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Friday, June 17, 2011

പൊതുബോധത്തില്‍ 'മഴ' പെയ്യുമ്പോള്‍: ആതിര ജി അഞ്ചാം സെമെസ്റെര്‍ ഇംഗ്ലീഷ്


നൊസ്റ്റാള്‍ജിയ അഥവാ ഗൃഹാതുരത്വം എന്നത് പൊതുബോധത്തിന്‍റെ ഉല്പന്നമാണ്. നൊസ്റ്റാള്‍ജിയ ആഘോഷിക്കപ്പെടുന്ന സിനിമകളുടെയും സാഹിത്യങ്ങളുടെയും സ്വീകാര്യതയില്‍ യഥാര്‍ഥത്തില്‍ പ്രവര്‍ത്തിക്കുന്നത് ഈ പൊതുബോധത്തിന്‍റെ മനശ്ശാസ്ത്രമാണ്.

കഴിഞ്ഞുപോയ കാലത്തെക്കുറിച്ച് നഷ്ടബോധത്തോടെയുള്ള, എന്നാല്‍ സുഖകരമായ ഓര്‍മയെയാണ് പൊതുവെ നൊസ്റ്റാള്‍ജിയ എന്നു പറയുന്നത്.അത് കേട്ടറിവുകളിലൂടെയും ഉണ്ടായിവരുന്നതാകാം. കഴിഞ്ഞകാലം നന്‍മകള്‍ മാത്രം നിറഞ്ഞിരുന്ന കാലമാണെന്നു വരുത്തിത്തീര്‍ത്തുകൊണ്ട് പഴയകാലത്തെ ആദര്‍ശവല്‍ക്കരിക്കുക വഴിയാണ് നൊസ്റ്റാള്‍ജിയ രൂപം കൊള്ളുന്നത്. ആളുകള്‍ക്ക് അത്തരം കാര്യങ്ങള്‍ കേള്‍ക്കാനും പറയാനും ചിന്തിക്കാനും ഏറെ താല്പര്യമാണ്. ജനങ്ങള്‍ക്കിടയില്‍ വളരെയേറെ സ്വീകരിക്കപ്പെടുന്ന സിനിമകളും സാഹിത്യങ്ങളും എടുത്ത് പരിശോധിച്ചുനോക്കിയാല്‍ അവയില്‍ ഈ നൊസ്റ്റാള്‍ജിയയുടെ അംശം പ്രത്യക്ഷമായും ചിലപ്പോള്‍ പരോക്ഷമായും കാണാം. പഴയതിന്‍റെ ആദര്‍ശവല്‍ക്കരണത്തെ അനുകൂലിക്കുന്ന ഒരു പൊതുബോധം തന്നെയാണ് ഇത്തരം സൃഷ്ടികള്‍ ഇരുകൈയും നീട്ടി സ്വീകരിക്കപ്പെടുന്നതിന്‍റെ പിന്നിലുള്ളത്. ഇത് സൃഷ്ടികര്‍ത്താവിന്‍റെ ബോധമണ്ഡലത്തില്‍നിന്ന് രൂപപ്പെടുന്നതാകണമെന്നില്ല, മറിച്ച്, പൊതുബോധത്തില്‍ നിന്ന് വിടുതല്‍ നേടിയിട്ടില്ലാത്ത അബോധത്തില്‍ രൂപപ്പെടുന്നതാണ്. അതുകൊണ്ടുതന്നെ കപടമായ ആദര്‍ശവല്‍ക്കരണം തന്‍റെ മാധ്യമത്തിലൂടെ നിര്‍വഹിക്കുന്ന ആള്‍ അല്ല പ്രതിസ്ഥാനത്തു വരുന്നത്, പകരം, മാറാന്‍ വിസമ്മതിച്ചുകൊണ്ട് ഭൂരിഭാഗത്തിന്‍റെയും അബോധത്തെ നിര്‍ണയിച്ചുകൊണ്ടിരിക്കുന്ന പൊതുബോധമാണ്.

