UNDERSTANDING CINEMA (As per the Revised Syllabus of S.Y. BMM w.e.f. 2016, Semester III, University of Mumbai) Ms. Heena T. Bhagtani B.Sc. (Computer Science), M.Sc. Computer Science, LL.B. Diploma in Journalism. ISO 9001:2008 CERTIFIED © Author No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording and/or otherwise without the prior written permission of the publisher. First Edition : 2016 Published by : Mrs. Meena Pandey for Himalaya Publishing House Pvt. Ltd., “Ramdoot”, Dr. Bhalerao Marg, Girgaon, Mumbai - 400 004. Phone: 022-23860170/23863863, Fax: 022-23877178 E-mail: [email protected]; Website: www.himpub.com Branch Offices : New Delhi : “Pooja Apartments”, 4-B, Murari Lal Street, Ansari Road, Darya Ganj, New Delhi - 110 002. Phone: 011-23270392, 23278631; Fax: 011-23256286 Nagpur : Kundanlal Chandak Industrial Estate, Ghat Road, Nagpur - 440 018. Phone: 0712-2738731, 3296733; Telefax: 0712-2721216 Bengaluru : Plot No. 91-33, 2nd Main Road Seshadripuram, Behind Nataraja Theatre, Bengaluru-560020. Phone: 08041138821, 9379847017, 9379847005 Hyderabad : No. 3-4-184, Lingampally, Besides Raghavendra Swamy Matham, Kachiguda, Hyderabad - 500 027. Phone: 040-27560041, 27550139 Chennai : New-20, Old-59, Thirumalai Pillai Road, T. Nagar, Chennai - 600 017. Mobile: 9380460419 Pune : First Floor, "Laksha" Apartment, No. 527, Mehunpura, Shaniwarpeth (Near Prabhat Theatre), Pune - 411 030. Phone: 020-24496323/24496333; Mobile: 09370579333 Lucknow : House No 731, Shekhupura Colony, Near B.D. Convent School, Aliganj, Lucknow - 226 022. Phone: 0522-4012353; Mobile: 09307501549 Ahmedabad : 114, “SHAIL”, 1st Floor, Opp. Madhu Sudan House, C.G. Road, Navrang Pura, Ahmedabad - 380 009. Phone: 079-26560126; Mobile: 09377088847 Ernakulam : 39/176 (New No. 60/251), 1st Floor, Karikkamuri Road, Ernakulam, Kochi – 682011. Phone: 0484-2378012, 2378016; Mobile: 09387122121 Bhubaneswar : 5 Station Square, Bhubaneswar - 751 001 (Odisha). Phone: 0674-2532129, Mobile: 09338746007 Kolkata : 108/4, Beliaghata Main Road, Near ID Hospital, Opp. SBI Bank, Kolkata - 700 010, Phone: 033-32449649, Mobile: 7439040301 DTP by : Sanhita More Printed at : On behalf of HPH. PREFACE I am glad to present the book name “Understanding Cinema” for BMM syllabus of Mumbai University. The main objective of this book is to understand the methods and forms of Cinema. This book also tells about the techniques which were used in olden days and current days. I have tried my best to cover the topics in sufficient depth and in simplest manner by using various films names as examples related to that topic. I would like to thank my parents and my brother who have supported me always. A big thanks to Mr. S.K. Shrivastav and all staff especially Ms. Archana of Himalaya Publishing House Pvt. Ltd. for bringing this book in time. Author SYLLABUS UNDERSTANDING CINEMA Semester - III Max. Marks: 100 Please Note: This one paper cannot guarantee any creation of film- makers. However, the paper takes a holistic approach giving sufficient insight to the students seeking diverse careers and certain specific know- how of films in the short span of three (3) months. Thus, it is also necessary to retain the title of this paper as Understanding Cinema (to mean in the process of learning) and by its name it has given credits and jobs to a large number of students already working in the industry. SUGGESTED GUIDELINES AND OBJECTIVES OF THE PAPER: 1. This paper should aim to sensitize the students towards Cinema as a medium of Mass Communication and help them to become critical viewers of movies today. (a) From a personal point of view (b) From a social point of view (c) From a business point of view (in context of Box Office Success) 2. The students should get to study the similarities and differences between various movie cultures. (Have a contextual understanding). 3. The students should get to study Indian cinema through its similarities and differences with both Indian and Western traditions of art and culture. 4. Movies cannot be studied apart from the technology used to produce them. Hence, the students should necessarily be given some practical exercises in the paper for internal marks. 5. The students should study cinema by watching through an open-ended list of movies. (Screening of films should depend to a great extent on the forte of the teacher and the type of students in the class). 