Mass Media Studies Class XI Resource Material (2018-19) PDF

Resource Material MASS MEDIA STUDIES CODE-835 CLASS -XI SESSION: 2018-19  MASS MEDIA STUDIES PAPER CODE-835 SESSION: 2018-19 Unit-I-Introduction to Mass Media Chapter-Introduct...

Resource Material MASS MEDIA STUDIES CODE-835 CLASS -XI SESSION: 2018-19  MASS MEDIA STUDIES PAPER CODE-835 SESSION: 2018-19 Unit-I-Introduction to Mass Media Chapter-Introduction to Media The women’s reservation bill intends to reserve 33% of seats in Lok Sabha and state assemblies for women. One expected the Mouse of Elders or RajyaSabha to take a sympathetic view of the proposal for two reasons. First, it did not affect the dynamics of elections to RajyaSabha. Second , the members being elders, having seen life and society and the unfair manner in which both treat women, were expected to wisely. The pandemonium that preceded the debate and passage of the bill surely left a bad taste in the mouth of many. Unbelievably, a seasoned parliamentarian thanked the marshals for the valuable service they rendered in making the debate and passage of the bill in RS a reality. If the bill generated so much heat in the upper house, it is likely that the unruliness could go up many notches in Lok Sabha, which has many younger MPs who have proudly imbibed the social values and beliefs of those elders who stoutly opposed the bill. Far away from Delhi, a similar scene is being enacted in Jammu and Kashmir assembly. A private proposal – J&K Permanent Resident (disqualification) Bill 210- seeks to disqualify a J&K girl of her permanent resident status if she gets married to a non-resident. Similarly, girls from outside the state marrying a J&K permanent resident run the risk of being stripped of permanent resident status if their husbands divorce them. And it does not matter even if the marriage has lasted decades. To sum up the bill, girls from J&K better not marry anyone from outside and those from outside marrying men from the state will do well to keep the marriage. Otherwise, both would be disinherited from landed property. Whether the bills, the one in Parliament and the other in J&K, get through or not, it actually reveals the ingrained values of politicians. In a democratic set-up, ideas are succeeded by debates even as they take years to take root. Every idea, which in itself is an experiment, takes decades before being translated into action. We all know experimentation is key to the vibrancy of a democracy. And every idea which has taken root social thinking should be put up for experimentation on the altar of democracy-the floor of the house—to expose the true colours of parliamentarians and legislators. There is an interesting passage from a Supreme Court judgment that reflected the understanding of traditional views about marriage and role of men and women in society and relationships and the present dynamics. It may not add to the women’s reservation bill or stand against the J&K bill but it would surely educate those who stand to vote for or against the proposed legistations. In state of Delhi vsLaxman Kumar {1985 SCC (4) 476}, the SC had said, “of late there is a keen competition between men and women all over the world. There has been trying raise their heads by claiming equality. We are of the view that women as possessor of those unique qualities.” It added, “it is the woman who is capable of playing the more effective role in the preservation of society and, therefore, that had to be respected. She can protect the society against evil. To that extent, women have special qualities to serve society in due discharge of the social responsibility. The apex court went on to say that society needed both men and women in equal measure and status as one without the other could never form a place called civilized society. “therefore, in a world where men and women are indispensable to each other and the status of the other, to what extent is competition between the two justifiable is a matter to be debated in a cool and healthy setting.” It said, did you mean parliament is not a “cool and healthy” setting for such a debate? Express your understanding about: 1. The salient details of the bill. __________________________________________________________________ __________________________________________________________________ __________________________________________________________________  __________________________________________________________________ ____________________ 2. The arguments for the bill. __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ ____________________ 3. The arguments against the bill. __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ ____________________ What is a medium? What is Mass Communication? A medium is defined variously as that entity through which information, signals, and messages are transmitted. In short, it is an agency or technology which makes any communication possible between the sender and the receiver of any signal. What is a mass medium? Every medium is not a mass medium. Theatre is not a mass medium. Plays are performed, enjoyed by the audience and then it is only in one’s memory. Secondly the experience is limited to those, who are physically present at a given place and at a given time. So are song and dance performances; we could call these the ‘performing arts.’ Then there are what we could call the ‘fine arts’ such as painting, sculpture and architecture. Depending upon the content and the functions they serve, the media can be classified as art media and communication media. Painting and music are art media essentially expressing artistic content. In contrast, a medium like telephone is purely a communication medium. It is functional and carries messages between distant places. Today, we live in a very predominantly technological age, hence the word communication is almost synonymous with mass communication and the word media is likewise synonymous with mass media for us. It is technology and the reach afforded by it that makes a medium a mass medium. The term was coined in the 1920s with the advent of nationwide radio networks, mass circulation newspapers and magazines. However, some forms of mass media such as books and manuscripts had already been in use for centuries. Radio and TV have been the dominant mass media so far; one of them broadcasting audio, while the other broadcasting audio-visual signals. They operate on a gigantic scale. The newspapers and periodicals are also mass media, but their reach is limited as compared to radio and television. Their working is such that, the programme {signal} generated by a few hundred of media-persons reaches billions of people across the continents. This is essentially a one-way communication, meaning that the response of the spectators/audiences will not have any bearing on the quality of the programme. This communication is instant and global simultaneously. These are the basic features of mass communication. Mass Communication Mass communication is essentially unidirectional, from a handful of people to many. It involves technology based organization. Whereas, interpersonal communication is informal, with an instant feedback, one to one or within a small group present in the same place. It is not dependent of technology based organization. Both modes of communication may be oral or written. The Function Of Mass Media is Mass Communication. Earlier mass communication was limited to only those few agencies, who had the vast means to launch a newspaper, radio channel or a TV channel, but the arrival of The World Wide Web has changed the old motions. Web has features like blogs, message boards, podcasts, and video sharing. Individuals now have access that is comparable in scale to what was previously restricted to a select group of mass media producers. The communication audience has been viewed by some commentators as forming a mass society with special characteristics, notably atomization or lack of social connections, which render it especially susceptible to the influence of modern mass-media techniques such as advertising and propaganda. The term “public media” is less used and can be defined as “media whose mission is to serve or engage a public.” Marshall McLuhan, one of the biggest critics in media’s history, brought up the idea that “the medium is the message.” Mass Audience Millions watch a big event like an IPL Cricket match at the same time. That forms a mass audience, and attracts advertisers to sponsor the event and the telecast. Even though all these people can be reached simultaneously, they do not exist in the same social space. They are in different cities, localities and are spread over a vast geographic area, different time zones and are NOT in communication with each other. This is unlike the audience for the same match at the stadium, where the match is being played. There they form a compact mass and can do react in unison. The Various other Functions of Mass Media Mass media can be used for various purposes:  Advocacy, both for business and social concerns. This can include advertising, marketing, propaganda, public relations, and political communication.  Entertainment, traditionally through performances of acting, music, and sports, along with light reading; since the late 20th century also through video and computer games.  