{"id":3081,"date":"2020-05-04T21:51:59","date_gmt":"2020-05-04T16:21:59","guid":{"rendered":"https:\/\/filmcriticscircle.com\/journal\/?p=3081"},"modified":"2022-03-19T21:37:11","modified_gmt":"2022-03-19T16:07:11","slug":"nostalgia-for-the-future-dwelling-as-denotation","status":"publish","type":"post","link":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/","title":{"rendered":"Nostalgia for the Future: Dwelling as Denotation"},"content":{"rendered":"<p>The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s<em> Nostalgia for the Future<\/em> is dwelling (in the Heideggerean sense) as denotation. Contrarily the voice, Kishore\u2019s voice, is the embodiment of this denotation. Over the course of the film this denotation becomes a volume, concentrated or rarefied, which creates a mechanism (instead of an ideology) for a withdrawal of violence, that the moving images force on the viewer.<\/p>\n<p>Kishore and Shivkumar are successful at creating a dialectical cinema at many levels. The primary dialectic exists between Gilles Deleuze and Felix Guattari\u2019s (DG) conception of <em>smooth<\/em> and <em>striated<\/em> space. <em>Smooth<\/em> spaces, for DG, comprise of spasmodic bursts of space that cannot be fit into a rhythm whereas <em>striated<\/em> spaces are frozen music or architectural. For Kishore and Shivkumar, space itself is <em>poetic<\/em>, in the Bachelardian sense, indiscernibly split into crystalline architecture (<em>striated<\/em>) and its handheld filming (<em>smooth<\/em>). There are several other layers to this dialectic between <em>smooth<\/em> and <em>striated<\/em> in the film: the handheld camera and fixed camera shot, the zoom in to denote a vertical expansion instead of the pan that emphasizes horizontality, and the shot of blowing soap bubbles that turn the liquid into the gaseous.<\/p>\n<p>Kishore and Shivkumar view the nation as the body emptied out (DG\u2019s concept of the Body without Organs (BwO)) so that the Bauhausian dictum of materiality (film versus digital) overtakes the form (the cut as having a physiological aspect). Time is spatialized in three dimensions: that of <em>universal<\/em> time, the middle-class notion of a universal as solving the problematic; the <em>particularized<\/em> lived time, as blissful ekstasis i.e. the <em>duree<\/em> of the film; and <em>historical<\/em> time as it brings about a withdrawal of movement (the freeze frame shots of Gandhi and Ambedkar). Cinema itself is this violence that requires the force of history so deny itself movement and therefore violence. However taking a shot is against the force of history and can be considered a-historical, like any other creative act. The city is space for DG\u2019s <em>mechanosphere<\/em>, whereas the individualized time is Derrida\u2019s <em>differance<\/em> in temporality so that every shot is <em>new<\/em>.<\/p>\n<p>The Bauhausian concerns of the film are such that the materiality of the image is more important than its crystalline form so that the denotations of Le Corbusier\u2019s architecture either break into surficial perception (Deleuze\u2019s <em>liquid perception<\/em>) or directly show the source of light (represented through the sun itself entering the composition of the shot). The <em>smooth<\/em> version of the space finds its denotational culmination in the shot of the waves, whereas the smooth and the striated find their middle point (or <em>rhizome<\/em>) in the sequence with the spiral \u00a0staircase. This spiral is nothing but an icon for consciousness itself.<\/p>\n<p>The universalized temporality forms a middle-class socio-political stratification that finds its materiality in the quoted films from Bombay cinema of the \u201850s. For Shivkumar and Kishore this middle-middle stratification is a \u2018fozzilization\u2019 of space; that finds its cinematographic contrast in the sequence where the <em>aakaar<\/em> of a <em>raga<\/em> becomes the State-sponsored All India Radio\/Doordarshan jingle and culminates in the final shot where the Dalit rhythm creates a microcinema in which movement is extracted from matter, and representation is taken outside the domain of intentionality.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation. Contrarily the voice, Kishore\u2019s voice, is the embodiment of this denotation. Over the course of the film this denotation becomes a volume, concentrated or rarefied, which creates a mechanism (instead of an ideology) [&hellip;]<\/p>\n","protected":false},"author":45,"featured_media":3084,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[20],"tags":[99],"class_list":["post-3081","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film-essay","tag-dalit-cinema"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Nostalgia for the Future: Dwelling as Denotation<\/title>\n<meta name=\"description\" content=\"The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nostalgia for the Future: Dwelling as Denotation | Journal of Indian Cinema\" \/>\n<meta property=\"og:description\" content=\"The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/\" \/>\n<meta property=\"og:site_name\" content=\"Journal of Indian Cinema\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/groups\/FilmCriticsCircleofIndia\/\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/devdutt.trivedi\" \/>\n<meta property=\"article:published_time\" content=\"2020-05-04T16:21:59+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-03-19T16:07:11+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/04\/Nostalgia-for-the-Future.