{"id":2517,"date":"2020-07-15T10:00:41","date_gmt":"2020-07-15T04:30:41","guid":{"rendered":"https:\/\/filmcriticscircle.com\/journal\/?page_id=2517"},"modified":"2022-02-02T04:40:55","modified_gmt":"2022-02-01T23:10:55","slug":"vol-1-iss-10","status":"publish","type":"page","link":"https:\/\/filmcriticscircle.com\/journal\/vol-1-iss-10\/","title":{"rendered":"Journal of Indian Cinema \u2014 Vol. 1. Iss. 10."},"content":{"rendered":"[vc_row][vc_column]
\r\n\t\t

Journal of Indian Cinema<\/h2>\r\n\t\t

Vol. 1. Iss. 10 | July \u2013 August 2020<\/p>\r\n\t\tFilm Critics Circle of India<\/a>\r\n\t<\/div>\r\n\t[\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css_animation=”bounceIn”]\n

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Face to face \u2014\u00a0the cinema of Adoor Gopalakrishnan<\/a><\/h2>\n

Sathya Saran<\/a> | July 03<\/p>\n

\"\"The book delineates the \u201cmajor political, social and cultural landscapes that inform the cinema of Adoor.” This I believe is quite necessary in a country in which, increasingly, divisions between states, regions and cultural and religious beliefs are getting deeper as people draw tight the strings of their identities to exclude others…<\/p>\n

\u2026 It traces the development and growth of the maker\u2019s artistic and creative genius that would place him among the cinematic greats of the world\u2026\u00a0<\/span>Perhaps it will encourage the re-release of Adoor Gopalakrishnan\u2019s films with subtitles, so a wider audience can view and appreciate them. In Adoor’s films lie a window to a greater understanding of the Indian psyche, which, thanks to this book, might be opened wider.<\/p>\n

read BOOK REVIEW<\/a><\/p>\n<\/div>\n[\/vc_column_text][vc_column_text css_animation=”bounceIn”]Pandemic pummels cinema into existential vortex<\/a><\/p>\n

S Viswanath<\/a> | August 15<\/p>\n

\"\"<\/span><\/p>\n

After a great gambol run for 125 years since its birth, the moving images industry, more prominent by its popular moniker \u2018Entertainment Industry\u2019 has been finally zapped by existential crisis pressing the rethink button.<\/p>\n

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

\n

Meena Kumari<\/a><\/h2>\n

Darshana Goswami<\/a> | August 01<\/p>\n

\"\"<\/p>\n

Much has been said about Meena Kumari\u2019s expressive eyes, yet \u00a0her expressions and her body language are always subtle and understated, leaving us wanting to know more and to hear more. Her beauty adorned with gossamer veils and downcast eyes tell us to look deep into her inner being, and deeper still.\u00a0<\/span><\/p>\n

Meena Kumari was one who closely experienced life\u2019s fragility and its many deceptions, and she trained herself to live life in moments and not let go of any opportunity that could make her happy. Her life certainly cannot be defined by stereotypical terms such as \u2018tragedy queen\u2019 or \u2018queen of sorrows.\u2019 She is not mythical Hecate, the melancholy goddess, constantly shedding tears, buried in sighs and laments. Instead, her indecisiveness and volatility compelled her to continuously search for a new meaning in life, forever going past whatever she had in life thus far.<\/p>\n

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

Ideology matters\u00a0\u2014 film criticism in new Malayalam cinema<\/a><\/h2>\n

Premchand<\/a> | July 18<\/p>\n

\"\"The arthouse films could never serve as a real parallel. It had to yield to the power play of state-run machineries, the way mainstream films were, and still are, to private production houses…<\/p>\n

\u2026 Post-1991, the threat of advertisement ban has made criticism near impossible\u2014ads being a major source of revenue. Capital is becoming more arrogant and intolerant towards criticism in any form.<\/p>\n

read CRITICISM<\/a><\/p>\n[\/vc_column_text][vc_column_text css_animation=”bounceInLeft”][spacer size=”20″]\n

Tape 39: Memory as Document, Memory as Map Maker<\/a><\/h2>\n

Devdutt Trivedi<\/a> | August 10<\/p>\n

\"\"The cinematograph can be defined as a writing with movements and sound. The essential problematic of the cinematograph lies precisely within this question\u2014how can the cinematograph move beyond the manifest reality? This manifest reality is the apparent space and time represented before the camera.<\/p>\n

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

A 40-year-old Love Story<\/a><\/h2>\n

Utpal Datta<\/a> | July 09<\/p>\n

\"\"Rahul Rawal’s specialty was to adorn Love Story<\/em> with his own aesthetic skills, \u00a0ignoring the prevailing notions. The name Love Story<\/em> evokes a kind of poetic tone and the director was keen to preserve that tone and mood through out the film\u2026 Even later, Rahul Rawal’s harsh and rude reality based films like Dakait<\/em> and Arjun<\/em> were a continuation of the poetic beauty of the loneliness and the elegant picturisation. Rahul Rawal and especially Love Story<\/em> are still relevant today because of the creativity shown in making a mainstream commercial film, a sensitive work of cinematic art.\u00a0Sadly, the identity of Rahul Rawal was not engraved on the body of the film\u00a0in which he was established.<\/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][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text css_animation=”bounceIn”] Face to face \u2014\u00a0the cinema of Adoor Gopalakrishnan Sathya Saran | July 03 The book delineates the \u201cmajor political, social and cultural landscapes that inform the cinema of Adoor.” This I believe is quite necessary in a country in which, increasingly, divisions between states, regions and cultural and religious beliefs are getting […]<\/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-2517","page","type-page","status-publish","hentry"],"yoast_head":"\nJournal of Indian Cinema \u2014 Vol. 1. 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