Public service announcements. News Reporting and Information Journalism Journalism is the discipline of collecting, analyzing, verifying and presenting information regarding current events, trends, issues and people. Those who practice journalism are known as journalist. Journalism refers to the production and distribution of reports on recent events. The word journalism applies to the occupation(professional or not), the methods of gathering information and organising literary styles. Journalistic mediums include print, television, radio, Internet and in the past: newsreels. Screen Entertainment There are some media, which are primarily considered as art media like music and painting and there are some media which are considered as communication media such as the television and telephone. Film combines both these properties and therefore is such a complete medium. All film stories written on paper but created on screen and are told by means of image and sounds. Chapter-Aspects of Mass Communication Forms of Communication All living things communicate, but in human beings the process is far more complex than it amongst the animals. This has been an important part of human evolution. To communicate is a very basic need for human beings, next in importance to the primary necessities of life food, clothing and shelter. Communication is an individual as well as a social need. In our everyday life we go through the various possibilities of communication such as individual to individual, individual to group, group to individual and groups to groups. Any interaction, interchange, transaction, dialogue, negotiation, sharing, communion, feeling of commonness is communication. We express our needs, thoughts and emotions. Aspects of Mass Communication There are three stages of interpersonal communication The Phatic Stage The Personal Stage The Intimate Stage The Phatic Stage - This word is derived from the Greek word 'phasis' meaning an utterance. This is the formal stage of conversation and begins with the usual salutation like Hi! Hello! Namaskar! Salaam Aleikum etc. the salutation would be more or less the same, whether the persons meeting and greeting each other or are meeting for the first time. It is warming up stage, that may or may not lead to the next i.e personal stage. The Personal Stage - In this stage we are prepared to open up a bit more with our feelings and thoughts and would talk about one's job, profession, family, friends, etc. Reciprocal response is expected during this conversation..Like’s what i told you about me, but hey, I would like to know more about you similarly. This stage also means that we are willing to go beyond the formal stage with a new acquaintance. The Intimate Stage - It is reserved for friends and relatives, whom we trust and look to for listening to, sharing our personal feelings. The degree of intimacy depends upon the closeness of relationship. We tend to share our anxieties and ambitions during these conversations. Aspects of Mass Communication ALL COMMUNICATION IS AN EXTENSION OF OUR SENSORY CAPABILITIES. - Circa 1919 AD, the eminent Marathi historian Itihasacharya Vishwanath Kashinath Rajwade produced a great essay entitled - "The Evolution of Means of Human Thought and Expression." - This essay develops a perspective that, there are FORTY forms of artistic communication developed by the human race during the course of its evolution. And these forms have been derived from FOUR natural abilities that human beings possess viz. Speech, Gesture, The Ability to Draw and The Ability of Making Solid Figures. -He says further that, making good use of these basic abilities, humankind has developed a few external means - such as musical instruments, puppets , camera etc. - to extend the range of its own expressions. He has summarized the brilliant formulation as follows:- NATURAL ABILITIES FUNCTIONAL USE EVOCATIVE USE FUNCTIONAL PLUS EVOCATIVE EXTERNAL MEANS Sound Language Singing Verse Instrumental music Drawing Alphabet Painting Illustrated Books Photography Gesture Acting Dance Theatre Puppetry Solid figure Pottery Sculpture Architecture Landscape According to him, these twenty forms as tabulated above can function on both - a) functional/realistic and b) fantastic planes. Thus giving rise to FORTY forms of expression. There are TWO important points to be taken from this formulation. 1. All forms of human communication have involved over the centuries and they continue to evolve. 2. There is a close relationship between them.  Chapter-Barriers to Communication Communication is not always smooth and clear. there are many reasons for this. They are identified as barriers to communication. Barriers are difficulties that come in the way of communication. They may be physical, mechanical, psychological, cultural or linguistic in nature. Physical barriers The major environmental / physical barriers are Time, Place, Space, Climate and Noise. Some of them are easy to alter whereas, some may prove to be tough obstacles in the process of effective communication. These factors may just cause distraction leading to inattentiveness or totally alter the message, causing miscommunication. Ill health, disturbed condition can cause subjective stress and obstruct communication. Psychological Barrier/Self Image Each of us has a frame of reference of our own. The psychological barrier of communication is the influence of psychological state of the communicators (sender and receiver) which creates an obstacle for effective communication. Communication is highly influenced by the mental condition that the communicators are in and is disturbed by mental disturbance. If the people involved in communication are not emotionally well, they won’t be able to communicate properly. Every person’s mind is unique and communication does not work like that in machines or in numbers. Defensiveness and Fear Defensive behaviors show up when a person doesn’t feel physically or emotionally safe. Usually there is a perceived or real threat. When acted on – defensive behaviors are a barrier to effective communication. Linguistic and Cultural Barriers Effective communication is a necessary part of dealing with individuals. The inability to communicate using a language is known as language barrier to communication. Language barriers are the most common communication barriers which cause misunderstandings and misinterpretations between people. Cultural differences causes behavior and personality differences like body language, thinking, communication, manners, norms, etc Mechanical Barriers Deficiencies of signal reception, mechanical communication barriers are technical sources of interference in the communication process. A mechanical barrier stems from a problem in machinery or instruments used to transmit the message. This is not limited to media forms such as radio and television; it also includes machines used by those with hearing or speech impairments  MASS MEDIA STUDIES PAPER CODE-835 SESSION: 2018-19 Unit-II-Evolution of Media Chapter 1:- Understanding Cinema I Chapter 2:- Understanding Cinema II Chapter 3:- Understanding T.V. Specificity of Television as a Medium The Purpose of Television Programming Chapter 4:- Print Media and Its Type Chapter 5:- Radio Genres in Radio Programming Chapter 6:- Internet CHAPTER: - 1 UNDERSTANDING CINEMA I Film as a medium and an art as different from other arts and media We all love stories. We love to tell them and as well as listen to them. We love stories that appeal to us in various moods. Some are romantic, some are mysterious, some are scary, while some are amazing. We have changed and become so different from our ancestors in many ways, but in one respect we are no different from them. They loved stories as much we do. Over the centuries, making has evolved various forms of storytelling. Some have been verbal that is orally transmitted or literary stories some have been purely pictorial, some have been based on our ability to perform and some have been technology based like cinema and television in the Twentieth century. Cinema emerged as the premier story telling medium, incorporating many qualities of other arts. Although we see many arts reflected in cinema, it still retains its individual, unique quality. This would be the first step in understanding cinema as a narrative medium and art. Activity Watch the beginning portion of Lagaan FROM 00.00 TO 16.00 minutes. Observe and write down the following details. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Write a summary of what actually happens [the plot] ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Who are the characters? Describe them with respect to the following details – age, gender, appearance, clothes, emotional state. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… What is their environment? And what does it tell you about the time period of the story? ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Do you think that these sequences were filmed on sets or actual locations? ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Which would be better & why? What are the different sounds that you hear/could listen? ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Now see the same segment of the film again and see in light of what you have written, whether you have observed all or you have noticed a few things that you have missed in the first viewing of the film. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Consider the following statement – “Films are difficult to explain, because they are easy to understand!” Christian Metz French critic, theoretician Why are films easy to understand? ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Activity See about 10 minutes of a film in that is a language that you do not understand. The film should be without subtitles and /or not dubbed in a language that you understand. Either now, compares this experience with your normal film viewing experience. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… What was missing when you were watching a film in the language that you did not understand? What does it tell you about the nature of the cinema as a medium? ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… CINEMA is essentially as story-telling or in other words a NARRATIVE MEDIUM. CINEMA tells stories on screen by means of visuals and sounds i.e. in AUDIO- VISUAL manner. CINEMA tells stories that are bound in time and space i.e. they are SPATIO- TEMPORAL. SUMMING UP… CINEMA IS AN AUDIO – VISUAL, SPATIO – TEMPORAL, NARRATIVE MEDIUM. Visual on screen contain Actors, Locations, Lighting, Objects, Compositions Sound-track consists of Speech, Effects, Music, Silence These are the basic elements that go into the composition of any film. That is how, Cinema tells stories in its own way. Medium and material – Every medium has its own material through which it realizes itself. Literature uses words [language] Painting uses lines, surface [canvas], colours/tones, shapes and two-dimensional space. Sculpture uses solid objects [like metals, stones, real objects], textures, colours/tones and three-dimensional space and offers multiple points of view of looking at an object. Architecture uses building blocks [like brick and mortar, stones metals], textures, colours/tones and three- dimensional space. Music uses sound and silence Theatre uses sound and space BUT CINEMA USES ALL OF THESE. THAT IS WHY WE SEE THE ELEMENTS OF THE OTHER ARTS BEING USED IN CINEMA Cinema uses the story-telling techniques of literature Cinema uses the same basic elements of line, shapes and colours/tones in composing visuals like Painting Cinema uses [the illusion of] the three-dimensional space and composes figures in depth and offers multiple points of view Cinema uses architecture and natural structures as settings. Cinema uses music as a part of the story and dramatic structure Cinema uses actors and depends upon their performances THIS IS HOW CINEMA IS INTIMATELY RELATED TO LITERATURE, VISUAL ARTS AND PERFORMING ARTS, BUT STILL HAS ITS OWN IDENTITY AND IS DIFFERENT FROM THEM. Understanding this relationship of cinema to the other arts is taking the first step towards understanding the basic quality and property of cinema. When we start seeing the links between cinema and the other arts an exciting world opens up before us. LITERATURE AND CINEMA  Images in mind and images on screen- Literature uses words and when you enjoy a work of fiction, we read the words first, then assimilate them and after that we form our own mental pictures of places and characters. Moreover, these images are not the same for all of us, although we all read the same words. In cinema, exactly opposite of this happens, when we see a film. We directly see the image of the place, person, landscape or building on screen. All of us see the same image and for the same amount of time and exactly as composed by Director. Activity Read the following passage from a story… A dark January night. In the sky even the stars seemed to be shivering. At the edge of his field, underneath a shelter of cane leaves, Halku lay on a bamboo cot wrapped up in his old burlap shawl, shivering. Underneath the cot his friend, Jabra, the dog, was whimpering with his muzzle pressed into his belly. Neither of them was able to sleep. [-From Posh ki Raat (January Night) by Premchand]. Q1. Write a paragraph each 1. On the field you ‘see’, 2. On the appearance, age, physical state and his occupation? Q2. Sketch five images like five shots that would appear in the movie that would bring out the essential details of the man and the atmosphere surrounding him. Indicate what kind of sounds would you associate with these. When you would compare your notes with your classmates, then you will see the point very clearly.  Characterization in literature and characterization in cinema Portraying a character is essential and common to literature and cinema. Now let us proceed to understand this relationship through the work of accomplished writers and filmmakers. The portrait in Novel and the Portrait in Cinema During the evolution of the novel, an interesting convention seems to have been strongly established and i.e. of painting a word picture of character at the point of entry in the novel. This description seeks to introduce the reader to the character in a manner that will make a strong impact and thus form a graphic image of the character in his/her mind. The authors have done this by describing the basic physical, sociological and psychological dimensions of the character. The following passage form Iris Murdoch [“Under the net,”1954] is a good example of this fact… “Magdalen, I should explain, is a typist in the city, or she was at the time of the earlier events related in this story. This hardly describes her, however. Her real employment is to be herself, and to this she devoted tremendous zeal and artistry. Her exertions are directed along the lines suggested to her by women’s magazines and the cinema, and it is due to some spring of native and incorruptible vitality in her that she has not succeeded in rendering herself quite featureless in spite of having made the prevailing conventions of seduction her constant study. She is not beautiful: that is an adjective which I use sparingly; but she is both pretty and attractive. Her prettiness lies in her regular features and fine complexion, which she covers over with a peach-like mask of make-up until all is smooth and inexpressive as alabaster. Her hair is permanently waived in whatever fashion is declared to be the most becoming. It is a dyed gold. Women think that beauty lies in approximation to a harmonious norm. The only re4ason why they fail to make themselves indistinguishably similar is that they lack the time and the money and the technique. Film stars, who have all these, are indistinguishable similar. Magdalen’s attractiveness lies in her eyes, and in the vitality of the manner and expression. The eyes, and in the vitality of the manner and expression. The eyes are one part of the face, which nothing can disguise, or at any rate nothing which has been invented yet. The eyes are the mirror of the soul, and you can’t paint them over or sprinkle them with gold dust. Magdalen’s eyses are big and grey and almond-shaped, and glisten like pebbles in the rain. She makes a lot of money from time to time, not by tapping on the typewriter, but by being a photographer’s model; she is everyone’s side of a pretty girl” Notice that this description of Magdalene is from somebody’s eyes-and in this case from the author’s own- point of view, as he is the main character from whose point of view the story is told. This is a part of the rich legacy of literature. Does cinema also introduce characters in this manner? READ THE SUMMARY DESCRIPTION OF THE TWO IMPORTANT SCENES FROM TWO INDIAN FILMS VIZ. CHARULATA BY SATYAJIT RAY AND MUGHAL EAZAM BY K.ASIF. CHARULATA- Satyajit Ray’s Charulata has an opening, which is right out of this tradition of introducing a character very vividly. Ray spends a good ten minutes in the exposition of the main character right at the beginning of the film. The film opens with a close up of Charulata sewing delicately the letter B [for Bhupati – her husband] on a handkerchief. As the clock strikers four chimes, she gets up and orders the servant to take tea to the master. Then we see her feeling bored with nothing specific to do at that afternoon hour. And begins her small journey within the house from bedroom to corridor to bedroom to drawing room. She meanders through this time in a space of about ten minutes doing small little inconsequential things like opening the cupboard, feeling a book, looking at the world outside through opera glasses etc. we see her in terms of her physiognomy, costumes, occupation, ambience, social background, historical time period. Her demeamour suggests that there is more than boredom locked up within her. The world seems to go on outside and inside the house, too oblivious of her mental state at that hour. All those who enter picture frames leave them shortly, including her husband. Interestingly, there is no other character present there to interact with her. So there is practically no dialogue. This is her private drama and director depicts it directly to us. The household is also described through a variety of camera movements, which are sometimes brisk, sometimes languorous in consonance with her moods. We see it to be a rich upper-class Bengali household of the Nineteenth century: the size of the rooms, the architectural style, elegant furniture suggest it to be a westernize household during those times. Most of the time in this sequence the camera is mobile: relentlessly following her, feeling with her feeling for her. The character glides beautifully through a non-verbal space that is mode eloquent by the mobile camera. Concept of Anarkali There is an interesting scene in K.Asif’s Mugal –E-Azam. It is a prelude to the arrival of Anarkali. Sangtarsh [Nigar Sultana] that his work – the statues and morals – is not liked by the rulers, as they speak the truth. And he points to a wall-mural that depicts a person being crushed by the elephant as punishment, saying that this what one gets as one’s reward for speaking the truth. But he agrees to carve out a figure that shall be so beautiful that on seeing her the soldiers will lay down their swords at her feet, the emperors will lay down is their crown at her feet and all others will lose their hearts for her. This is the best that his imagination can offer. This kind of introduction to a character in such a literally poetic manner is rare in cinema. It defines a character not by any realistic means, but in terms of a concept of beauty. It also foreshadows the fate of Anarkali in terms of her relationship with Salim and her conflict with Akbar and herself, for Anarkaliis the one who dares to speak the truth. This dramatic element is further developed in to the ritual of Naquab-poshi, when Salim like a true warrior inaugurates the statue by unveiling it by means of an arrow. The statue is not ready on time, so the model herself stands in statuesque form risking her life too in the process. The impact of her beauty on all present is dramatic and especially so, on Prince Salim as for him it is Love at first sight. Charulata is defined historically, psychologically, realistically and Anarkali is defined as a legend. This is so, because Satyajit Ray’s idiom is that of modern cinema, whereas K.Asif’s happens to be of a traditional kind. PAINTING AND CINEMA The art of painting has had a very strong influence on cinema, as painting developed much before the advent of cinema. Painting is a medium of expression, which creates aesthetic experience by means of lines, shapes, tones and colour. These elements are composed in frames by the painters. This concept of framing all these elements is borrowed by cinema to tell a story on screen. In fact, some of paintings remind you instantly of certain scenes from popular films. e.g, Pierre-Auguste Renoir’s painting titled ‘Dance at Le Moulin de la Galettle’ instantly remind one of a very famous scene from the film, Godfather Part1. For those who have not seen the film, it is the opening of the film, the wedding reception of Don Corleone’s daughter, Connie. Notice the way the painter has played with light in the painting below and the composition, as in, the number of subjects that have been accommodated to portray a realistic feel of a dance ceremony. This is the equivalent of a ‘frame’ in cinema, which captures the various contents of a visual. The shot composition in cinema or capturing a particular moment or emotion, involves the main elements of foreground and background. The latter is the placement of subjects or objects in relation to the camera. This is also borrowed from the art of painting. A fine example of foreground and background in a painting