scholarly journals Cinema, Architecture and Domesticity: The Filmic House in Basu Chatterjee’s ‘Piya ka Ghar’

2019 ◽  
Vol 7 (1) ◽  
pp. 57-66
Author(s):  
Smita Dalvi
Keyword(s):  
Lived Space ◽  
Film Interpretation ◽  
Single Room ◽  
Mise En Scene ◽  
The World ◽  
Communal Living ◽  
Hindi Film

This paper explores the intersection of cinema and architecture to analyse the Filmic House in Hindi film Piya Ka Ghar (Dir. Basu Chatterjee, 1972). It deploys Environment-Behaviour Studies for film interpretation to make readings about the unique habitability and domesticity of chawls, a residential typology evolved in Bombay for communal living in a dense urban situation. The central premise of the film is constructed around the spatial anxieties faced by a young bride having grown up in a spacious village house when she arrives at her new marital home, a single room chawl tenement that is home to five other people besides her husband, and is always overrun by chawl friends. This marital house (or ‘The Home of the Beloved’, of the title) and its extreme utilisation of space is the source of her anxieties and impacts her behaviour. The lived space rendered in the film and its architectural mise-en-scene is found to communicate about the strategies of adaptation and possible reconciliation to a life in chawl. It also communicates nuanced meanings about the generally understood notions of domesticity such as home as a private and inner domain vis-à-vis the world outside by showing their fluidity in the context of chawl living.

The Uncanny in the Time of Pandemics

2020 ◽  
Vol 10 ◽  
pp. 1-19
Author(s):  
Kevin Aho ◽  
Keyword(s):  
Phenomenological Analysis ◽  
Lived Space ◽  
The Uncanny ◽  
The World ◽  
At Home

This paper offers a phenomenological analysis of Heidegger’s account of “the uncanny” (das Unheimliche) as it relates to the coronavirus pandemic. It explores how the pandemic has disrupted Dasein’s sense of “homelike” (heimelig) familiarity and how this disruption has undermined our ability to be, that is, to understand or make sense of things. By examining our experience of temporality, lived-space, and intersubjectivity, the paper illuminates different ways in which the pandemic has left us confused and anxious about our self-interpretations and future projects. The paper concludes by showing how the uncanny is not simply something we feel in times of crisis; it is, for Heidegger, who we are. This means the secure feeling of familiarity that we embodied prior to the pandemic was an illusion all along, that we are not and never have been at-home in the world.

Deleuze and Lola Montès

2020 ◽  
Author(s):  
Richard Rushton
Keyword(s):  
Gilles Deleuze ◽  
Film Studies ◽  
Film Theory ◽  
World Today ◽  
Film Interpretation ◽  
The World ◽  
Time Image

Gilles Deleuze represents the most widely referenced theorist of cinema today. And yet, even the most rudimentary pillars of his thought remain mysterious to most students (and even many scholars) of film studies. From one of the foremost theorists following Deleuze in the world today, Deleuze and Lola Montès offers a detailed explication of Gilles Deleuze’s writings on film – from his books Cinema 1: The Movement-Image (1983) and Cinema 2: The Time-Image (1985). Building on this foundation, Rushton provides an interpretation of Max Ophuls’s classic film Lola Montès as an example of how Deleuzian film theory can function in the practice of film interpretation.

Societies of the Possible

The Possible ◽  
2020 ◽  
pp. 148-172
Author(s):  
Vlad P. Glăveanu
Keyword(s):  
Social Change ◽  
Historical Time ◽  
The Core ◽  
Form Of Government ◽  
The World ◽  
The Future ◽  
Core Concepts ◽  
Communal Living ◽  
Democratic Systems

This chapter uses the core concepts of position, perspective, and dialogue to analyze the workings of society. From this standpoint, we cannot conceive the possible outside of a societal framework given the fact that societies, all over the world and across historical time, comprise a variety of positions and, through the accumulation and transmission of culture, allow the development of perspectives, including on society itself. At the same time, societies are constantly transformed by the sense of possibility that fuels social change, activism, and the imaginative construction of the future in utopias and dystopias. Democratic systems, built on plurality and dialogue, tend in principle to expand the possible for individuals and communities adopting them. And yet democracies, as both a form of government and a way of living, are inherently fragile. In the end, societies of the possible are both an ontological condition for human communal living and a reality that should not be taken for granted.

