method in the practical world. Thus bringing a detailed finesse and sharpness in a piece of work. This film language is extremely methodological and in its construction unlike the language that we speak.

The narrative of the cinema has been studied in detail by number of theorists and academicians of varied fields. The implication is that all narratives are not working on a single model. They vary from each other. The cinema narrative lean more towards, drama rather than text and literature of the films. When we talk about the narrative in films, we should keep in mind that these narratives have many dimensions. They are written, visual as-well-as verbal. These narratives do not emerge naturally. They are worked upon and created in every aspect. In reality they are created subconsciously while in films there is a delebrate effort to build up a conscious narrative. Narrative belong to all. Irrespective of any culture, time, relationship, real or our world of virtuality, narrative involve in every aspect. It can transcends through time. They were important back in time and they are of equal relevance even today. Infact, the narrative has cojoined films with reality in today’s times and helps in creating a genuine meaning and relatability for the audience. When we study the various aspects of narrative and its structure, it is called as narratology. Film narratology is mainly associated with language like codes and the context of these codes. They are many times even relate with the relation between language and context together.

We know by now that narrative is much more then telling stories. However when we take a film in question, we will find that narrative gains its real meaning when the plot of the movie come into being. The plot will identify how one set of action will lead to the other. If this is not made clear then the film will not make sense. So the narrative has to be able to take the movie forward with due to the pre-existence of Film plot. Afterall it a lot about what film speaks!

Films

The Science of Signs

September 20, 2021October 2, 2021
by Sameera Khan Rehmani

“Signs and symbols rule the world, not words nor laws.” These words of Confucius resonates well with films. Cinema holds on to aspects of signs and symbols very religiously. When Ferdinand de Saussure spread the study of signs, he assured that the future generation is not left bereft of the principles of sign and its presence. Films are communicating complexity of human emotion and existence, in order to do so effectively, they must keep in mind, how the receiver will accept it. In order to have desired impact on the audience, the makers of cinema should have clear vision of how the films communicate. They should be very open to understand how a shot, a picture or an action on screen will be accepted by the variety of audience. This is where the imagined ideas work in consensus with the semiotics and its signs. The signs are one of the most integral part of movie making. They are the core that can further bifurcate into various unimaginable meanings for different type of recipients. A sign can be any visual prop or unclear point of focus that is visible but explains and idea that can be very abstract and cannot be seen. A sign can be minute or very visible, but its crux is to establish a thought or idea that identifies certain concept and ideologies. A film however is a pot-pourie of signs that are co-related to help audience travel through a movie maze. These signs can be scene-specific or they can travel throughout the film to bring about a connection of the whole concept. The signs can be in cluster to give a specific thought or they can slide throughout to engage the whole film in one bond.

The two parts of signs are based on their physicality and having psychological hold. Physical part is which we can see with our eyes, like our eyes moving towards rock lying on the ground. It stimulates the external reaction thus is called as ‘signifier’ The integral stimulation is by ‘signified’, which implies the real meaning of sign, for instance frown on forehead implies disapproval or discontentment. However, the crucial thought is that there is one signifier of a sign but there are multiple signifieds with many potential meanings. These altogether creates attachment of audience towards a scene. Similarly, there is ‘synecdoche’ that tells that there is a small thing which symbolised a whole. For eg, flag is a synecdoche that identifies whole nation thus, becoming part of the whole.

Then there is ‘metaphor’ which explains when one thing identifies with the other eg. a lion in a battle. While ‘metonymy’ is establishing relation on the basis of associations like, pair of hand associated with labourers, crown for monarchy. Similarly the connoted meaning and denotation has their own relevance as well. Eg. White coat with doctors and in connotation white coat is related to kindness, empathy, selflessness.

Then there are codes in cinema that helps to communicate the concept. These codes were developed by French Semiotician Roland Barthes who put them into five sections.

Enigma Code – These evokes interest in the audience and help the film to push forward. For eg. The suspense, reason, problems, etc.
Connotative Code – the physical aspect that unfolds the character. For eg costume, look, dialogues, dialect etc.
Action Code – when the action speaks louder than the words. For eg kissing scene when film ends implies more than just a kiss, switching of light on the wedding night implies a more intimate encounter.
Symbolic Code – the pattern that defines the idea for eg. Truth-lie, hero-villain, good-bad.
Culture code – the idea already known but is coded in a cultural way. For eg. Politics, ideologies, society, morality etc.