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"644\" \/>\n\t<meta property=\"og:image:height\" content=\"386\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Devdutt Trivedi\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Nostalgia for the Future: Dwelling as Denotation | Journal of Indian Cinema\" \/>\n<meta name=\"twitter:description\" content=\"The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation.\" \/>\n<meta name=\"twitter:image\" content=\"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/04\/Nostalgia-for-the-Future.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Devdutt Trivedi\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"3 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/\"},\"author\":{\"name\":\"Devdutt Trivedi\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#\\\/schema\\\/person\\\/4e9640251e7fffe96cc00a4cca475fb9\"},\"headline\":\"Nostalgia for the Future: Dwelling as Denotation\",\"datePublished\":\"2020-05-04T16:21:59+00:00\",\"dateModified\":\"2022-03-19T16:07:11+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/\"},\"wordCount\":549,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2020\\\/04\\\/Nostalgia-for-the-Future.jpg\",\"keywords\":[\"Dalit Cinema\"],\"articleSection\":[\"Film essay\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/\",\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/\",\"name\":\"Nostalgia for the Future: Dwelling as Denotation\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2020\\\/04\\\/Nostalgia-for-the-Future.jpg\",\"datePublished\":\"2020-05-04T16:21:59+00:00\",\"dateModified\":\"2022-03-19T16:07:11+00:00\",\"description\":\"The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/#primaryimage\",\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2020\\\/04\\\/Nostalgia-for-the-Future.jpg\",\"contentUrl\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2020\\\/04\\\/Nostalgia-for-the-Future.jpg\",\"width\":644,\"height\":386,\"caption\":\"Nostalgia for the Future: Dwelling as Denotation\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/film-essay\\\/nostalgia-for-the-future-dwelling-as-denotation\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Nostalgia for the Future: Dwelling as Denotation\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#website\",\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/\",\"name\":\"Journal of Indian Cinema\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#organization\",\"name\":\"Journal of Indian Cinema\",\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"http:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2023\\\/10\\\/Logo-FCCI-for-slider.jpg\",\"contentUrl\":\"http:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2023\\\/10\\\/Logo-FCCI-for-slider.jpg\",\"width\":900,\"height\":390,\"caption\":\"Journal of Indian Cinema\"},\"image\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/groups\\\/FilmCriticsCircleofIndia\\\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#\\\/schema\\\/person\\\/4e9640251e7fffe96cc00a4cca475fb9\",\"name\":\"Devdutt Trivedi\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/025552a9d30fd6230d9aa55d7d893b8267d395552fe622e1d8822a8e4c044219?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/025552a9d30fd6230d9aa55d7d893b8267d395552fe622e1d8822a8e4c044219?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/025552a9d30fd6230d9aa55d7d893b8267d395552fe622e1d8822a8e4c044219?s=96&d=mm&r=g\",\"caption\":\"Devdutt Trivedi\"},\"description\":\"Devdutt Trivedi lectures on classical film theory at \u00c9cole intuit.lab; and on art history, history of graphic design, and cinema studies, at other institutes. He reviews films for Scroll. And is a film programmer at Osianama. He has trained in art and film criticism approached through philosophy, at the School of the Art Institute of Chicago, where he did his Master of Arts. His thesis, 'Chhand, Cinema and the Theories of Gilles Deleuze', examines the films of Robert Bresson, Jean-Luc Godard and Mani Kaul, and is indicative of his interest in combining philosophical concepts with film praxis.\",\"sameAs\":[\"http:\\\/\\\/cinematicillusions.com\\\/author\\\/devdutt-trivedi\\\/\",\"https:\\\/\\\/www.facebook.com\\\/devdutt.trivedi\"],\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/author\\\/devdutt_trivedi\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Nostalgia for the Future: Dwelling as Denotation","description":"The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/","og_locale":"en_GB","og_type":"article","og_title":"Nostalgia for the Future: Dwelling as Denotation | Journal of Indian Cinema","og_description":"The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation.","og_url":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/","og_site_name":"Journal of Indian Cinema","article_publisher":"https:\/\/www.facebook.com\/groups\/FilmCriticsCircleofIndia\/","article_author":"https:\/\/www.facebook.com\/devdutt.trivedi","article_published_time":"2020-05-04T16:21:59+00:00","article_modified_time":"2022-03-19T16:07:11+00:00","og_image":[{"width":644,"height":386,"url":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/04\/Nostalgia-for-the-Future.jpg","type":"image\/jpeg"}],"author":"Devdutt Trivedi","twitter_card":"summary_large_image","twitter_title":"Nostalgia for the Future: Dwelling as Denotation | Journal of Indian Cinema","twitter_description":"The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation.","twitter_image":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/04\/Nostalgia-for-the-Future.jpg","twitter_misc":{"Written by":"Devdutt Trivedi","Estimated reading