12. Sufi Sound, Sufi Space: Indian Cinema and the Mise-en- Scène of Pluralism

Studying Indian Cinema

10.3828/liverpool/9781906733681.001.0001 ◽

2015 ◽

Author(s):

Omar Ahmed

Keyword(s):

Conceptual Framework ◽

Case Studies ◽

Media Studies ◽

Historical Context ◽

Historical Evolution ◽

Indian Cinema ◽

Mira Nair ◽

Mise En Scene ◽

Film And Media Studies ◽

Satyajit Ray

This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, audience and mise en scène. The case studies run chronologically from Awaara (The Vagabond, 1951) to The Elements Trilogy: Water (2005) and include films by such key figures as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall) and Mira Nair (Salaam Bombay!).

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The Semiotics of the Visuals, Songs, Dances and Music: Analysing Aesthetics of Indian Cinema with Reference to 3 Idiots, An Adaptation of Chetan Bhagat’s Fiction Five Point Someone

Psychology and Education Journal ◽

10.17762/pae.v58i2.2977 ◽

2021 ◽

Vol 58 (2) ◽

pp. 5579-5590

Author(s):

Dr Niteen Vasant Dandekar

Keyword(s):

Film Industry ◽

Film Adaptation ◽

Scene Analysis ◽

Visual Design ◽

Cultural Norms ◽

Indian Cinema ◽

Depth Analysis ◽

Mise En Scene ◽

Musical Scores ◽

Semiotic Perspective

The present paper is in the form of a humble attempt, on the part of the researcher, to explore the possibility of analyzing the Aesthetics of Bollywood Cinema by looking at the selected film adaptation with Semiotic perspective. After defining the terms ‘Semiotics’, and ‘Mise-en-Scene Analysis’, he aims at deciphering Aesthetics of Indian Cinema. Here the terms ‘visual design’, ‘signs and codes’, ‘symbols’, ‘metaphors’, ‘discourse-words and phrases’ and other compositional elements in the film are discussed elaborately. Great care has been taken, here, to avoid the film jargon. He refers to the established conventions as socio-cultural norms prevalent in the film industry in India. This is followed by the in-depth analysis of the selected film. Here the researcher takes into consideration the use of images, video intake of the song, the linguistic connotations of the song, melody element, the get up of the character, dresses and costumes, musical scores, and their linkage with the narration in the film

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Negotiating Semiotics of Mise en Scene is the Real Challenge of Indian Cinema: A De-Westernizing Approach to Visual Culture

De-Westernizing Visual Communication and Cultures ◽

10.5771/9783748906933-99 ◽

2020 ◽

pp. 99-124

Author(s):

Keyword(s):

Visual Culture ◽

The Real ◽

Indian Cinema ◽

Mise En Scene ◽

Real Challenge

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Democratizing Abolitionism: Anti-slavery Discourses and Sentiments in August von Kotzebue's Die Negersklaven (1796)

Cultural History ◽

10.3366/cult.2020.0207 ◽

2020 ◽

Vol 9 (1) ◽

pp. 26-45

Author(s):

Sarah J. Adams

Keyword(s):

Eighteenth Century ◽

Denis Diderot ◽

Middle Classes ◽

Late Eighteenth Century ◽

German States ◽

Political Sources ◽

Mise En Scene ◽

Peripheral Position ◽

Histoire Des Deux Indes ◽

Political Leverage

Despite their peripheral position in the Atlantic slave trade, authors of the late eighteenth-century German states composed a number of dramas that addressed imperialism and slavery. As Sigrid G. Köhler has argued (2018), these authors aimed to exert political leverage by grounding their plays in the international abolitionist debate. This article explores how a body of intellectual texts resonated in August von Kotzebue's bourgeois melodrama Die Negersklaven (1796). In a sentimental preface, he mentions diverse philosophical, historical and political sources that contributed to the dramatic plot and guaranteed his veracity. Looking specifically at the famous Histoire des deux Indes (1770) by Denis Diderot and Guillaume-Thomas F. Raynal, I will examine the ways in which Kotzebue adapted highbrow abolitionist discourses to the stage in order to convery an anti-slavery ideology to the white European middle classes. Kotzebue seems to ground abolitionism in the bourgeois realm by moulding political texts into specific generic templates such as an elaborate mise-en-scène, the separation and reunion of lost lovers, a fraternal conflict, and the representation of suffering victims and a compassionate white hero.

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Bollywood and Postmodernism

10.3366/edinburgh/9780748696345.001.0001 ◽

2015 ◽

Cited By ~ 2

Author(s):

Neelam Sidhar Wright

Keyword(s):

Film Studies ◽

First Century ◽

Indian Cinema ◽

Alternative Method ◽

Twenty First Century

‘New Bollywood’ has arrived, but its postmodern impulse often leaves film scholars reluctant to theorise its aesthetics. How do we define the style of a contemporary Bollywood film? Are Bollywood films just uninspired Hollywood rip-offs, or does their borrowing signal genuine innovation within the industry? Applying postmodern concepts and locating postmodern motifs in key commercial Hindi films, this book reveals how Indian cinema has changed in the twenty-first century. Equipping readers with an alternative method of reading contemporary Indian cinema, the book takes Indian film studies beyond the standard theme of diaspora, and exposes a new decade of aesthetic experimentation and textual appropriation in mainstream Bombay cinema. A bold celebration of contemporary Bollywood texts, this book radically redefines Indian film and persuasively argues for its seriousness as a field of cinematic studies.

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Aquarelles parisiennes: Gautier, Baudelaire, and the Poetry of Urban Watercolours

Nottingham French Studies ◽

10.3366/nfs.2019.0246 ◽

2019 ◽

Vol 58 (2) ◽

pp. 170-182

Author(s):

Karen F. Quandt

Keyword(s):

Urban Landscape ◽

Second Empire ◽

Theophile Gautier ◽

Avant Garde ◽

Meeting Point ◽

Mise En Scene ◽

Bleed Through ◽

Fleurs Du Mal

Baudelaire refers in his first essay on Théophile Gautier (1859) to the ‘fraîcheurs enchanteresses’ and ‘profondeurs fuyantes’ yielded by the medium of watercolour, which invites a reading of his unearthing of a romantic Gautier as a prescription for the ‘watercolouring’ of his own lyric. If Paris's environment was tinted black as a spiking population and industrial zeal made their marks on the metropolis, Baudelaire's washing over of the urban landscape allowed vivid colours to bleed through the ‘fange’. In his early urban poems from Albertus (1832), Gautier's overall tint of an ethereal atmosphere as well as absorption of chaos and din into a lulling, muted harmony establish the balmy ‘mise en scène’ that Baudelaire produces at the outset of the ‘Tableaux parisiens’ (Les Fleurs du mal, 1861). With a reading of Baudelaire's ‘Tableaux parisiens’ as at once a response and departure from Gautier, or a meeting point where nostalgia ironically informs an avant-garde poetics, I show in this paper how Baudelaire's luminescent and fluid traces of color in his urban poems, no matter how washed or pale, vividly resist the inky plumes of the Second Empire.

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