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.

Women and Media Ethics

Media is the means or medium through which information is shared by people at large. The objective of Media ethics is to protect and promote the interest of readers, listeners, and viewers and people in general.  It spells out the news for news writers and editors to ensure objectivity and accuracy in presentation of facts or information.  Objectivity should be the watch word of a medium person. There should never be any room for distorted information amounting to misrepresentation of truths. Media fails to discharge its bounden obligation, if accuracy is not maintained.  Facts must be presented without exaggeration or distortion so that they remain immune to possible public resentment or adverse legal proceedings.

If stating the facts are prejudicial to the interest of the individual and the society, it is better that such truths be not made public.

Yellow journalism is used pejoratively to refer to journalistic practices that focus on scandals and scams by publishing sensational news, especially involving key celebrities and women.  Tabloid journalism essentially offers an independent perspective. Thereby it stands distinguished from other competing media agencies.  They feature local developments and entertaining contents.  Bias of any kind is contrary

to the cannons of journalism. Integrity, Independence and accountability constitute the core principles of journalistic ethics.   Media ought to respect the privacy of individuals such obligation sterns from the right to privacy on part of the individual.  Names of photographs of visitors of rape, abduction and sexual assault leading to their identification are not to be published.

Media should exercise caution by way of catering information so that it doesn’t become unfair in relation to a person, group or community. Media should have due respect for the indigenous tradition, culture and sentiments of the people.  It is unhealthy to hurt the sentiment of a group or community.  Commercialism is permissible to the extent it doesn’t violate the basic ethical standards.

Women are now seriously examining how the developments in the media since globalization has engendered or hindered their progress and struggle for equality. As a powerful socialising agent, media has become an important tool as well as site of struggle for women seeking to eliminate sexism and violence against women.

The role of media remains crucial in communicating and popularising women’s issues, concerns, and actions from women’s perspective. Media otherwise has the power to shut out and further make invisible the women’s agenda.

The globalized media, caters information designed to build up a consumer-oriented culture. The media’s target readership is urban, westernised, rich and middle class consumers. There is at times complete negligence of gender related issues. Women in the globalized media are seen mostly as consumers as well as commodities. Print media has undergone profound changes in the last two decades. Both vernacular and English print media has had a compound impact on the readers. Women and women related issues and news are presented more but in a context and perspective which may not be empowering.  Visual media has engulfed the lives of people. TV too has done its bit in promulgating women issues. A study conducted by 'Sansristi' a center for gender development, aims to read critically the representation of portrayal of Women in the print  and visual media.  The study covered both national and local dailies, Magazines and also the T.V. programmes.  A local news paper ‘Dharitri’ rarely provides news on rural and  marginalized women in the state, who are hit the most by the

onslaught of globalization. The news paper usually  carries provocative and advertisement exposing women’s bodies and depicting female sexuality.  This certainly defeats media ethics.  A local magazine ‘Kadambini’ mainly depict women as only capable of doing household work and wearing loads of jewellery.  The magazine focuses on the upper class life style, consumerism and the luxuries, which have become an indispensable part of the upper crust of the society.  Issues relating to the marginalized women and the day to day reality of women are  completely sidelined.  Media covers the marginalized women  but marginally. The most disturbing fact is that media is more inclined  towards the elites, not to these women, towards glamour not towards struggle and empowerment.

Dr. Jayanti Jagadev,  N-3/94, IRC Village, Bhubaneswar-751015.

When silence speaks loudest: the power of the blank front page

Rather than quietly submit to a libel ruling restricting press freedom, the Ecuadorian paper El Universo published a near blank front page last week. CNN reportedthat the white space filled all but the bottom of the paper, where the paper published an Ayn Rand quote that said, in part, "When you see corruption being rewarded and honesty becoming a self-sacrifice, you may know that your society is doomed."

The blank page followed a judge's decision to sentence editorial page editor Emilio Palacio to three years in jail for writing an editorial criticizing the president Rafael Correa. According to The Miami Herald, the offending article called Correa a dictator.

It was not the first time Correa reacted strongly against the press. He has called Ecuador's media "political actors who are trying to oppose the revolutionary government." His previous run-ins with the press includes a lawsuit against a director of daily La Hora for an article describing his actions as president as "shameful". He is also pursuing legal charges against two investigative journalists who revealed that the president's brother had gotten large contracts with the government.

In the face of these tight press restrictions, a blank page can speak loudest. Newspapers that impose censorship in such an obvious manner both attract reader attention and cleverly navigate a system in which they are penalized for speaking out. Censorship is a tricky issue to draw attention to because readers cannot physically see it. Publishing a blank page pushes the issue to the forefront of news. Journalists are denied press freedoms, and then in turn deny the public the news it expects.

Newspapers all over the world have used the 'black page' tactic. Earlier in March, six Estonian national dailies published a blank front page or a black page inside their newspaper to protest a proposed law that would punish journalists for protecting their sources. WAN-IFRA joined the newspapers in condemning the law.

