{"id":3835,"date":"2022-01-15T10:00:06","date_gmt":"2022-01-15T04:30:06","guid":{"rendered":"https:\/\/filmcriticscircle.com\/journal\/?page_id=3835"},"modified":"2022-03-19T21:04:12","modified_gmt":"2022-03-19T15:34:12","slug":"vol-1-iss-19","status":"publish","type":"page","link":"https:\/\/filmcriticscircle.com\/journal\/vol-1-iss-19\/","title":{"rendered":"Journal of Indian Cinema \u2014 Vol. 1. Iss. 19"},"content":{"rendered":"[vc_row][vc_column]
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Journal of Indian Cinema<\/h2>\r\n\t\t

Vol. 1. Iss. 19 | January \u2013 February 2022<\/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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Narratives of change in Indian screenwriting<\/a><\/h2>\n

Daniela Rogobete<\/a> | Jan 26<\/p>\n

\"\"In the present landscape of Indian cinematic productions, the ever-growing number of female authors\u2026 offer a change of perspective in Indian cinema so far dominated by male voices and gazes, a change which does not necessarily imply a feminine representation of the world but, importantly, a different approach and a different gaze, which takes into account a number of social, domestic, and cultural issues, generally overlooked or poorly represented.\u00a0The courage of breaking conventions; the boldness of representation, of subverting gender and genre stereotypes, and of portraying real women instead of prototypes; the highlighting of gender inequality and the creation of self-awareness; and poetic sensitivity are a few of the qualities displayed in the texts produced by these women scriptwriters.<\/p>\n

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

\n

Impact of digital platform on Kolkata film market<\/a><\/h2>\n

Arnab K Middya<\/a> | Jan 15<\/p>\n

\"\"It\u00a0would be very difficult to bring back the aura that the episodes of Ramayana and Mahabharat once had. The days when people wouldn\u2019t dare miss an episode and\/or its repeat screening as there was no other option of watching them ever again is long gone.<\/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

Polyphony in time: narrational strategy in Adoor Gopalakrishnan\u2019s Anantaram<\/em> (1987) and the film\u2019s multiple interpretations<\/a><\/h2>\n

Babu Subramanian<\/a>\u00a0 | Feb 7<\/p>\n

\"\"Adoor Gopalakrishnan\u2019s Anantaram<\/a><\/em> (1987), his fifth film and its three preceding films have a common approach of a biography of an individual\u2026\u00a0Anantaram<\/em>, which differs from them with its narrative strategy, is Adoor\u2019s magnum opus. Analysing it will help in understanding its import and what Adoor achieved in it.<\/p>\n

read FILM ANALYSIS<\/a><\/p>\n

\n[\/vc_column_text][vc_column_text css_animation=”bounceInLeft”]\n

Indian Cinema & its philosophical id\u00e9e fixe<\/a><\/h2>\n

S Viswanath<\/a>\u00a0 | Feb 26<\/p>\n

\"\"Despite mimesis as a narrative necessity and primary constructive principle of cinema being virtually absent in the lexicon of Indian filmmakers, their films work for the intended audiences\u2026 The book\u00a0talks about the philosophical issues in Indian cinema and offers an understanding of what makes Indian cinema a key differentiator and informs on what it lacks in the context of the global cinema coliseum.<\/p>\n

read BOOK REVIEW<\/a><\/p>\n

\n[\/vc_column_text][vc_column_text css_animation=”bounceInLeft”]\n

Deepa Mehta’s Fire<\/a><\/h2>\n

Ananya Nandan<\/a>\u00a0 | Feb 26<\/p>\n

\"\"Fire asks society a few uncomfortable questions. Primarily, “Is the desire to love someone beyond the periphery of the heteronormative relationship a sin?”… The film breaks stereotypes and exhibits the different needs in a relationship.<\/p>\n

read FILM ANALYSIS<\/a><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_column width=”1\/2″][\/vc_column][vc_column width=”1\/2″][\/vc_column]\n

\n

 <\/p>\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”] Narratives of change in Indian screenwriting Daniela Rogobete | Jan 26 In the present landscape of Indian cinematic productions, the ever-growing number of female authors\u2026 offer a change of perspective in Indian cinema so far dominated by male voices and gazes, a change which does not necessarily imply a feminine representation of […]<\/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-3835","page","type-page","status-publish","hentry"],"yoast_head":"\nJournal of Indian Cinema \u2014 Vol. 1. 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