Ratnottama Sengupta | August 16
Sandeep Bhushan’s history of the industry scans the profession. More specifically, it takes a resolute look at what caused the marginalization of the reporter. “How did technology impact the newsroom?” he poses. “How did India evolve the star system? What is access journalism, and what is wrong with it? Is the reporter-editor relationship necessarily adversarial? How does the owner-editor system—perhaps unique to India—work in practice? And corporate ownership—is it a boon or a bane?” Finally, he asks, “How does India compare with UK or USA—countries that have a longer history of television news and more mature markets?…
… Colour television took films into our bedrooms, and that adversely affected not only the economy of cinema but also its content. By all accounts it had to become bigger and glossier… Batla House, Article 15, even No One Killed Jessica, the mowing down of pavement dwellers by a limousine—these are the brick and mortar of Tinseltown today, not boy-meets-girl or dancing-around-trees. Any doubt that the success of television in grabbing eyeballs gave these directors the idea?
RK Bidur Singh| August 25
In 1991, ISHANOU, a Manipuri feature film directed by Aribam Syam Sharma, was screened in Cannes in its “Uncertain Regard Section”…
… Yves Thoraval, a French writer, in his book the CINEMA OF INDIA (1826- 2000), has this to say – illuminating Manipur… “its musical and dance traditions, mostly of a religious character, figure among the most beautiful and the most personalized aspects of India.”
Saurabh Turakhia | August 15
Being an effective mass medium, cinema has for long been manipulated for the celebration of national pride and for the recognition of they who demonstrate the highest form of sacrifice and valour…
… What is of significance is that unlike in the past, when patriotic Hindi movies were scarce even if successful, since the last half decade or so it has actually become a visible trend…
… A lot has changed over the years, however, in the way movies in the genre get made. Earlier, there was greater drama and the plots weren’t multi-layered. Today, the drama is controlled, and the perspectives are varied. The songs in contemporary movies are no longer as memorable as those of then. The lyrics of present day songs fail to be etched in the memory. And the dialogues are devoid of hyperboles, and on most occasions, are crisp. The canvas has widened and the treatment and tone are varied, relative of the filmmaker’s sensibilities…
… The template is just not the same anymore.
MK Raghavendra | August 14
Gandhi’s film is unusual in that it is intended as philosophical reflection rather than social critique, which has been the normal approach of non-mainstream Indian cinema… The least admirable aspect of Ship of Theseus is evidently its philosophizing. Its intellectual debates are full of logical weaknesses and even its title makes little sense. The ‘Ship of Theseus’ – as has been widely publicized – pertains to a parable about identity from Ancient Greece: If every part of a ship is replaced, will it remain the same ship, is the question posed. Anand Gandhi’s film has nothing to do with the issue of identity and is merely about different people having a ‘part’ replaced.
INTERVIEW: Sandeep Bhushan
Ratnottama Sengupta gets journalist Sandeep Bhushan to speak about his book, The Indian Newsroom.
Rahul Desai predicts that 'the scenes will be played in Indian film schools across India for years.'
REVIEW: Nerkonda Paarvai
Baradwaj Rangan reviews H Vinoth's 'Nerkonda Paarvai', a remake of the Hindi film 'Pink.
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