Thursday, March 21, 2013

Psycho


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Review on this powerful, little Mad & Tricky moive- Psycho (1960).

Director: Alfred Hitchcock.
Thriller Movie
Psycho- a tricky movie, Psycho was the very first movie counted in Scary  and horror movies till the-movie-exhausted-was-introduced.
The Movie is almost based on voice over which made it looked very crispy in its way. The movie was low budget movie brilliantly-edited with the good camera angles and light effects used. The movie which was full of thrill and suspense made everyone's curiosity too eager. Now about-the-characters,-so-i-would-like-to-give-a-brief-introduction:
Marion,-she-played-role-of-victim-Sam,-played-role-of-Marion's-boyfriend
Arbogast-was-the-character-who-was-investigator-in-movie
Norman, a very interesting character... played multiple personality role.. 1st was owner of Bates Motel and ahaan..! not now will reveal you the 2nd character later.
There were three more interesting characters one is Marion's sister, next two characters are officer-and-his-wife.
One evening, Marion was driving car and she was really disturbed, she was having $40,000 along with her it was raining heavily marion saw a hotel- Bates Motel so thought to stay a night in hotel and leave early morning for Phoenix. She went in and got room for her she asked norman to bring some food for her as she was hungry and they both had a quite good conversation with each other but wait there was some emotional talks also going norman told about her mom who was widow and after her husband's death she went mad and she is the only best friend of him. There after she left the place & went in room.. oh no this was scary.. someone entered-in-bathroom-&-killed-Marion.
(Now here is the entry of Arbogast, sam and marion's sister) Sam & marion's sister were really worried about marion missing so they appointed arbogast for finding her.. Arbogast finally got the clue that marion was there on that night but first norman refused to say that she stayed there and then when arbogast saw her signature in register then norman started giving a little information but he was stammering in between so now arbogast became sure that something is wrong there and he informed sam about it. Oh no one more murder wait this is arbogast only...
Marion's sister and sam went to officer privately at his place, in next meeting officer told that norman is innocent and he know him wel and still if he wants to take action so he can come in office and log a complaint against norman so it was of no use.
Sam & marion's sister went to bates and booked a room. They got some evidence there and
for more she went to farmvile of norman to talk with his mother. Aww thats great she found Mrs.Bates there Uh..! wait it was dead body of her which turned to bones from past many years and norman kept it secret as he loved his mom so he wanted to keep her alive but that makes no sense...!
Finally got to know, it was norman who was murderer oops sorry he was a Psycho murderer. He use to think that his mom kills but it was he who use to come in the character of his mom and kill.-Yes –this-was-the-interesting-2nd-character-of-Norman.
you can say simply it was a case of Multiple personalities.

Rudolf Arnheim


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Rudolf Arnheim (1904-2007) eventually became more famous as a scholar in the fields of art and art history, largely abandoning his theoretical work on cinema. He was a revolutionary figure in film studies, best known for his landmark book on silent cinema Film as Art. However, his later aesthetic theories on form, perception and emotion should play an important role in contemporary film and media studies.
The contributors bring Arnheim’s later work on the visual arts to bear on film and media, while also reassessing the implications of his film theory to help refine our grasp of Film as Art and related texts. The contributors discuss broad range topics including Arnheim’s film writings in relation to modernism, his antipathy to sound as well as color in film, the formation of his early ideas on film against the social and political backdrop of the day, the wider uses of his methodology, and the implications of his work for digital media.Abizarre series of fictitious technical innovations that he had dreamed up. These included: A special camera that filmed scenes in 5 languages at the same time – the camera was equipped with optical filters to select those elements that were compatible with different countries’ tastes; and the film was developed using developing solutions flavoured with tomato sauce for the Italian version, ‘bouillabaisse’ for the French, Bavarian beer for the German, and tea for the English; A technique of recording sound on a thread, for editing by a dress-maker or tailor; The Erotoscope, a telescope that radiated invisible ultraviolet rays, through which aspecial guardian was able to discover any violations of public morality in the cinema during the projection; the guilty had to pay a fine, according to the gravity of the offense;  The discovery of a film bacterium that infected the audience and led to ‘screen-phobia’ – the abhorrence of film screenings – which after further two weeks of incubation becomes ‘screen-mania’, resulting in a considerable weakening of the pa-tent’s cash resources; in the third stage of this disease, the subject experiences an irresistible desire to become an actor, director or production manager; Arnheim also reported the invention of the close-up, or rather, of the conceptual notion of ‘close-up’. The Italian for close-up is ‘primo piano’, which means. Not only ‘foreground’ but also, and literally, ‘first floor’: the ‘primo piano’ was invented by an elderly woman called Emilia Close upper in her old house. Beyond the humorous dimension of this enjoyable article, its sarcastic – even sardonic – tone shows ascertain resistance to innovations and implies a critique of “talkies” (that is, to the introduction of speech), censorship, star-mania, and formalistic style. At the same time, the article extols the “wonders” of technique and implies a challenge to it: technology must be used to achieve a more artistic result, rather than mechanically reproduce reality.

