{"id":1342,"date":"2019-03-15T10:00:46","date_gmt":"2019-03-15T04:30:46","guid":{"rendered":"http:\/\/filmcriticscircle.com\/journal\/?page_id=1342"},"modified":"2022-02-02T04:22:26","modified_gmt":"2022-02-01T22:52:26","slug":"vol-1-iss-2","status":"publish","type":"page","link":"https:\/\/filmcriticscircle.com\/journal\/vol-1-iss-2\/","title":{"rendered":"Journal of Indian Cinema \u2014 Vol. 1. Iss. 2."},"content":{"rendered":"[vc_row][vc_column]
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Journal of Indian Cinema<\/h2>\r\n\t\t

Vol. 1. Iss. 2 | March \u2013 April 2019<\/p>\r\n\t\tFilm Critics Circle of India<\/a>\r\n\t<\/div>\r\n\t[vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css_animation=”bounceIn”]\n

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Critic’s Choice<\/a><\/h2>\n

Amit Khanna<\/a> | April 24<\/p>\n

\"\"<\/a>Somewhere in the post World War II era of print were created two distinct approaches: first and more popular was the film reviewer and the other the film critic. By and large film reviews are what appear in newspapers and magazines, radio and TV and of course now online. A recent phenomenon is social media reviews; some even typed from inside a cinema while still watching the film. Reviewers generally follow a set pattern\u2014Give a gist of the plot (nowadays with spoiler alerts), talk broadly about the main players\u2019 performance, make broad comments about the screenplay, cinematography, music, production design, etc. There is usually a reference to direction. Often the reputation of the creative professionals and artistes colour the review. A trend started by American publications in the late 1940s of awarding stars based on some arbitrary methodology caught on in India as well. Even now the so called \u2018serious\u2019 film critics dispense stars as some sort of personal dole.<\/p>\n

Any criticism of artistic work is subjective and there will always be personal biases. A peculiar hang up of Indian critics of all arts is that they become all knowing arbiters of aesthetics, form and content even when their knowledge is based on a casual read of a few books and articles. Merely watching films in film festivals or week after week in cinemas and cosying up to a select group in the art circuit in media does not give anyone the authority to pass unqualified judgement on all creative efforts. Interestingly most of these purveyors of good cinema gladly land up at a star\u2019s house for an exclusive interview (stars sell, or so say their bosses) and do puff pieces on successful film makers.<\/p>\n

read REVIEW<\/a><\/p>\n<\/div>\n[\/vc_column_text][vc_column_text css_animation=”bounceIn”]\n

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Cinema in Kashmir<\/a><\/h2>\n

Gautam Kaul<\/a> | Mar 15<\/p>\n

\"\"<\/a><\/p>\n

Cinema came to Kashmir around 1932, on demand from the resident British families who would drive up from Sialkot, Multan, and other cantonments, for the summer season. The British also decided to locate a big cantonment in the suburb of Srinagar town to watch over the doings of the Maharaja of Kashmir, whom they never trusted…<\/p>\n

…Cinema screenings in the Valley closed down totally by 1992\u2026\u00a0The charm of social gatherings to see films had disappeared. The more enterprising ones began to hire taxis to travel to Jammu and Udhampur to see their favourite films. Women would occasionally hire a busload of their friends for such outings.<\/p>\n

read HISTORY<\/a><\/p>\n<\/div>\n[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text css_animation=”bounceInLeft”]\n

The politics of the selfie<\/a><\/h2>\n

MK Raghavendra<\/a> | Mar 15<\/p>\n

\"\"<\/a>The selfie\u2019s most obvious cultural precursor was the personal or family photograph. An aspect noted about the family photograph was that its visual quality did not matter. What was important was who took it, on what occasion and when; what people felt about the pictures was much more important than what they \u2018meant\u2019 individually. It was equally important that the pictures were shown to other people who could use them to picture events they were not present at, thus situating themselves within a social continuum of some sort.<\/p>\n

read ESSAY<\/a><\/p>\n[\/vc_column_text][vc_column_text css_animation=”bounceInLeft”]\n

Andhadhun: Suspense and Character Subjectivity<\/a><\/h2>\n

MK Raghavendra<\/a> | Mar 26<\/p>\n

Fiction films of the world use three elements that combine to produce \u2018cinema\u2019 \u2013 objective reality, authorial subjectivity, which is in the nature of distortions to demarcate the real from the director\u2019s subjective take on it, i.e.: the exercising of his or her powers of expression. Lastly, there is the notion of character subjectivity and this is the element needed to be used in abundance to create suspense. Suspense depends on knowledge of events being held by some and not by others.<\/p>\n

read REVIEW<\/a><\/p>\n[\/vc_column_text][vc_column_text css_animation=”bounceInLeft”]\n

In Defense of the Dramatic<\/a><\/h2>\n

Saurabh Turakhia<\/a> | May 21<\/p>\n

\"\"Stories narrated in a dramatic manner attract and engage the masses, especially those from the lower strata whose daily lives are filled with struggle. \u2018Masala,\u2019 \u2018escapist fare\u2019 offers them nostalgia, inspiration, strength and hope. For, the cinema crafted for them is kinder than their unchanging reality. This causal relationship between income class and preference for movies is rooted in the fundamental human needs.<\/p>\n

Thus, in the super-hit Manmohan Desai films of the late 70s and early 80s\u2014Amar Akbar Anthony<\/em>, Suhaag<\/em>, Mard<\/em>, Coolie<\/em>\u2014Amitabh Bachchan as the \u2018angry young man\u2019 \/all-powerful protagonist fought against the odds and always emerged the victor. In the era prior to that, the hero\u2019s primary on-screen duty was to practice virtue and stay kind in spite of all the atrocities that he faced. Raj Kapoor therefore won the hearts of his adversaries in Jis Desh Me Ganga Behti Hai\u00a0<\/em>with his simplicity and forgiveness.<\/p>\n

read FEATURE<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column][vc_column_text][\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css_animation=”bounceIn”] Critic’s Choice Amit Khanna | April 24 Somewhere in the post World War II era of print were created two distinct approaches: first and more popular was the film reviewer and the other the film critic. By and large film reviews are what appear in newspapers and magazines, radio and TV and […]<\/p>\n","protected":false},"author":48,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-1342","page","type-page","status-publish","hentry"],"yoast_head":"\nJournal of Indian Cinema \u2014 Vol. 1. 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