That reviewer Parthajit Baruah is well read, as professors of English (and cinema) should be, is clear from the number of references to literature as well as quotes from books that he uses in ‘Face to Face – The Cinema of Adoor Gopalakrishnan’ to illustrate his points. That he is completely cued in to the […]
Learn More
In an interview during his television days, Sushant Singh Rajput was asked about his favourite book. He sheepishly replied that he wasn’t into reading, but if he were to pick one he’d pick his Physics text book, because he didn’t understand it at one go, and had to spend a lot of time with it. […]
Learn More
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 […]
Learn More
Of all the genres of mass culture, cinema is arguably the most popular and universal, yet it is also the most intricate. Cinema is rigorous multi tasking and meticulous teamwork. It is the ultimate example of intermedia art that brings together an assortment of technological expertise and artistic insight. In cinema we see people like […]
Learn More
‘I would never say such an unfeeling, rude thing such as that all actors are cattle. What I probably said was that all actors should be treated like cattle.’ actor -Alfred Hitchcock, on the Dick Cavett show ‘Most enjoyable screen performances have been produced by nothing more than a typage, and it is commonplace […]
Learn More
Rishi Kapoor — Tujh mein kya hai deewane A Bengali film buff growing up in 1980s small town India was overwhelmed with a plethora of influences. On the one hand there was the Shyam Benegal and Govind Nihalani universe. Sunday afternoons were about “regional cinema”, where one was gradually getting exposed to names like Adoor […]
Learn More
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) […]
Learn More
The encyclopaedia of art is conspicuous by the absence of even a passing mention to several notable women artists. ‘Far too often, women’s achievements have been ignored, underreported, or simply erased from the historical record… While this erasure is frustrating and harmful, creating a false myth that women’s history lacks great creative and intellectual achievement, […]
Learn More
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 […]
Learn More
Realistic cinema, it used to be said, reflects reality. Right now, that seems to be reversed: reality has turned into the reflection of a horrific apocalyptic film. As the daily tally of the infected and dead all around rise dramatically, the images and live drama of COVID-19 gives the feel of a reality fiction, with […]
Learn More