Journal of Indian Cinema

Vol. 1. Iss. 16 | April 2020

Film Critics Circle of India

Women in cinema in the age of digital

Priyanka Purty | April 09

The encyclopaedia of art is conspicuous by the absence of even a passing mention to several notable women artists… Although overshadowed by men, it has not stopped women from emerging from the darkness and creating and telling their stories… As millennial and Gen Z girls/women are taking an active part in today’s workforce and becoming independent breadwinners, the focus of creating content for predominant male audiences has improved to include women audiences, with focus on real, relatable storylines…

… There is much that can be learnt from female filmmakers of the classical era who were pioneers in film techniques. Emerging technologies allow young female filmmakers of today to experiment and radically push the boundaries. It has been more than a hundred years since the first film was made. With these fast-changing times, the possibility of inventing new narrative styles and ways of making films is in abundance. While a majority of the world focuses on recreating nostalgia and making film sequences, female filmmakers must make full use of the ample space and freedom to rethink ways of creating films, and reinventing cinema; because there simply are no rules…

… Women filmmakers have the liberty to not only challenge the status quo but, as history has proved, to also bring a unique and rare perspective to cinema; which is what this art form is all about… Women must make the best of this golden age with its dream-like opportunities and must stake claim to their place in the history of cinema.



Nostalgia for the future: dwelling as denotation

Devdutt Trivedi | April 04

There are several other layers to this dialectic between smooth and striated in the film: the handheld camera and fixed camera shot, the zoom in to denote a vertical expansion instead of the pan that emphasizes horizontality, and the shot of blowing soap bubbles that turn the liquid into the gaseous…

… Time is spatialized in three dimensions: that of universal time, the middle-class notion of a universal as solving the problematic; the particularized lived time, as blissful ekstasis i.e. the duree of the film; and historical time as it brings about a withdrawal of movement (the freeze frame shots of Gandhi and Ambedkar). Cinema itself is this violence that requires the force of history so deny itself movement and therefore violence. However taking a shot is against the force of history and can be considered a-historical, like any other creative act. The city is space for DG’s mechanosphere, whereas the individualized time is Derrida’s differance in temporality so that every shot is new….

… The Bauhausian concerns of the film are such that the materiality of the image is more important than its crystalline form so that the denotations of Le Corbusier’s architecture either break into surficial perception (Deleuze’s liquid perception) or directly show the source of light (represented through the sun itself entering the composition of the shot). The smooth version of the space finds its denotational culmination in the shot of the waves, whereas the smooth and the striated find their middle point (or rhizome) in the sequence with the spiral  staircase. This spiral is nothing but an icon for consciousness itself…

… In the final shot, the Dalit rhythm creates a microcinema in which movement is extracted from matter, and representation is taken outside the domain of intentionality.


Irrfan Khan     Amitava Nag
Irrfan Khan     Baradwaj Rangan
Irrfan Khan     Rahul Desai
Irrfan Khan     Sukanya Verma
Irrfan Khan     Tanul Thakur
Rishi Kapoor     Baradwaj Rangan
Rishi Kapoor     Jai Arjun Singh
Rishi Kapoor     Sukanya Verma
Review - Film
15 years | Yuval Hadadi     Baradwaj Rangan
Alaipayuthey | Mani Ratnam     Baradwaj Rangan
Amélie | Jean-Pierre Jeunet     Rahul Desai
Aswathama | Ramana Teja     Baradwaj Rangan
Bacurau | Kleber Mendonça Filho & Juliano Dornelles     Baradwaj Rangan
Bamfaad | Ranjan Chandel     Saibal Chatterjee
Dolemite is my Name | Craig Brewer     Jai Arjun Singh
Extraction | Sam Hargrave     Saibal Chatterjee
Extraction | Sam Hargrave     Sukanya Verma
Extraction | Sam Hargrave     Tanul Thakur
Gunga Jumna | Nitin Bose     Jai Arjun Singh
Hasmukh | Nikhil Gonsalves     Saibal Chatterjee
HIT | Sailesh Kolanu     Baradwaj Rangan
Hundred | Narain, Shah, Shabbir, & Dubey     Saibal Chatterjee
Kolaiyuthir Kaalam | Chakri Toleti     Baradwaj Rangan
L'argent | Robert Bresson     Devdutt Trivedi
Lov Aaj Kal | Imtiaz Ali     Baradwaj Rangan
Love Wedding Repeat | Dean Craig     Ashameera Aiyappan
Love Wedding Repeat | Dean Craig     Saibal Chatterjee
Red Beard | Akira Kurosawa     Baradwaj Rangan
Sethum Aayiram Pon | Anand Ravichandran     Baradwaj Rangan
The English game | Birgitte Saermose, Tim Fywell     Saibal Chatterjee
Uncorked | Prentice Penny     Saibal Chatterjee
Unda | Khalid Rahman     Jai Arjun Singh
Varane Avashyamund | Anoop Sathyan     Baradwaj Rangan
Vietnam Veedu | P Madhavan     Baradwaj Rangan
Yeh Ballet | Sooni Taraporevala     Jai Arjun Singh
Review - short fiction, & TV & web series Music List Literature Feature Interview Sexuality, Bias, Equality


Journal of Indian Cinema

Vol. 1. Iss. 01–29.


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