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).