Russian formalism


Russian formalism
A school of literary theory and analysis that emerged in Russia around 1915, devoting itself to the study of literariness, i.e. the sum of ‘devices’ that distinguish literary language from ordinary language. In reaction against the vagueness of previous literary theories, it attempted a scientific description of literature especially poetry as a special use of language with observable features. This meant deliberately disregarding the contents of literary works, and thus inviting strong disapproval from Marxist critics, for whom formalism was a term of reproach. With the consolidation of Stalin’s dictatorship around 1929, Formalism was silenced as a heresy in the Soviet Union, and its centre of research migrated to Prague in the 1930s. Along with ‘literariness’, the most important concept of the school was that of defamiliarization: instead of seeing literature as a ‘reflection’ of the world, Victor Shklovsky and his Formalist followers saw it as a linguistic dislocation. or a ‘making strange’. In the period of Czech Formalism. Jan Mukarovsky further refined this notion in terms of foregrounding. In their studies of narrative, the Formalists also clarified the distinction between plot (sjazet) and story (fabula). Apart from Shklovsky and his associate Boris Eikhenbaum, the most prominent of the Russian Formalists was Roman Jakobson, who was active both in Moscow and in Prague before introducing Formalist theories to the United States. A somewhat distinct Russian group is the ‘Bakhtin school’ comprising Mikhail Bakhtin, Pavlev Medvedev, and Valentin Voloshinov; these theorists combined elements of Formalism and Marxism in their accounts of verbal multi-accentuality and of the dialogic text. Rediscovered in the West in the 1960s, the work of the Russian Formalists has had an important influence on structuralist theories of literature, and on some of the more recent varieties of Marxist literary criticism.

Gestalt-Theory


Gestalt-Theory
 Gestalt theory of the Berlin school is the theory of mind and brain that proposes that the operational principle of the brain is holistic, parallel, and analog, with self-organizing tendencies; or, that the whole is greater than the sum of its parts. The Gestalt effect refers to the form-forming capability of our senses, particularly with respect to the visual recognition of figures and whole forms instead of just a collection of simple lines and curves. Although Max Wertheimer is credited as the founder of the movement, the concept of Gestalt was first introduced in contemporary philosophy and psychology by Christian von Ehrenfels (a member of the School of Brentano. The idea of Gestalt has its roots in theories by Johann Wolfgang von Goethe, Immanuel Kant and Ernst Mach. Gaining prominence just after the first world war, Gestalt psychology had its greatest successes in the field of perception. The Gestaltists hold that the mind is active in the experience of reality to such an extent that it gives to reality not only its meaning but its very physical characteristics as well. Basing their beliefs on numerous experiments, the most famous of which involve shifting figure/ground relationships, they have argued that the color, shape, size, density, and brightness of objects in the world are products of the operation of the creative mind on an essentially dumb or neutral nature. 

Andre Bazin -The Myth of Total Cinema


Andre Bazin -The Myth of Total Cinema
This theory works to point out how film originally came to be, and the visions of the creators of the medium. In 1946 the co-founder of cahiers du cinema, and well respected film critic Andre Bazin wrote an article entitled The Myth of Total Cinema in which he outlined a theory about the evolution and future of the cinema. Bazin works to prove that some inventors were in the business of making filmic equipment solely for the purpose of making money, while others, the few “savants” as he calls them, had a clear vision, a determination to push the envelope and to make films that were hyper real. His theory also works to explain that because newer technology is always evolving, the amount of realism that can be achieved in the cinema is also infinite and therefore according to Bazin, the cinema has not yet been invented. According to Bazin what is considered to be the complete illusion of life, is a long way away. What he means by this is that although technology is in a constant state of change, there will never be any way to accurately completely re-create that which is life. According to him cinema has not yet been invented. This according to Bazin is the problem, as realistic as something in film may seem, it is not actually real because of constraints due to technology. Bazin also pointed out in his article that the blame for the lack of original movement of the cinema on the capitalists, who were more concerned with profit than they were with the progression of cinema as an art form. According to Bazin reality through cinema will likely never be reached. Without being a true voyeur, which is in a sense what film is all about it is nearly impossible to reach what Bazin talks about in his article. As it was with the beginning in which the innovation of longer movements, different angles, sound in film, and colour in film, and the handheld camera that drove cinema farther, it continues to grow with the innovation of digital media and other technological advances. While some may argue that the digital revolution is a bad thing, there is no stopping progression in cinema. Like Bazin said, “Cinema has not yet been invented”, and it likely never will be. He was even worried that film artiests, moving from to form to form, might pass up or give up a pure od cinematic expressions were ever find it. 