മഴഎന്ന ആല്‍ബത്തിന്‍റെ സ്വീകാര്യതയെ ഈ പൊതുബോധത്തിന്‍റെ കാഴ്ചപ്പാടില്‍ നിന്നുകൊണ്ട് നോക്കിക്കാണാവുന്നതാണ്.

മഴ പങ്കുവയ്ക്കുന്ന ആശയം പുതിയതൊന്നുമല്ല. ചെറുപ്പത്തില്‍തന്നെ ഭാര്യയെ നഷ്ടപ്പെട്ട ഒരാള്‍ വാര്‍ധക്യാവസ്ഥയില്‍ അവളെ ഓര്‍ക്കുകയും ആ ഓര്‍മകളിലൂടെ അവരുടെ പ്രണയം കടന്നുവരികയും ചെയ്യുന്നു. ഇവിടെ ആദര്‍ശവല്‍ക്കരിക്കപ്പെടുന്നത് വെറും പ്രണയമല്ല, പഴയകാലത്തെ പ്രണയമാണ്. വരികളും ദൃശ്യങ്ങളും പ്രേക്ഷകരെ കൊണ്ടുപോകുന്നത് ആദര്‍ശവല്‍ക്കരിക്കപ്പെട്ട പഴയകാലത്തിലേക്കാണ്. തറവാടും കുളവും പ്രകൃതിഭംഗിയും പെണ്‍കുട്ടിയുടെ ശാലീനഭാവവും പ്രണയത്തിന്‍റെ നിഷ്കളങ്കത കാണിക്കുന്ന രംഗങ്ങളും ഇതില്‍ നൊസ്റ്റാള്‍ജിയയെ നിര്‍മിക്കുന്ന പ്രധാന ഉപകരണങ്ങളാണ്. ഏറ്റവും പ്രധാനപ്പെട്ട ഒന്ന് മഴയാണ്. ഓര്‍മകള്‍ക്ക് അകമ്പടിയായി ഇതില്‍ മഴയുണ്ട്. മഴയ്ക്ക് നല്കപ്പെട്ടിരിക്കുന്ന പല ഇമേജുകളും പൊതുബോധത്തില്‍ പല കാലങ്ങളിലൂടെ നിര്‍മിക്കപ്പെട്ടവ തന്നെയാണ്. ഒരു സാധാരണ പ്രകൃതിപ്രതിഭാസമായ, ജീവന്‍റെ നിലനില്പിന് അത്യാവശ്യമായ മഴയ്ക്ക് പൊതുബോധത്തില്‍ നല്കപ്പെട്ടിരിക്കുന്ന ഇമേജുകള്‍ തികച്ചും വ്യത്യസ്തമാണ്. ഭ്രാന്തിയായും സുഹൃത്തായും ഓര്‍മയായും സ്നേഹമായും വളരെ വ്യത്യസ്തങ്ങളായ ചിത്രങ്ങള്‍ സാഹിത്യവും സിനിമയും മഴയ്ക്ക് നല്‍കിയിട്ടുണ്ട്. ഇങ്ങനെ പലതരത്തില്‍ മഴയെ കേട്ടും വായിച്ചും കണ്ടും യാഥാര്‍ഥ്യത്തില്‍നിന്നു വിഭിന്നമായ ഒരു സങ്കല്‍പം പൊതുബോധത്തില്‍ മഴയെപ്പറ്റി നിര്‍മിക്കപ്പെട്ടു. നൊസ്റ്റാള്‍ജിയയുടെ പ്രധാനഘടകമായി മഴ മാറി. ആല്‍ബത്തിന്‍റെ പേരുതന്നെ മഴ എന്നാകുമ്പോള്‍ അതില്‍നിന്നു ലഭിക്കുന്ന ഒരു nostalgic feeling തന്നെ ആല്‍ബം തുടര്‍ന്നുകാണാന്‍ പ്രേരിപ്പിക്കുന്നുണ്ട്. മഴയുടെ ദൃശ്യങ്ങള്‍ നൊസ്റ്റാള്‍ജിയയെ അതിന്‍റെ ഉയര്‍ന്ന തലത്തില്‍ എത്തിക്കുന്നു.

