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December 1: Textual and Narrative Representation of P Sheshadri's Film

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December 1: Textual and Narrative Representation of P Sheshadri's Film Review Article Global Media Journal 2021 ISSN 1550-7521 Vol. 19 No.40: 246 December 1: Textual and Narrative Representation of P Sheshadri’s Film. December 1: Illustrating Documentary Description of P Sheshadri’s Film Illustrating Documentary Description of P Sheshadri’s Film D r. Prashanth G Malur* Manipal Academy of Higher Education, MGA-BFSI Campus, Bangalore, India *Corresponding author: Dr. Prashanth G Malur, Associate Professor-Digital Media, Manipal Academy of Higher Education, MGA-BFSI Campus, Bangalore, India, E-mail: [email protected] Received date: April 30, 2021; Accepted date: May 14, 2021; Published date: May 21, 2021 Copyright: © 2021 Malur PG. This is an open-access article distributed under the terms of the Creative Commons Attribution License, which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. Citation: Malur PG (2021) Illustrating Documentary Description of P Sheshadri’s Film. Global Media Journal. 19.40 from academic circle and critics from the scholars pursuing media Abstract studies. The first film Kannada film industry (presently popular as A Sign is the primary non-verbal visual language to Sandalwood), produced was film Bhakta Kabir, a play enacted communicate and communicating through a sequence of sign by veteran theatre artist Gubbi Veeranna who tried to film it, in forms a vital structure adopted to display the theme in films. 1924. Ten years later in 1934 Sati Sulochana made its first release The study attempts to analyse the thematic narration of the and hence is considered as the first film of the language, followed film December 1, drawing upon the social reality of a political by Bhakta Dhruva. The industry made remarkable dominance play ruining an underprivileged family. The film represents among other languages during the 1970’s and later till now, components of expression through verbal and non-verbal producing over 150 films annually. While majority of films are communication exhibited through shots portraying the theme. dominated by mass driven commercial subjects, a few off-beat The study investigates to emulate the thematic illustration films classified as art-cinemas gets global recognition to the of shots and the expressions of artists which transcends the industry, illustrating the language and its dialect, culture, history narration revealing the social stigma of a family. The study and perspectives of the society. Among the cult and off beat comprehends to analyse the documentary (textual) description Indian film makers, Girish Kasaravalli, MS Sathyu, P H Vishwanath, (narrative) approach that are adapted by the filmmaker, P Sheshadri, and T S Nagabharana standout to be recognised in in an attempt to represent the social issue of society, and as perceived by the viewer. The study concludes by depicting the representing the nativity and locale of Karnataka through their reality of characters and society with technical adaptations films on global platform. in the editing of a film. The Kannada Film Industry popularly known as Sandalwood Keywords: Film analysis; Kannada film; Textual analysis; Visual presently produces over 150 films annually, competing with communication that of other neighbouring languages, however, seems to fall behind with its overall revenue. Nevertheless, the penetration of digital service providers on Over the Top (OTT) platforms seems Introduction to provide solution to fill the revenue gap by exhibiting new age films along with those sustain in the theatres. The centenarian Indian film industry started in 1913 AD is 108 years old and for many across the globe, it means Bollywood. Review of Literature However, in reality, over eighty percent revenue of Indian cinema is contributed by regional language Indian films. India, a land The signs and symbols relating to gestures, images, objects and comprising various languages and dialects amongst the regions, anything what can be seen and perceived through non-verbal communication by any person can be related to semiotic. It is the western and northern portions are majorly dominated by the study of sign process that communicates a meaning. The Hindi, while the eastern region is ruled by Bengali though Hindi early semiotics of a film was acknowledged by Ricciotto Canudo, is also welcome. The diverse of language is evident among the an Italian writer who identified the “language-like character of four southern states comprising of four different languages cinema” and Louis Delluc, a French writer who wrote the ability namely, Kannada, Malayalam, Tamil and Telugu. Amongst them, of film to transcend national language”; both working during the Kannada cinema seems to have not received adequate attention 1920’s. Vachel Lindsay referred it as “hieroglyphic language”. It This article is available from: globalmediajournal.com 1 2021 Global Media Journal ISSN 1550-7521 Vol. 19 No.40: 246 was between 1920’s to 1940’s, a