Just like hands have number of fingers, similarly the sighns and symbols have a number of divisions that combine torm a whole idea that once applied creatively has the capacity to churn out a very emotive piece of art in bracket of cinema.

Opinion Shack

How deep has Depp dug his grave?

September 20, 2021September 27, 2021
by Sameera Khan Rehmani

How deep can be the love of our fans for our ideal idols? Can we forgive? Can we forget? Just because there is respect for talent and creativity, can we turn a blind eye towards the bigger picture? Are legends like Sean Connery, Charlie Sheen, Bobby Brown, Johnny Depp and many others justified in their physical capability to push someone in a corner and name it as one off moment of passion? Are we as their fans ready to forgo their suppressive instinct to opress like an act of God!

It is as if we, who still support these talents are ready to remain in two minds. Those of us who justify that we should be concerned with talent and not venture into their personal space are hopefully not forgetful of this thought that the act is outright wrong. There can be no if our but to it. There is no space for them to move on. The image they project on screen is not something that will influence many. The moment we say that physical and mental abuse is ok in any hypothetical context, is the moment we start normalising its gravity. It is here we literally lose the battle to fight for those who at that time are unable to defend themselves. The actual seriousness of this issue comes forward when many times, it is ok for ‘n’ number of followers and fans because of the simple reason, that if their idols can get away, so can they. It then in one way or the other becomes fine or they believe that it all will be fine.

The verdict as a wife-beater for Johnny Depp may be harsh for many still; but we need to see and feel a vast ocean of emotions behind it! The lesson needs be given for many that you cannot simply get away with it. Whatever you are, whoever you are and whereever you may be it will come to an end. There might be many who are still free, but it gives hope to those who everyday and night, physically and mentally, squirm under someone’s abusive demeanour, and are just daring to hope against their week hope for things to go their way.

It is this hope that makes us realise that even if it is one in many who pay this price, still that one may have the power to turn into many more in future. They may or may not have given this verdict to maintain this hope that things and consequences have still got power to change the course of brutality, however minor it may be, even if it takes its own sweet time.

Depp can still remain great icon and legend for many but the cause and effect platform needs to draw a line somewhere. We just cannot hide our demons of abuse, drugs and pervertism, behind the facade of glamorous drapes and personal depression! Such flesh-eating ants wait for their curtain call to be applauded over and above the monstrosity, hidden behind the camera.

Such misconduct and physical abuse towards another person is as worthy to be publicly shamed as that of any random passerby. The verdict seems to remind that no one should be above law Any person who is physically, emotionally, sexually and psychologically weak can in no way be declared unworthy to get justice. When people in general and celebrities like Depp in particular do wrong, they just should not get away with it. It is true that everyday many more get scott free from their crime of humiliation, however, if a single damaged soul can be healed a little by putting cap on this isanity of abuse, it is all the more worth it. It is not about advocating for feminism. But any person who has faced abuse today, tomorrow or even decades back, has a right to be given justice anytime possible. Time is of importance, however it is not the only end that justifies the whole.

Jhonny Depp dug his grave long time back but the time thankfully only deepened it. The abuse towards oneself and one’s body is bad, however the moment you cross that line and step over someone else’s territory to continue the same, you have to know that this ball is in someone else’s court. Now all that can be done is to wait for that particular moment where the game gets so deep that you cannot get out of it. We must remember and believe that if we have not yet got it than it does not mean we can never get it – Both the abuse and verdict!

One prevailing theory of why men batter, till 1970’s, was based on psychopathology. According to this theory the men who abuse their wives were mentally ill and could be cured through medication or psychoanalytic treatment. However this was against the findings of researchers. Mentally ill do not sbuse only their intimate. They go far beyond. Initially it was also characteristics that women who are battered are mentally ill or weak however, there was no sanity in the claim and many of those who are institutionalised, were misdiagnosed. The reason being the failure to recognise the “the physical and psychological effects” of domestic violence. (Joan Zorza, ed. 2002, Batterer Manipulation and Retaliation in the courts: A largely unrecognized Phenomenon Sometimes encouraged by Court Practices; Violence against women 47-48). Another theory of Researchers was that violence was learned. They argued that men who were violent had witnessed the same as children because they once saw their mothers abused. This was “learned behaviour” theory of violence. Even though these show relevant numbers in support still, it cannot be justified to be the only reason. It was more about the control of someone through violence.