is Gustave Caillebotte’s Paris Street, Rainy Day, shown below. Here, the man and woman under the umbrella are the primary subjects as they are in the foreground and facing the painter. The architectural structure in the back is the background, which acts as the backdrop of the painting. The other subject are secondary elements but have a crucial function in making the painting ‘real’. You must have heard people comment on a film maker saying that he has an eye for details. Notice the detailing in this painting – the light falling on the wet cobbled street, the waistcoat in captured motion, the angle of the umbrella being carried by the couple. Do you see the connection between cinema and painting with ‘detailing’ as the main parameter? Activity Do an exercise of collating paintings that instantly remind you of visuals from films. How many can you think of? What are the other similarities that you can spot between the art of painting and cinema? SCULPTURE AND CINEMA Any work of sculpture is in three dimensions. Moreover unlike painting it can be viewed from very many almost an infinite points of view. As we move around it, the object appears different to us from different places. This is the unique quality of experiencing a work of sculpture. It makes the same object/form appear different to us making our experience richer and multi-dimensional. Observe the following sculpture by celebrated English sculptor Henry Moore, to understand the concept of dimensions better. See the following images from- The Henry Moore Sculpture Center was opened in 1974, Art Gallery of Ontario, Canada. Outside the museum, Moore’s bronze work, Two Large Form (1966-69) greets the visitor. Notice how the same sculpture appears different, when viewed from different point of view as in the above photographs. Activity Take an object that you would have with you in your home: say like a handicraft made of stone or metal. Take still pictures of it in the following manner- Place the object on a table with a uniform surface or put a piece of cloth or a paper that would not distract. Now, take still pictures of it  From as many points of view  Of different magnification  In different lighting conditions Tip-you can shoot it in daylight, artificial room light and even spotlight it with a small lamp or torch ect. See all the picture together. Write down your description of each of them in a few lines about each of them. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Cinema incorporates this quality of looking at an object or a person from multiple points of view in continuous time. Activity Watch any clip of a film for about 5 minutes to understand this point for yourself. ARCHITECTURE AND CINEMA Architecture is a spatial, three-dimensional art. Like sculpture, an architectural work also reveals itself through multiple points of views. Architecture is also the most ‘functional’ of all arts in the sense that there is ‘a use value’ to it. A building has got to be not just aesthetically pleasing, but serve the purpose for which it was originally planned and constructed. Architecture has a certain stand-alone quality and timelessness about it. Famous buildings in the cities usually become the landmarks for the citizens of that city and signs of the city’s identity for the others like the Eiffel Tower is synonymous with Paris. Activity Visit a temple/mosque/church/gurudwara in you vicinity. Study the whole lay out of the sacred place from outside to the sanctum sanctorum to feel the architecture. In various state emporia or exhibitions of handicrafts you find many metallic and wooden sculptures. Describe the experience of viewing them from multiple viewpoints. Notice how such objects placed in the windows of the state emporia are highlighted by strong lights. What are the devices that Hindi films use to depict the arrival of character in Mumbai?  Clue 1 – They use architecture for this purpose  Clue 2 – see the beginning segments of the films – Shree 420 and Satya. Write your observations. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… Architecture offers to cinema interesting setting to stage scenes. Many directors have made use of this fact to give us memorable scenes. Alfred Hitchcock was one such director, who used famous buildings as a setting for his film sequences. In India, many directors have made good use of architectural landmarks. Activity See the segments from the following films to understand this point.  Yuva by Mani Ratnam begins with the climactic sequence that takes place on Vidyasagar Setu in Kolkata  Aparajito by Satyajit Ray begins with the panoramic depiction of the ghats at Varanasi [Benaras].  The climax of Alfred Hitchcock’s Vertigo [Shot at an old church tower] and the man who knew Too Much [shot at Royal Albert Hall in London]. Kundan Shah’s Jaane Bhi Do Yaro makes use of many locations such as old bridges, unfinished buildings, parks, shopping centres that are unmistakably signs of Mumbai city. In Martin Scorsese’s Taxi Driver the streets and exteriors of New York city have been brilliantly used throughout. Many chase sequence in our films have been made very intricate and enthralling due to the complicated settings like a Mumbai slum. The India Gate in Delhi, is strategically used by the maker of ‘Rang de Basanti’ to mark the turning point of this script. MUSIC AND CINEMA Music is a performing art and therefore is time bound i.e. temporal. Music is an aural art. Music uses sound and silence in different patterns combinations. Music is one art that can be transferred to cinema in its original form. A song or a theme music composed for a film can and does become a part of the film and yet retains its independent existence as a musical piece. Since music can be used in its undiluted and most impacting manner, it has formed such a brilliant association with cinema. In India especially, music has been a strong factor in success of some films. for both aesthetic and commercial reasons music has always been considered important and essential in films in India. Music can do the following [and more] in films… - It can add an emotional depth to the scene. - It can help move the story forward through narrative song sequence. - It can offer a melody or a rhythm for the actors, directors, choreographers and editors to work on. - It can create and sustain a mood, especially, prominently in scenes, where there is no dialogue - It can help in the publicity of the film. - Some musical themes and songs get associated with the image of the film. - It can help bring out the sub-vocal feelings and moods without the use of the words Music is usually used in three ways in films; 1. As title/theme music 2. Background score 3. Songs Activity 1. Listen to the themes of the following films – Title music of any James Bond film, Pather Panchali, Title music of Hitchcock’s Psycho. Note down the names of the composers. What feelings did each piece of music invoke in you? Describe the feelings in your own words. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… 2. Now watch the title or other sequences with music and try to see how it relates to the visuals of the films. Write down your thoughts. ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… ………………………………………………………………………………………………… A title sequence is the method by which cinematic films present their title, key production and cast members, or both, utilizing conceptual visuals and sound. It usually follows but should not be confused with the opening credits, which are generally nothing more than a series of superimposed text. The title sequence of Chalti Ka Naam Gadi is an animated sequence. The musical score likewise indicates that it is a comedy that one is expected to seen. Watch the film’s title sequence with this in mind. THEATRE AND CINEMA “I can take any empty space and call it a bare stage. A man walks across this space Whilst someone else is watching him, and this is all that is needed an acto of theatre to be engaged.” So says Peter Brook in his book The Empty Space. You cannot have a more succinct definition of theatre than this. Theatre is Live communication and actors, empty space and audience are the three most essential factors necessary for a performance of a play. Prima facie, theatre is an art that looks to be the closest to cinema. Like cinema it is audio-visual and, spatio-temporal… Like cinema it has actors, scene changes, lighting, costume, make up, sets, story, etc. But, these similarities are superficial and the differences between these two arts are many and basic as can be seen below- Theatre Cinema  While watching a play – Point of view  While watching a film – Point of view of the spectator is fixed depending of the spectator is constantly upon where he is sitting in the changing due to the editing and auditorium. camera movements.  Each spectator has a different point  Each spectator has the same point of of view of looking at the stage/play. view as the other at all times.  Technology can be useful, but not  Technology is absolutely essential. necessary for the production of a  Cinema is absolutely recorded play. audiovisual images.  Theatre is Live Communication.  Quality of the performance is fixed  Quality of the performance varies once and for all. each time.  In cinema, the actors are always  In theatre we see actors in life size larger than life images. reality.  