പൊതുബോധത്തെ തൃപ്തിപ്പെടുത്തുന്ന മേല്പറഞ്ഞ ഘടകങ്ങളെല്ലാം തന്നെ സംവിധായകന്‍ ബോധപൂര്‍വം ഉള്‍ ച്ചേര്‍ത്തതാകണമെന്നില്ല. പൊതുബോധത്തിന്‍റെ തന്നെ ഭാഗമായ അയാളുടെ അബോധത്തില്‍ യഥാര്‍ഥപ്രണയം/ ആദര്‍ശപ്രണയം അങ്ങനെയൊക്കെയാണ്. അതിനാല്‍ ഇവിടെ സംവിധായകനാര് എന്നതല്ല പ്രശ്നം, മറിച്ച്, സംവിധായകന്‍റെയും അബോധത്തെ നിര്‍ണയിക്കുന്ന പൊതുബോധമാണ്. ഈ പൊതുബോധത്തെ മറികടന്നാല്‍ മാത്രമേ പ്രണയത്തേയോ മഴയേയോ ഒക്കെ വ്യത്യസ്തമായി ചിത്രീകരിക്കാന്‍ ഏതൊരാള്‍ക്കും കഴിയൂ. എന്നാല്‍ മഴയെപ്പോലെ സ്വീകാര്യത അതിനു കിട്ടാന്‍ ഒട്ടും സാധ്യതയില്ല.

Tuesday, June 14, 2011

TALK ON POPULAR CULTURE WITH SPECIAL REFERENCE TO FILMS BY DR VIPIN KUMAR C, ASSOCIATE PROFESSOR, ENGLISH AND FOREIGN LANGUAGES UNIVERSITY, LUCKNOW










Dr Vipin Kumar, former student of the Department of English, Payyanur College, addressing the students of the department in connection with the film festival Monsoon Mania.

Dr. Vipin Kumar spoke on 13.06.2011. (Report by SHYMA P, Department of English, Payyanur College)

Discussed about the discipline of film studies in the canon of English literature. Film studies tend to provide a regional perspective of looking at things through a critical viewing of regional popular films. Such a sociological study was bought about in the 90s with the study of Tamil cinema by critics like MSS Pandian. Pandian, M. Madhava Prasad, SV Srinivas bought about a perspective reading of the Tamil, Kannada and Telugu film industries respectively. The role of Bollywood as ‘the’ film industry got critiqued through these studies. Meanwhile, Bollywood itself has been undergoing changes with respect to its global entourages. Films representing NRI lives, diaspora, migrations etc have become a trend in Bollywood which also flags off with English titles like Singh is King, Love Aaj Kal, Jab We Met etc. The use of Hindi and English instead of Urdu, suggestive romantic scenes etc become a part of these narratives which probably could not be imagined in a traditional Bollywood scenario. It is suggestive of a shift towards a global reality, which is quite absent in Malayalam cinema, for instance, which is still based on a feudal nativisation.

P. Shyma [09.06.2011]




Discussed the tendencies that make Fire so “popular,” in a country like India or for that matter Kerala. Marketed as a lesbian film, it in fact discusses the insecurities and despairs of lives in a traditional family structure, with almost all its members “deviating” from the norm of a heterosexual marriage set up in one way or other. It critiques the very structure of a family structure and thereby could be de-canonised as a melodramatic romance. Desire and body, that are often denigrated as part of a Descartian discourse of enlightenment are represented as being a natural part of life, with the heroine emphatically saying that to be without desire is to be dead. Probably it is the way in which the film naturalizes and accommodates all “deviations” like same sex, masturbation, extra marital relationship, pornography etc as a part of the family epic that made it a national offence.



