Indian music video presentation

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Discussion of identity, cultural and socio-religious issues of Indian diaspora

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Indian music video presentation

  1. 1. Anne Soh 2 Jul 2014
  2. 2. • Tamil Christian music video (Yeasuvae En Swaasamae by Jeswin Samuel) The Project • Target audience: Indian diaspora especially youth • Distributed throughYoutube and social media websites
  3. 3.  “Second largest diaspora in the world” Ministry of Overseas Indian Affairs (MOIA) http://moia.gov.in/accessories.aspx?aid=10 Rationale – Why Indian diaspora?
  4. 4. http://qz.com/192440/where-everyone-in-the-world-is-migrating-in-one-gorgeous-chart/
  5. 5.  “Second largest diaspora in the world”  Sense of ‘Indianness’ through film (Christiane Brosius, “The Scattered Homelands of the Migrant,” in Bollyworld, 219) “Overseas Indians share a strong bond with their country of origin…as witnessed in the growing popularity of Indian films…on foreign shores.” (MOIA) Rationale – Why video?
  6. 6. http://www.planetbollywood.com/displayArticle.php?id=051806123941 “Because of that Bollywood song, I felt a cultural kinship with this man.”
  7. 7. “Cinema settles easily among even the most ancient of Indian performance traditions. It was a natural marriage incorporating dance, music, story-telling and symbolism. Cinema came to an audience already familiar with innumerable icons, popular drama and the re-enactment of spectacular myths. It drew heavily on that culture.” Channel 4, “Part 1: Myths and Realities,” in The Peacock Screen (1991) http://www.indianetzone.com/1/indian_drama.htm
  8. 8.  “Second largest diaspora in the world”  Sense of ‘Indianness’ through film  Gap in Christian music videos Rationale – Why video?
  9. 9. • First Indian film producer Phalke (1870-1944) • Inspired after watching The Life of Christ in 1910 • Made films “for propagating myths and stories of the Hindu gods” • Beginning of Indian feature film industry Freek L. Bakker, “Shanti Sandesham, a New Jesus Film Produced in India: Indian Christology in Pictures,” in Exchange 36 no. 1 (2007): 41-64. Tejaswini Ganti, Bollywood, 8-10. From Christ to Bollywood…
  10. 10. • Current state of Tamil Christian music videos From Bollywood back to Christ? http://www.youtube.com/results?search_query=tamil+christian+worship+songs
  11. 11. Aaradhana Nayakan Neerea by PastorAlwinThomas, http://youtu.be/W-LdIT0iXZw
  12. 12. • Current state of Tamil Christian music videos • Compared to popular Indian music videos? e.g. Pyaasi by Swarathma o BestVideo at JD Rock Awards 2010 o Nominated for Best MusicVideo at Dadasaheb Phalke Film Festival From Bollywood back to Christ?
  13. 13. Pyaasi by Swarathma feat. Shubha Mudgal, http://youtu.be/gCii9Pmjxho
  14. 14.  “Second largest diaspora in the world”  Sense of ‘Indian-ness’ through film  Gap in Christian music videos  Connected through internet “language…is a fundamental attribute of self- recognition, and of the establishment of an invisible national boundary…” Manuel Castells, The Power of Identity,The Information Age: Economy, Society, and CultureVol. 2, 55. Rationale – Why online?
  15. 15. • Hindi • Telugu • Punjabi • Tamil • Gujarati • Marathi • Bengali • Malayalam • Kannada Bollywood Box Office onYoutube http://www.youtube.com/channel/SB_5lM6JjT2PM
  16. 16.  Released twoTamil albums  Growing international reach (Australia, France, Germany, India, Malaysia, Switzerland, UK)  Promising online presence (over 50,000 views onYoutube channel, exceeded 5,000 FB friends)  Song – amazing testimony Rationale – Why Jeswin’s song?
