Russian formalism

 Russian formalism was interested in structure of a sentence and in a literature. Russian formalism is a school of literary criticism formed in Russia was work on a literary criticism from 1910 to 1930. Some of its concepts are still in use today in literary criticism. They focus in aspects of verbal communication called literariness, it means to create a distant between two points rather than a straight line. The Russian formalists believed that literature, including poetry, should not be interpreted based on ideology, historical interests, or psychological principles. Literary art is the total effect of literary devices and “strategies” the writer uses to achieve her aims.

Scholars point out that Russian formalism is not the precise term for the school of criticism. They are interested in what they are call in structure, in other word, in the way a text is put together.  Many of its early adherents could not agree on what all of its principals and goals should be. They simply considered themselves “formalists.”

Formalists advocated an objective and what they considered a “scientific” method of studying literature and poetic language. Literary scholarship was thought to be a distinct field of study that was separate from the disciplines of psychology and sociology. Only those features that distinguish literature from all other kinds of thought and expression should be the object of critical study.

                 Spectatorship

As I understand a meaning of spectator ,a viewer of a film and also say a individual member of audience. To analysis a cinema a spectator play a major role and in their success also. According Judith Mayne, whose cinema and spectatorship is the key book on the subject, “spectatorship is not only the act of watching film but also the ways one take pleasure in the experience or not the means by which watching movies become passion”. From this it understand from the audience get satisfied from particular thing then that thing will be get popularity and get success to it. According to Michele Aaron say’s that what is important is the individual’s own role and activity in participating in the pleasure of the text, in determine the meaning of a film and even the meaning of cinema”. It means that a films story which co-related to a daily life of a viewer somewhere in their busy scheduled and also passionate about it. A spectator also reacts in the action and in climax of a film. They are not only a viewer but also taking a pleasure of watching and giving a meaning in our own words of a film.

For instance, 3 idiots, directed by Rajkumar Hirani, released in 2009 and on that time many suicide case of a young children tension towards their studies are seen in a society. Then this movie co-related to them which help them to understand how they held the banden the system of studies and also change the parents thinking toward to it. This film is a part of a society which seen in day to day life of it. This thing was a small part of society which shown in the movie and happen daily in the spectator life and also understand how to held to it.

Spectator involvement is important, their activity and manipulation and their distance. According to him he distinction between the spectator is not a viewer and viewer is understand through cultural studies in live, breathing and others. This viewer exists in sharp close associated into spectator as a subject.  

                      Kabuki

Kabuki is one of a art form which located in Japan. A classical and traditional form of dance. This art performed as a drama theater. In the form a costumes and makeup play an important role in it. It required high level makeup in this art form. For makeup rice powder is used to create the white base for it. Kumadari, as facial line to show as animals or others. When I hear and seen his form, then I understand the only male can be participate in a dance and drama theater because female were banned from performing in it. Mostly male are in the getup of female characters.

In a kabuki no facial expression are use, it express through their hands and gesture of a actor. It defines by the motion and their acts should be stable in their acting. Kabuki is more popular among the lower class and also a common the art by motion not by expression. The word kabuki is composed in japans character: “ka” represent as a song, “bu” represents as dance, “ki” represents as skill.

In it acting is two type styles, Aragoto is rough acting, is portrayed a superhuman. Wagoto is soft acting. When we talk about style then performance of a kabuki, it has three main type of a performance, firstly Jidaimono, it play was only on historical which act on Japanese history. Secondly Sewamono, it play was on commoners, it called domestic plays. Thirdly Shosagoto as play as dance pieces. All the kabuki performance was base on makeup and costumes of an actor.

The main aim of this theatre to play a moral conflicts and historical plays only music of a kabuki is created by banging two wooden clappers, which signals of start the drama and the end of every play. This form one of an entertainment for Japanese.   

      If cutting is prose, then montage is poetry.

This phrase says that, prose is also called as sequence, then in first part if we cut the sequence then montage is poetry, each phrase of this poem can be seen as an attraction, and the combination of phrases is montage. It means at one the things are co related to each other.

As a film, the montage is presents in every film, because the film wants to express many things at one time and in limited words. In music, montage means to put together with technique. Two common montage sequence devices of the period are a newspaper one and a railroad one. In the newspaper one, there are multiple shots of newspapers being printed and headlines zooming on to the screen telling whatever needs to be told.

