Jabbar Patel Filmmaking – an Auteur Theory Approach
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JABBAR PATEL FILMMAKING – AN AUTEUR THEORY APPROACH Annette James Ukken Registered Number 1324029 A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Science in Communication Christ University Bengaluru 2015 Program Authorized to Offer Degree: Department of Media Studies ii Authorship Christ University Department of Media Studies This is to certify that I have examined this copy of a master‟s thesis by Annette James Ukken Registered Number 1324029 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Committee Members: _____________________________________________________ _____________________________________________________ Date:__________________________________ iii iv Abstract I, Annette James Ukken, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: Signature v vi Abstract Jabbar Patel filmmaking- An auteur theory approach Annette James Ukken MS in Communication, Christ University, Bengaluru Films are a product of the director‟s mind. Through films we convey and understand certain messages by the use of certain symbols and metaphors that reoccur in our surrounding. Studies show that directors have their own individual style or pattern in which they prefer to portray certain elements in the movie. An auteur theory approach helps us look at films from the director‟s perspective and helps us decide, if a director can be called the author or creator of his films. Differences between filmmakers' styles become apparent through the analysis of film techniques. Recurring usage of these techniques create meaning and highlights similarities in the narrative. This research aims at studying the techniques that Jabbar Patel uses in his movies. The researcher will identify the techniques that he uses, to convey messages and deal with various conflicts through his movies. It will mainly focus on the plot, characterization, themes and issues discussed, setting and cinematography. Key words: Jabbar Patel, Auteur theory approach, Filmmaking techniques vii viii ACKNOWLEDGEMENTS The author wishes to express sincere appreciation to the Department of Media Studies for their extended long-term support and especially to Professor Aasita Bali for her vast reserve of patience and knowledge. To Mr Shrikant Pradhan for his contribution towards this dissertation. This thesis would never have been completed without the encouragement and devotion of my family and friends. ix x DEDICATION To my family, Meena Iyer, Nikhil Nair and Meghana B. S. xi xii TABLE OF CONTENTS Chapter 1 INTRODUCTION 1 1.1 The Indian film Industry 1 1.2 Marathi Film Industry 2 1.3 About Jabbar Patel and his filmmaking 3 1.4 New Wave cinema and Marathi Film Industry 4 1.5 Auteur Theory 4 1.6 Research Problem/Objective 5 1.7 Classification of Movies 6 Chapter 2 REVIEW OF LITERATURE 8 2.1 Films as an Academic Discipline 8 2.2 Film Making 9 2.3 Auteur Theory 11 2.4 New Wave in Marathi Cinema 12 Chapter 3 RESEARCH METHODOLOGY 14 3.1 Research Problem 14 3.2 Media Content Analysis 14 3.2.1 Manifest content analysis 14 3.2.2 Latent content analysis 14 3.2.3 Advantages of content analysis 15 3.2.4 Disadvantages of content analysis 15 3.3 Parameters 15 3.2.1 Setting 15 3.2.2 Plot 16 3.2.3 Characters 16 3.2.4 Conflict 16 3.2.5 Genre 16 3.2.6 Codes 17 xiii 3.2.6 Written Codes 17 3.2.6 Performance Codes 17 3.2.7 Social / Historical Contexts 17 Chapter 4 ANALYSIS 18 4.1 Umbartha 18 4.1.1 Setting 18 4.1.2 Plot 18 4.1.3 Characters 21 4.1.4 Conflict 25 4.1.5 Genre 26 4.1.6 Codes 27 4.1.6.1 Technical Codes 27 4.1.6.2 Written Codes 29 4.1.6.3 Performance Codes 29 4.1.6.4 Symbolic code 29 4.1.7 Social / Historical Contexts 29 4.1.8 Themes/ Issues 30 4.2 Dr. Babasaheb Ambedkar 31 4.2.1 Setting 31 4.2.2 Plot 31 4.2.3 Characters 33 4.2.4 Conflict 37 4.2.5 Genre 38 4.2.6 Codes 38 4.2.6.1 Technical Codes 38 4.2.6.2 Written Codes 39 4.2.6.3 Performance Codes 40 4.2.6.4 Symbolic code 41 4.2.7 Social / Historical Contexts 41 4.2.8 Themes/ Issues 41 4.3 Ek Hota Vidhushak 42 4.3.1 Setting 42 4.3.2 Plot 42 xiv 4.3.3 Characters 44 4.1.4 Conflict 47 4.3.5 Genre 48 4.3.6 Codes 48 4.3.6.1 Technical Codes 48 4.3.6.2 Written Codes 48 4.3.6.3 Performance Codes 48 4.3.6.4 Symbolic code 49 4.3.7 Social / Historical Contexts 49 4.3.8 Themes/ Issues 49 Chapter 5 CONCLUSION 50 5.1 Limitations 50 Bibliography 52 xv LIST OF FIGURES Figure 1: Umbartha 1st scene ........................................................................................... 