N.V. Sujith Kumar [15.06.2011]

Discussed the problematic involved in a city/village dichotomy that gets represented in Malayalam cinema, with respect to the films of Blessy. Village is often represented as nostalgic in Blessy’s films, suggestive of everything good and divine, while the city is the centre of all evil. There are several reasons for rustic nostalgia which has been created in the cultural political sphere of India, the most important of them being the destruction of feudalism, which has created an anxiety in the upper caste Hindu as well as urbanization. Rural nostalgia and the casteism that it puts forward hide a suggestive politics in its subject and visuals and tries to normatise the ‘naturalness’ of the rural beauty of the village. Nostalgia is generally a solution when one is unable to represent one’s desires. Blessy films may be seen to be neatly compartmentalized into the village and the city. Through the village-city dichotomy, Blessy tries to idealize the village by situating it against the city. This alternative identity is always the city or its representatives. While in Kazhcha, it is covert, it becomes more obvious as we reach Palunku. Thanmathra and Calcutta News obliquely suggest the same. Even in Brahmaram, the chorus of ‘the innocence of the country side’ gets repeated. The country side in Blessy’s films appears not merely as a canvas of natural beauty. It is an embodiment of everything that is good and that which is on the verge of extinction. It is suggestive of the upper caste, middle class based politics of Malayalam cinema.

Some more snaps

A C Sreehari introducing Sujith and Kavya reading out the award-won article



DEPARTMENT OF ENGLISH AND MOVIE MANIA FILM FESTIVAL : MONSOON MANIA

Monsoon Mania


War and Peace (2002)

Anand Patwardhan

Filmed over four years in India, Pakistan, Japan and the USA - War and Peace is documentary journey of peace activism at a time of global militarism and war. Triggered by macabre scenes of jubilation that greeted nuclear testing in the sub-continent, the film is framed by the murder of Mahatma Gandhi. Fifty years later memories of Gandhi seem like a mirage that never was, created by our thirst for peace and our very distance from it.

Bombs for peace. The ultimate oxymoron.What could be more twisted and warped than that? The nuclear test is successful. ‘The Buddha is smiling’. But Anand Patwardhan reminds us that this time the joke is on us."

Firaaq (2008)

Nandita Das


Hindi political thriller film set one month after the 2002 violence in Gujarat, and looks at the aftermath in terms of the effects on the lives of everyday people. It claims to be based on "a thousand true stories". Firaaq means both separation and quest in Urdu. The film is the directorial debut of Nandita Das. The film has largely been well received, both locally and internationally. It won three awards at the Asian Festival of First Films in Singapore in December 2008.





After the Deluge (2010)

Nizam Rawther




Kasaragod district has cashew plantations extending to 5600 acres, spreading through habitations, water bodies and hills in about 11 villages. The plantation corporation has been aerially spraying with the chemical pesticide Endosulfan since 1976, regularly till 2001. Following public out cry and intervention, Endosulfan spraying was stopped from 2003. Their battle began on December 26, 2000, when 43 activists of the Punchiri Muliyar marched to the PCK unit in Periya to block a helicopter from taking off for aerial spraying. A police cordon stopped them. They produced a documentary on the aftermath, After the deluge.

The Great Dictator (1940)

Charlie Chaplin


Like most Chaplin films, he wrote, produced, and directed, in addition to starring as the lead. Having been the only Hollywood film maker to continue to make silent films well into the period of sound films, this was Chaplin's first true talking picture as well as his most commercially successful film. More importantly, it was the first major feature film of its period to bitterly satirize Nazism and Adolf Hitler.

At the time of its first release, the United States was still formally at peace with Nazi Germany. Chaplin's film advanced a stirring, controversial condemnation of Hitler, fascism, anti-Semitism, and the Nazis, the latter of whom he excoriates in the film as "machine men, with machine minds and machine hearts".

The film begins during a battle of World War I. The protagonist is an unnamed Jewish private (Charlie Chaplin), a barber by profession and is fighting for the Central Powers in the army of the fictional nation of Tomainia, comically blundering through the trenches in a tract of combat scenes.

Fire (1996)

Deepa Mehta


It is the first of Mehta's Elements trilogy. It is followed by Earth (1998) and Water (2005). Starring: Shabana Azmi and Nandita Das.

The film is loosely based on Ismat Chugtai's 1941 story Lihaf (The Quilt). It was one of the first mainstream films in India to explicitly show homosexual relations. After its 1998 release in India, certain groups staged several protests, setting off a flurry of public dialogue around issues such as homosexuality and freedom of speech.

