With this Electronic Journalism course I and my class-mates have went through a number of assignments, both written and practical. Now in the concluding stage I feel that along with the usual classes and assignments, maybe the stundents should also be assigned works wherein they will have to visit community homes like ashrams, juvenile homes, orphanages and the like so that they take the opportunity to mingle with people and understand the kind of living which they would otherwise never know.
This could be taken up as a weekly assignment- one organisation each week. This would bring them in close understanding with versatile lives and might also prove effective against corruption to some extent in these organisations, if at all they prevail.
Thursday 23 July 2009
Tuesday 14 July 2009
The History Of Malayalam Cinema
an exhibition
A film festival is not just an occasion to view films, but also one to remember and bring to life the past of cinema. This is exactly what the retrospective and homage sections do in a film festival. As an attempt in a similar direction, as part of the IFFK 2008, the Kerala State Film Development Corporation (KSFDC) and the Kerala State Chalachithra Accademy (KSCA) had jointly organized an exhibition of photographs on the history of Malayalam cinema. The exhibition was inaugurated on the 13th of December by the eminent Indian film director and jury member of IFFK, Dr. Jabbar Patel, at the Kanakakunnu Palace in Thiruvananthapuram.
The exhibition displayed memorable images of stars and celebrities, photo stills from landmark films, shooting stills, and the albums of events from the past IFFKs, providing us glimpses into the history of Malayalam cinema and IFFK. There were also exhibits describing the timeline that maps the long and colorful journey of Malayalam cinema. In addition, also on display were some of the earliest pieces of equipment used in filmmaking, like the old 10 KB lights that were used in studio floors, a 16mm camera, the once very popular Mitchell camera (the one that was used in the making of the Malayalam blockbuster of all times – Chemmeen), a slide projector, a Moviola editing device, and so on.
The arrangement of photographs took the viewer on a journey through history, one that begins from black-and-white images and progresses to the colorful images of the near present. It was a nostalgic trip through the various facets of Malayalam cinema that also captured those great narrative moments through the luminous expressions of great actors. For the admirers of Adoor Gopalakrishnan, there were some impressive working stills from his sets.
Undoubtedly, putting up such an exhibition was a very good way to familiarize cineastes with Malayalam film history, especially on the occasion of the film festival. But unfortunately, the way it was organized left much to be desired.
Though more than 50,000 pictures were on display, the majority were from the festival albums of previous years. One would have expected more and more varied images from different spheres of Malayalam cinema. Another shortcoming is the lack of bilingual captions. Even in cases where they were provided, the information given was sparse, typically just the year, the title of the film and its director. A few captions also mentioned the names of the actors. More detailed captions would have been of great benefit to film lovers and students of Malayalam cinema, and even for the general film viewer. Even the exhibits dealing with the various achievements of Malayalam cinema were written only in Malayalam.
Another drawback was the remoteness of the venue of exhibition from the theatres where the festival films were screened. This could have been one reason for the low turnout of visitors to the show.
Despite all these shortcomings, the exhibit was a significant attempt and something to be pursued and expanded in the coming years.
Rohini Kumar© FIPRESCI 2008
A film festival is not just an occasion to view films, but also one to remember and bring to life the past of cinema. This is exactly what the retrospective and homage sections do in a film festival. As an attempt in a similar direction, as part of the IFFK 2008, the Kerala State Film Development Corporation (KSFDC) and the Kerala State Chalachithra Accademy (KSCA) had jointly organized an exhibition of photographs on the history of Malayalam cinema. The exhibition was inaugurated on the 13th of December by the eminent Indian film director and jury member of IFFK, Dr. Jabbar Patel, at the Kanakakunnu Palace in Thiruvananthapuram.
The exhibition displayed memorable images of stars and celebrities, photo stills from landmark films, shooting stills, and the albums of events from the past IFFKs, providing us glimpses into the history of Malayalam cinema and IFFK. There were also exhibits describing the timeline that maps the long and colorful journey of Malayalam cinema. In addition, also on display were some of the earliest pieces of equipment used in filmmaking, like the old 10 KB lights that were used in studio floors, a 16mm camera, the once very popular Mitchell camera (the one that was used in the making of the Malayalam blockbuster of all times – Chemmeen), a slide projector, a Moviola editing device, and so on.
The arrangement of photographs took the viewer on a journey through history, one that begins from black-and-white images and progresses to the colorful images of the near present. It was a nostalgic trip through the various facets of Malayalam cinema that also captured those great narrative moments through the luminous expressions of great actors. For the admirers of Adoor Gopalakrishnan, there were some impressive working stills from his sets.
Undoubtedly, putting up such an exhibition was a very good way to familiarize cineastes with Malayalam film history, especially on the occasion of the film festival. But unfortunately, the way it was organized left much to be desired.
Though more than 50,000 pictures were on display, the majority were from the festival albums of previous years. One would have expected more and more varied images from different spheres of Malayalam cinema. Another shortcoming is the lack of bilingual captions. Even in cases where they were provided, the information given was sparse, typically just the year, the title of the film and its director. A few captions also mentioned the names of the actors. More detailed captions would have been of great benefit to film lovers and students of Malayalam cinema, and even for the general film viewer. Even the exhibits dealing with the various achievements of Malayalam cinema were written only in Malayalam.
Another drawback was the remoteness of the venue of exhibition from the theatres where the festival films were screened. This could have been one reason for the low turnout of visitors to the show.
Despite all these shortcomings, the exhibit was a significant attempt and something to be pursued and expanded in the coming years.
Rohini Kumar© FIPRESCI 2008
The Photograph
It was the second screening of The Photograph by Nan T. Achnas at the 13th IFFK, and from the long queue of audience and the full house, one could make out that a lot of expectations were in the air.