scholarly journals The Essence of 2.5-Dimensional Musicals? Sakura Wars and Theater Adaptations of Anime

Arts ◽  
2018 ◽  
Vol 7 (4) ◽  
pp. 52 ◽  
Author(s):  
Shiro Yoshioka
Keyword(s):  
Two Dimensional ◽  
Production And Consumption ◽  
Mise En Scene ◽  
The World ◽  
Media Mix

This paper examines 2.5-Dimensional musicals, or theater adaptations of anime/manga/videogames. As the genre has been gaining popularity in Japan since around 2007, criticism on the genre began to appear. What they uncritically assume is that the pioneer of the genre was the theater adaptation of Prince of Tennis first produced in 2003, and the unique mise-en-scène that attempts to recreate the “world” of the original, including the characters, setting, and the characters’ extreme skills of tennis, is a hallmark of the genre. However, such a view fails to consider the fact that these are actually merely characteristics of a subgenre of 2.5-Dimensional musicals represented by Prince of Tennis and other similar shows. This paper argues that another show, namely the theater adaptation of the videogame Sakura Wars, first produced in 1997 and continuing to this day, actually presents a number of important questions and viewpoints that are useful and necessary to critically discuss the genre, such as how two-dimensional characters are materialized on stage, which role audiences play in that process, how 2.5-Dimensional musicals can be contextualized within conventional theater genres rather than a part of “media mix” strategies, and tension between the local and global in their production and consumption.

Industry in Idealized Form: The Work of Movies in Film's First One Hundred Years

PMLA ◽  
2012 ◽  
Vol 127 (4) ◽  
pp. 879-889
Author(s):  
John E. Davidson
Keyword(s):  
Apparent Contradiction ◽  
Industrial Activity ◽  
Rescue Mission ◽  
Train Station ◽  
Industrial City ◽  
Mise En Scene ◽  
The World ◽  
History Of ◽  
The Moment ◽  
Modern Industry

Martin scorsese's big-budget, 3-d extravaganza hugo, which opens with images of Paris as a huge timekeeping mechanism, undertakes a dual rescue mission. It reclaims Georges Méliès's early cinematic fantasies from the violence of time and progress and saves a young, industrious boy from the violence of a society that has no room for children who fend for themselves outside a family. In doing so, Hugo assures the viewer that the technological wonder of future filmmaking is rooted in a romanticized image of a thoroughly bourgeois past. The movie's threats are embedded in a mise-en-scène full of iconic imagery of modern industry made fantastic. The giant clocks and gears located above and in the walls of Paris's largest train station, which are voluntarily tended by a lone child laborer, evoke neither wonder nor laughter as much as a sense of menace in connection with the young protagonist scurrying around in them. While Scorsese's film situates the origins of movies in fin-de-siècle Paris as the modern industrial city, it also takes pains to make Méliès's products seem like dreams, cultivated in a greenhouse of industrial activity to become larger-than-life projections obscuring modern industry. Tater I will consider the consequences of the film's arc taking this precocious lad from the world dominated by fanciful dangers into a home: for the moment it will suffice to remember that Hugo evokes work as the source from which humans and an automaton derive their purpose and that the film means this to be self-evident to the audience. At the same time it sets in motion a narrative that aims to remove the protagonist from the world dominated by signs of modern industrial work and from the labor that seems such a distressing burden on him at the film's outset. This essay explores that apparent contradiction in the broader history of cinema.

scholarly journals Reading the Biopic through Persona: A Comparison between "Bohemian Rhapsody" and "Rocketman"

2021 ◽  
Vol 9 (16) ◽  
pp. 10-30
Author(s):  
Hannah Andrews
Keyword(s):  
Social World ◽  
Performance Style ◽  
The Public ◽  
High Profile ◽  
The Social ◽  
Mise En Scene ◽  
The World ◽  
Alter Ego ◽  
Private Individual ◽  
Private Identity