  17. 17. Identity & Cultural Issues
  18. 18. http://www.planetbollywood.com/displayArticle.php?id=051806123941 “…people of Indian origin…in different countries, share similarity of experiences while watching Indian movies, …construction of a global “public culture” and an “imagined community.”” ‘…cinema is…the contested site where meanings are negotiated, traditions made and remade, identities affirmed or rejected’ (D Bhoopaty, quoted in IngridTherwath, “‘Shining Indians’: Diaspora and Exemplarity in Bollywood,” in South Asia Multidisciplinary AcademicJournal 4 (2010), 2)
  19. 19.  “continuity” and “difference” in formation of diaspora identity - identifies with their place of origin but also adopted some of the culture of where they are located (Stuart Hall, “Cultural Identity and Diaspora” in KathrynWoodward ed., Identity and Difference, 53) Identity & Cultural Issues
  20. 20. Notes of Interviews (Jan 2014) Indian youth in England, UK Indian youth inTamil Nadu, India British youth in England, UK Language(s) spoken English, German/ French; Indian dialects - Malayalam/Tamil (not fluent) Tamil; English (very little) English, German/French/ Spanish Preferred attire/clothing Western Traditional Indian Western Food(s) eaten Indian, British and Italian Indian British (esp junk food) After-school activities Homework, revision, little or noTV/computer games Homework, revise, tuition classes TV, computer games, ‘talk’ to friends through online games or social media TV viewing 0-30 mins on weekdays; 2-3 hrs on weekends Long hours (government gives freeTV to every family) Long hours (whenever free and not on computer) Computer usage 0-30 mins on weekdays; 2-3 hrs on weekends Only very few from well-to-do families have computers 3-4 hrs on weekdays; 14-15 hrs on weekends Interests Football, playing and listening to music, online games, studies Cricket, football, other ball games, skipping, listening to music , computer games (only for well-to-do families) Football, other sports, Facebook and other social media, video/computer games, dating
  21. 21. “Indian cinema, right from its conception” synthesised native concerns and stories with technical and stylistic influences from all over the world, including Hollywood, into a “very original Indian form.” (Ketan Mehta, in The Peacock Screen) “Fusion is the future.” (“Kaal”, in Krrish 3)
  22. 22. Krrish 3, http://www.youtube.com/watch?v=8-zyYnqqgjY
  23. 23.  Close Encounters of theThird Kind  ET  Mask  Batman (Elfman)  X-Men  Loki (fromThor)  Outbreak  The Matrix Which ones did you spot?  Independence Day  Erhu  Lady Gaga  Rambo  Iron Man  Catwoman  and more…
  24. 24.  “resistance identity” – marginalised/outcast groups build “trenches of resistance…on the basis of principles different from” the dominant values e.g. “traditional values of God, nation, and the family” (Castells, 8 & 421) Identity & Cultural Issues
  25. 25. Notes of Interviews (Jan 2014) Indian youth in England, UK Indian youth inTamil Nadu, India British youth in England, UK Values/attitudes towards: Marriage Lifelong, serious commitment, must love and support each other, divorce causes many problems, against cohabitation and same sex marriage Mostly arranged marriages, divorcees despised; love marriages, cohabitation and divorce increasing in cities Marriage not necessary, cohabition and divorce common Family Parents love and teach children, children obey parents, husband and wife equal say, broken families destroy children’s lives and future Parents provide for children’s needs and pass down values, children must obey parents, family as first priority, husbands have final say Seen as less important, many broken/ dysfunctional families, children do not always respect or obey parents, friends replace family support and may lead to gang membership Sex/ sexuality Sex before marriage and homosexuality are wrong, dating relationships usually get out of hand, should only commit to relationship when seriously considering marriage Looking at or talking to opposite sex and dating not allowed, homosexuality unacceptable but now more open in cities due to influence from western media Pre-marital sex (by 16yo) and dating very common, homosexuality not accepted by younger teens but becoming more accepted by older youth
  26. 26. Notes of Interviews (Jan 2014) Indian youth in England, UK Indian youth inTamil Nadu, India British youth in England, UK Values/attitudes towards: Money Must be educated and work hard to earn money, necessary for survival but too much will lead to greed or abuse Must study hard and get a degree, full financial dependence on parents till after graduation, view towards money also dependent upon parents’ values Equated with power and status (having the same things that others have is important), being wealthy means successful Religious beliefs Strong Christian faith, attend church regularly from young (brought by parents), pray and read the Bible independently Highly spiritual, choice of religion decided by parents, hold on to belief for life even if it ‘does not make sense’ Irrelevant and waste of time, so many religions cannot all be true so all must be false Work and leisure Complete homework first then play, but should have small breaks when working, too much free time is not good Complete homework first then play Play more important than studies, high dropout rate, some youth work in order to have money to spend on drinks and hangout with friends
  27. 27.  Importance of Family “Hindi film consumption in the diaspora speaks to first generation Indians desperately trying to sustain a value system and inculcate the same in their children that sets them apart from mainstream society in countries like the US and UK. These differences…are generally about tradition, continuity, family…” (Aswin Punathambekar, “Bollywood in the Indian-American Diaspora,” in InternationalJournal of Cultural Studies 8 No. 2, 158) Values of Indian diaspora