The process of editing, which brings  An actor’s presence is the defining together various elements gives feature of the art of theatre. cinema its own identity. Returning to Cinema Thus, we move from a simple definition of cinema like – Cinema is an audio – visual, spatiotemporal art to… A more refined one that says… Cinema is a temporal art that creates an illusion of a complete three dimensional world through the projection of a two – dimensional image and recorded sounds. Activity Read Anton Chekov’s play given below and enact a portion from it in a group of five. Study the way your group presents the portion compared to other groups. Title: The Anniversary Author: Anton Chekhov [More Titles by Chekhov] CHARACTERS ANDREY ANDREYEVITCH SHIPUCHIN, Chairman of the N—Joint Stock Bank, a middle-aged man, with a monocle TATIANAALEXEYEVNA, his wife, aged 25 KUSMA NICOLAIEVITCH KHIRIN, the bank’s aged book-keeper NASTASYA FYODOROVNA MERCHUTKINA, an old woman wearing an old- fashioned cloak DIRECTORS OF THE BANK EMPLOYEES OF THE BANK The action takes place at the Bank. RUSSIAN WEIGHTS AND MEASURES AND MONEY EMPLOYED IN THE PLAYS, WITH ENGLISH EQUIVALENTS 1 verst = 3600 feet= 2/3 mile (almost) 1 arshin = 28 inches 1 dessiatin = 2.7 acres 1 copeck = ¼ d 1 rouble = 100 copecks = 2s. 1d. The Anniversary. Translated, with an introduction, by Julius West. [The private office of the Chairman of Directors. On the left is a door, leading into the public department. There are two desks. The furniture aims at a deliberately luxurious effect, with armchairs covered in velvet, flowers, statues, carpets, and a telephone. It is midday. KHIRIN is alone; he wears long felt boots, and is shouting through the door.] KHIRIN Send out to the chemist for 15 copecks’ worth of valerian drops, and tell them to bring some drinking water into the Director’s office! This is the hundredth time I’ve asked! [Goes to a desk] I’m absolutely tired out. This is the fourth day I’ve been working, without a chance of shutting my eyes. From morning to evening I work here, from evening to morning at home. [Coughs] And I’ve got an inflammation all over me. I’m hot and cold, and I cough, and my legs ache, and there’s something dancing before my eyes. [Sits] Our scoundrel of a Chairman, the brute, is going to read a report at a general meeting. “Our Bank, its present and Future. “You’d think he was a Gambetta… [At work] Two… one… one… six… nought… seven… Next, six… nought… one… six… He just wants to throw dust into people’s eyes, and so I sit here and work for him like a galley – slave! This report of his is poetic fiction and nothing more, and here I’ve got to sit day and add figures, devil take his soul! [Rattles on his counting-frame] I can’t stand it! [Writing] That is, one… three… seven… two… one… nought… He promised to reward me for my work. If everything goes well to-day and the public is properly put into blinkers, he’s promised me a gold charm and 300 roubles bonus… We’ll see. [Works] Yes, but if my work all goes for nothing, then you’d better look out… I’m very excitable… If I lose my temper I’m capable of committing some crime, so look out! Yes! [Noise and applause behind the scenes. SHIPUCHIN’S voice: “Thank you! Thank you! I am extremely grateful. “Enter SHIPUCHIN. He wears a frockcoat and white tie; he carries an album which has been just presented to him.] SHIPUCHIN [At the door, addresses the outer officer] This present, my dear colleagues, will be preserved to the day of my death, as a memory of the happiest days of my life! Yes, gentlemen! Once more, I thank you! [Throws a kiss into the air and turns to KHIRIN] My dear, my respected Kusma Nicolaievitch! [All the time that SHIPUCHIN is on the stage, clerks intermittently come in with papers for his signature and go out.] KHIRIN. [Standing up] I have the honour to congratulate you, Andrey Andreyevitch, on the fiftieth anniversary of our Bank, and hope that… SHIPUCHIN. [Warmly shakes hands] Thank you, my dear sir! Thank you! Think that in view of the unique character of the day, as it is an anniversary, we may kiss each other!... [They kiss] I am very, very glad! Think you for your service… for everything! If, in the course of the time during which I have had the honour to be Chairman of this Bank anything useful has been done, the credit is due, more than to anybody else, to my colleagues. [Sighs] Yes, fifteen years! Fifteen years as my name’s Shipuchin! [Changes his tone] Where’s my report? Is it getting on? KHIRIN. Yes; there’s only five pages left. SHIPUCHIN. Excellent. Then it will be ready by three? KHIRIN. If nothing occurs to disturb me, I’ll get it done. Nothing of any importance is now left. SHIPUCHIN. Splendid. Splendid, as my name’s Shipuchin! The general meeting will be at four. If you please, my dear fellow. Give me the first half, I’ll peruse it… Quick… [Takes the report] I base enormous hopes on this report. It’s my _profession de foi __, or, better still, my firework. [Note: The actual word employed.] My firework, as my name’s Shipuchin! [Sits and reads the report to himself] I’m hellishly tired…My gout kept on giving me trouble last night, all the morning I was running about, and then these excitements, ovations, agitations… I’m tired! KHIRIN. Two… nought… nought… three… nine… two… nought. I can’t see straight after all these figures… Three… one six… four… one … five… [Uses the counting-frame.] SHIPUCHIN. Another unpleasantness… This morning your wife came to see me and complained about you once again. Said that last night you threatened her and her sister with a knife. Kusma Nicolaievitch, what do you mean by that? Oh, oh! KHIRIN. [Rudely] As it’s an anniversary, Andrey Andreyevitch, I’ll ask for a special favour. Please, even if it’s only out of respect for my toil, don’t interfere in my family life. Please! SHIPUCHIN. [Sights] Yours is an impossible character, Kusma Niclaievitch! You’re an excellent and respected man, but you behave to women like some scoundrel. Yes, really. I don’t understand why you hate them so? KHIRIN. I wish I could understand why you love them so! [Pause.] SHIPUCHIN. The employees have just presented me with an album; and the Directors, as I’ve heard, as going to give me an address and a silver loving – cup… [Playing with his monocle] Very nice, as my name’s Shipuchin! It isn’t excessive. A certain pomp is essential to the reputation of the Bank, devil take it! You know everything, of course…. I composed the address myself, and I bought the cup myself, too…. Well, then there was 45 roubles for the cover of the address, but you can’t do without that. They’d never have thought of it for themselves. [Looks round] Look at the furniture! Just look at it! They say I’m stingy, that all I want is that the locks on the doors should be polished, that the employees should wear fashionable ties, and that a fat hall-porter should stand by the door. No, no, sirs. Polished locks and a fat porter mean a good deal. I can behave as I like at home, eat and sleep like a pig, get drunk…. KHIRIN. Please don’t make hints. SHIPUCHIN. Nobody’s making hints! What an impossible character yours is…. As I was saying, at home I can live like a tradesman, a _parvenu _, and be up to any games I like, but here everything must be _en grand_. This is a Bank! Here every detail must _imponire_, so to speak, and have a majestic appearance. [He picks up a paper from the floor and throws it into the fireplace] My service to the Bank has been just this – I’ve raised its reputation. A thing of immense importance it tone! Immense as my name’s Shipuchin! [Looks over KHIRIN] My dear man, a deputation of shareholders may come here any moment, and there you are in felt boots, wearing a scarf… in some absurdly coloured jacket…. You might have put on a frock-coat, or at any rate a dark jacket…. KHIRIN. My health matters more to me than your shareholders. I’ve an inflammation all over me. SHIPUCHIN. [Excitedly] But you will admit that it’s untidy! You spoil the _ensemble_! KHIRIN. If the deputation comes I can go and hide myself. It won’t matter if… seven… one… seven… two… one… five… nought. I don’t like untidiness myself…. Seven… two… nine… [Uses the counting-frame] I can’t stand untidiness! It would have been wiser of you not to have invited ladies to to-day’s anniversary dinner…. SHIPUCHIN. Oh, that’s nothing. KHIRIN. I know that you’re going to have the hall filled with them to-night to make a good show, but you look out, or they’ll spoil everything. They cause all sorts of mischief and disorder. SHIPUCHIN. On the contrary, feminine society elevates! KHIRIN. Yes…. Your wife seems intelligent, but on the Monday of last week she let something off that upset me for two days. In front of a lot of people she suddenly asks: “Is it true that at our Bank my husband bought up a lot of the shares of the Driazhsky-Priazhsky Bank, which have been falling on exchange? My husband is so annoyed about it!” This in front of people. Why do you tell them everything, I don’t understand. Do you want them to get you into serious trouble? SHIPUCHIN. Well, that’s enough, enough! All that’s too dull for an anniversary. Which reminds me, by the way. [Looks at the time] My wife ought to be here soon. I really ought to have gone to the station, to meet the poor little thing, but there’s no time…. and I’m tired. I must say I’m not glad of her! That is to say, I am glad, but I’d be gladder if she only stayed another couple of days with her mother. She’ll want me to spend the whole evening with her to-night, whereas we have arranged a little excursion for ourselves…. [Shivers] Oh, my nerves have already started dancing me about. They are so strained that I think the very smallest trifle would be enough to make me break into tears! No, I must be strong, as my name’s Shipuchin! [Enter TATIANA ALEXEYEVANA SHIPUCHIN in a waterproof, with a little travelling satchel slung across her shoulder.] SHIPUCHIN. Ah! In the nick of time! TATIANAALEXEYEVNA. Darling! [Runs to her husband: a prolonged kiss.] SHIPUCHIN. We were only speaking of you just now! [Looks at his watch.] TATIANAALEXEYEVNA. [Panting] Were you very dull without me? Are you well? I haven’t been home yet, I came here straight from the station. I’ve a lot, a lot to tell you…. I couldn’t wait…. I shan’t take off my clothes, I’ll only stay a minute [To KHIRIN] Good morning, Kusma Nicolaievitch! [To her husband] Is everything all right at home? SHIPUCHIN. Yes, quite. And, you know, you’ve got to look plumper and better this week…. Well, what sort of a time did you have? TATIANAALEXEYEVNA. Splendid. Mamma and Katya send their regards. Vassili Andreitch sends you a kiss. [Kisses him] Aunt sends you a jar of jam, and is annoyed because you don’t write. Zina sends you a kiss. [Kisses.] Oh, if you knew what’s happened. If you only knew! I’m even frightened to tell you! Oh, if you only knew! But I see by your eyes that you’re sorry I came! SHIPUCHIN. On the contrary…. Darling…. [Kisses her.] [KHIRIN coughs angrily.] TATIANAALEXEYEVNA. Oh, poor Katya, poor Katya! I’m so sorry for her, so sorry for her. SHIPUCHIN. This is the Bank’s anniversary to-day, darling, we may get a deputation of the shareholders at any moment, and you’re not dressed. TATIANAALEXEYEVNA. Oh, yes, the anniversary! I congratulate you, gentlemen. I wish you…. So it means that to-day’s the day of the meeting, the dinner…. That’s good. And do you remember that beautiful address which you spent such a long time composing for the shareholders? Will it be read to-day? [KHIRIN coughs angrily.] SHIPUCHIN. [Confused] My dear, we don’t talk about these things. You’d really better go home. TATIANAALEXEYEVNA. In a minute, in a minute. I’ll tell you everything in one minute and go. I’ll tell you from the very beginning. Well…. When you were seeing me off, you remember I was sitting next to that stout lady, and I began to read. I don’t like to talk in the train. I read for three stations and didn’t say a word to anyone…. Well, then the evening set in, and I felt so mournful, you know, with such sad thoughts! A young man was sitting opposite me—not a bad-looking fellow, a brunette…. Well, we fell into conversation…. A sailor came along then, then some student or other…. [Laughs] I told them that I wasn’t married… and they did look after me! We chattered till midnight, he brunette kept on telling the most awfully funny stories, and the sailor kept on singing. My chest began to ache from laughing. And when the sailor—oh, those sailors!