Synaesthesia


Synaesthesia
Synaesthesia is a neurological disorder in which the experience of one sense motivates an involuntary association with another sense. Those who experience synaesthesia, known as synesthetes, are able to either perceive letters or numbers as inherently colour, hear movement, or – in probably the best-known cases of the disorder – see music in the form of colours and/or associative shapes. There are many occurrences of synaesthesia in books, television and film. Synaesthesia is a neurologically based phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. While cinema is predominantly referred to and conceived of as a visual medium, even since the silent era it has been, in fact, almost always audiovisual. But in watching films, the prioritization of our senses automatically privileges the images over the sound. The sound, in fact, seems to serve the image, and hardly the other way around: we see actors’ lips move, so we hear them speak in synchronization, and film music typically operates invisibly, seemingly existing only to serve in a way that accentuates the images and elicit corresponding emotion. In the most typical experiences of mainstream film, this interpretation is, for the most part, true. Even those of us who have seen a great many films struggle if we try to focus on the sound alone the separation of sound and Foley effects, the intonations of dialogue, the function of music in providing motif, emotion, and theme while the image itself is readily available to and thus, more easily interpretable for our senses. But there are some exceptions to this, and some cases in which film sound and, for the purposes of this post, specifically film music resides equally at the forefront of our senses alongside the image if not surpassing it. This operates most often, it seems, in cases where previously existing music is used, be it classical or pop, rather than the original score. In such cases, the images are often manifested from the music itself rather than using the music for the purpose of the image. Music in such cases acts for the filmmaker as the stimulation of an additional sense; it inspires the nature of the corresponding image. In several scenes from the Disney/Pixar film Ratatouille, Remy expresses different flavours with music and visual symbols across the screen. In The War of the Worlds, Martians may have the ability to smell colours. 

Defamiliarization


Defamiliarization
 In this artistic technique, a writer, poet, or painter takes common, everyday, or familiar objects and forces the audience to see them in an unfamiliar way or from a strange perspective.The literary theoretical term ‘defamiliarization’ is an English translation for Viktor Shklovsky’s Russian term ostranenie. Shklovsky coined the phrase in 1917 in his essay ‘Art as Technique’. Defamiliarization causes the audience to confront the object on a different level, elevating and transforming it from something ordinary or practical into work that is considered art. Shklovsky points out that Tolstoy’s Kholstomer is an example of defamiliarization because the narrator is a horse, making the work seem strange and “unfamiliar.” So, as I was thinking further on some other applications of defamiliarization in our culture. One example that came to my mind was the movie 300. This film is very intense and a great battle movie, but what made it so interesting to me was learning about the actual filming of the movie itself. The entirety of the film was done in front of a green screen. Thus, almost the whole movie is strictly special effects.
One of the main things that the visual production of this film does to the audience is that it draws their attention to the entire setting of the battle scenes. The characters almost protrude from the screen. The surrounding environment coincides with the mood of the battle. For example, when the Spartan soldiers fight the Immortals, the whole scene is dark, gray, and overcast caused the audience to take into account the entirety of the scene, not simply the fight. It defamiliarizes them to typical battle scenes from other films. Animal Farm is another example of defamiliarization because all of the characters are animals. Defamiliarization not only forces the audience to see Animal Farm as art, but allows the author and audience to distance them from the seriousness of the message so that the piece can be enjoyed as art and does not become just another political rant. This is true of all arts but perhaps particularly so of film since it is not made up of images drawn purely from the filmmaker’s imagination as it is in writing or painting but of images drawn from the world, and captured by a camera.