From the above snippets of theories and beliefs, whatever may the logics be, we seem to try to pacify the damage, it is never an excuse and it can never be given a clean chit for someone to hold any sort of physical, emotional, or psychological abusive power over the other. The end does not justifies the means. And no one, how important, popular or legendary the personality may be can go scott free, and same should be the case with celebrities like Depp, if found true as per the accusations. We can and should no more endorse the behaviour because in simple plain words it is just on OK!

Poetry

Tango and the Two…

September 20, 2021September 20, 2021
by Sameera Khan Rehmani

Can the two be these tangos

Of their undesirable insanity

Tangle in this twisted cuddle

Of life’s unacceptable reality.

Those feelings of unsaid emotions

Bring down their muted togetherness

The lashes that open and close

To say least of heart’s wilderness.

Boom! I hear that, oh how I can feel

Imagination turns to reality and back

funny how we can hold in to hold on

miss the chance to put love on rack.

So can two be their real tangos?

To bring back their sanity

Or flow with their flow

To prove life their persistent vanity.

Or can tangos be the real two

coming together in their deepest blue

See the fruits of their labour

Turn to leaves that blooms new.

Films

Inherent Visuals in Cinema

September 20, 2021September 20, 2021
by Sameera Khan Rehmani

When a movie is made and we create a character or a shot, the visuals that it presents defines the concept behind. The character sketch, the behavioural pattern the background in the scene, props etc. everything is in a way a contributor to the idea behind the scene. They all bind with each other in a harmony so as to result in story that well knit and wholistic. How various characters including the minor ones behave in a particular created scenario brings forward the life the exact canvas on which the storyline is elaborated. Foe example. who is the right actor/actress for the role, what background do they belong to, what should be the physical and character appearance, how will the things unfold in the plot and what will the props b,e in order to assist the development of the concept. Even the props, costumes and the whole parapharnalia sets the stage in motion. The visual of film is so detailed that the focal point while creating scenes is on minutest of detailings. All this may sound rhetoric to those who have been there and done that, however for others who remain in awe of this craft are the ones for whom these details are of absolute interest and importance!

Focal Point

None of the shots, or pictures are taken, inserted without a thought. Everything is planned meticulously and with a firmness of director’s belief (whether is works for the movie or not). For instance, what thoughts the director want to evoke in the audiences’ mind. What views do they need to have while watching a scene or a shot? What props are used; what lights does camera divulges on a part of the movie. Everything and each action are taken keeping in mind its reaction on the audience. There is always a point of focus in cinema. So, however frivolous and action seems on screen, there is always a cause and effect concept behind the screen. For instance if a shot is blurred in the final picture, it is a definite choice of the director and the editor to put it there. The clichés are almost always deliberate. Where making films are concerned it is never a random action.

Imaging of Imagination

Another aspect of Visualising the cinema is picturising the imagined scenes and storyline. In order for a film to be remembered it needs to initially stay in the mind for a substantial time and space. When a movie is carved the most important aspect is its conceptualization. The film needs to be given birth and reared like a child till it reaches its maturity. This is the initial stage of mind mapping. The power of human mind is so strong that it knows what to create and how to make it right for the audience. The frame by frame mental creation of an idea is extremely important. This is where the images of imagination come in to build a concrete base of the whole structure. Thus the ideas of fulfilling voyeuristic desires and hidden pleasure take birth in this phase and camera becomes a mere equipment to fulfil those. This brings in the idea of bringing imagination to life which happens when even the minutest of imaginative detail is focussed upon. All that is recreated behind the scene that looks so effortless on the big screen, is in fact possible because of visualising the imagination and cringing forward an image that is real enough for the audience to accept and appreciate.The vision is what brings this whole idea to life and makes the director, crew as well as the audience feel such a connect with a film. This is where a movie that is born, comes to life!

Poetry

The Heart of Eternity

September 20, 2021September 20, 2021
by Sameera Khan Rehmani

When the world cross over to that side

The designs of human passion reflect life

Bring out their love for poor soul

That search for eternal nullity.

With each passing moment

Reflections of our future

Shows the gaping enormity

Of situations that are beyond control.