Personas are the public expressions of a private identity, the performance of personality in the social world. They are particularly visible and familiar in the world of celebrity, where entertainers regularly adopt an alter-ego for performance. This has intriguing consequences for biographical representations of performers. Biopic actors are obliged to duplicate the public-facing persona, which is an already-known, semi-fictional construction, and the private individual beneath. The narrative of the biopic must account for this relationship between the persona and the person who authors it. This article explores this process in two high-profile rock biopics, Bohemian Rhapsody (2018) and Rocketman (2019), comparing their different approaches to reproducing and exploring the persona of their subjects in performance, style and mise en scène.

scholarly journals Rekontruksi Nilai-Nilai Konsep Tritangtu Sunda Sebagai Metode Penciptaan Teater Ke Dalam Bentuk Teater Kontemporer

2018 ◽  
Vol 33 (1) ◽  
pp. 114
Author(s):  
Tatang Rusmana
Keyword(s):  
19Th Century ◽  
Reception Theory ◽  
Correct Interpretation ◽  
New Creation ◽  
Mise En Scene ◽  
The World ◽  
New Form ◽  
Life Philosophy ◽  
Contemporary Theater ◽  
The One

Konsep filosofi Tritangtu Sunda, sebagai falsafah hidup masyarakat Sunda di Kabupaten Bandung. memiliki tiga makna penting tentang pembagian dunia, tiga dunia itu yakni Buana Nyungcung (Dunia Atas, simbolnya; Langit, Air, dan Perempuan), Buana Larang (Dunia Bawah, simbolnya; Bumi, Tanah, dan Laki-laki), dan Buana Pancatengah (Dunia Tengah, simbolnya; Batu, Manusia, Laki-laki dan Perempuan). Tritangtu Sunda merupakan perspektif penyatuan tiga dunia dalam kehidupan masyarakat petani. Penyatuan tersebut yaitu perkawinan Buana Nyungcung dengan Buana Larang, dan Buana Pancatengah-lah yang menyatukannya. Konsep Tritangtu Sunda berpengaruh terhadap seni tutur Wawacan yang lazim ditampilkan ke dalam Seni Beluk. Wawacan inilah yang ikut membentuk pikiran kolektif masyarakat Sunda. Wawacan yang menjadi sumber penelitian disertasi ini adalah “Wawacan Nata Sukma” yang ditulis anonim oleh masyarakat Banjaran, Kabupaten Bandung tahun 1833 M (abad ke-19) dalam masa “tanam paksa” untuk menanam kopi di Pangalengan. Tritangtu Sunda  akan difungsikan sebagai perangkat penciptaan seni teater berbasis teater kontemporer (terutama penyutradaraan). Penelitian menggunakan penajaman teori resepsi Isser, untuk mengaktualisasikan karya dengan cara yang berbeda, karena tidak ada tafsir tunggal yang benar (Culler, 2003). Pendekatan lain pendapat George Land dari teori transformasi, diartikan sebagai sebuah kreasi baru atau perubahan ke bentuk yang baru baik secara fungsi maupun strukturnya. “To transform”, berarti mengkreasikan yang baru yang belum pernah ada sebelumnya, transformasi juga bisa berarti perubahan “polapikir”. Perangkat penelitian menggunakan metoda yang disarankan Schechner (2002 dan 2004) dan metode mise en scene yang dirumuskan oleh Patrice Pavis. The concept of the Sunda Tritangtu philosophy, is the life philosophy of the Sundanese community including in Bandung regency. Derived from this philosophy are three important meanings of the division of the world, the three worlds are Buana Nyungcung (Upper  world, its symbols: Heavens, Water, and Woman), Buana Larang (Underworld, symbols; Earth, Land and Man), and Buana Pancatengah (Middle world, symbol: Stone, Man, Man and Woman). The Sundanese Tritangtu is the perspective of the unification of the three aforementioned worlds in peasant life. The union is the marriage of Buana Nyungcung with Buana Larang, and Buana Pancatengah is the one that unites it. The concept of the Sundanese Tritangtu influences the art of Wawacan speech that is commonly integrated into the art of Beluk. Wawacan is a contributing factor in what helped shape the collective minds of the Sundanese people. Wawacan, which is the source of this dissertation research, is "Wawacan Nata Sukma”, written anonymously by Banjaran society, Regency of Bandung in 1833 AD (19th century) during "Cultuurstelsel" to grow coffee in Pangalengan. Sunda Tritangtu functions as a tool for the creation of theater based contemporary theater modalities (especially directing). This research uses Isser's reception theory, to actualize the work in different ways. There is no single correct interpretation (Culler, 2003). Another approach of George Land's opinion of the theory of transformation, defined as a new creation or change to a new form both in function and structure. "To transform", means creating a new one that has never existed before, transformation can also mean a change of "mindset". The research used Schechner's method (2004 and 2004) and the mise en scene method formulated by Patrice Pavis.