Where in sound and songs montage is presents in everyone of it. Now a day without technique work song was not prepared or not present in front of audience. It records a short series of sense perceptions, forcing the mind to create their unified sense, and producing a precise psychological impact. After applied montage in song and it use only a portion of a recording song. In music section montage also called as sound collage, it origin in1673. For instance, now a days in every movies and their origin songs, the mixture of montage songs also been made with it.  

 

Andre Bazin's myth of total cinema

Myth’s means a traditional story or concern about the early historical people. And in cinema, in Indian cinema complete the 100 year of it. Cinema follows the myth of it and one person who critic to their method of making film and uses for different form say by Andre Bazin.

Andre Bazin a man who born in 18, April, 1918, on those days he renowned as a film critic and make film theorist.

Cinema and photograph is always realist. On that day he wrote about the future cinema. He says that in future emergence on the technology of cinema, not for the story and present mixture feeling of spectator. Bazin always against of selling the films, cinema was born for the technology and it was not a place of inventing technology and economy. Cinema is primarily state at which connect to a heart.

According to bazin cinema is an idealistic phenomenon. It means that cinema is a game of heart but it converts into fully mind player. It was drawn by technology only focus on visualization of it not on their realist. Its concept gets change, now they drawn from economic and development of technological.

Realism is the attempt or aim of objectivity- enabled by machine’s reproduction of reality. Bazin say, the real ancient of the cinema existing only remain in the imagination. He believes that the myth of total cinema realism was present in the cinema is a tool of fantasy and dreams than production of nature, a cinema should be look like production of nature. The technical development of cinema and development of cinema as art form, this thing confused by Bazin. This was written in earlier but this was also applicable now and same thing happen in it.

Natyashastra

Natyashastra is an Indian art form , it also a traditional form . Natya means drama and shastra means a sanskruti of an Indian, with combines it drama sanskruti. This performs during the happiness and sadness which was also Rasa's expression used in it. In it food taste expression used in drama when we play on the stage. The natyashastra carefully delineates the bhavas used to create each rasa. With the help of performs their expression play a important role in it. It is a classical music, makeup, costumes, dance.  state design music are the instrument of a natyashastra. It performed on a stag which build artificially only for performance. It was written during the period of 200 BCE.

The earlier started by Abhinavahbarati byabhinava gupta. Ti always written in Sanskrit. It is very large portion, as 6,000 sutras. And natyashastra divided into 36chapater. It is attributed to the bharata.

Natyashatra is based on the much older gandhara veda, it is represents integrating quality of consciousness. It expression of external music of nature. It consists of four elements, firstly pathya or text in Veda’s language say as Rigveda. Secondly gita or songs, it use instrumentalmusic, in veda language sat as sama veda. Abhinaya or acting a way of expression, it says as Yajur veda. Anukarana or redoing of the triple universe and life in its entirely.

Natyashastra is one of the most famous shastra of an Indian . This dance was express through facial feeling. In barata natyashastra is the first work that discusses from the rasa process.

Transference and synaesthesia

 

Transference, a word says that a object have a mirror image in it. Because we can judge them as they are within it. No wrong judgment occur due to transference. When a transference in a film, it was a one of a effect     which given to every scene or element. It is a single effect can be produced by a number of different elements. In a film many elements are present on the screen at once.

They may reinforce each other, heightening the effect, the elements may conflict among themselves and create a new effect; or an unexpected element may convey a needed effect. This last is the height of transference.

 Synaesthesia,is came  from Greek  syn  means with or joined together and aesthesis , means ‘the union of senses’. It has been widely established that

synaesthesia occurs when an individual receives a stimulus in one sensory modality and experiences a sensation in another.

 Synaestesia has been interpreted by many as different things. It has been consigned to abnormality, philosophy or metaphor for centuries, but on the other hand as a  physiological fact because for some individuals certain

stimuli cause “real” synaesthetic responses or synaesthetic

perception.When several elements combine at the same time, there is the possibility of synaesthesia, or multisensory experience. He insisted as willfully as he could that the shot was a locus of formal elements such as lighting, line, movement, and volume. The natural sense of the shot need not, should not, dominate our experience.

 

 

Rasa

Rasa is a Sanskrit word, it also say as ras or juice in hindi word. In rasa only experience by the sense of taste. Bharata was restricts himself in the rasa drama. In the Indian drama or concern called as bhava. Rasa was created by bhavas. And it is a mixture of fundamental to many forms of Indian art such as dance, music, cinema, musical theatre and others.