Hungarian film theorist Bela an organised mix of all these to create a narrative. However, Balazs wrote about the nature of film. It was during the same voice-over format is most popular and contributes significantly in time, Russian writer and critic Boris Eichenbaum outlined the narrating a story accompanied with powerful shots. principles of syntagmatic construction of films. According to The key of study in Semiotics relates to the text (literature, film, or Boris, the syntagmatic analysis deals with the sequence and even a piece of music) [2]. The meanings in films are constructed structure as opposed to the paradigm emphasis of paradigmatic through signs, which has two parts, signifier-which means what analysis and is a particular of language which is figurative, with we see and perceive like the sound, visuals; and signified which the treatment of filmic syntax, linkage of shots in phrases and is the reaction or psychological feeling based out of the signifier. sentences. However, Yury Tynyano, another Russian writer and Semiotics does not confine to study the sign but what is conveyed literary critic had different approach to interpret the signs of film. in film. A point of view movement of the camera into a room and Yury, approached the cinema as presentation of semantic signs to the top/high angle of a person sleeping on the bed, signifies produced by cinematic procedures visible to the world, while that some person/character who is out of the frame comes to Boris viewed the film in relation to the inner speech and image the room and looks at the person. A small tilt of the camera when translations of language. looking at the person, signifies that the character is looking at The concept of film as a language was intensely explored during the person from head to toe. The combination of all these shots 1960’s, when structuralist thinkers started criticizing structuralism shall give a perception (signifying) of suspense scene, and the and semiotics became popular in academia [1]. However, works background sound adds value to quantify the significance of of Umberto Eco-Italian novelist and semiotician, Pier Paolo the scene. Hence, contemporary semioticians study the sign Pasolini-Italian director cum writer and Roland Barthes-French as part of the semiotic medium, movement along with the text literary theorist and many others were discovered, Christian and literature form. Though scholars and researchers across the Metz-a French film theorist became popular. globe have defined semiotics, Abubakar et al, [3] mentions Taylor and Willis who stated that‚ “semiotics or the science of signs is Metz combined the shots of the film to give a linguistic structural primarily the study of how signs communicate, it is also the study meaning. A film generally communicates with denotative and of rules which regulate the operation of each system of sign”. As connotative structures. Denotative is what the audiences perceive Rose argued, semiology offers a very full box of analytical tools through visuals and sound, which they need not try to identify for taking an image apart and tracing how it works in relation anything other than what they see and hear. While, the same to broader systems of meaning while Hill and Church argued visual and sound becomes connotative by the way the scene is that, the overall consequences of semiotics attention to cinema shot which evokes the feelings of the audience. This involves were to weaken concern with the issue of realism and strengthen the emotional overtones, objective interpretation, social values attention to the cinema as a particular kind of textuality. On the and ideological assumptions. Metz attempts to derive that the other sense, Joe Montenegro Bonilla [4] quotes René Wellek study of connotation brings the viewer closer to the notion of the mentioning that the arts are in constant interrelationship, as cinema as an art and within which the paradigmatic connotation all are human activities. The particular case of literature and exist. For example, a low angle shot of a flower conveys the cinema as two related types of creative production, which have dominance or overpowering when unconsciously compared it come to be intricately related, reveals much of the complexity of with an overhead shot, while syntagmatic connotation would comparative studies in the field of the arts. Hence, every scholar compare the flower shot with actual shots that follow the low has defined and explained semiotics of the film to the best of angle shot. The meaning of this shot is compared to other shots their understanding and perceiving capability. we actually see. Analysing a film as a piece of creative art are based on the Robert Stam, Robert Burgoyne and Sandy Flitterman-Lewis flow of events [5], which are Syntagmatic-the structure of the work, New Vocabularies in Film Semiotics: Structuralism, Post- film, Diachronic/Diatomic-the shots related only by theme, structuralism, and Beyond in 1992, highlighted film semiotics Synchronic/Diatomic scenes-the different places at the same as a new tool in art criticism.
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