Om Shanti Om is a 2007 Bollywood film that uses extensive intertextual references and metafictional elements to comment on Bollywood cinema's history and conventions. Through remaking scenes and songs from the 1980 film Karz, and having the main character become an actor who witnesses his own murder, the film reflects critically on Bollywood's past eras while also holding a mirror to its present amid changes in Indian society and media. By deliberately calling attention to its own artificial nature and compositional elements, Om Shanti Om engages in metalepsis to reveal how texts are constructed and comment on genre.
Symbolism in Archetypal criticism of Northrop FryeSagar Ladhva
This is my presentations of Symbolism in Archetypal criticism of Northrop Frye. Northrop Fry was a Canadian critics or theorist.Archetypal Means like: Arche “first” and typos “form”
An original model or pattern from which copies are made.
Symbolism in Archetypal criticism of Northrop FryeSagar Ladhva
This is my presentations of Symbolism in Archetypal criticism of Northrop Frye. Northrop Fry was a Canadian critics or theorist.Archetypal Means like: Arche “first” and typos “form”
An original model or pattern from which copies are made.
This presentation looks at the maybe over used essay by Walter Benjamin, "The Work of Art in The Age of Mechanical Reproduction" and looks at its relevance to digital arts practice.
What is cybertext?
Cyber text is the organization of text in order to analyze the influence of the medium as an integral part of the literary dynamic, as defined by Espen Aarseth in 1997. Aarseth defined it as a type of ergodic literature where user traverses the text by doing non-trivial work.
Cybertext is a text on a computer. Cybertext is mutually interactive, technologically enhanced text as described by Aarseth.
This presentation is meant to acquaint the reader with the basics of narrative prose and prose fiction. Hope the readers will benefit from it and enjoy it. Rozi Khan
This presentation looks at the maybe over used essay by Walter Benjamin, "The Work of Art in The Age of Mechanical Reproduction" and looks at its relevance to digital arts practice.
What is cybertext?
Cyber text is the organization of text in order to analyze the influence of the medium as an integral part of the literary dynamic, as defined by Espen Aarseth in 1997. Aarseth defined it as a type of ergodic literature where user traverses the text by doing non-trivial work.
Cybertext is a text on a computer. Cybertext is mutually interactive, technologically enhanced text as described by Aarseth.
This presentation is meant to acquaint the reader with the basics of narrative prose and prose fiction. Hope the readers will benefit from it and enjoy it. Rozi Khan
Index of sample IELTS essays
Houses and apartments
Some people prefer to live in a house, while others think that there are more advantages
living in an apartment. Are there more advantages than disadvantages to living in a house
rather than in an apartment?
Unemployment
Unemployment is one of the most serious problems facing developed nations today. What
are the advantages and/or disadvantages of reducing the working week to thirty five
hours?
Education
Everyone should stay in school until the age of eighteen. To what extent do you agree or
disagree?
Nuclear Technology
The threat of nuclear weapons maintains world peace. Nuclear power provides cheap and
clean energy. The benefits of nuclear technology far outweigh the disadvantages. Do you
agree or disagree? Give reasons for your answer.
The environment
The best way to solve the worldʼs environmental problems is to increase the cost of fuel.
To what extent do you agree or disagree?
Culture
Should museums and art galleries be free of charge for the general public, or should a
charge, even a voluntary charge, be levied for admittance? Discuss this issue, and give
your opinion.
How To Write A Literature Essay. How to write a literary analysis essay. How...Anita Walker
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I need A+ Gradeyou need to watch a movie and read a novel .docxwilcockiris
I need A+ Grade
you need to watch a movie and read a novel
Latin America- region
-The Motorcycle Diaries (directed by Walter Salles) -film-2004
Salt (by Earl Lovelace) -Novel-1996
Instructions:
As part of your grade for HIST 2249, you will complete a 10 pages/3,000 words (double spaced), written essay and submit it to the HIST 2249 Moodle site.