It is an ancient work as dramatic theory vibhava, anubhava, sanchaari bhaava is the part which for a rasa. Vibhava means karana or cause. Anubhaava means effect a follow of rise of emotion. This form leads an just a different tastes of rasa such as bitter, spicy, sour and other. It has six kinds of rasa- bitter, spicy, sour, acrid, sweet, and salty. This is a taste when this thing we taste then our experience change, sweet when we taste, one smile came in our face and when compare to a sour taste then our facial expression get changed automatically. The rasa express by the sense of taste which called as six-rasa-food. This expression also used in drama and poetry. Sangaram means love or attractiveness, Hasyam means laughter or comedy, Raudram means anger, Karunyam means mercy, Bibhatsam means obsence or disgust, Viram means bravery, Adbhutam means miraculous. This expression  is used in our day to day life and in a drama it is also used. The expression used because to understand the spectator what they want to say. This facial expression and eight primary rasa are same.

The theory of rasa is all Indian classical dance and theatre, such as kathak, bharatnatyam, odissi, Manipuri. Rasa in classical form is called in Sanskrit language as rasa-abhinaya.

Features of Rudolf Arnheim's Theory of Film

Rudolf Arnheim is a author and film theories. He born in German, in a jewish family in 1904. He wrote many books. He also been translate into 14 language. He greatly influenced by the psychology and art of history in America. He completed his studies in Gestalt psychology. Gestalt psychology of the Berlin School is a theory of mind and brain that proposes that the operational principle of the brain is holistic.

When we look in the history of film their was a change compared to earlier and now, revolution take place in the entire industry. Now a days changes in film making and have been those as grand by adding the computerize character in a film, say as animated film which shot in a green screen. Most members of the film industry have seen these change as logical and necessary for the continuation of film. No matter how many character at them first time out. He discuss in his essay about the technique work such as sound, color and three dimensionality pose a great threat to film as not only an industry, but as an art. He also says that film cannot progress without addition on it.

Dhvani

Dhvani when I hear this word then normally I understand that it is a another words of sound and also a things which go directly in a ear when I start reading on this word dhvani as a topic then many things get understand from it. Dhvani is an older term going back to Atharva Veda, where it was used in the sense of sound, tune, noise etc. PaaNini's grammar does not talk anything about eternality or non-eternality of dhvani because it is not related to the of language Philosophical problem.

Rasa Theory and Dhvani Theory are the most important

Poetic theories of ancient India. Dhvani Theory is basically a semantic theory. Anandavardhana was the chief exponent of the Dhvani Theory; all the same Abhinava Gupta had made significant contributions to it. This is not to say that it is imperative to study

linguistics, philology, morphology and such other subjects

to appreciate poetry. One must be fully aware of the

Potency of words and word-structure in order to apprehend a poetic structure. Also poetry evokes emotions; no linguistic structure devoid of feelings or emotions deserves the appellation of poetry. Poetry is constituted of emotive language. Dhvani relates itself to meanings and the suggestive power of words.

 
The basic principle of dhvani is innate in sphota vada; strictly speaking it is not admissible to take words separately by splitting a sentence. Thus, the term sphoTa stands for the initial sound of the drum while the term dhvani stands for the reverberation of the initial sound. This reverberation is called dhvani and it is responsible for the increase and decrease in length. Dhvani has three aspects, 'abhidha' which consists in the literal meaning of the expression, 'laksana' which consists in the external characteristic of the expression which are indicative of something deeper, and 'vyanjana' what is suggestivc. We arrive at the suggested sense either through 'abhidha' or 'laksana'.

 

Rhetoric keeping film into perspective

This term refers to any set of circumstances that involves at least one person using some sort of communication to modify the perspective of at least one other person. Writing instructors and many other professionals who study language use the phrase “rhetorical situation.”

The Greeks constructed elaborate theories of rhetoric even before the science of aesthetics or the idea of art had been developed. In its broadest sense rhetoric is the science of language and communication. The artwork or film becomes a true medium, capable of being adjusted and modified, across which a rhetor conveys his ideas with as much clarity and power as he is able. The defines rhetoric as “primarily an awareness of the language choices we make.” It gives a brief history of the origins of rhetoric in ancient Greece. And it briefly discusses the benefits of how understanding rhetoric can help people write more convincingly.

We can conceive of rhetoric as the examination of discursive situations in which one party wants to convey something to someone else for them. Purpose of influencing him or at the very least of enlightening him. In addition, because the medium of film is technological, the spectator is even more disposed to accept his role as recipient of effect. A rhetor is speaking with the authority by means of a mysterious apparatus which confers on him special power. In this rhetorical view, the process of knowledge is completed before the film is made. The film exists exclusively to channel the knowledge to a wider public, to disseminate it and to let its power work in the world.