6. The teacher must briefly address diverse films in the course of their lecture (Although there are some specific subjects that can deal with films of different types, a special session must touch upon Cinema in all its possible forms – to encompass from the ordinary Factual Documentary format to the most effective Bumper Breaks/Advertisements. From the special effects, total Sci-Fi and fiction films to the harsh reality bite films. Even from Promotional Corporate films and travelogues to the most stereotype telecast of Newsreels). COURSE MODULES: Module Details Number of Lectures I Introduction to Cinema as a Medium, Language of 12 Cinema, Cinema Narratives, Evolution of Cinema Covering Hollywood as well as Indian Cinema from the Early Beginnings to its Status Today. II Introduction to Genres, Understanding Diverse Film 10 Genres with a Special Mention to Italian Neo- realism, French New Wave and Indian Parallel Cinema. III In the Indian Context – I: Contribution and Impact 10 of Regional Cinema. IV In the Indian Context – II: Contribution and Impact 10 of Regional Cinema. V Basic Introduction to the Technology Used in 10 Cinema. Introduction to Few Important Techniques Employed by Different Film-makers. Introduction to the Business with Prevailing Practices in the Production and Marketing of Films. Note: A special mention to be made to the contribution and role of Digital technologies in Modern Film making process. VI Introduction and Basic Discussion to Cover a Broad 08 Range of Films: Documentaries, Commercial Ads, Corporate Films, Short Films, Newreels, Public Service Ads and Others. SYSTEM OF MARKING: (a) This syllabus is suggested keeping in mind the credit based system of Mumbai University. (b) The examination pattern should be strictly as per the guidelines of Mumbai University under the new credit based system sparing sufficient weightage for Internal Marks examination through assignment of practical exercises. (c) As per the view of this Sub-committee, it would be only appropriate to administer this paper by 60 : 40 ratio where 60 marks should be for theory and 40 marks for practical session. PLEASE NOTE: The Sub-committee strongly suggests that the 40 marks for internals (or 25 marks as in the present system) should be entirely retained for practicals. This is quintessential for this paper and therefore, the faculty for this paper (Visiting Faculty from Industry as well as Academicians) should be very judicious in assigning the projects for the same. (d) At least one question from each module should be included for the term end question paper giving equal weightage to all modules. CONTENTS 1 Introduction to Indian Cinema 1 – 24 2 Introduction to Genres 25 – 40 3 Cinema in Indian Context – I 41 – 45 4 Cinema in Indian Context – II 46 – 47 5 Introduction to Technology 48 – 53 6 Broad Range of Films 54 – 67 Bibliography 68 Introduction to 1 Indian Cinema 1.1 INTRODUCTION Cinema is an art of making motion pictures which creates visual medium and sometimes exposes reality. It is a combination of music, dance, literature, painting, poetry and other variations. Cinema was known to be as cinematography. In Greek, it is termed as “Writing in Movement”. Cinema helps to communicate with the audience. An illiterate person can easily understand the language of cinema. Cinema speaks through emotions, silence, facial expressions and body language. Like a movie named Koshish where Jaya Bhadhuri and Sanjeev Kumar played a role of dumb and deaf or a movie named Barfi, where Ranbir Kapoor was playing a role of deaf and dumb. Cinema is a strong mass communication. It contains their own language and own variety of grammar which is beyond any racial, communal linguistic differences. BACKGROUND Cinema began with black and white picture display which was conducted in a motion picture. Later, they started adding some sounds and visual effects which adopted a better presentation. Cinema is a king of Magic where directors play a role of the Magician. Even they are building with creating some stories in various forms. Example, Ramayan – the story of Ram and Seeta is shown in various languages with different artists. 2 Understanding Cinema Lumierie Brothers In 1886, Lumierie Brothers named Auguste Lumeire and Louis Lumeire, French inventors and pioneer manufacturers of photographic equipment devised an early motion-picture camera and projector called the Cinematograph on 13th February, 1895. They also unveiled some soundless short films in the city of Bombay. The two brothers worked together under their father’s photographic plate production company, where they decided to make motion pictures. In 1895, they invented cinematograph. Later, in 1907, they also created Autochrome Colour photographic plate. The cinematography is the talent of the cinematographer or director taken by photography. He learns the script and generates a complicated lighting setup that provokes emotions and strengthens the plot. He communicates a character’s dream, hope, despair or joy based on where camera and lights are placed. Cinematography ranks among one of the most complex and challenging areas of film-making. If it were an equation, the terms and variables would be numerous. Lighting is never easy. Every time you strike a light, you cast a shadow somewhere else. Adjusting the lighting is also one of the skills. Cinematographers, the head of the camera and lighting, have the major crew on any film set. His right arm, the gaffer (chief Introduction to Indian Cinema 3 electrician), manages the light and grip crew.