Similarly, Hungary's newspaper organized a blank page protest last December due to a proposed law sanctioning "unbalanced coverage", according to BBC. The bill stipulated that Hungarian media outlets would have to fill at least half their programming with European productions and sanctioned breaches of rules on coverage of sex, violence, or alcohol. The law was passed despite the blank page protest and an online explanation of the proposal's dangers by Judit Bayer, a Hungarian journalist.

Italian newspapers took the concept even further last year, imposing a nearly-complete 24-hour news blackout protesting a proposed gagging law. The black-out was a radical approach to press freedom threats. Journalists feared the law would protect politicians, especially from scandal, by forbidding journalists to print transcripts of police-intercepted phone conversations. However, not everyone in media agreed that it would be the most effective strategy. Il Giornale, owned by Burlusconi's brother Paolo, continued to print through the blackout. The editor explained that while he disapproved of the gagging law, he believed that the media's pitfall would be to "put the gags on ourselves".

Whether blank pages are a "gag" or an asset is unclear. Some, such as the effort in Hungary, have failed to mobilize readers and change government policies. However, blank pages are an important means of drawing attention to an issue. When La Salle University dealt with an embarrassing story about a marketing professor inviting exotic dancers to an off campus symposium, the dean of students told the student newspaper that it was not allowed to run the story as a headliner. He instructed the student paper to run the story below the fold, a sanction students technically complied with by leaving the top half of the paper blank. In this context, the move is especially effective, as readers are not being deprived of a story. Instead, the half blank page brought deliberate attention to the article.

To commemorate World Press Freedom Day this year, WAN-IFRA sponsored a "White Space" initiative on May 3rd, in which some editors agreed to publish blank space on the front page of the paper to highlight the importance of a free press. However, the planned date of the initiative fell right after one of the biggest news stories of the year, Osama Bin Laden's death, and did not draw the attention it hoped.

Blank page protests are best used sparsely. Although they deprive the public of the news they depend on, when done right, they also draw attention to invisible issues. A constrained press cannot deliver unflattering stories to better inform voters, which is a crucial component of a functioning democracy. Ecuadorian papers should not bet that a 'blank page' tactic will overturn the unfavorable verdict, but in this case, it can make a statement louder than words.

Changes in the Ethic of Television

In television, everything has changed: the screen in the home is bigger and flatter, the styles of programming, the choice of delivery systems, and the business of television itself is different from what it was a half-century ago. 

While I work hard to keep up with technology and embrace the ever-quickening pace of change, I am concerned about what has happened to the television business we loved and what's yet to come. I'm concerned as a television producer, writer and director. Moreover, I'm concerned as a parent...and an American citizen. Trust me—my concern is real.

I have concern that the television business as we know it—no matter how profitable for some—is at risk for all. At risk because we have abandoned precepts that balanced entertainment and responsibility; because we have confused fiction with truth; because we have redefined the word "reality."

I'm more than concerned; I’m distressed and disheartened. And most of all, I'm disappointed in what's become of television and radio, press and journalism. And I can't believe what it's done and is doing to the nation.

Is there any reason we should be surprised by the shouting matches we see at a televised "town hall meeting" after a generation has grown up on beat-downs that are passed off as "television talk shows"? Where's the difference? The public now sees such yelling as completely acceptable behavior—commonplace. 

Is there any reason we should be surprised by the threats of violence—and actual violent attacks—against members of Congress and other political leaders after the verbal fights that are encouraged on weekly "reality" shows in the name of entertainment and  for the sake of ratings?

Are we too naive to think this sort of content doesn't influence behavior? I’m convinced that it does. And deep down we have to know it.

Is there any reason we should be surprised that the country is so polarized when, on TV competition series, you either win or you lose? But if you lose on one of those shows, you're not through. You get the chance to badmouth the winner, guaranteeing that your video will go viral and you may get picked for another show.

For months, through the presidential primaries and caucuses, we’ve been in a downward spiral of "political-speak" where opinions on health care, contraception, and the economy pass for fact.  Sadly, it won’t end with the political conventions.  Expect the volume to rise as the arguments become louder, angrier and too often based on misstatements, half-truths or lies.

It was Mark Twain who wrote, "A lie can travel halfway around the world in the time that the truth is putting its boots on." Through hate radio’s microphones and television’s skewed newscasts, this perspective is more true today than ever.

We had the means to educate, entertain and inform an American citizenry; to move the country forward. For years the networks and local stations did that. Washington safeguarded the process through strict license renewal procedures aimed at assuring that stations were held accountable to the communities they served. 

Coming up in this business as a rock DJ at WHUC, in Hudson, New York, I knew the "rules." We broke for news on the hour and the half-hour.. The result, across the country: if you listened to radio, even "top 40" radio, you heard the news.

In local television, we had to canvass viewers with community ascertainment surveys to base our public affairs record and create programming that would address the needs and concerns of a diverse city. That was at WBZ-TV in Boston and every television station across the country. The result: television shows that mattered locally.