Montage



The term has been used in various contexts. It was introduced to cinema primarily by Eisenstein, and early Russian directors used it as a synonym for creative editing. Montage is a technique in film editing in which a series of short shots are edited into a sequence to reduce space, time, and information. While several Soviet filmmakers, such as Lev Kuleshov, Dziga Vertov, and Vsevolod Pudovkin put forth explanations of what constitutes the montage effect, Eisenstein’s view that “montage is an idea that arises from the collision of independent thoughts” wherein “each sequential element is perceived not next to the other, but on top of the other” has become most widely accepted. Eisenstein describes five methods ofmontage.
Over tonal/Associational – the over tonal montage is the cumulation of metric, rhythmic, and tonal montage to synthesize its effect on the audience for an even more abstract and complicatedeffect.
Intellectual – uses shots which, combined, elicit an intellectual meaning
Metric Montage- Described as absolute lengths of the pieces. Tension is obtained by the effect of mechanical acceleration by shortening the pieces while preserving the original proportions of the formula. This technique produces a quantitative effect that can be reduced.
Rhythmic Montage- This technique incorporates not only the metric composition but equally within the content of the frame is also considered. In this description Eisenstein states, “Formal tension by acceleration is obtained by shortening the pieces… but also by violating plan.”
Tonal Montage- This montage represents a stage beyond rhythmic montage. He continues, “It is not only movement within the frame, but movement perceived in a wider sense. This montage is based on the emotional sound of the piece.”

Sergei Eisenstein


Sergei Eisenstein
His conception of the basic material of the medium grew from the belief that the single shot was the film's basic building block. This then developed or led to a much more complex conception, that of the "attraction." This latter concept is much less mechanistic than the shot, for it takes into account the activity of the viewers' mind, not simply the action of the filmmaker's will. The tension between the simple, predictable, mechanistic process of filmmaking and the complex developmental experience of film viewing emerged explicitly in Eisenstein's double view, first of film form and then of the purpose of film. Eisenstein studied mechanical engineering in the years before he entered the artistic colony of Moscow, and when he joined that colony he entered a period known as "Constructivism."
From the beginning Eisenstein considered the artistic activity to be one of "making" or, more precisely, of "building." For this reason the question of the "raw material" which the artist has at his disposal was constantly paramount in his mind. 

Kabuki


Kabuki
Kabuki theaters in Japan today are built, without exception, in Western style, insofar as their building and staging facilities and accoutrements are concerned. They have retained, however, some of the significant features of the traditional kabuki theater, such as the hanamichi and the mawari-butai.
 Hanamichi, or flower-walk ramp
This is a passageway connecting the left side of the stage with the back of the hall
through the spectators' seats at about head level of the audience. It provides a way for the
actors' entrances and exits, in addition to the passages available at both wings of the
stage. The hanamichi, however, serves not only as a passageway, but constitutes a part of
the stage. While making their entrance or exit via this ramp, the actors very often give
one of the most important scenes of their performance.
 Mawari-butai, or revolving stage
First invented in Japan nearly 300 years ago, this device was later introduced abroad. It
makes rapid changes of scene possible without interrupting the sequence of the plot. Kabuki in Present-Day Japan. A review of theatrical history of the world shows that an ancient dramatic art, once its form has been stabilized in a near perfect state, has been capable of surviving the test of time even when its literary elements were no longer contemporary. The truth of this statement is borne out by the present state of kabuki. It does not depict contemporary life in Japan, a country whose whole civilization has undergone a great degree of Westernization. Yet it enjoys wide popularity. A principal reason for this lies in  the fact that it is now a crystallized form. Kabuki has thus retained, and seems destined to retain, a place in the nation's pride and affection. Kabuki is not everyones cup of tea so many of the people finds its boring.