At first glance, you see a happy middle-class family going through the normal paces of everyday life. However, as the layers are slowly peeled back, we find a simmering cauldron of discontent within the family, with almost every family member living a lie. Both marriages in the family turn out to be emotionally empty, without love or passion.

Monsoon Wedding (2001)

Mira Nair




Depicts romantic entanglements during a traditional Punjabi wedding in Delhi.

Although it is set entirely in New Delhi, the film was an international co-production between companies in India, the United States, Italy, France, and Germany. The film won the Golden Lion award and received a Golden Globe Award nomination. A musical based on the film is currently in development and is scheduled to premiere on Broadway in 2011.

The film's central story concerns a father, Lalit Verma (Naseeruddin Shah), who is trying to organize an enormous, chaotic, and expensive wedding for his daughter, for whom he has arranged a marriage with a man she has known for only a few weeks. As so often happens in the Punjabi culture, such a wedding means that, for one of the few times each generation, the whole family comes together from all corners of the globe including India, Australia, Oman and the United States.

Dreams (1990)

Akira Kurosawa


A collection of tales based upon the actual dreams of director Akira Kurosawa, Dreams is a series of eight short narratives that compose a complete movie. Each story could stand by itself, but these stories have a narrative thread which binds them together. There are commonalities that cement them together as one movie; it was put together in such a way that the stories somehow flow together.



Spring, Summer, Fall, Winter... and Spring (2003)

Kim Ki-duk


Spring, Summer, Fall, Winter... and Spring is a 2003 South Korean film about a Buddhist monastery which floats on a lake in a pristine forest. The story is about the life of a Buddhist monk as he passes through the seasons of his life, from childhood to old age.

The film is divided into five segments (the five seasons of the title), each segment depicting a different stage in the life of a Buddhist monk (each segment is roughly ten to twenty years apart, and is physically in the middle of its titular season).

Children of Heaven (1997)

Majid Majidi


Iranian film, deals with a brother and sister and their adventures over a lost pair of shoes. Some critics compared it to Vittorio de Sica's 1948 Bicycle Thieves. In 1998, it became the first Iranian film to be nominated for an Academy Award for Best Foreign Language Film, losing to the Italian film Life Is Beautiful by Roberto Benigni. After the film had become well-known worldwide due to the Oscar nomination, it was shown in several European, South American, and Asian countries between 1999 and 2001. It was successfully shown in numerous film festivals and won awards. Bumm Bumm Bole, a 2010 Hindi film by Priyadarshan, is entirely based on Children of Heaven.


Harishchandrachi Factory (2009)

Paresh Mokashi

A Marati film depicting the struggle of Dadasaheb Phalke in making Raja Harishchandra in 1913, India's first feature film, thus the birth of Indian cinema, Harishchandrachi Factory is the directorial debut of Paresh Mokashi who won the Best Director award at Pune International Film Festival, where the film was shown. In September 2009, it was selected as India's official entry to Academy Award in the Best Foreign Language Film Category.

The film is the story about the beginning of the Indian film industry, set in 1913, when two business partners fall out resulting in one leaving the company. As the family struggle to survive Phalke (Nandu Madhav) decides to make his own silent motion picture along with the support of his family. He travels to England to learn about the new medium and after he returns brings together a team of actors and technicians to produce his first film about the story of Raja Harishchandra. Through all the hard work the movie becomes a hit thus marking the beginning of one of the world's biggest film industry.

Short Film Mania

Panthibhojanam (2010)

Sreebala K. Menon

Sreebala chose Santhosh Echikanam’s well-acclaimed short story for her 20-minute short film mainly to highlight a socially relevant issue. The story is a poignant reminder that despite all its cultural and social advancements, Kerala society still retains part of the age old caste system and that Dalits still face social stigma even in urban circles. The manners and food habits of those from the lower section of the social ladder are still laughed at by the so-called upper class that is unwilling to let them enter their world unless it is for their benefit.