The issues were the central focus, not boisterous personalities who considered themselves above the news...or worse yet, as important as the news itself.

But that has all changed.  If the public owns the airwaves, as the Communications Act of 1934 maintains, show me how the public is better served today, without expectation of news or programming about community issues on most stations.

Of course, we can't reset the clock. But with everything that's changed in the last 25 years, is the principle of free speech better honored today given all the hate speech that's carried daily on America's radio and TV? Are the media more responsive to the cities and towns they reach when the concept of local ownership is a thing of the past? Is prime time television really better than it used to be?

Traditionally, there's something unique, brave and wonderful about our voice. Not just the sound and the volume, but what we have to say to the world. Yet those of us in the news and entertainment business—the story-tellers of the American experience—are not the gate-keepers of the media. Congress, the FCC, political parties, lobbyists, sponsors and special interest groups are. And, in turn, through legislation, too many of the monolithic broadcast and cable giants have become virtually uncontrolled, and maybe, by now, uncontrollable. And along the way the press is less like the heralded fifth estate of old and more like a slum landlord, posting eviction notices on the time-honored basics of unbiased reporting and intelligent debate.

We—all of us—let this happen through both action and inaction, through trusting others and through promises that were never kept.

No matter where you stand on political lightning rods like the old Fairness Doctrine, media consolidation, and Internet neutrality, can we agree that, as producers, writers, directors, reporters, actors and artists (and as viewers and listeners) we have all lost something precious? Can we agree that we miss it?

I believe we create less worthwhile content in a 500-channel television universe than we did on four channels. And, though we are no less creative, we have fewer creative opportunities. As a result, American culture is really on the line. We are exporting the worst imaginable images to the rest of the world through television, and we've compromised the meaning of "responsible broadcasting" at home. We've shown how easy it is to trade civility, honesty and respect for 15-minutes-of-fame.

Back to "reality TV." We all have guilty pleasures and watch a few shows. But even a little Internet research, or a glance at TV Guide reveals that we have been shown more than 700 reality shows in recent years. Multiplied by 8, 13, 26, or 100 episodes, and you'll get the true picture of television these days.

And what's real about most "reality TV"? Very, very little. The shows are manipulated, assisted, time-shifted, pre-arranged and re-arranged, and still they're called "unscripted." We're told there's no acting. Nothing could be further from the truth. The impact is profound and probably permanent. By now, too many viewers, let alone network executives, have grown up on this unreal "reality."

Is there an alternative?  No.  We are left with a marketplace where bookstores are quickly disappearing and publishing is in a tailspin; an America where public education, public television and public radio broadcasts are de-valued and de-funded; and where the network financial bottom line can't seem to buck the trend.

Last year was the anniversary of a seminal speech about television. Vital Speeches of the Day considers it one of the 25 speeches that changed the world. Number 22 in fact. It was delivered May 9, 1961 before the National Association of Broadcasters. The speaker—then-FCC Chairman Newton Minow. Though he has since clarified his comments, they bear repeating today in the original context as reported. Chairman Minow stated:

When television is good, nothing—not the theater, not the magazines or newspapers—nothing is better. But when television is bad, nothing is worse.  I invite you to sit down in front of your television set when your station goes on the air and stay there without a book, magazine, newspaper, profit-and-loss sheet or rating book to distract you—and keep your eyes glued to that set until the station signs off. I can assure you that you will observe a vast wasteland.

But that "vast wasteland" of 1961 included Bonanza, Walt Disney's Wonderful World of Color, The DuPont Show of the Week, Ed Sullivan Show, Jack Benny, Alcoa Premiere, Alfred Hitchcock Presents, Dick Powell, The Dick Van Dyke Show, Red Skelton, The Steve Allen Show, Naked City, Perry Como, David Brinkley's Journal, Armstrong Circle Theatre, The Untouchables, Dr. Kildare, Ben Casey, CBS Reports, 77 Sunset Strip, The Bell Telephone Hour, Rawhide, Route 66, and Twilight Zone. That was the schedule that Newton Minow criticized.

It looks pretty good from 50 years out!

For the most part, those remarkable shows, and many classics that followed, fiction and non-fiction alike, have given way to a schedule that we should be ashamed of. It has transformed our industry, our businesses, our culture and our lives. And while there is good work done by good people, too much of TV today depicts the worst in us. And the truth of the matter is—it’s not true.

Is it possible to bring the noise level down on today's TV programming so we can hear the heartbeat of the American spirit? Truth be told, there are dynamic portrayals of the American spirit in some observational documentary series. And a handful of television or cable networks continue to provide time on their schedules for programming that is truly excellent.

But generally speaking, many programmers set the bar they are trying to reach so low, we trip over it when we, as creators of content, go in to pitch anything meaningful. The American spirit is hardly visible through a cloud that obscures better content. That cloud is reality TV.