This assignment will explore how the process of globalization shapes contemporary and historic popular media and world cultures. For this essay, students will use the course textbook definition as the basis of their discussion. Globalization is “the increasing interconnectedness of people and places throughout the world through converging processes of economic, political, and cultural change” (see textbook p. 4 for a detailed discussion of this process). Students will view and discuss (in a written essay) the various aspects and interpretations of globalization for in one film and one novel from the instructor provided list on the next page of this assignment.
Student may to focus their work on one region or multiple regions represented in the film and novel selection. In either case, students must make a STRONG argument for where, why, and how the process of globalization is described and unfolds in the film and novel of their choice.
STEP 3: Watch the film of your choice & take notes for your essay
> Your assignment is to write and submit a complete and original essay describing and discussing the process of globalization in the film and the novel of your choice and how they address the process of globalization.
> To complete this task, watch the film of your choice, read the novel and take notes to guide your answers to the following discussion points required of this essay:
FORMAT:
Create a Word Document (.docx or .doc) Microsoft Office
10 pages or 3,000 words
double spaced lines
Include Page numbers on EACH page
Times New Roman Font, 12 point size
Margins: 1⁄2 inch top and bottom. 1 inch left and right.
*Check your essay for formal writing standards including correct spelling, grammar, syntax, and style.
*Use quotation marks and citations with page numbers for any external books or sources you quote
Avoid plagiarism. Familiarize yourself with correct citation and strive to write this essay in your own voice.
* 10 pages = Essay Text ONLY. The title page, references list, and any optional images or maps will not count as part of the essay page total.
* Essay much include a Title Page, Essay Text, & Bibliography
Essay Format (in this order)
TITLE PAGE: including only the following:
Title of your essay, HIST 2249, Fall 2016, Your full name, the full title of the film, the full title of the novel, and the region or regions that connect to the film and novel
ESSAY TEXT
In your essay, answer/address the following discussion points:
- state the definition of globalization as found in your textbook(see textbook
pp. 4 to 11 for a detailed discussion of this process)
- state the full film title .
Narrative theory made easy By Dr. Iram RizviIram Rizvi
Narrative theory gives us an insight how human communication has evolved. The theory helps us to understand the meaning of human communication. This theory is widely used to study Film, News and Group Communication
2. “Om Shanti Om” song and dance number from Karz (1980)
http://www.youtube.com/watch?v=eS29KERO_d4
3. Karz scene from Om Shanti Om (2007).
http://www.youtube.com/watch?v=S7NIk3FQa_I
4. Om Shanti Om is a work of metafiction: a thickly intertextual film that
draws attention to the artificialities, ironies and absurdities of filmmaking
—including its own.
5. “Metafiction is fiction about fiction:
novels and stories that call attention to
their fictional status and their own
compositional procedures”
David Lodge
6. Metafiction is
any text “that
systematically
flaunts its own
condition of
artifice and that
by so doing
probes into the
problematic
relationship
between real-
seeming artifice
and reality”
Robert Alter
8. Analyzing Texts
Explanation: Description of the elements that
make up the text and their relations to one
another.
Interpretation: Assigning value and meaning
to those elements and relations.
9. Explaining Texts
TERM MEANING
Structural
1 Relations
Relationship of the elements in the
text to one another
Intertextual
2 Relations
Relationship of the text to other
texts
3 Social Relations Relationship of the text to its
producers and audiences
Referential
4 Relations
Relationship of the text to its
subject matter
Distinctive
5 Relations
Relationship of the text to what is
not included in it.
10. Intertextuality
All texts derive part
of their meaning from
prior texts.
Themes Actors
Storylines Directors
Symbols Titles
Dialogue Songs/Music
Characters Costumes
11. Intertextuality
Julia Kristeva Mikhail Bakhtin
“Every text takes shape “The life of the word is contained
as a mosaic of citations, in its transfer from one mouth to
another, from one context to
every text is the another context, from one social
absorption and collective to another, from one
transformation of other generation to another generation.
In this process the word does not
texts” forget its own path and cannot
completely free itself from the
power of those concrete contexts
into which it has entered”
12. Intertextual Play
Extracting a sign (or
set of signs from one
setting and inserting
them—often in
altered ways—into
another to create
meaning.
