Journal of Indian Cinema

Vol. 1. Iss. 8 | March – April 2020

Film Critics Circle of India
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Review — Super Deluxe

Dipsikha Bhagawati | Mar 01

We never know how much strength we embody until and unless we are left with no options. Every pain has a span, however vicious it be. Time transforms them into memory. Life is always an unpredictable circle and it is so interlinked with the circumstantial and the situational components or the happenings. Lives take such turns from time to time that nothing can be established as an absolute. Some of what we loathe holds the power to transform us for the better and often all it takes to put us on a different path is a forced change due to unexpected circumstances. Life has plans in store for us that we cannot even dream of… Life is a a butterfly canvas and all the colours, be it dark or dazzling, show their own flavours in due course.


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.


On the illusion of sounds & images, and of perception & escapism

Divya Mehta | Mar 29

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… Be it action or romance, fiction is most appealing when we can relate to it and when identifiable tales have the potential to change our perspective on our real-world experiences. Films engage in a constant dialogue with our unconscious mind and our senses absorb what we wish to perceive.


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Cinema — the art of bringing people together

Monita Borgohain | Mar 21

The universal language of the seventh art, cinema, unites us all together as one human race. Cinema has brought us closer. Sitting here in Guwahati, watching films, we can feel the agonies and ecstasies of the people by the Caribbean. We can feel the depth of the Mediterranean from the banks of the Brahmaputra… Together, let us rejoice in the greatness of cinema. Together, let the goodness of cinema liberate us from the isolating bondage of human follies.


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

Devdutt Trivedi | Mar 31

Raj’s film… creates a sound-image continuum (decoupage) that form a single succession. This succession is then filmed along the Lacanian Real, which find their triangulation in the Symbolic, stylized Kathakali procreation dance, and Imaginary, in the images of political realities that form the outside.



Freeing up the grid: the third infinity

Devdutt Trivedi | Mar 31

How can point, line, shape, curve and texture be applied to the form of film? This question drives veteran Piyush Shah’s debut documentary The Third Infinity. Shot over 15 days in January 2017, Shah’s approach is to capture the grid in such a way that the flattened out space collides with depth and verticality, and horizontality form a mandala that free up time.

The essence of the film is cinematographic consciousness and its representation as an index in the film.