They come and go

To find security of life

Gives magnanimity to mind’s compassion,

That has love lost within own.

Similarity I find with myself

amidst the tussle to not be, yet be

Kindness of heart marrying passion of mind

The eye for togetherness yet longing.

This heart desires and mind recollects

The last time that we met

Things were not calm – it was sad, you were there,

Touched this soul and left for good!

Literature in Life

Chocolate Cream Soldier?

September 20, 2021February 17, 2022
by Sameera Khan Rehmani

Bernard Shaw came into my life a little late. During my graduation, I fell in love with the character ‘Chocolate cream Soldier’. Unlike its character sketch, I found myself unconsciously resonating with the name and its hypothetical inferences. Today I am 40 years old and after half of my life has passed by me, I still consider myself as one. The other day I was dusting the moulds of my stagnant life by just browsing through my internet, suddenly I came across several well-known celebrities and other halves of my generation who have achieved what they have set their eyes upon. They were all back-to-back spreading awareness regarding their struggles to reach where they are, despite being people of colour. Suddenly, out of nowhere, it came to me that I have myself been a chocolate-cream soldier throughout. Moreover, many others like me have had their share of hardships. We just don’t have a voice strong enough to shout our fights with our own and others’ demons. “A Brown girl in the lane singing her tra-la-la…”. Without any pre-carved lane in front of me, here I am sitting in from of my laptop listening to some random Thai number because it just made me feel free after a long time…weird! But that is how I have been throughout. During the times when going was somewhat tough for me, a teenager who had lost trust in herself thought, the only way out was to write and write till she drops. The girl who had some serious dreams for her and her likes was a chocolate cream-soldier in her own right! She was fighting and thrashing people and relationships around her just to make anyone present understand and help her out. This soldier many times lost in the battle, but that chocolate cream in her smoothened the pain of survival. Perhaps she barely made it to a point where she could muster the courage to fall in the pit again.

The fight went on, this spice of chocolate-cream soldier reached a point where she was ready to decide her future and she took those decisions thinking that those were the best ones at the time. She was a soldier who had her dark sides and pitfalls to hide behind. She had her spark but perhaps the light was not strong enough or maybe the darkness around her was dampened yet still tried to help her ignite her fire. The flicker of spark got burdened by the enemy estate. The pressures were higher, the forces darker, the light seemed far away. She tried, oh believe me how she tried! As expected her soldier got quite injured along the way. Battered and bruised she took the only home that she felt was right for her. The chocolate-cream flavour in her was about to melt, at least that is what was she was told. Surprisingly, she found a wrapper that was itself crinkled. It smelled the spice and relished her bitterness. The wrapper was strong enough to envelop her into warm coldness that kept her sanctity intact. It was on the brink of self-destruction. Like two peas in a pot, they both breathed life into each other. They both fought with each other, for each other. Many times, the chocolate cream soldier thought she would melt away, but the wrapper tightened the grip. However distorted and ugly she felt, it reminded her of how essential she still was.

This chocolate cream-soldier still feels, she has not touched her goal. She is still not at peace. But her hint of zest is still alive. The spice is intact, she feels she can fight, and the fight is what she has been doing! It is in her veins, in her blood. It is what she wants and what she craves. She is still the fighter who has lots of fight left in her. For author Bernard Shaw, this character may be male, but the name, zest and spark of this nickname is strong enough to make this female version of Chocolate cream soldier survive to date. She, who is me would love to continue the fight and roll down all unpleasantness in the weed of attainment that I want from life. A word that is so cliched and perhaps has real standing in the eyes of many, since most of the time it comes with money, power and fame. The word that I every day die to attain in small columns of my cracked life is‘Respect’! At this point in life, this Chocolate cream soldier does not want love. I do not crave it because I still have my wrapper holding me tight, despite all my idiosyncrasies. I crave for the other part that has the power to break many of us. The respect that we all deserve, need, want and lust for. This chocolate cream soldier even today thanks Shaw for this unconscious gift of the nickname. Without this name that I associate myself with, I perhaps would not have been able to come out of my pit at a time when there was a grave need to be that soldier. It gave me the push, strength, self-respect, self-worth, and stubbornness to just move ahead each day at the moment. We are our soldiers, chocolate-cream ones!