13. Intertextual Levels
Horizontal References to other
References films
Vertical References to other
References media: literature, art,
music, etc.
14. Horizontal References
Karz (1980) Om Shanti Om (2007)
In 1959, wealthy Ravi Verma is In the 1970s, junior artist Om
murdered by his wife. He is Prakash witnesses the murder of
reincarnated as Monty, who superstar Shantipriya by her husband,
becomes a major rock star. During and is murdered to silence him. He is
a performance he begins having reincarnated as Om Kapoor, who
flashbacks to his previous life. becomes a movie superstar. During a
After traveling to the village in performance he begins having
Ooty where he was killed, he flashbacks to his previous life. After
reunites with his aged mother and traveling to the ruined studio where
sister. He tricks the murderess into he was killed, he reunites with his
believing she is haunted, then aged mother and brother. He tricks
sings a song that tells the whole the murderer into believing he is
story. haunted, then sings a song that tells
the whole story.
15. Vertical References
The song “Om Shanty
Om” sung in Karz
(1980) and Om Shanti
Om (2007) is a Hindi
adaptation of a
Trinidadian “soca” hit
by Lord Shorty. It was
one of the hits that
inspired the success of
the soca genre of
music, which mixes
Indian musical
elements with African http://www.youtube.com/watch?v=SlDsizk5YS4
and calypso.
16. Genette’s Five Types
The effective co-presence of more than one text.
Intertextuality Replication of elements from one text in another
text (example: quotation).
Paratextuality
The relationship between a text and its
contextualizing “paratexts” (credits)
Architextuality
A text refers to the generic characteristics evoked
by the text (crossovers)
A text “comments” on another related text in such
Metatextuality a way that the conventions of the text form
become explicit (movies about making movies)
Hypertextuality
A text is created by transforming a prior text into
something new (remake)
17. Intertextuality
The effective co-
presence of more
than one text.
Replication of
elements from one
text in another text
(example:
quotation). http://www.youtube.com/watch?v=TjUXr560Gu0
See also:
http://www.cgtantra.com/forums/showthread.php?
t=9067
20. GENRE
A Sharukh Khan film
A Farah Khan film
A Vishal-Shekhar film
A megahit
A remake (of Karz)
A rebirth movie
etc
21. Architextuality
A text refers to
the generic
characteristics
evoked by the
text (crossovers)
http://www.youtube.com/watch?v=p92YbtfeI58
22. Metatextuality
A text
“comments” on
another related
text in such a way
that the
conventions of the
text form become
explicit (movies
about making
movies) http://www.youtube.com/watch?v=fCTa8Y4CYmw
26. Metafiction
Level Two:
Metalepsis
The text breaks
discursive levels; reveals
the elements through
which texts are
constructed, commenting
on the artificiality of the
medium/genre
28. “This is a film about “Om Shanti Om is a
memory, fantasy and deliberate reflection
testimony” upon the altered
conventions that
-Tina Ramnarine structure present and
past Bollywood…”
-Clare Wilkinson-Weber
29. Ages of Bollywood Cinema
Postindependence
nationalism. Values of duty, Hero: Innocent, suffering,
Golden Age labor, sacrifice. Everyone in dutiful
(Bo m ba y Film is ) their place for the greater Heroine: Pure, enigmatic,
good obedient, pious
Hero: “Angry young man.”
Political and social upheaval. Lean bodied and tough. Hard-
Silver Age Deepening disillusionment drinking. Westernized and
technological. Good at core:
(New with authority. Widespread Respects respectable women,
corruption. Rising violence.
Cinema) Breakdown of law and order. brave, helps the weak.
Heroine: Pure, virtuous but
spunky.
Hero and heroine are
Rise of religious political
Bronze Age movements. Importance of struggling to understand what
diaspora. Conservative values it means to be a modern Indian
Bollywood but liberal economics and (and act accordingly). Key
International rising emphasis on issues are authenticity and
consumption.
family.
30. Om Shanti Om
Om Shanti Om is thus
an intertextual event
in which contempory
Bollywood reflects
nostalgically but
ironically (and hence
critically) on its own
past.