time":"3 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/#article","isPartOf":{"@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/"},"author":{"name":"Devdutt Trivedi","@id":"https:\/\/filmcriticscircle.com\/journal\/#\/schema\/person\/4e9640251e7fffe96cc00a4cca475fb9"},"headline":"Nostalgia for the Future: Dwelling as Denotation","datePublished":"2020-05-04T16:21:59+00:00","dateModified":"2022-03-19T16:07:11+00:00","mainEntityOfPage":{"@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/"},"wordCount":549,"commentCount":0,"publisher":{"@id":"https:\/\/filmcriticscircle.com\/journal\/#organization"},"image":{"@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/#primaryimage"},"thumbnailUrl":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/04\/Nostalgia-for-the-Future.jpg","keywords":["Dalit Cinema"],"articleSection":["Film essay"],"inLanguage":"en-GB","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/","url":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/","name":"Nostalgia for the Future: Dwelling as Denotation","isPartOf":{"@id":"https:\/\/filmcriticscircle.com\/journal\/#website"},"primaryImageOfPage":{"@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/#primaryimage"},"image":{"@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/#primaryimage"},"thumbnailUrl":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/04\/Nostalgia-for-the-Future.jpg","datePublished":"2020-05-04T16:21:59+00:00","dateModified":"2022-03-19T16:07:11+00:00","description":"The primary proposition of Avijit Mukul Kishore and Rohan Shivkumar\u2019s Nostalgia for the Future is dwelling (in the Heideggerean sense) as denotation.","breadcrumb":{"@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/#primaryimage","url":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/04\/Nostalgia-for-the-Future.jpg","contentUrl":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/04\/Nostalgia-for-the-Future.jpg","width":644,"height":386,"caption":"Nostalgia for the Future: Dwelling as Denotation"},{"@type":"BreadcrumbList","@id":"https:\/\/filmcriticscircle.com\/journal\/film-essay\/nostalgia-for-the-future-dwelling-as-denotation\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/filmcriticscircle.com\/journal\/"},{"@type":"ListItem","position":2,"name":"Nostalgia for the Future: Dwelling as Denotation"}]},{"@type":"WebSite","@id":"https:\/\/filmcriticscircle.com\/journal\/#website","url":"https:\/\/filmcriticscircle.com\/journal\/","name":"Journal of Indian Cinema","description":"","publisher":{"@id":"https:\/\/filmcriticscircle.com\/journal\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/filmcriticscircle.com\/journal\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/filmcriticscircle.com\/journal\/#organization","name":"Journal of Indian Cinema","url":"https:\/\/filmcriticscircle.com\/journal\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/filmcriticscircle.com\/journal\/#\/schema\/logo\/image\/","url":"http:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2023\/10\/Logo-FCCI-for-slider.jpg","contentUrl":"http:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2023\/10\/Logo-FCCI-for-slider.jpg","width":900,"height":390,"caption":"Journal of Indian Cinema"},"image":{"@id":"https:\/\/filmcriticscircle.com\/journal\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/groups\/FilmCriticsCircleofIndia\/"]},{"@type":"Person","@id":"https:\/\/filmcriticscircle.com\/journal\/#\/schema\/person\/4e9640251e7fffe96cc00a4cca475fb9","name":"Devdutt Trivedi","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/secure.gravatar.com\/avatar\/025552a9d30fd6230d9aa55d7d893b8267d395552fe622e1d8822a8e4c044219?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/025552a9d30fd6230d9aa55d7d893b8267d395552fe622e1d8822a8e4c044219?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/025552a9d30fd6230d9aa55d7d893b8267d395552fe622e1d8822a8e4c044219?s=96&d=mm&r=g","caption":"Devdutt Trivedi"},"description":"Devdutt Trivedi lectures on classical film theory at \u00c9cole intuit.lab; and on art history, history of graphic design, and cinema studies, at other institutes. He reviews films for Scroll. And is a film programmer at Osianama. He has trained in art and film criticism approached through philosophy, at the School of the Art Institute of Chicago, where he did his Master of Arts. His thesis, 'Chhand, Cinema and the Theories of Gilles Deleuze', examines the films of Robert Bresson, Jean-Luc Godard and Mani Kaul, and is indicative of his interest in combining philosophical concepts with film praxis.","sameAs":["http:\/\/cinematicillusions.com\/author\/devdutt-trivedi\/","https:\/\/www.facebook.com\/devdutt.trivedi"],"url":"https:\/\/filmcriticscircle.com\/journal\/author\/devdutt_trivedi\/"}]}},"_links":{"self":[{"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/posts\/3081","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/users\/45"}],"replies":[{"embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/comments?post=3081"}],"version-history":[{"count":2,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/posts\/3081\/revisions"}],"predecessor-version":[{"id":3083,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/posts\/3081\/revisions\/3083"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/media\/3084"}],"wp:attachment":[{"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/media?parent=3081"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/categories?post=3081"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/tags?post=3081"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}