—when he got to know my name was TATIANA, you know what he sang? [Sings in a bass voice] “Onegin don’t let me conceal it, I love Tatiana madly!” [Note: From the opera _Evgeni Onegin_ -- words by Pushkin.] [Roars with laughter.] [KHIRIN coughs angrily.] SHIPUCHIN. Tania, dear, you’re disturbing Kusma Nicolaievitch. Go home, dear…. Later on…. TATIANAALEXEYEVNA. No, no, let him hear if he wants to, it’s awfully interesting. I’ll end in a minute. Serezha came to meet me at the station. Some young man or other turns up, an inspector of taxes, I think quite handsome, especially his eyes….Serezha introduced me, and the three of us rode off together…. It was lovely weather…. [Voices behind the stage: “you can’t, you can’t! what do you want?” enter MERCHUTKINA, waving her arms about.] MERCHUTKINA What are you dragging at me for. What else! I want him himself! [To SHIPUCHIN] I have the honour, your excellency… I am the wife of a civil servant, Nastasya Fyodorovna Merchutkina. SHIPUCHIN. What do you want? MERCHUTKINA Well, you see, your excellency, my husband has been ill for five months, and while he was at home, getting better, he was suddenly dismissed for no reason, your excellency, and when I went to get his salary, they, you see, deducted 24 roubles 36 copecks from it. What for? I ask. They said, “Well, he drew it from the employees’ account, and the others had to make it up.” How can that be? How could he draw anything without my permission? No, your exellency! I’m a poor woman… my lodgers are all I have to live on…. I’m weak and defenceless…. Everybody does me some harm, and nobody has a kind word for me. SHIPUCHIN. Excuse me. [Takes a petition from her and reads it standing.] TATIANAALEXEYEVNA. [To KHIRIN] Yes, but first we…. Last week I suddenly received a letter from my mother. She writes that a certain Grendilevsky has proposed to mysister Katya. A nice, modest, young man, but with no means of his own, and no assured position. And, unfortunately, just think of it, Katya is absolutely gone on him. What’s to be done? Mamma writes telling me to come at once and influence Katya…. KHIRIN. [Angrily] Excuse me, you’ve made me lose my place! You go talking about your mamma and Katya, and I understand nothing; and I’ve lost my place. TATIANAALEXEYEVNA. What does that matter? You listen when a lady is taking to you! Why are you so angry to-day? Are you in love? [Laughs.] SHIPUCHIN. [To MERCHUTKINA] Excuse me, but what is this? I can’t make head or tail or it. TATIANAALEXEYEVNA. Are you in love? Aha! You’re blushing! SHIPUCHIN. [To his wife] Tanya, dear, do go out into the public office for a moment. I shan’t be long. TATIANAALEXEYEVNA. All right.  [Goes out.] SHIPUCHIN. I don’t understand anything of this. You’ve obviously come to the wrong place, madam. Your petition doesn’t concern us at all. You should go to the department in which your husband was employed. MERCHUTKINA I’ve been there a good many times these five months, and they wouldn’t even look at my petition. I’d given up all hopes, but, thanks to my son-in-law, Boris Matveyitch, I thought of coming to you. “you to, mother,” he says, “and apply to Mr. Shipuchin, he’s an influential man and can do anything.” Help me, your excellency! SHIPUCHIN. We can’t do anything for you, Mrs. Merchutkina. You must understand that your husband, so far as I can gather, was in the employ of the Army Medical Department, while this is a private, commercial concern, a bank. Don’t you understand that? MERCHUTKINA Your excellency, I can produce a doctor’s certificate of my husband’s illness. Here it is, just look at it….. SHIPUCHIN. [Irritated] That’s all right; I quite believe you, but it’s not our business. [Behind the scene, TATIANA ALEXEYEVNA’S laughter is heard, then a man’s. SHIPUCHIN glances at the door] She’s disturbing the employees. [To MERCHUTKINA] It’s strange and it’s even silly. Surely your husband knows where you ought to apply? MERCHUTKINA Your excellency, I don’t let him know anything. He just cried out: “it isn’t your business! Get out of this!” And… SHIPUCHIN. [Sighs] Ouf! KHIRIN. Andrey Andreyevitch, ‘I’ll never finish the report at this rate! SHIPUCHIN. One moment. [To MERCHUTKINA] I can’t get any sense out of you. But do understand that your taking this business here is as absurd as if you took a divorce petition to a chemist’s or into a gold assay office. [Knock at the door. The voice of TATIANA ALEXEYEVNA is heard, “Can I come in, Andrey?” SHIPUCHIN shouts] Just wait one minute, dear! [To MERCHUTKINA] What has it got to do with us if you haven’t been paid? As it happens, madam, this is an anniversary to-day, we’re busy… and somebody may be coming here at any moment…. Excuse me…. MERCHUTKINA Your excellency, have pity on me, an orphan! I’m a weak, defeceless woman…. I’m tired to death…. I’m having trouble with my lodgers, and on account of my husband, and I’ve got the house to look after, and my son-in-law is out of work…. SHIPUCHIN. Mrs. Merchutkina, I… No, excuse me, I can’t talk to you! My head’s even in a whirl…. You are disturbing us and making us waste our time. [Sighs, aside] What a business, as my name’s Shipuchin! [To KHIRIN] Kusma Nicolaievitch, will you please explain to Mrs. Merchutkina. [Waves his hand and goes out into public department.] KHIRIN. [Approaching MERCHUTKINA, angrily] What do you want? MERCHUTKINA I’m a weak, defenceless woman…. I am look all right, but if you were to take me to pieces you wouldn’t find a single healthy bit in me! I can hardly stand on my legs, and I’ve lost my appetite. I drank my coffee to-day and got no pleasure out of it. KHIRIN. I ask you, what do you want? MERCHUTKINA Tell them, my dear, to give me 15 roubles, and a month later will do for the rest. KHIRIN. But haven’t you been told perfectly plainly that this is a bank! MERCHUTKINA Yes, yes…. And if you like I can show you the doctor’s certiticate. KHIRIN. Have you got a head on your shoulders, or what? MERCHUTKINA My dear, I’m asking for what’s mine by law. I don’t want isn’t mine. KHIRIN. I ask you, madam, have you got a head on your shoulders, or what? Well, devil take me, I haven’t any time to talk to you! I’m busy…. [Points to the door] That way, please! MERCHUTKINA [Surprised] And where’s the money? KHIRIN. You haven’t a head, but this [Taps the table and then points to his forehead.] MERCHUTKINA [Offended] What? Well, never mind, never mind…. You can do that to your own wife, but I’m the wife of a civil servant…. You can’t do that to me! KHIRIN. [Losing his temper] Get out of this! MERCHUTKINA No, no, no… none of that! KHIRIN. If you don’t get out this second, I’ll call for the hall-porter! Get out! [Stamping.] MERCHUTKINA Never mind, never mind! I’m not afraid! I’ve seen the like of you before! Miser!. KHIRIN. I don’t think I’ve ever seen a more awful woman in my life…. Ouf It’s given me a headache…. [Breathing heavily] I tell you once more... do you hear me? If you don’t get out of this, you old devil, I’ll grind you into powder! I’ve got such a character that I’m perfectly capable of laming you for life! I can commit a crime! MERCHUTKINA I’ve heard barking dogs before. I’m not afraid. I’ve seen the like of you before. KHIRIN. [In despair] I can’t stand it! I’m ill! I can’t! [Sits down at his desk] They’ve let the Bank get filled with women, and I can’t finish my report! I can’t. MERCHUTKINA I don’t want anybody else’s money, but my own, according to law. You ought to be ashamed of yourself! Sitting in a government office in felt boots…. [Enter SHIPUCHIN and TATIANAALEXEYEVNA.] TATIANAALEXEYEVNA. [Following her husband] We spent the evening at the Berezhnitskys. Katya was wearing a sky-blue frock of foulard silk, cut low at the neck…. She looks very well with her hair done over her head, and I did her hair myself…. She was perfectly fascinating…. SHIPUCHIN. [Who has had enough of it already] Yes, yes… fascinating…. They may be here any moment…. MERCHUTKINA Your excellency! SHIPUCHIN. [Dully] What else? What do you want? MERCHUTKINA Your excellency! [Points to KHIRIN] This man… this man tapped the table with his finger, and then his head…. You told him to look after my affair, but he insults me and says all sorts of things. I’m a weak, defenceless woman…. SHIPUCHIN. All right, madam, I’ll see to it… and take the necessary steps…. Go away now… later on! [Aside] My gout’s coming on! KHIRIN. [In a low tone to SHIPUCHIN] Andrey Andreyevitch, send for the hall-porter and have her turned out neck and crop! What else can we do? SHIPUCHIN. [Frightened] No, no! she’ll kick up a row and we aren’t the only people in the building. MERCHUTKINA Your excellency. KHIRIN. [In a tearful voice] But I’ve got to finish my report! I won’t have time! I won’t! MERCHUTKINA Your excellency, when shall I have the money? I want it now. SHIPUCHIN. [Aside, in dismay] A re-mark-ab-ly beastly woman! [Politely] Madam, I’ve already told you, this is a bank, a private, commercial concern. MERCHUTKINA Be a father to me, your excellency…. If the doctor’s certificate isn’t enough, I can get you another from the police. Tell them to give me the money! SHIPUCHIN. [Panting] Ouf! TATIANAALEXEYEVNA. [To MERCHUTKINA] Mother, haven’t you already been told that you’re disturbing them? What right have you? MERCHUTKINA Mother, beautiful one, nobody will help me. All I do is to eat and drink, and just now I didn’t enjoy my coffee at all. SHIPUCHIN. [Exhausted] How