20 Figure 2: Umbartha last scene .......................................................................................... 20 Figure 3 Protagonist and her husband .............................................................................. 23 Figure 4 Mother-in-law and Sister-in-law ........................................................................ 24 Figure 5 Protagonist mid shot........................................................................................... 27 Figure 6 The protagonist facing conflict in correction home ........................................... 28 Figure 7 The protagonist facing conflict in correction home (2) ..................................... 28 Figure 8 The protagonist facing conflict in her house ...................................................... 28 Figure 9 First scene of Babasaheb Ambedkar .................................................................. 32 Figure 10 Last scene of Babasaheb Ambedkar ................................................................ 32 Figure 11 Ramabai sharing her emotions with Ambedkar ............................................... 35 Figure 12 Gandhi and Ambedkar resolving issues ........................................................... 36 Figure 13 Ambedkar in despair ........................................................................................ 39 Figure 14 A newspaper report on Gandhi's satyagraha against the demands of Ambedkar ........................................................................................................................................... 39 Figure 15 Ambedkar with his wife portraying distress .................................................... 40 Figure 16 Protagonist dressed like a clown ...................................................................... 44 Figure 17 Protagonist and his mother ............................................................................... 46 Figure 18 Protagonist and his wife ................................................................................... 47 xvi LIST OF TABLES Table 1 Classification of movies ........................................................................................ 7 xvii xviii Chapter 1 INTRODUCTION 1.1 The Indian film Industry Known to be one of the biggest film industries in the world, the Indian film industry is an umbrella term to describe the various language film industries in the country. Producing approximately 800 films across 32 languages, this industry has been growing bigger in the past few decades. One can find stark differences in the style of film making, themes, and style of storytelling in movies across different eras. One of the reasons for this is the growth of technology, diversification of ideas etc. Apart from style of film making there has been innovation and change in marketing and promotional strategies as well. When one looks at the history of Indian film making, it all started in 1896 when Lumiere brother‟s cinematographers shot 6 motion pictures in Mumbai. After this there has been no looking back for the Indian Film Industry. Sahakaram Bhatvedkar is said to be the first Indian to make a film which was popularly known as „Dada‟. He made two films, one was about a wrestling match in the hanging gardens of Mumbai and the other one was about playfulness of a monkey, both the movies were shot in 1897 and became very popular among the masses in 1899. The reason Marathi Filmmakers are called as pioneers of Indian film industry is for this very reason, they were the main contributors towards this industry in the beginning. The very first Indian feature film „Raja Harishchandra‟ a silent movie, made by Dadasaheb Phalke released in 1913. From 1920s this industry had taken its shape and has seen immense growth since then. When one speaks of Marathi films in specific, history tells us that it has a much longer and larger tradition than the national films. Dadsaheb Phalke and V. Shantaram are two of the filmmakers to name who have contributed immensely not only to Marathi film industry, but also other regional film industries as these filmmakers have often provided their insights which have been proved to be fruitful to other regional and national film industries as well. 1.2 Marathi Film Industry A language like Marathi which is so culturally rich has been acknowledged for its tradition and in movies this film industry has always been