Haiku


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The haiku in a dictionary of it are arranged into seasonal categories because, for me, a sense of the season is vital to enjoying and understanding haiku. Absence in our system of travelling buzz words, it is very often difficult, or impossible, to know if an individual haiku is set in autumn or winter. By putting many haiku together by season, it was my intention to let the season mood of one poem resonate with the next one, causing them to have the same vibration indicative of that time of year without the over-use of the actual words spring, summer, fall and winter. Japanese saijiki have the individual items within a category listed in the arbitrary order of their natural appearance during the season which is often a matter of debate. In Japan, probably 90% of the adrenalin used for writing haiku goes into the arguments about the use and usage of kigo. By listing the subjects within a category alphabetically, it avoids the above while it creates leaps within the subject matter of a season spanning such a distance so the reader will stop reading at the beginning of the next subject-word. Though I have consulted available kigo lists from the Yuki Teikei Haiku Society of United States and Canada, those compiled by Kiyoko Tokatomi, and Koko Kato's Four Seasons, where have deviated from them considerably. For the Japanese reader and friend/defender of saijiki, the first category, especially will be a push to the senses. Generally this section is categorized "season" or "climate" and the kigo convey the spirit of the time of year with honoured expressions which imply the emotions we equate with the season. As English writers we too work with these sensibilities but lacking set phrases to stand for them, have had to express these human concepts and emotional states much more subtly. In the English/Japanese saijiki these haiku would be listed as "non-seasonal." I felt by making a list of essences or moods of the seasons which embody our emotional states relative to that time of year, haiku which do not blatantly state "spring" but which emote the airiness, gentleness, freedom of spring, could be given their rightful place. Many of the kigo for the season/climate category such as "bright skies" or "south wind" could more accurately fit into celestial phenomenon leaving a category free for emotional states, which to me, as a much a part of any season as a bird or flower. Haiku is a very short form of Japanese poetry typically characterized by three qualities. The essence of haiku is “cutting”. This is often represented by the combination of two images or ideas it is a kind of verbal punctuation mark which signals the moment of separation and colours the manner in which elements are related and put together.

Transference


Transference
In transference 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 (this occurs in the conventional cinema Eisenstein deplores); 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. Transference was first described by Sigmund Freud, who recognized its importance for psychoanalysis for better understanding of the patient’s feelings. It is common for people to transfer feelings from their parents to their partners or children. For instance, one could mistrust somebody who resembles an ex-spouse in manners, voice, or external appearance; or be overly compliant to someone who resembles a childhood friend. In general experience a variety of opposites, that in love and in psychological growth, the key to success is the ability to endure the tension of the opposites without abandoning the process, and that this tension allows one to grow and to transform. In an analysis context, transference refers to redirection of a patient's feelings for a significant person to the therapist.

Richard Wollheim’s three approaches to Art


Traditionally, the term art was used to refer to any expertise or mastery. This origin changed during the passionate period, when art came to be seen as "a special faculty of the human mind to be classified with religion and science". Generally, art is made with the intention of stimulating thoughts and emotions. It can also be said that it is aesthetics, and even disciplines such as history and psychoanalysis analyze its relationship with humans and generations
Richard Wollheim distinguishes three approaches:
a-The Realist, whereby aesthetic quality is an absolute value sovereign of any human view;
b-The Objectivist, whereby it is also an absolute value, but is dependent on general human   experience; and
c-The Relativist position, whereby it is not an absolute value, but depends on, and varies with, the human experience of different humans. An object may be characterized by the intentions, or lack thereof, of its creator, regardless of its apparent purpose. A cup, which ostensibly can be used as a container, may be considered art if intended solely as an ornament, while a painting may be deemed craft if mass-produced. The nature of art has been described by Richard Wollheim as "one of the most elusive of the traditional problems of human culture". It has been defined as a vehicle for the expression or communication of emotions and ideas, a means for exploring and appreciating formal elements for their own sake, and as mimesis or representation. Leo Tolstoy identified art as a use of indirect means to communicate from one person to another.  Benedetto Croce and R.G. Collingwood advanced the idealist view that art expresses emotions, and that the work of art therefore essentially exists in the mind of the creator. The theory of art as form has its roots in the philosophy of Immanuel Kant, and was developed in the early twentieth century by Roger Fry and Clive Bell. Art as mimesis or representation has deep roots in the philosophy of Aristotle.  More recently, thinkers influenced by Martin Heidegger have interpreted art as the means by which a community develops for itself a medium for self-expression and interpretation

Constructivism


Constructivism 
Constructivism is a viewpoint in philosophy that views all of our knowledge as "constructed", under the hypothesis that it does not essentially reflect any external "transcendent" realities; it is contingent on convention, human perception, and social experience. In the philosophy of mathematics, constructivism asserts that it is necessary to find (or "construct") a mathematical object to prove that it exists. When one assumes that an object does not exist and derives a contradiction from that assumption, one still has not found the object and therefore not proved its existence, according to constructivists. Constructivism 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. 

