Film Studies
Thursday 21 March 2013
Rasa
Poetry without Rasa is an imitation
of poetry. The attractiveness of poetry is because of the Rasas. To be able to
taste Rasa, the object that is being tasted should have taste worthiness.
However, in the case of poetry and drama this taste is to be tasted with the
help of the ears and the eyes. When these organs taste the Rasas they create
sensations of happiness and sorrow that reach the mind and if the mind is
functioning well then emotions such as happiness, sorrow, etc are awakened. The
stronger the sensations the stronger the emotions and these are reflected on
the human body parts. When the emotions reach a peak then exclamations emerge
unknowingly and other organs of the body also react to these emotions
simultaneously. The incident or event described by the poet becomes the living
experience of the person listening to the poetry. The person becomes samras with it. This means that the Rasa
invoked by the poetry and experienced by the person listening to the poetry
becomes the same.
It is believed that Bharata’s
Natyashastra is the first work that discusses the form of Rasa process.
However, according to Dr G T Deshpande, before Bharata, two Acharyas Druhin and
Vasuki also propounded two different Rasa traditions. Bharata restricts himself
to the Rasas in Drama. Although the concept of
rasa is fundamental to many forms of Indian art including dance, music, musical
theatre, cinema and literature, the treatment, interpretation, usage and actual
performance of a particular rasa differs greatly between different styles and
schools of abhinaya, and the huge regional differences even within one style.
Thus, the poetry or the drama that
invokes emotions within a person listening or watching the performance and the
degree to which such invocation takes place determines the degree and quality
of Rasa in the poetry or the drama. Such a poetry or drama is said to be having
Rasa –
it is
rasyukt . The poetry that contains the best
essence of these specific emotions feels good and one wants to taste it over
and over again. Hence literary experts have called these specific emotions
Rasa. Feelings of anger, happiness are treated as the dharma of the mind. These could be interpreted as basic
characteristics of the mind. These are experienced
by everybody and the experts of poetics have assigned them the noun Bhaava. It is impossible to find a person who has not
experienced these Bhaavas in life. These Bhaava exist in
the minds of all humans and the moment they get Chetana or they are touched by
life they spread like a drop of oil on water and take over the entire mind. The
experts on poetics decided on the Rasas based on these basic and self existent
Bhaavas in all humans.
Influence on cinema:
Rasa has been
an important influence on the cinema of India. The Rasa method of
performance is one of the fundamental features that differentiate Indian cinema
from that of the Western world. In the Rasa method, empathetic
"emotions are conveyed by the performer and thus felt by the
audience," in contrast to the Western Stanislavski method where the actor
must become "a living, breathing embodiment of a quality" rather than
"simply conveying emotion." The rasa manner of presentation is
clearly apparent in Malayalam Cinema and internationally-acclaimed parallel Bengali
films directed by Satyajit Ray. The latter is indebted to the Rasa
method of classical Sanskrit drama, in the sense that the complicated doctrine
of Rasa "centres predominantly on feeling experienced not only by
the characters but also conveyed in a certain artistic way to the spectator.
The duality of this kind of rasa imbrications" shows in The Apu
Trilogy (1955–1959), which itself has had a large authority on world cinema.
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. Eight more emotional characteristics
are to be extra, namely, the Saatvika Bhavas.
Naad
A
hearable sound is called naad. The sound which is produced by any medium,
reaches and recognized by the ear is ‘naad’. The naad can be produced by three
facts: -
By the striking of two objects: Sound of Tabla, Sitar, Benjo, Piano etc.
By the rubbing of two objects: Sound of Violin, Sarangi etc.
By passing one object in to another one: Sound of Harmonium, Flute, Mouth organ etc.
By the striking of two objects: Sound of Tabla, Sitar, Benjo, Piano etc.
By the rubbing of two objects: Sound of Violin, Sarangi etc.
By passing one object in to another one: Sound of Harmonium, Flute, Mouth organ etc.
Sound is a mechanical wave that is an oscillation of pressure transmitted through a solid, liquid, or gas, composed of frequencies within the range of hearing. Sound also travels through plasma. a sound effect is a sound recorded and presented to make a
specific storytelling or creative point without the use of dialogue or music. The term often refers to a process applied
to a recording, without necessarily referring to the recording itself. In
professional motion picture and television production, dialogue, music, and sound effects recordings are treated as
separate elements. Dialogue and music recordings are never referred to as sound
effects, even though the processes applied to them, such as reverberation or flanging effects, often are called "sound
effects".