much do you want? MERCHUTKINA 24 roubles 36 copecks. SHIPUCHIN. All right! [Takes a 25-rouble note out of his pocket-book and gives it to her] Here are 25 roubles. Take it and… go! [KHIRIN coughs angrily.] MERCHUTKINA I thank you very humbly, your excellency. [Hides the money.] TATIANAALEXEYEVNA. [Sits by her husband] It’s time I went home…. [Looks at watch] But I haven’t done yet…. I’ll finish in one minute and go away…. What a time we had! Yes, what a time! We went to spend the evening at the Berezhnitskys…. It was all right, quite fun, but nothing in particular…. Katya’s devoted Grendilevsky was there, of course…. Well, I talked to Katya, cried, and induced her to talk to Grendilevsky and refuse him. Well, I thought, everything’s, settled the best possible way; I’ve quieted mamma down, saved Katya, and can be quiet myself…. What do you think? Katya and I were going along the avenue, just before supper, and suddenly… [Excitedly] And suddenly we heard a shot…. No, I can’t talk about it calmly! [Waves her handkerchief] No, I can’t! SHIPUCHIN. [Sighs] Ouf! TATIANAALEXEYEVNA. [Weeps] We ran to the summer-house, and there… there poor Grendilevsky was lying… with a pistol in his hand… SHIPUCHIN. No, I can’t stand this! I can’t stand it! [To MERCHUTKINA] What else do you want? MERCHUTKINA Your excellency, can’t my husband go back to his job? TATIANAALEXEYEVNA. [Weeping] He’d shot himself right in the heart… here… And the poor man had fallen down senseless…. And he was awfully frightened, as he lay there… and asked for a doctor. A doctor came soon… and saved the unhappy man…. MERCHUTKINA Your excellecny, can’t my husband go back to his job? SHIPUCHIN. No, I can’t stand this! [Weeps] I can’t stand it! [Stretches out both his hands in despair to KHIRIN] Drive her away! Drive her away, I implore you! KHIRIN. [Goes up to TATIANAALEXEYEVNA] Get out of this! SHIPUCHIN. Not her, but this one… this awful woman…. [Points] That one! KHIRIN. [Not understanding, to TATIANAALEXEYEVNA] Get out of this [Stamp] Get out! TATIANAALEXEYEVNA. What? What are you doing? Have you taken leave of your senses? SHIPUCHIN. It’s awful? I’m a miserable man! Drive her out! Out with her! KHIRIN. [To TATIANAALEXEYEVNA] Out of it! I’ll cripple you! I’ll knock you out of shape! ‘I’ll break the law! TATIANAALEXEYEVNA. [Running form him; he chases her] How dare you! You Impudent fellow! [Shouts] Andrey! Help! Andrey! [Screams.] SHIPUCHIN. [Chasing them] Stop! I implore you! Not such a noise? Have pity on me! KHIRIN. [Chasing MERCHUTKINA] Out of this! Catch her! Hit her! Into pieces! SHIPUCHIN. [Shouts] Stop! I ask you! Implore you! MERCHUTKINA Little fathers… little fathers! [Screams] Little fathers!... TATIANAALEXEYEVNA. [Shouts] Help! Help!.... Oh, oh… I’m sick, I’m sick! [Jumps on to a chair, then falls on to the sofa and groans as if in a faint.] KHIRIN. [Chasing MERCHUTKINA] Hit her! Beat her! Cut her to pieces! MERCHUTKINA Oh, oh… little fathers, it’s all dark before me! Ah! [Falls senseless into SHIPUCHIN’S arms. There is a knock at the door; a VOICE announces THE DEPUTATION] The deputation… reputation… occupation… KHIRIN. [Stamps] Get out of it, devil take me! [Turns up his sleeves] Give her to me: I may break the law! [A deputation of five men enters; they all wear frockcoats. One carries the velvet- covered address, another, the loving- cup. Employees look in at the door, from the public department. TATIANAALEXEYEVNA on the sofa, and MERCHUTKINA in SHIPUCHIN’S arms are both groaning.] ONE OF THE DEPUTAITON. [Reads aloud] “Deeply respected and dear Andrey Andreyevitch! Throwing a retrospective glance at the past history of our financial administration, and reviewing in our minds its gradual development, we receive an extremely satisfactory impression. It is true that in the first period of its existence, the inconsiderable amount of its capital, and the absence of serious operations of any description, and also the indefinite aims of this bank, made us attach an extreme importance to the question raised by Hamlet, ‘To be or not to be,’ and at one time there were even voices to be heard demanding our liquidation. But at that moment you become the head of our concern. Your knowledge, energies, and your native tact were the causes of extraordinary success and widespread extension. The reputation of the bank… [Coughs] reputation of the bank…” MERCHUTKINA [Groans] Oh! oh! TATIANAALEXEYEVNA. [Groans] Water! Water! THE MEMBER OF THE DEPUTATION. [Continues] The reputation [Coughs]... the reputation of the bank has been raised by you to such a height that we are now the rivals of the best foreign concerns. SHIPUCHIN. Deputation… reputation… occupation…. Two friends that had a walk at night, held converse by the pale moonlight…. Oh tell me not, that youth is vain, that jealousy has turned my brain. THE MEMBER OF THE DEPUTATION. [Continues in confusion] “Then, throwing and objective glance at the present condition of things, we, deeply respected and dear Andrey Andreyevitch… [Lowering his voice] In that case, we’ll do it later on…. Yes, later on….” [DEPUTATION goes out in confusion.] [Curtain.] [The end] Anton Chekhov’s play: The Anniversary FINALLY, WE CAN SUM UP THIS RICH RELATIONSHIP OF CINEMA In the wise worlds of Sergei Mikhailovich Eisenstein Einstein [1898-1948, USSR] was a great figure not only of the Soviet [Russian], but of world cinema. His most famous film is Battleship Potemkin, [in 1925] which is considered as one of the greatest films ever made. But Einstein was much more than a filmmaker: he was also a pioneer film teacher, who planned and executed a 5 year film course in Film Direction. He was a great theoretician of cinema and has written voluminously on practically all aspects of cinema over a period of two decades. He has brilliantly summarized the relationship between cinema and other arts in his book FILM FORM, wherein, he talks about the achievements of cinema during the three decades of its existence: in these words- The cinema would seem to be the highest stage of embodiment for the potentialities and aspirations of each of the arts. For sculpture – cinema is a chain of changing plastic forms, bursting at long last, ages of immobility. For painting – cinema is not only a solution for the problem of movement in pictorial images, but is also the achievement of a new and unprecedented form of graphic art, and art that is a free stream of changing, transforming, commingling forms, pictures and compositions, hitherto possible only in music. Music has always possessed this possibility, but with the advent of cinema, the melodious and rhythmic flow of music acquired new potentialities of imagery – visual, palpable, concrete… For literature – cinema is an expansion of the strict diction achieved by poetry and prose in to a new realm where the desired image is directly materialized in audio- visual perceptions. And finally, it is only in cinema that are fused into a real unity all those separate elements of the spectacle once inseparable in the dawn of culture, and which the theatre for centuries has vainly striven to amalgamate anew. … CHAPTER- 2 UNDERSTANDING CINEMA II In the previous chapters, we have seen that Film as a complex narrative as it incorporates various elements of the other major arts. Yet, Cinema has its own language that demands to be understood in its technicalities. What makes film a complex narrative? Technically,  A film is written script  A film is acted  A film is photographed  A film is recorded  A film is edited  A film is directed  A film is produced And as a narrative A film deals with time and space in a dynamic way. In other words, there is so much to be observed in a film at any given point, in terms of the techniques used and the pattern of story telling as,  All these factors have direct bearing on the quality of the film  And you have ‘watched’ the film in the real sense only when you have seen all these details. Moreover, all these details have to be observed, while the film is running. A book can be read, or a painting can be observed at one’s own pace or leisure. But, we have no such choice in case of films, as they run at their own pace on screen. How do we watch the films? OR DO WE REALLY ‘WATCH’ THE FILMS, WHEN WE WATCH THEM? Activity in the class Watch the film ‘Rang De Basanti’ from the beginning- 00.00 to 26.00 minutes. Make small groups of students. Each group should have 3-4 students. Keep class size in view to decide. Each group meets after the screening in the class and discusses the film in details for a maximum of 20 minutes. Any discussion can be effective only when it is participative. The discussion should be free flowing and not monitored by the teacher. The following points should figure in the discussion-  The flow of the story… how did it move in terms of time and space.  Who are the principal characters so far.  Has the basic situation of the film come through so far.  