{"version":"1.0","provider_name":"Journal of Indian Cinema","provider_url":"https:\/\/filmcriticscircle.com\/journal","title":"Essay \u2014 Cinematographic Consciousness","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"xyoX42kcSj\"><a href=\"https:\/\/filmcriticscircle.com\/journal\/uncategorized\/cinematographic-consciousness\/\">Cinematographic Consciousness<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/filmcriticscircle.com\/journal\/uncategorized\/cinematographic-consciousness\/embed\/#?secret=xyoX42kcSj\" width=\"600\" height=\"338\" title=\"&#8220;Cinematographic Consciousness&#8221; &#8212; Journal of Indian Cinema\" data-secret=\"xyoX42kcSj\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script type=\"text\/javascript\">\n\/* <![CDATA[ *\/\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/filmcriticscircle.com\/journal\/wp-includes\/js\/wp-embed.min.js\n\/* ]]> *\/\n<\/script>\n","thumbnail_url":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2019\/01\/Satah-Se-Uthata-Aadmi.jpg","thumbnail_width":1500,"thumbnail_height":1000,"description":"The camera represents a consciousness, which is separate from the content (the story). Distanciation in the cinematograph is of key importance so that consciousness can be split from the content. The moment this condition is validated the middle, between start and end, can be established in the same way that a shot is between an ON and an OFF (the recording of the camera)."}