 

 

 

Cinema is mere gadgetry without narrativity- Hugo Munsterberg

Hugo Münsterberg was born in Danzig, Germany (now Gdansk, Poland) to a merchant father and artist mother. The family had a great love of the arts, and Münsterberg was encouraged to explore music, literature, and art. Hugo Munsterberg wrote The Photoplay: A Psychological Study in 1916, he wrote without precedent, and perhaps for this reason his is not only the first but also the most direct major film theory.

Munsterberg claims that he looked at films only for about ten months prior to writing his book (he had been ashamed to be seen in a movie theater), his visual heritage in cinema was obviously restricted. His role as a self-appointed spokesman for Germany during the first World War made him a target of disdain among many and perhaps explains why his important legacy was dismissed and neglected for many years. As David Hothersall suggested, at the time of Münsterberg's death he was "hated by more Americans than any psychologist before or since." While many psychology history books devote little space to Münsterberg and his influence, his ideas continue to shape and contribute to modern psychology.

Munsterberg argues that technology provided the body of this new phenomenon and society has animated that body, forcing it to play many actual roles. Without technology there would be no moving pictures and without psychosociological pressures, these pictures would sit unprojected in attics and museums.

The history of film, then, shows an ineluctable propulsion from (stage one) the toying with visual gadgetry to (stage two) the serving of important societal functions such as education and information, and finally, through its natural affinity for narrative, to its true domain, (stage three) the mind of man. For him, cinema is indeed mere gadgetry without narrativity.

 

 

 

                       Constructivism

Eisenstein studied about Constructivism, this was first step for actor to act in an movie, it  is a set of assumptions about the nature of human learning that guide constructivist learning theories and teaching methods of education. Constructivism values developmentally appropriate facilitator-supported learning that is initiated and directed by the learner. The constructivist psychologies theorize about and investigate how human beings create systems for meaningfully understanding their worlds and experiences.

For instance , in every film the character was construct it and in step wise the character was build up in a movie.Nayak movie , in that anil kapoor , in first part he shown as a common journalist and they are success to portrayal that thing in a move. But in second part when he appointed as prime ministry for one day then character behavior and building his character is all change compared to first part of a movie. In sociology Social constructionism or social constructivism is a theory that considers how social phenomena develop in particular social contexts. Social construct is a concept or practice which may appear to be natural and obvious to those who accept it, but in reality is an invention or artifact of a particular culture or society. The constructivist psychologies theorize about and investigate how human beings create systems for meaningfully understanding their worlds and experiences.

In all movie the constructivism is present and all build their act .

 

 

 

 

 

Foregrounding

It is part of a poetry form which describe the character in a normal form, and it is a opposite of backgrounding. It is the practive of making stand out form the surrounding words. "Foregrounding" means "to bring to the front." The term foregrounding has its origin with the Czech theorist Jan Mukarovsky. It is “the ‘throwing into relief’ of the linguistic sign against the background of the norms of ordinary language. The immediate effect of foregrounding is to make strange to achieve defamiliarisation. When used poetically, terms and groups of words remind a greater richness of images and feelings than if they were to occur in a talkative expression.

There are two main types of foregrounding: parallelism (grammar) and  deviation.  Parallelism can be described as unexpected regularity,  while deviation can be seen as unexpected irregularity.  As the definition of foregrounding indicates, these are relative concepts. Something can only be unexpectedly regular or irregular within a particular context. The first two are very similar (parallelism) and the third one starts out as similar, but our expectations are thwarted when it turns out different in end (deviation).

MEDIA LAW: CINEMATOGRAPH ACT

        The act came into force all over India except in the State of Jammu and Kashmir. In Sikkim it came in to effect in 1983.

Under this Act "Adult" means a person who has completed his eighteenth year, "Cinematograph" includes any apparatus for the representation of moving pictures or series of pictures, "film" means a cinematograph film, "regional officer" means a regional officer appointed by the Central Government and "Tribunal" means the Appellate Tribunal.

For the purpose of sanctioning films for public exhibition, the Board of Film Certification formed by the Central Government shall consist of a Chairman and 12-25 other members. The Chairman shall receive salary and allowance and the other members shall receive such allowances or fees for attending the meetings of the Board.

Examination (4) and certification (5A) of films:

Any person desiring to exhibit any film shall make an application to the Board for a certificate and after examining the film the Board may:

(i) Sanction the film for unrestricted public exhibition and grant "U" certificate.