Foregrounding


Foregrounding
Foreground is a term usually used in art, having opposite meaning to background. Foregrounding may happen in normal, daily language, such as verbal discourse or journalistic prose, but it happens at random with no systematic design. But in literary texts, on the other hand, foregrounding is structured. 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.
"Foregrounding" means "to bring to the front." The term foregrounding has its origin with the Czech theorist Jan Mukarovsky. It refers to the range of stylistic effects that occur in literature, whether at the phonetic level e.g., alliteration, rhyme, the grammatical level e.g., inversion, abbreviation, or the semantic level e.g., metaphor, irony.
The most common means employed by the writers is replication. Our attention is immediately captivated by the repetition of the sounds of certain words or by the words they and we begin to analyze the reasons why the writer is repeating this particular sound or word. In the tongue twister, "she sells sea shells on the sea shore" it is plain that 'S' and 'Sh' are foregrounded for their euphonic effect.
Verdonk states that foregrounding is the psychological effect a literary reader has as s/he is reading a work of literature. It is generally used to highlight significant parts of a text, to aid memo capacity and or to invite explanation. In foregrounding the writer uses the sounds of words or the words themselves in such a way that the readers' attention is immediately captivated.

Rasa


Rasa
It is be;ieved that Bharat’s Natyashastra is the first work that discusses the form of Rasa process. However, as per to Dr GT Deshpande, before Bharata, two Acharyas Druhin and Vasuki also proponded two different Rasa traditions. Bharata restricts himself to the Rasas in Drama.
His rules of Rasa is as follows: A combination of Vibhaava, Anubhaava and Sanchaari Bhaava leads to the formation of Rasa just as the different tastes like bitter, spicy, sour, sweet etc produce tasty food. Rasa is the central principle of Indian dramatics and poetics. Rasat-et-Ras- that can be tasted in Rasa. There six kinds of Rasa- bitter, spicy, acrid, sweet, salty, sour.
These Rasa can only be experienced bythe sense of taste. The food that is made up of all these Rasas is called the six-rasa-food. The same idea of taste is applied to drama and poetry. The form of Rasa- Rasa is tased. On this point there is agreement. There is however a difference in that some argues that the taste is experienced whereas others argues that it is consumptions. Abhinava Gupta argues that this experience is continuous one without any obstacle and is earthy and not otherworldly. Some however argue that the Rasa experience is similar to the spiritual experience or Brahmasvaada. A Rasa is the urbanized realisable state of a everlasting mood, which is called Sthayi Bhava. This expansion towards a realisable state grades by the interplay on it of helper emotional conditions which are called Vibhavas, Anubhavas and Sanchari Bhavas. Vibhavas means Karana or cause: it is of two kinds - Alambana, the personal or human object and substratum, and Uddipana, the excitants. Anubhava, as the name signifies, means the ensuants or effects following the rise of the emotion. Sanchari Bhavas are those crossing feelings which are secondary to an everlasting mood. The effect of Rasa (रसपरिणाम) – According to Abhinava Gupta, Rasa leads only to Sukha. According to Ramachandra Gunachandra, the author of Natyadarpan, Shringar, Hasya, Veera, Adbhuta and Shanta Rasas lead to happiness while Karun, Bhayanak, Beebhatsa and Raudra lead to sorrow and the Rasik is attracted to both, especially a good mix of both. 

Dhvani


Dhvani
Dhvani- The Indian theory of sound.
Poetry in which the uttered words and the meanings keep a lower profile than the indicated meaning, such poetry is called Dhvani. Sphota: The words and sounds that reach the ears are temporary and thereafter, cannot lead to meaning. Each word is a combination of several Varna and each word has a fine facsimile. Although the sound waves disappear, this facsimile remains leaving a unified imprint on the mind.
The fine and the permanent sound imprint is called Sphota in Indian grammar. The consonant Varna bby which the Sphota is uttered are called Dhvani. Thus it is that from the temporary Vaarnas the permanent Sphota words emerge. Similarly from the temporary words emerges permanent meanings.  

Naad


Naad
Prana and Agni together produce Naad. It comes from the word which means sound. It pervades everything in the universe and is constant. In its latent form it is the pranav or what we know as Aum. In its expressed form it splits into the seven swaras. There are two kings of Naad. One is Anahat: The intense concentration that happens by contemplating on the Naad and the joy that follows canot be described. Only the guru can understand it. Ahat: The second kind of Naad is the Ahat Naad. It is produced on the groung. Music is related to this Naad. It is also produced inside the body. Ahat Naad inside the body: In the Anahat chakra inside our hearts the wind and the fire hit upon each other and thus Ahat Naad is produced. Ahat Naad- the process: When we desire to speak the Atma inspires the mind, the mind beats upon the fire in the heard, the fire inspires the wind, the wind then inspires rises from the navel and passing through the heart, the throat and the forehead emerges from the mouth as sound. Sound travels from the navel, heart, throat, the mouth up to the head. At each level the Ahat Naad is different. From the navel to the heart is called Mandra. From the heart to the throat is called Madhya. From the throat to the head is called Taar. Depending upon the natural tendencies of the throat of a person the Ahat Naad can be of five kinds: Pushta- well nourished, Apushta- poor nourished, Sukshma- fine, Atisukshma- superfine, Krutrim- Artifical.   