Poetry

Breath that Controls Fire

September 19, 2021September 19, 2021
by Sameera Khan Rehmani

The breath we steal from our soul

Come around life in circles

For sin is to not the sinner

But to those to punish them.

Fraction of all directions

Can never attain the fire

That lion inside each one

Take courage to save the soul.

Ice on ice is the utmost desire

That burns the heart down

Wishes to come home

Sometimes ruin human rhythm.

Out of control taste of life

Looks back in eyes of the same

Tries to perfect its love

Finds time to recall the pinnacle.

Together it reaches them

Reaches you and reaches me

Looks beneath our soul

Twists and turns in its own grave.

Films

A Conversation with Cinema

December 2, 2020February 15, 2022
by Sameera Khan Rehmani

We tell the idea through images that move and bracket it under the heading of Cinema. Lights, Cameras, and action! When you manage to grasp the thread of your concepts and combine them with the vision of how to interpret, joining the dots to create the desired image that has life to it, the step to film-making is taken. A process of capturing the moving images that have the power to bring about restlessness in the whole society is the crux of this cinema. A genre that is an amalgamation of thought, creativity, vision, practicality, and desired skill-set is what we called as cinema. Along with the camera, what is needed to make an effective piece of cinema is the makers and the audience. The connoisseur of concept that not only entertains but is also able to inform, expand, enhance, and can reform the views that are floating around. We absorb and then synthesize the whole process of conceptualizing, and carving the thoughts that we inhale from our surroundings and experiences. Actual films are made when we consciously select the thoughts and convert them into related images. A strong medium that is not a mere literary expression; an area that focuses on structures, themes, characters, plots, text as-well-as desired narrative. Along with this paraphernalia, there is the strength of sound and desired effects that add color and depth to everything, behind the camera. The desk has gradually gained its due importance, however, there is still a long way to go – the editing desk with its thought process that justifies the imaginative flight of the filmmaker. They hold a great power behind the actual projection of the thought of the filmmaker. The silent torch-bearers are the backbone of this industry for they are the ones who give real shape to the writer’s imagination. An editing desk is a place where dreams are recreated into reality. They put in the chain of practicality to wild horses of imagination of filmmaker, bringing it closer to the ground reality. They are the actual mouthpiece of a film writer and director.

This makes us go deeper into the study of symbols and signs used consciously, subconsciously, or unconsciously. They are a very integral part of visual storytelling. They assist the audience to understand those concepts that may look abstract but have a greater meaning attached to them. In cinema, most of the tools can be referred to as having a connection with symbolism. The concept, the plot, the projection of characters, the movement of sound throughout, usage of color balance, camera angle involved, scene transitions, and many more aspects can be converted into symbolic notions in cinema. This is where Semiotics and the study of the inside with the outside world come in. It is what we call the language of cinema and here is where we try to understand what and how the films speak. Even the general audience can have their identifications because of the use of various signs and symbols. They are not only making sense of what is happening around them they become stronger judges of what occurs and what is their contribution to their existence in the world. Every concept that the director puts in front of the audience has a specific thought or even multiple ideas and opinions. What is needed, is to put a little time and effort and an unbiased view behind identifying it.

The maker of the film has a vast space with a panoramic vision to capture anything and everything under the sky that has the potential to go way beyond. The broader perspective of a writer’s concept must be transcended to the filmmaker and further on the editing desk. Then only a wholistic piece of visual art can be created that becomes powerful enough to have an independent voice of reason. A panorama of emotions and visualization of thoughts is a weapon with which they can communicate to an individual audience. A vision that has the power to choose what to show and how to communicate a thought. A strong yet extremely addictive capacity to be able to change the views of people at large. It is a big responsibility to be able to create a visual masterpiece in such capacity, that thoughts of the creator can flow smoothly to the receiver who perhaps has zero conscious ideas about its impact on society. An editor is a voice of reason that enters at this point and brings everything that a filmmaker has captured, into a coherence. It is at the editing console that things start falling in line. The thoughts become streamlined, real and the film is fine-tuned to be presented for the audience so that it can be absorbed. The voice of cinema may look feeble and frivolous to many even today, but its strength has a wide reach and great insight into the human psyche of emotions and aspirations. The language of cinema is a fabric that is vast and varied in its texture and has innumerable flavors ready to be radiated for the recipients to taste and value to its maximum.