Observations on cinematography, editing, use of sound, acting. Teacher will Takeup these points further. HOW CAN WE IMPROVE OUR PERCEPTION OF FILMS? The simple answer to this question is watching them consciously and knowledgeably is The more one does it; better does one get at it. We have to watch all kinds of films with and open mind. When we see a film for the first time, we are engrossed in the story, impressed by the acting. But we are also aware of the quality of photography, music special effects, locations etc. although we do not continuous thing, we are aware of the changes of scene and time, i.e. sequential nature of the happening. In cinema a story is important, but what matters equally is that how the story is told, its presentation and scheme. A story is always structured in cinema. The first step towards that is to structure a story in terms of time and space. This happens during the scripting. Given below is the script- extract of the beginning part of the film ‘Alien’. Read it to note the changes of scene that denote the changes in time and space. Then see the Relevant part of the film to understand as to how the sequencing of the story has come about in the film based on the script. “ALIEN” by Walter Hill and David Giler Based on screenplay by Dan O’Bannon Story by Dan O’Bannon and Ronald Shusett Science fiction plucks from within us our deepest fears and hopes then shows them to us in rough disguise: the monster and the rocket. W.H. Auden We live, as we dream—alone. Joseph Conrad FADE IN SOMETIME IN THE FUTURE: INT. ENGINE ROOM Empty, cavernous. INT. ENGINE CUBICLE Circular, jammed with instruments. All of them idle. Console chairs for two. Empty. INT. OILY CORRIDOR – “C” LEVEL Long, dark. Empty. Turbos throbbing. No other movement. Long, empty. INT. INFIRMARY – “A” LEVEL Long, empty. INT. INFIRMARY- “A” LEVEL Distressed ivory walls. All instrumentation at rest. INT. CORRIDOR TO BRIDGE – “A” LEVEL Black, empty. INT. BRIDGE Vacant. Two space helmets resting on chairs. Electrical hum. Lights on the helmets begin to signal on another. Moments of silence. A yellow light goes on. Data mind bank in b.g. Electronic hum. A green light goes on in front of one helmet. Electronic pulsing sounds. A red light goes on in front of other helmet. An electronic conversation ensues. Reaches a crescendo. Then silence. The lights go off, save the yellow. INT. CORRIDOR TO HYPERSLEEP VAULT Lights come on. Seven gowns hang from the curved wall. Vault door opens. INT. HYPERSLEEP VAULT Explosion of escaping gas. The lid on a freezer pops open. Slowly, groggily, KANE sits up. Pale. Kane rubs the sleep from his eyes. Stands. Looks around. Stretches. Looks at the other freezer compartments. Scratches. Moves off. INT. GALLEY Kane plugs in a Silex. Lights a cigarette. Coughs. Grinds some coffee beans. Runs some water through. KANE Rise and shine, Lambert. INT. HYPERSLEEP VAULT Another lid pops open. A young woman sits up. LAMBERT What time is it. KANE (voice over) What do you care. INT. GALLEY Pot now half-full. Kane watches it drip. Inhales the fragrance. KANE Now Dallas and Ash. (Calls out) Good morning Captain. DALLAS (voice over) Where’s the coffee. KANE Brewing. LAMBERT walks into the kitchen. Pours herself a cup. INT. HYPERSLEEP VAULT Two more lids pop open. A pair of men sit up. Look at each other. INT. GALLEY Kane enjoys a freshly – brewed cup. KANE Ripley… Another moment. And then the sound of another lid opening. KANE And if we have Parker, can Brett be far behind. Lid opening sound. KANE Right. INT. HYPERSLEEP VAULT DALLAS looks at his groggy circus. DALLAS One of you jokers get the cat. RIPLEY picks up a limp cat out of one of the compartments. INT. MESS The crew of the United States commercial starship Nostromo seated around a table. Dallas ………. Captain Kane............. Executive Officer Ripley ………… Warrant Officer Ash …………... Science Officer Lambert ………. Navigator Parker …………. Engineer Brett ……………. Engineering Technician Jones …………… Cat Five men and two women: Lambert and Ripley. LAMBERT Jesus am I cold. PARKER Still with us, Brett. BRETT Yo. REPLEY Lucky us. They yawn, stretch, shiver. Dallas looks over at a flashing yellow light. KANE I feel dead. Kane is not yet fully awake. Yawns. PARKER You look dead. ASH Nice to be back. PARKER Before we dock maybe we’d Better go over the bonus situation. BRETT Yeah. PARKER Brett and I think we deserve a full share. DALLAS You tow will get what you contracted for. Just like everybody else. BRETT Everybody else gets more than us. DALLAS Everybody else deserves more than you two. ASH Mother wants to talk to you. DALLAS I saw it. Yellow light for my eyes only… now, everybody hit their stations. This structuring of time and space in cinema is called as macro-structure. This happens in the process of scripting. Activity Name of the film – Shree 420- [Raj Kapoor] Sequence – Raj arrives in Mumbai at the end of the song… Mera Joota Hain Japani Watch from… the end of the song till… Raj [Raj Kapoor] pawns his medal for Rs. 40/-- in a pawn shop.  Write out a sequence of events that take place. Although the entire action takes place over one large location of a Mumbai street and market, there are changes of space, time and characters.  Observe as to how actions that have in terms of the time within the story would have take perhaps 30-40 minutes, have been condensed into a few minutes due to the scripting. MACRO-structure  This is decided at the script stage.  This is the composition of the film in a broad sense.  It deals with structuring of the story in a definite spatio-temporal order  It determines whether the film is a linear narrative, or a story told in a flashback or in any other way. MACRO-STRUCTURE EVOLVES DURING THE SCRIPTING. IT HAS TWO MAJORASPECTS- 1. IT STRUCTURES TIME ORDER OF THE STORY AS LINEAR OR NON- LINEAR. 2. IT LAYS OUT THE STORY IN TERMS OF SEQUENCES/SCENES, WHICH ARE INDIVIDUALLY DEFINED IN TERMS OF SPACE AND TIME. 1. Structuring Time Normally, the story is told either in a linear or non-linear manner. Linear Non-linear Stories that progress in straight line, Stories that do not progress in a straight going ahead step by step are called line, are called non-linear narratives. linear narratives. Some examples of linear narratives- Pather Panchali by Satyajit Ray is an example of a story in a linear fashion. It covers a large period in the life of a family living in a village in Baengal during the beginning of the twentieth century. It begins at a certain point of time in the life of the family and when the film ends, the family decides to migrate to Varanasi leaving behind their ancestral home in the village. High Noon by Fred Zinnemann [USA] is a famous Western film. The unique thing about this film is that, the time of the story is exactly the same as running time of the film. The film begins on a particular day in a small town around 10.36 AM and ends at High Noon. It is a linear narrative, wherein, the story takes place in 85 minutes and the length of the film is also 85 minutes. Aamir by Raj Kumar Gupta was a film in which the story begins at a point, when the protagonist of the film [Dr. Aamir Ali] arrives in Mumbai by flight from UK. His family is under captivity by the terrorists and he is being back-mailed to do things on the orders given to him on a cell phone from time to time. The film is a linear account of what happens in his life for the next five hours. Some examples of non-linear narratives are: Lawrence of Arabia by David Lean begins at a point, when the protagonist is dead and then travels back in time to unravel his story. Wild Strawberries by Ingmar Bergman is a beautiful combination the present and the past in the same story. Isaac Borg is a 76 years old doctor, who had a distinguished career as a doctor and is being honoured by a University for his lifelong excellence. While he undertakes the road journey with his daughter-in-law, he stops along the way at various places and meets people. These events invoke his very personal memories, which belong to the past. These parts are depicted in the form of dreams and dreamlike flashbacks. Sholay by Ramesh Soppy also begins as a moment in the present and then travels back in time to reconstruct the whole story in the past, till it catches up with the present and then moves on. Dil Chahata Hai by Farhan Akhtar is about the lives and friendship between three friends, who enjoy good times together in college, but fall apart thereafter. The film begins in the present, when a dramatic episode brings the friends together and then we travel back in time to follow the earlier story. 2. The sequence Sequence is the basic unit of the macro-structure. The story proceeds sequence by sequence. Each sequence is a complete unit of action, and it is bound by a given time and space. It is easier to understand, if we follow the menu on the DVD. Activity- Take the DVD of Crouching Tiger, Hidden Dragon by Ang Lee. Go to the DVD menu and have a look at sequences. Play each sequence individually from Scene No. 1 to 5. Notice the changes of characters, places and time at the end and beginning of each sequence.  Then play the film from the beginning up to the point, where Sequence 5 ends. Notice these changes, while the film is running and do so without pausing or stopping the film.  Write out briefly the details of each scene in the following format- Interior/Exterior, Name of the location such as home/palace/mountain etc., Day/Night/Dawn/Dusk. This information should be at the top like a title and then write down briefly as to what actually happens in the sequence. Just give a skeletal description of action with the mention of the characters and their role? Does this help you understand the idea of the sequence better? Take the help of your teacher in the process. At home… Now, try the same method of analysis for a segment of your own favourite film. How does it work? Discuss it in the class. You may select a few common favourite film and watch as a group also. Micro-structure Micro-structure refers to the directorial and technical aspects of the film craft, such as composition of the shots, composition of the sound track, pace of editing etc. This process begins at the shooting stage and is completed in editing. When the director begins working on the writer’s script, he begins by planning the shooting of each scene into several shots. Each shot is composed differently. Elements of Micro-structure  Sequence is the basic unit of Macro-structure.  A sequence is composed of one or many shots.  A shot is the basic unit of micro-structure and also is the basic unit of meaning in cinema. Shot What is a shot? It is the length of the film exposed in one continuous running of the camera at the time of shooting.  Shot in cinema has THREE aspects  1. Visual  2. Audio  3. Editing [transition] Visual aspects of a shot A cinematographic shot has many visual aspects to it. 1. Image size – Long Shot/Medium Shot/Close up A shot can be taken from a long distance from the character showing him/her in full figure – [Long Shot] showing him/her in relation to the environment of the scene or, Form a middle distance [Medium Shot] showing him/her in relation to his/her proximate things or, form a close distance [Close Up] that can show the facial expressions or physical and emotional nuances clearly. See the first three sequences of Schindler’s List to observe the use of varying image size. 2. Viewpoint – Eye level/High/law The camera could be placed at the eye level of the character or above it or below it. This is the normal position in a conversation, showing aparity between the characters. However, when this relationship changes then the camera also changes position. Watch the very first sequence after the titles in Godfather I. Initially, the whole scene is static and photographed from the eye level of the characters, while they remain seated. When the rela