NatyaSharsta- Anukitran & Anukaran

Natyashastra remained an important text in the fine arts for many centuries; so much so that it is sometimes referred to as the fifth Veda. Much of the terminology and structure of Indian classical music and Indian classical dance were defined by it. Many commentaries have expanded the scope of the Natya Shastra; most importantly we may include Matanga's Brihaddesi (500–700 CE),Abhinavagupta's Abhinavabharati. Anukirtan- To represent, to deliver, to address reality. Lit ‘Saying after’. Anukaran- To act upon what has been represented. ‘Doing Later’. A work of art frees time, space and causation from everydayness by acting upon them.

Natya Shastra- Natya DHarma & Lok Dharma

Natya Shastra- Natya dharma & Lok dharma: The Indian theatrical tradition forms a major heritage and source of Indian cinema in many respects. NatyaShastra is an ancient Indian treatise on the performing arts, encompassing theatre, dance and music. In theatre, songs of specific kinds are used. These are not imitations or reproductions of the music used in common situations of life. It is very important to the history of Indian classical music because it is the only text which gives such detail about the music and instruments of the period. Thus, an argument can be made that the Natya Shastra is the foundation of the fine arts in India. The most authoritative commentary on the NatyaShastra is Abhinavabharati by Abhinavagupta. The Natya Shastra ranges widely in scope, from issues of literary construction, to the structure of the stage or mandapa, to a detailed analysis of musical scales and movements (murchhanas), to an analysis of dance forms that considers several categories of body movements, and their impacts on the viewer. Theatre music was moreover used as integral to drama whereas music in real life, when accompanying the activities mentioned above, was only something that imposed a kind of auspiciousness to the occasion; it was nothing more – Abhinavagupta on Bharata’s Natyashastra. Natyadharmi theatre oriented Lokadharmi – life oriented.

Spectatorship

Spectatorship The issue of spectatorship was first addressed 'theoretically' in the early to mid-1970s as a result of the impact of semiotics and psychoanalysis on film theory. But until the 1970s that full consideration was given to the effect of the cinematic experience upon the spectator. In stage one, 1970s film theory, Jean-Louis Baudry, Raymond Bellour and Christian Metz wrote about cinema as an tool and an imaginary signifier to explain what happened to the spectator as he sat in the darkened theatre watching on to the screen. In stage two, post-1975 feminist film theory, the 'natural' assumption, implied in those first writings, that the masculine was the place from which the spectator looks and the 'natural' acceptance that each viewing was an unproblematic modernization of the Oedipal trajectory were strongly contested by the critic and film-maker Laura Mulvey. In stage three, 1980s (mostly feminist) film theory, Mulvey's writings motivated further examinations by theorists who sought to widen the debate by bringing in theoretical approaches other than psychotherapy or psychoanalysis. The three stages of the debate around spectator-positioning and identification show how there has been a shift away from the early massive view of the spectator, to a more heterogeneous one. Spectatorship has also been analyzed in relation to inter-textuality: an examination of all the texts surrounding the actual film text and their impact upon the viewer as reader and receiver.

Thursday, March 7, 2013

Diya Aur Baati Hum as cross-culture




Diya Aur Baati Hum is an Indian soap opera series which airs on Star Plus channel. The show premiered on 29 August 2011 and star casts Deepika Singh as Sandhya and Anas Rashid as Suraj. It is produced by Shashi Sumeet.
The boy is simple and not highly educated gets married to a highly ambitious girl. Though they got married but the girl still continue to pursue her dreams.
Sandhya is a studious and ambitious girl who aspires to make her mark in the world by becoming an IPS Officer. She has the encouragement of her parents. Sandhya lives with her parents, her brother Ankur and sister-in-law Ankita. However, one day Ankur brings home the news of him being transferred to America by his company. All hell broke loose, when Sandhya's parents pass away in a bomb blast. So that there is no burden on him, Ankur tries to marry off Sandhya. After many tries, Ankur was unable to find a suitable groom for Sandhya. Finally, he marries her to Suraj Rathi, son of Arun and Santosh Rathi who comes from a backward and uneducated family. Suraj lives with his three siblings, Vikram, Mohit and Chavi, his parents and his sister-in-law, Meenakshi also known as Meenu. Ankur lies to Sandhya that Suraj is an MBA and a government official whereas the truth is that Suraj is only a ninth standard pass and a sweet-maker. 
From here, follows Suraj and Sandhya's heartwarming saga of love, encouragement and understanding. Suraj helps Sandhya complete her education and fulfill her dream of becoming an IPS Officer. Basically, the show is about Sandhya and Suraj's married life and also the love that blossoms between the two completely unique individuals.
By watching such serial people get enthusiasm to make women literate more and more and support women. This is a perfect set of positive influence in cultural rethinking.

