Anita — systematically dressed in the regime of the traditional idiom

Review of Anita — a short fiction film written/directed by Sushma Khadepaun Karl Jaspers defines boundary situations in which real situations become all-encompassing or transcendental situations. Gilles Deleuze in his Cinema books, pronounces limit-images as Jasperian boundary situations in which a situation or action becomes transcendental. Situation and actions resolve into one another to form the […]

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Set in the location-space that is the village of Arittapatti in Tamil Nadu, Pebbles (Koozhangal) immediately establishes the Oedipal relationship between the chain smoking, drunk Ganpathy and his son. The two take a bus ride together, the view of the window of which emphasises the cinematographic screen that is between the love-hate relationship between director, audience and […]

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Cinema has the ability to transform subject into object and object into energy, so that desire can be withdrawn. Desire and resultant pleasure must wait through delay, or so states the cinema. Prantik Basu’s Bela uses this relationship to desire through the location-space i.e., the village of Bela, which literally means “time.” Basu’s approach is to transform time […]

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Mukul Haloi’s Ghormua

Film: Ghormua Director: Mukul Haloi Duration: 25 mins Language: Assamese Award: Winner of the Cinema Experimenta Award at SiGNS   Gilles Deleuze defines a crystalline-image as that image in which the transparent actual image and the opaque virtual image simultaneously exist. For Deleuze, when Scottie in Alfred Hithcock’s Vertigo makes Judy into Madeleine he has juxtaposed the […]

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Nostalgia for the Future: Dwelling as Denotation

The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar’s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation. Contrarily the voice, Kishore’s voice, is the embodiment of this denotation. Over the course of the film this denotation becomes a volume, concentrated or rarefied, which creates a mechanism (instead of an ideology) […]

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Ek Betuke Aadmi Ki Aafrah Ratein: Photographed theatre or cinematography?

In A Thousand Plateaus, Gilles Deleuze and Felix Guattari (D&G) define the machinic assemblage as having different speeds, slownesses and intensities on the Body without Organs. They go on to deconstruct the machinic assemblage: a machine is anything that can be plugged into, whereas the assemblage is that which “deterritorializes” the becoming (flows). The point […]

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