[Regarding any material in the film, if it is necessary to caution that any child below the age of twelve years may be allowed to see such a film should be considered by the parents or guardian of such child, the Board may sanction the film for unrestricted public exhibition and grant a "UA" certificate.]

(ii) Sanction the film for public exhibition restricted to adults and issue “A” certificate, or

(ii) (A) sanction the film for public exhibition restricted to members of any profession or any class of persons, having regard to the nature, content and theme of the film and issue “S” certificate; or

Note: A certificate granted by the Board under this Section shall be valid throughout India for a period of ten years.

(iii) Direct the applicant to carry out such excisions or modifications in the film as it thinks necessary before sanctioning the film for public exhibition under any of the foregoing clauses; or

(iv) Refuse to sanction the film for public exhibition.

 The Board shall take any decision only after giving an opportunity to the applicant for representing his views in the matter.

 Principles for guidance in certifying films :

  The film or any part of it should not be against the interests of [(Ins. by Act 49 of 1981] the security of the State, friendly relations with foreign States, public order, decency or morality, or involve defamation or contempt of court or incite any offence.

 Notes: Censorship in India has full justification in the field of the exhibition of cinema films in the interest of society. It is justified under the Constitution.

Finally, it is not elements of rape, leprosy, sexual immorality which should attract the censor's scissors but how the theme is handled by the producer.

MOVIE REVEW:

MOVIE REVIEW:

Down the rabbit hole you go to visit Disney’s latest adaptation of the classic tale, Alice in Wonderland. The film is drenched with 3D visuals and the signature Gothic style of master filmmaker Tim Burton. The basic premise along with the talented cast led by newcomer Mia Wasikowska sounds like a recipe for cinematic gold, but overall it comes across as a bit uneven.

The Players:

• Director: Tim Burton
• Writer: Linda Woolverton, Lewis Carroll (Books, Alice’s Adventures in Wonderland and Through the Looking Glass)
• Cast: Johnny Depp, Helena Bonham Carter, Mia Wasikowska, Anne Hathaway, Crispin Glover, Michael Sheen, Matt Lucas, Alan Rickman, Stephen Fry, Barbara Windsor, Paul Whitehouse, Timothy Spall
• Cinematography: Dariusz Wolski

The Plot:

The film is based on a combination of Lewis Caroll’s books Alice Adventures in Wonderland and the unofficial sequel, Through the Looking Glass. The story centers on a 19-year-old Alice, who makes a dramatic return to the fantasy land she visited as a child. She is the only hope the inhabitants have against the rising threat of the evil Red Queen (Carter). She must fulfill a prophecy that names her as the savior of the suppressed kingdom, while trying to find her way back home to her would-be fiance.

The Good:

• Helena Bonham Carter: The Red Queen was the most interesting character to watch in this film, and it wasn’t just because she’s the villain. Carter manages to show a lot vulnerability regardless of her tough exterior that makes the audience relate to her. Even though she does wrongful  things, you feel compassion because you know deep down she’s acting out of the hurt and rejection she’s felt most of her life.
• Use of 3D: Unlike most films that come out these days, the 3D element wasn’t the biggest selling point for Alice. It’s there, it’s present, but it’s not overwhelming. It serves a purpose and gives you that depth of field without being over the top.
• Music: The score is one of the most important parts of this film because it keeps you interested with the story when the narration starts to drag. It takes your mind into this mystical world and you feel like a kid again. It transports you to that special place.
• Humor: Like most Burton films there were a lot of humorous moments mixed in with the darker portions of the story. The Red and White Queen both have their time to shine, and there’s an interesting use of dance that Alice and the Mad Hatter exhibit at key moments in the film that was hilarious. There’s only one word that can be used to describe it, “Futter-wacking.” Believe me, when you watch the movie you’ll get what it means.

The Bad:

• The Mad Hatter: Johnny Depp did a great job in this film, but the character of the Mad Hatter was the uneven element I referred to earlier. He was a bipolar British man who turned Scottish when he got upset. The Mad Hatter is essentially crazy, but in an attempt to alter him for a new generation they risk confusing the hell out of fans of the original.

Overall:

Alice in Wonderland is a fun ride that you wouldn’t mind getting on once, but you’d hold off until the DVD to get on again. The performances are great, the music is fantastic, the visuals are polished, but the story is essentially the same. It’s the same Alice she’s just in a new outfit. But even though it’s not the greatest movie it’s still worth a viewing and the youngsters will definitely enjoy it.