Love is blind…This Blindness brings changes in Culture.



A few TV soaps which used to be hit and have Love concept in it.


Remix was an Indian television series which used to air on star one around 8years before, remix gave birth to Love stories on TV industry and daily soaps. The story is based on the lives of 12th grade students at the set in an elite school called "Maurya High" that is an institution for the kids of the rich and the famous. The school also entertains scholarship students, who come from poorer families. The story revolves around the students, their lives, insecurities, friendships, rivalries, and ambitions. The four main characters — Tia Ahuja (a fashion entrepreneur's only daughter: Sumit Ahuja), Anvesha Ray Banerjee (a Bollywood filmstar's only daughter: Sonia Ray), Yuvraaj Dev (brat son of India's politician: Yashwant Dev), and Ranveer Sisodia (a Rajasthani royal who comes to Maurya to avenge the death of his father which wasn't really Sumit Ahuja's fault). Hailing from different backgrounds, all of them seem to have their priorities worked out and prefer to follow their own path towards fulfilling their ambitions. But destiny has another trail set for them. Circumstances force them to come together and, through a series of dramatic twists and turns, the four form the music group Remix and become the singing sensation of the decade. Next will be on DMG i.e. Dill Mil Gaaye, a love-story of doctors used to air on star one. It was the sequel of the television series Sanjivani, which aired on STAR Plus channel. The show ended in October 2010 after running for 3 years. Even though the serial has ended, the serial as well as the actors are still remembered. Next Love story is Geet hui sabse parayi used to air on the same channel star one, it was ended on December 14, 2011. This show is now being re-aired in Star Utsav. This Love story was of Geet Handa/ Khurana and Maan Singh Khurana both characters were different Geet was a bit immature and Sweetheart of everyone I family and whereas Maan singh Khurana was angry young man types. Both shared a good chemistry.
By watching such TV serials youth tends to believe in Love relations and whereas some of their parents have objection on it because it changes the minds of their children who go against the culture and do inter-cast marriage, while some parents are of broad mind and accept inter-cast marriage as modern culture.


Emotional Atyachar- A T.V Program which gives a rethinking to our culture.




Emotional Atyachar a reality show with a broad concept which in turns bring changes in minds of its viewers. Television has glorified washing dirty linen in public. The closeted approach people used to have towards forbidden topics like cheating, two-timing, breaking-up and gory little details about relationships, is no longer safely hidden inside the four walls of your home it is all out in the open now, thanks to the small screen. It is almost 'cool' to do it on National, or rather worldwide television. Of course back then there were cheaters too, but these days people seem to have no doubts on talking about...!
Emotional Atyachar is a TV show used to air on Bindas
. The name and the title song are taken from the Bollywood film Dev-D. The show used to hosted by Pravesh Rana. The Indian edition is based on Cheaters which is the US based show and has the same format.

http://static.indianexpress.com/m-images/Mon%20Jan%2021%202013,%2015:36%20hrs/M_Id_348715_emotional_atyachar.jpgEmotional Atyachar is a reality show in which a person, who doubts his /her boyfriend’s /girlfriend’s loyalty, can ask for a loyalty test on him/her. The person checking his/her partner's loyalty is referred to as the lead, while the person on whom the loyalty test is being performed is called the suspect. The crew members follow him/her and also ask another boy/girl to act as if he/she is intimate with him/her. These are caught on camera and shown to the lead.Till now, 3 seasons of the show has been broadcasted. The first season was hosted by Angad Bedi, where as 2nd, 3rd and 4th (current season) are being hosted by Pravesh. Emotional Atyachar is being produced by UTV Television with inputs from Creative Director and writer Roshni Ghosh The programme is conceptualized by the Bindass Team with input from Head of Programming Shalini Sethi, Creative Director Shifa and Executive Producer Piyush Bhatia. Its just a new concept on TV which changed the thinking of people on particular culture and made masses comfortable with the such program. Many of the viewers liked this concept and accepted it.