31. Om Shanti Om
In doing so it also
reflects nostalgically and
ironically (and hence
critically) on its own
present at a time when
changes in economy and
communication are
ushering in an
extraordinary period of
experimentation.
32. References
Bakhtin, M.M. 1984. Problems of Dostoevsky’s Poetics. C. Emerson
(transl. and ed.), Minneapolis: University of Minnesota Press.
Gopalan, L 2002 Cinema of Interruptions: Action Genres in
Contemporary Indian Cinema. British Film Institute.
Kristeva, Julia. 1980. Desire in Language: A Semiotic Approach to
Literature and Art. New York: Columbia University Press.
Mehta, Monika. 2005. “Globalizing Bombay Cinema” Cultural
Dynamics 17(2): 135-154.
O’Flaherty, Wendy Doniger. 1981. “The mythological in disguise: An
analysis of Karz” India International Centre Quarterly 8(1): 23-29.
Pendakur, M. 2003 Indian Popular Cinema: Industry, Ideology and
Consciousness. Cresskill, NJ: Hampton Press.
Peterson, Mark Allen. 2003. Anthropology and Mass Communication:
Media and Myth in the New Millennium. Berghahn Books.
Romnarine, Tina K. 2011. “Music in circulation between diasporic
histories and modern media: exploring sonic politics in two Bollywood
films Om Shanti Om and Dulha Mil Gaya” South Asian Diaspora 3(2):
143-158.
Wilkinson-Weber, Clare. 2010. “A Need for Redress: Costume in some
recent Hindi film remakes” BioScope: South Asian Screen Studies 1(2):
125-145.
Editor's Notes
Om Shanti Om from karz
Karz scene from Om Shanti Om. Several things are happening here. First, this recreates the song and dance routine from a movie 1980 movie called Karz , starring Rsihi Kapoor as a music superstar who discovers he is the reincarnation of a murdered man. Second, the scene employs Rishi Kapoor to play himself playing Monty. Third, the song Monty is singing, Om Shant Om is also the title of this film Fourth, the scene widens to show that this is a movie set, and we see the director, Subhash Ghai, also playing himself. Fifth, we are introduced to our leading man, a film-obsessed junior artist (extra) named Om who comes from a multigenerational lineage of junior artists, just as there are multigenerational lineages of stars like the Dutts, the Roshans and, of course, the Kapoors. Sixth, Om fights with another junior artist over Kapoor’s coat; this is the director of OSO, Farah Khan (who will later appear palying herself at OK’s birthday party in the future, and again at the end of the credits.
The point here is that ALL texts, including everyday human speech, are necessarily intertextual.
So many examples, from dialogue like “Frankly, I don’t give a damn” . Shantipriya's film is called "Dreamy Girl,“ after Dream Girl, the 1970s hit that took Hema Malini to super-stardom, and also landed her with her iconic nickname of “Dream Girl” Best clip I was going to use was the song "Dhoom Tana“ in which they use CGI to put the actress playing Shantipriya into Amrapali (1966), Sachaa Jhutha (1970) and Jai-Vijai: Part II (1977) showing Shantipriya starring with leading men of the day.
Paratexts are the subordinate texts that accompany and comment on a text. So in a book, the table of contents, index, page numbers, etc. In movies, credits, and both these movies play with the convention of the credits. Om Shanti Om you say. Farah Khan is famous for this. In Karz, the credits appear on the monitors and signs around the room as Monty is performing the opening song.
Shah Rukh Khan's character Om Prakash Makhija is named after the 1970s actor Om Prakash, who dropped his own last name (Bakshi). So the line “we could do something with the Om Prakash” is a joke whose humor depends on your prior knowledge. Similarly, Govinda Architextuality refers to the meanings created by the knowledge about a text and its intertests that people bring to the text. This is especially true of genre conventions.
