movies – Page 3

Intertextuality and Cinema

September 22, 2021February 15, 2022
by Sameera Khan Rehmani

It is not the case of chicken first or egg! Nothing comes to life in thin air. There is almost always a base when any concept or idea takes birth. Similarly, whenever a film is made there is a point of start behind it. This gives volume to the idea and weightage to the reflection of any concept. When we tell a story there is another vision and mission under it. Likewise, when we show a movie or encourage others to see it, there is a pre-existing concrete idea and ideology behind it. This relation of dependence on existing text or thought that gives life to the new and emerging views is termed intertextuality. More than being a plant that grows, it is more of a concrete tower that is built upon from a solid existing base to be developed further. Thus the films emerge as a result of peaceful coherence of different cultures and meaningful amalgamation of already existing text such as ideas, ideologies, poetry, painting, literature, music, and many more. It is not something that is stolen. It is liberating when we can pick up traces of the past and existing in something that is looked at and pondered upon in present to be consumed by our future. It is as if a larger-than-life fantasy is thought upon and the text gets captured in the realistic and relatable world for a real audience. The influence of our past emerges as part of history that the directors can use to create an idea and bring it to life in the form of films. However, the choice of that influence depends upon the decisions that are made in the present so that relation and relevance can be built in the cinematic depiction of earlier events.

What most filmmakers choose at topics to make cinema on depends consciously and unconsciously on the historical, cultural, social, political, philosophical texts that they have glanced upon. They do so to bring a voice to the things they have learned and the text that has influenced their vision and ideas. Along this line the various genres of cinema come to life, strengthening the concept of intertextuality more. The ideas emerge and start taking shape and what becomes integral is to make them fall into specific categories. This is further realized by categorizing films into different segments (genre). The type of theme or idea that a film defines decides under what bracket will it lie. Will they be fantasy, horror, scientific, romantic or period films, etc? Moreover, the genre also breakdown the type of films on the basis that whether they are falling in aesthetic, industrial, narrative headings or sometimes they even extend and merge their boundaries if need be to bifurcate with a broader perspective. This further explains the term ideology where the social, cultural, emotional, personal, physical, psychological as-well-as political thought of the filmmaker is highlighted. Thus films get their weightage for being literal game-changers and inspirational for the audience who watch them, in turn increasing their value of existence.

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!

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!

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.

Tag: <span>movies</span>

Intertextuality and Cinema

How deep has Depp dug his grave?

Inherent Visuals in Cinema

A Conversation with Cinema