scholarly journals Sketch of clinical phenomenology of the lived experience in the COVID-19 pandemic in Northeastern Brazil

2020 ◽  
Vol 9 (2) ◽  
pp. 74-82
Author(s):  
Virginia Moreira
Keyword(s):  
Lived Experience ◽  
Northeastern Brazil ◽  
Lived Body ◽  
Lived Space ◽  
Online Psychotherapy ◽  
Social Nature ◽  
The World ◽  
Clinical Phenomenology ◽  
Video And Audio ◽  
Lived Time

The clinical practice in clinical phenomenology, be it psychiatric or psychological, is based on the philosophical inspiration adopted by the clinician. In my case, I see the world ambiguously and Merleau-Ponty is my philosopher of inspiration. Through these lenses, I see the phenomenon I study as a researcher or the way I relate to my patient as a psychotherapist. I also look through these lenses to write this essay about my lived experience in the pandemic of COVID-19 in 2020. COVID-19 reminds us that we are human and vulnerable. Assuming this vulnerability in its full existential meaning can be empowering, considering vulnerability in its intrinsic sense as a place in life with its ethical and political meanings. In the case of the lived experience of the COVID-19 pandemic in northeastern Brazil, contact with vulnerability, in many situations, is confused with precariousness, which has a more social nature. I also mention that the quarantine imposed by the COVID-19 pandemic required us to communicate with our families and work at home exclusively through video and audio on our computers. Under these circumstances, it is worth reflecting on the changes that we are experiencing in our own functioning, in our lived space and lived body. On the other hand, the lack of fluidity in our existential movement in the lived time is concerning as it affects the structural core of the human being and existential continuity. In this context, I finally present some preliminary thoughts about on-online psychotherapy through phenomenological lens.

Postmodern Cinema of Seduction

2017 ◽  
pp. 130-163
Author(s):  
Reena Dube
Keyword(s):  
Jean Baudrillard ◽  
Indian Cinema ◽  
The World ◽  
Limited Scope ◽  
Hindi Film

If there is one phrase that has been used most often by Western audiences for popular Indian cinema, it is the phrase “musicals.” The description gestures both at the fixation of Indian cinema on an earlier stage of cinematic evolution and the simple and uncomplicated pleasure derived by the audience from popular Hindi films that have an audience all over the world. This essay examines Hindi film “song and dance” spectacles as the art of deferment in the postmodern cinema of seduction, a notion derived from the work of Jean Baudrillard and the insights of Freud-Lacan-Zizek and Baudrillard himself on deferral and seduction. This chapter makes this claim not as an overarching theoretical nomenclature for all song and dance sequences in Hindi films. Instead the author argues for the primacy of the art of deferment and play in a postmodern cinema of seduction within the limited scope of her reading of a North Indian subaltern/folk-inspired song and dance Hindi film, Amol Palekar and Sandhya Gokhale directed Paheli (Riddle, 2005).

Film Language

2010 ◽  
pp. 35-70
Author(s):  
Tanya Jones
Keyword(s):  
Real World ◽  
Body Language ◽  
Psychological State ◽  
Historical Time ◽  
The Real ◽  
Mise En Scene ◽  
The World ◽  
Film Language

This chapter talks about mise-en-scène as a French phrase that best translates in English as 'put into the scene', which includes setting, décor, costume, props, body language, and make-up. It explains how mise-en-scène conveys meaning and includes information concerning character emotion, psychological state, mood, atmosphere, historical time, genre, and point in the narrative. It also points out ways in which mise-en-scène dominates some films as they are constructed as cinematic tableau, such as a series of pictures or paintings. The chapter describes Guillermo Del Toro's vision of the world of Pan's Labyrinth, in which there are clear parallels between the real-world characters and sets and the imaginary ones. It explores how Pan's Labyrinth gives centre stage to the power of the imagination and the need to retain imagination in order to counter point the horrors of the real-world.

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