{"id":941,"date":"2019-01-26T10:00:45","date_gmt":"2019-01-26T04:30:45","guid":{"rendered":"https:\/\/filmcriticscircle.com\/journal\/?page_id=941"},"modified":"2024-04-24T20:27:10","modified_gmt":"2024-04-24T14:57:10","slug":"vol-1-iss-1","status":"publish","type":"page","link":"https:\/\/filmcriticscircle.com\/journal\/vol-1-iss-1\/","title":{"rendered":"Journal of Indian Cinema \u2014 Vol. 1. Iss. 1."},"content":{"rendered":"[vc_row][vc_column]
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Journal of Indian Cinema<\/h2>\r\n\t\t

Vol. 1. Iss. 1.<\/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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Andhadhun: Suspense and Character Subjectivity<\/a><\/h2>\n

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

\"\"<\/a>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

… Why Indian films are omniscient in perspective is not easy to explain but my view is that it lies in the notion of transcendental truths in which people have more faith than in the evidence of the senses, judged to be ephemeral; this is perhaps why most films have eternal messages to relate, usually from the epics or traditional wisdom.<\/p>\n

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

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Of Cinema and Women<\/a><\/h2>\n

Muktha<\/a> | Jan 26<\/p>\n

\"\"<\/a>In the context\u00a0of cinema being a culture, we should look into the politics of filmmaking and biases in the field. Also, how cinema shapes society and how society further alters the evolution of films. The focus of this term paper is gender politics and how women\u2019s \u2018hands\u2019 behind screen would make a difference to the medium and how this would give rise to an alter form. When world cinema completes more than a century from its origin, the role played by women off screen is extremely scarce. Women decorated roles as actresses and singers, but a significant position in the industry where her \u2018voice\u2019 is heard in cinema was left blank…<\/p>\n

… The influential French daily Le Monde once published an open letter. It read: \u201cAt Cannes, women show their breasts, men show their films.\u201d<\/p>\n

read ESSAY<\/a><\/p>\n

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Cinema in Uttar Pradesh<\/a><\/h2>\n

Gautam Kaul<\/a> | Jan 26<\/p>\n

\"\"<\/a>Few would know that once upon a time Lucknow also featured on the map of India as a centre of film production… It was Dilip Kumar who felt that Uttar Pradesh should have a film production centre and he applied for a piece of agricultural land in 1961, to develop a film studio… Uttar Pradesh is now threatening to provide more incentives of hassle free studio facilities and strike free environment to film production companies…<\/p>\n

read HISTORY<\/a><\/p>\n[divider size=”1″][\/vc_column_text][vc_column_text css_animation=”bounceInLeft”][spacer size=”20″]\n

Jyotiprasad Agarwala and his film Joymoti (1935): A moving tale of struggle and sacrifice<\/a><\/h2>\n

Parthajit Baruah<\/a> | Jan 26<\/p>\n

\"\"<\/a>The legacy Jyotiprasad Agarwala has left in Assam has been carried forward by Padum Barua, Dr. Bhabendra Nath Saikia, Jahnu Barua and a recent group of promising filmmakers such as Rima Das, Deep Choudhury, Reema Bora, Jaicheng Dohutia, Suraj Dowarah, Kangkan Deka, Khnajan Kishor Nath, and Nava Kumar Nath. But he who among others pioneered the growth of Indian cinema still remains ignored in the national narrative.<\/p>\n

read HISTORY<\/a><\/p>\n[divider size=”1″][\/vc_column_text][vc_column_text css_animation=”bounceInLeft”][spacer size=”20″]\n

Cinematographic Consciousness<\/a><\/h2>\n

Devdutt Trivedi<\/a> \u2014 \u00a0| Jan 26<\/p>\n

\"\"<\/a>The cinematograph provides us with a view of the world that is not a representation of the world outside, but is instead a space-time continuum representing an interiority that captures the internal state of the audience. This continuum is in the form of a sound-image block that provides us with a new understanding of reality. In other words, there is always a film playing beneath the surface, which is an indexical sign to the nature of reality that is both manifested and unmanifested…<\/p>\n

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