Rudolf Arnheim
Rudolf Arnheim (1904-2007) was a pioneering figure in film studies, best known for his landmark book on silent cinema Film as Art. He ultimately became more famous as a scholar in the fields of art and art history, largely abandoning his theoretical work on cinema. 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:
1)
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;
2)
A technique of recording sound on a thread, for editing by a dress-maker or
tailor;
3) 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;
4)
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;
5)
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.
Haiku
The haiku in A Dictionary of Haiku are arranged into seasonal categories because, for me, a sense of the season is vital to enjoying and understanding haiku. Lacking our system of travelling buzz words, it is very often difficult, or impossible, to know if an individual haiku (and here I refer only to English 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.
I've borrowed ideas and
inspiration from the concept to accomplish goals I had for bringing a number of
unrelated haiku together in one volume to increase an awareness of the season
for readers and writers. I hope you will find some poems here to please you.
May they inspire you to write and treasure your version of your experiences.
Spectatorship
These structures are inescapable; individuals have
no control over their position within them and are subject to their processes.
Film theorists saw many parallels between the pleasurable experience of
watching a film in a darkened theater and psychoanalytic discussions of
unconscious states of being. When film studies began to establish itself as an
academic discipline in the 1970s, film theorists looked to other fields, most
importantly semiotics and psychoanalysis, for cues on how to best articulate
the ways in which film functions as a system of language.
A film, theorists drew on Sigmund Freud and Jacques
Lacan's theories of early childhood development, suggesting that the process of
watching a film recreates a similar dynamic between what Lacan called the
imaginary and symbolic worlds. Because film language works so effectively to
make the viewer feel as though he or she were enmeshed in its world, the
spectator is able to relive the pleasurable state of being in the imaginary
stage again. Psychoanalytic theories of spectatorship make several assumptions
that raise doubts about its ability to serve as a suitable model for
understanding film viewing.
First, in this model the spectator is always
rendered a passive subject of the film text, subject to its meaning system.
This suggests that film spectators do not have control over the ways in which
they view films and the meaning they take from them—that, in fact, every
spectator receives the same meaning from a film. Also, because Lacan's notion
of oedipal development is experienced only by the male child, psychoanalytic
theories of spectatorship are pertinent only when applied to (hetero-sexual)
male spectators. Furthermore, these theories do not take into consideration
cultural and historical variants, implying that all film viewers will respond
to film language in the same way regardless of their historical, cultural, and
political context.
One of the main paths of research in this area
focused on the potential for female film spectators to establish a different
type of relationship with films specifically made to appeal to them—referred to
as women's pictures, weepies, or melodramas. Because these films feature female
characters and focus on female issues, theorists raised compelling questions as
to whether this more feminine mode has the potential to challenge male-oriented
film language. Following the lead of feminist theorists who debated the
assumption that the subject or spectator implied by psychoanalysis is male,
other film theorists responded to the psychoanalytic model by contesting its
inherent dismissal of historical and cultural conditions, specifically those of
race and sexual orientation. The emphasis of these alternative readings was
both to argue for an active spectator-ship informed by one's cultural and
social position and to suggest the possibility for oppositional or alternative
readings that deviate from the dominant i.e.Caucasian, heterosexual, male one set
forth by mainstream cinema.
Gay and lesbian theorists have also made
significant contributions to the "rereading" of film spectatorship.
Teresa de Lauretis, Andrea Weiss, and Patricia White, among others, suggest
that lesbian spectatorial desire challenges the traditional heterosexist
paradigm, creating a dynamic of desire outside of previously theorized notions
of spectatorship. If lesbian spectators are outside of the traditional
heterosexual system of desire, then they pose a significant threat to previous
theories of spectatorship.
Signifying a departure from psychoanalytic
concepts, an increasingly prevalent discussion within film studies of
spectatorship focuses on the historical development of audiences in the early
film industry. By unearthing archival documents such as box-office records,
studio files, and periodicals of this era, film historians have pieced together
accounts not only of how audiences responded to early films, but also of how
changing audience expectations affected the evolution of the film industry and
film language.
Foregrounding
Foregrounding may occur in normal, everyday
language, such as spoken discourse or journalistic prose, but it occurs 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 defamiliarization. When used poetically, words and groups of
words evoke a greater richness of images and feelings than if they were to
occur in a talkative expression.
Foreground is a term usually used in art,
having opposite meaning to background. "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 repetition. Our attention is immediately captivated by the
repetition of the sounds of certain words or by the words they and we begin to
analyse 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 important parts of a text, to aid memo capacity and or to invite interpretation.
In foregrounding the writer uses the
sounds of words or the words themselves in such a way that the readers'
attention is immediately captivated.
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