Amrita Arora, Malaika Arora, Shabana Azmi, Abhishek Bachchan, Amitabh Bachchan, Vidya Balan, Bipasha Basu, Mithun Chakraborty, Suresh Chatwal, Juhi Chawla, Priyanka Chopra, Yash Chopra, Sabu Cyril, Vishal Dadlani, Bobby Deol, Ritesh Deshmukh, Dhananjay, Dharmendra, Sanjay Dutt, Sunil Dutt, Lara Dutta, Subhash Ghai, Govinda, Jeetendra, Karan Johar, Kajol, Kareena Kapoor, Karisma Kapoor, Rishi Kapoor, Sanjay Kapoor, Tusshar Kapoor, Arbaaz Khan, Farah Khan, Feroz Khan, Saif Ali Khan, Salman Khan, Zayed Khan, Rajesh Khanna, Akshay Kumar, Urmila, Diya Mirza, Koena Mitra, Dino Morea, Rani Mukerji, Chunky Pandey, Ameesha Patel, Rekha, Hrithik Roshan, Rakesh Roshan, Shilpa Shetty, Sunil Shetty, Aftab Shivdasani, Tabu, Preity Zinta What does it mean for a star to play themselves? A star is not a person but a persona, an enacted symbol representing a person. But it get more interesting. Some, like Rishi Kapoor, play themselves. Others are played by look-alike actors. Mahesh Khanna plays Majesh Khanna. Dhananjay plays Dharmendra. Dev Anand was approached to make an appearance in the film, but he made it clear that he does not believe in blink-and-miss special appearances. So he was played by professional look alike Sev Anand. Famously, some body double named Salim palyed Manoj Kumar and Kumar was furious about the idea that any security officer at a studio in the 1970s would not be able to recognize him, and threatened a suit. The whole thing ended in apologies, and an agreement that the scene would be cut from all Indian tv showings. The character Rajesh Kapoor is an imaginary member of the Kapoor family. His name and appearance are a play off of Rajesh Khanna, a big superstar of the 70's, but he is Om’s entrée into the world of superstar lineages. Both Kareena Kapoor and Karisma Kapoor have acted with the real SRK
Again, there are so many examples.
The scene I was going to show here is the very opening scene, just before the song, when we enter the studio. What we see is not a recreation of that world but a more colorful re-imagining of that world. The studio we see bears the same resemblance to an actual studio of the 60s and 70s that MGM studios in Disney world bears to the real MGM studios of the Hollywood. Don’t copy anything exactly, “create something new out of references” is what Farah Khan is supposed to have told her creative staff. Om Shanti Om is itself an imaginative reinvention of the , and follows the plot of Karz very closely, and even acknowledges the film in its opening scene. It varies dramatically in the end, where the ghost comes in. This is very similar to the Golden Age Anand kumar vehicle Madhumati , directed by Bimal Roy. Roy’s daughter, Rinki Bhattacharya threatened legal action against Red Chillies Entertainment and Gaura Khan for plagiarism.
Characters who are conscious of their fictional nature, author’s intrusions into the text, characters address their author, or the readers, or otherwise break down the distinction between their world and the real one. Many of the in-jokes function this way. The awareness of the importance of kinship over merit, the changing of names, these are the filmmakers winking at the audience.
In Om Shanti Om, Om must return to the place where the crime was committed to regain his memory of the crime. The scene has changed, and as the plot develops, Om has to recreate the place , the scene which is the destroyed film set, to retrieve the past and exact justice. He does this through creatively remaking the movie that was never made. His plan goes awry in part because the contemporary actress cannot quite pull off her character, because she does not share Om ’s and Mukesh’s memory of that time. But the plan succeeds when the past itself, in the form of Shanti’s ghost, appears to exact Mukesh’s karmic debt ( karz ). Movies are like ghosts, in that they have a continued life in the present, even as they carry with them the styles, stories, aesthetics and other baggage of the past. Farah Khan’s film does not recreate that lost world because it still exists in the films themselves. Instead, she does something quite remarkable: she recreates the memory of that world by constructing an intertextual simulacrum of past Bollywood. This reflects the paradox of contemporary Indian cinema, with its deep roots—and its claims for authenticity—rooted in the golden and silver ages, but its current wealth and popularity heavily dependent on the Indian diaspora.
All five kinds of intertextuality, and all three levels of metafiction, can be found in the opening scene and the credits, which bookend the production. Why?