  28. 28. Krrish 3, http://www.youtube.com/watch?v=8-zyYnqqgjY
  29. 29.  Importance of Family  Patriarchy “…the NRI was heralded as a role model for Indians at home thanks to…his retention of core traditional and often patriarchal values.” (Therwath, 10) Values of Indian diaspora
  30. 30. 3 Idiots, http://youtu.be/vgUWkR11Roc
  31. 31.  Importance of Family  Patriarchy  Emphasis on Education “Indians…believe that hard work, a rigorous education and familial support are the keys to their dreams.” (Narayan Lakshman, quoted in Vinay Lal, “An Indian- American Blitzkrieg”) http://www.sscnet.ucla.edu/southasia/Diaspora/SpellingBee.html Values of Indian diaspora
  32. 32. 3 Idiots, http://youtu.be/vgUWkR11Roc
  33. 33. Socio-religious Issues
  34. 34.  Western Popular Media • Realistic “Classical Hollywood Style… There is a strong tendency to avoid subjective effects, and to maintain the illusion of ‘objective’ reality.” (Brian Baker, “Key Concepts in Film Studies,” in Cinéma Divinité, 46) Socio-religious Issues
  35. 35. Reality Shows that Premiered on AmericanTV (Jan 2014) 1. Dance Moms 2. Kim of Queens 3. TheTaste 4. Toned Up 5. Blood, Sweat and Heels 6. The Bachelor 7. My 600-lb Life 8. 100 Days of Summer 9. Face Off 10.American Idol 11.The RealWorld 12.Under the Gunn 13.Here Comes the Honey Boo Boo 14.The Diamond Collar 15.Mom’s Got Game 16.Rich Kids of Beverly Hills 17. Teen Mom 2 http://realitytv.about.com/od/findoutaboutnewshows/fl/Reality-Shows-Premiering-in-January-2014.htm
  36. 36. What about Indian films? “Films that…aim to appear more “realistic”…do not fare well at the box-office…filmmakers are not overly concerned with realism.” (Ganti, 29 & 141) e.g. My Name is Khan • No spectacular song-and-dance scenes except in authentic settings (wedding, church) • Songs played as incidental music • Scenes where actors sing instead of mime Disappointing ranking in India but “highest grossing Bollywood film overseas at the time” (Wikipedia) http://en.wikipedia.org/wiki/My_Name_Is_Khan#Box_office
  37. 37.  Western Popular Media • Realistic • Provocative, controversial “Film has the power to disturb and enlighten” (Robert K. Johnston, Reel Spirituality, 87) e.g. Rolling Stone’s 10 Best Movies of 2013 #1 – 12Years a Slave #7 – Captain Phillips http://www.rollingstone.com/movies/lists/10-best-movies-of-2013-20131210 Socio-religious Issues
  38. 38. What about Indian films? 2nd-generation Indians in Germany see Indian films as “cheap and escapist ‘kitsch’,” where “good finally winning in the last moment, the hero always conquering the gal.” (Brosius, 232) e.g. Dil Se • Story of female suicide bomber • “Ends in a bomb-embraced death” ”…flopped at the Indian box office” but “broke box-office records” in the UK (Shohini Chaudhuri, ContemporaryWorld Cinema, 172)
  39. 39.  Western Popular Media • Realistic • Provocative, controversial  Racism e.g. surveyed South Asians in Britain “suspected that they were being given the cold shoulder because of their race.” (Tariq Modood, “Culture and Identity,” in Ethnic Minorities in Britain, 296) Socio-religious Issues
  40. 40. My Name is Khan, https://www.facebook.com/video/video.php?v=108256552610772
  41. 41.  Western Popular Media • Realistic • Provocative, controversial  Racism  Spirituality e.g. more than one-third of Indians in Britain viewed religion as important compared to only 5% of whites (Modood, 356) Socio-religious Issues
  42. 42. 3 Idiots Krrish 3
  43. 43. My Name is Khan, https://www.facebook.com/video/video.php?v=108256552610772
  44. 44. Plot
  45. 45. • Focus on family Plot
  46. 46. • Focus on family • Patriarchal setting Plot
  47. 47. • Focus on family • Patriarchal setting • Emphasis on education Plot
  48. 48. • Focus on family • Patriarchal setting • Emphasis on education • Implied racism Plot
  49. 49. • Focus on family • Patriarchal setting • Emphasis on education • Implied racism • Spiritual encounters Plot
  50. 50. Light & Camera Angle (Ted Turnau, Popologetics, 225-227)
  51. 51. • Close-ups to show emotions Light & Camera Angle
  52. 52. • Close-ups to show emotions • Dark to light Light & Camera Angle
  53. 53. • Close-ups to show emotions • Dark to light • Closed to open Light & Camera Angle
  54. 54. • Close-ups to show emotions • Dark to light • Closed to open Light & Camera Angle
  55. 55. Film Editing & Pacing (Turnau, 225-227)
  56. 56. • Switching to contrast two opposite ‘worlds’ • Black & white vs colour Film Editing & Pacing
  57. 57. • Switching to contrast two opposite ‘worlds’ • Black & white vs colour • Synchronising with music  Changing voices  Instrumental climax  Word ‘painting’ Film Editing & Pacing
  58. 58. • Switching to contrast two opposite ‘worlds’ • Black & white vs colour • Synchronising with music  Changing voices  Word ‘painting’ • Short vs long clips Film Editing & Pacing
  59. 59. Character Development (Turnau, 225-227)
  60. 60. • Transformation Character Development
  61. 61. • Transformation • Reconciliation Character Development
  62. 62. Relationship with Real World (Turnau, 225-227)
  63. 63. • Diaspora setting and identity  Multi-ethnic  Western attire  Western buildings  Indian decor Relationship with Real World
  64. 64. Language (Turnau, 225-227)
  65. 65. • Tamil • English translation Language
  66. 66. • Time • Budget • Lack of experience Constraints
  67. 67. • Creative use of resources • Discovery of talents • Enthusiasm & support Strengths
  68. 68. !

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