This Indonesian film is about a bar singer, Sita, who comes to live with a photographer, Mr. Johan. In order to support her sick grandmother and a daughter, Sita is forced into prostitution. Mr. Johan is at the fag end of his life and has three wishes to fulfill before his death. Both help each other and the story proceeds with their growing understanding of each other. This relationship between two helpless people gives a new dimension to Sita’s life and a fulfilling end to that of Johan.
The movie works its way through different shades of human emotions in a poignant manner: the helplessness of a mother who is forced into a profession not of her choice, and the pain that she undergoes, both driven by the love for her daughter. This split within her – what she wants to be and what she is – is embodied in her conversations with her mirror image during moments of pain and inner turmoil.
Through her relationship with the photographer she gradually comes to learn what it is to live in reality, or in other words, she realizes the difference between the image and the real. While Mr. Johan’s last wishes are fulfilled, she ends up learning his profession and becoming his successor, as it were. The photographer on his part holds a surprise that is revealed at the end, which turns out to be a story of selfishness and tragedy.
In other words, The Photograph is about Sita’s journey from the confusion of the mirror image to the specificity of the photographic image. In the end we find a blank wall with the photograph of her and her teacher on it, a wall which will be filled with the photographs she will take in the future.
Rohini Kumar© FIPRESCI 2008
The Yellow House
Music is always mesmerizing and it touches the mass audience despite their diversities. It is often the simple metaphoric lyrics or sometimes just the tune that works the trick and becomes the very soul of narration in a film.
To the audience who thronged Kairali Theatre (one of the venues for the IFFK screenings) on a Monday morning, the music director Saycal Salhi gave the lead into the fantastic movie The Yellow House through a piece of music played on oudh, a traditional Arabian musical instrument.
The film, directed by Amor Hakkar, opens with a wedding procession. But the merriments of this happy occasion are accompanied by a piece of tragic news which is about to shatter the happiness of a simple family. The only son of this family has met with an accident. This tragic news of the death of his son sets the father on a journey which is full of humane encounters, through which he discovers a world of kindness which is too magical. It is a world where grief is amply compensated by joy, and sorrow by music.
Already enticed into the movie with the charming piece of music, the audience at the end walked out of the theatre cheerfully humming the theme music. A gala conclusion to a wonderful fantasy movie. While coming out, I approached a viewer with the question, "What do you take away with you from this movie?" With a gentle chuckle he started with the song from the movie and walked away humming. The sense of the Arabic lyrics may have been lost, but the music was right there.
Rohini Kumar© FIPRESCI 2008
Monday 13 July 2009
AURORA BOREAL
a review
Sergio Tovar Velarde’s Aurora Boreal is a video testimony of Mariano, a fourteen year old who is about to commit suicide. We gradually get closer to him as we discover the reasons that drove him to such a desperate decision. He is sliding away from his family as he is haunted by the guilt he takes upon himself for the retardation of his younger most brother, the beloved of the family.
The introspection upon the inner torments that drives him to that dark decision slowly unravels the opposite within him: the reasons why he should live. He ends up discovering that suicide does not solve anything. The visuals of the film vibe closely with the dark and disturbing, yet deeply humane, theme.
The narrative makes brilliant use of the documentary format to record the testimonies of people around the protagonist and weaves them together to deliver a positive, life-affirming message. The film reminds one of the words of Carl Gustav Jung: "As far as we can discern the sole purpose of human existence is kindly alight in the darkness of mere being."
Rohini Kumar.© FIPRESCI 2008
Sergio Tovar Velarde’s Aurora Boreal is a video testimony of Mariano, a fourteen year old who is about to commit suicide. We gradually get closer to him as we discover the reasons that drove him to such a desperate decision. He is sliding away from his family as he is haunted by the guilt he takes upon himself for the retardation of his younger most brother, the beloved of the family.
The introspection upon the inner torments that drives him to that dark decision slowly unravels the opposite within him: the reasons why he should live. He ends up discovering that suicide does not solve anything. The visuals of the film vibe closely with the dark and disturbing, yet deeply humane, theme.
The narrative makes brilliant use of the documentary format to record the testimonies of people around the protagonist and weaves them together to deliver a positive, life-affirming message. The film reminds one of the words of Carl Gustav Jung: "As far as we can discern the sole purpose of human existence is kindly alight in the darkness of mere being."
Rohini Kumar.© FIPRESCI 2008
Monday 6 July 2009
Cinema and Me
Cinema has always remained a fantasy to me. Like everyone else, I too grew up watching and enjoying cinema. It has been my ideal window to the world and the school I loved the most. I hardly ever miss an opportunity to watch a movie - good or bad, classic or popular. It is again, beyond doubt, the best entertainer I would always opt for.
Being a student of Electronic Journalism, as part of our syllabus, we are shown classic movies and experienced teachers guide us in appreciating and analyzing them.
The dedicated work of so many people and lots of technical and aesthetic elements go into the making of cinema. As a student of these processes at work, restricting myself to mere watching seems incomplete. An avid viewer of cinema, I believe that it is a vital medium that transcends borders and unites hearts.
Thursday 2 July 2009
Who is a person
Debates are high on the issue of promoting or not promoting GAYISM in India. Why is there so much fuss about it? Do we think that it is a fair trial? Where do the others stand. I believe that a gay, a homosexual, a bisexual..... are all hidden inside a so called normal person. Only that in some, one of these characters is dominant and the rest recessive.
The real problem is with our highly hypocratic and undemocratic society. Will someone endeavour to change it's face first?
The real problem is with our highly hypocratic and undemocratic society. Will someone endeavour to change it's face first?
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