This summary analyzes images from the Tamil film Anjathey directed by Mysskin. It begins by providing context about the Tamil new wave cinema movement and how Anjathey fits within this style of filmmaking. It then examines 36 images from the film to analyze the film language, narrative aspects, cinematography, sound, and editing techniques used. Specifically, it looks at opening and closing shots, how the two main characters of Sathya and Kripa develop over the film, use of camera angles, facial expressions, and more. The analysis finds that the film uses these visual elements effectively to tell its complex story about friendship, crime, and family in a realistic way that was praised for its innovative style
This document provides a brief history of Indian cinema in 3 sentences:
The first Indian silent feature film was Raja Harishchandra in 1913 directed by Dadasaheb Phalke. Alam Ara in 1931 was India's first talkie film and a major commercial success. Other notable early Indian films include Kisan Kanya in 1937 which was India's first color film, and Mother India from 1957 which was a Hindi blockbuster directed by Mehboob Khan and countered criticism of Indian culture.
The document summarizes the evolution of Indian cinema from its beginnings in 1913 to the present. It traces the transition from silent films to talkies, the influence of social and political changes on films, and the rise of Indian cinema on the international stage. Key events covered include the release of India's first motion picture in 1913, the first talkie in 1931, the growth of the industry in the 1930s-1950s, and the new wave cinema movements of the 1970s-1980s. Indian cinema developed in parallel with India's own history and has been shaped by the country's socio-cultural changes over the decades.
Impact study on portrayal of Dalit caste in Tamil cinema a content analysis.pdfPugalendhiR
This document discusses three Tamil films - PariyerumPerumal, Asuran, and Karnan - and how they portray Dalit caste.
PariyerumPerumal depicts the love story between a Dalit man and an upper caste woman, and the discrimination faced by the Dalit man from the woman's family due to their inter-caste relationship. Asuran is based on a true story of a Dalit man who murders an upper caste family after his son is disrespected and killed by upper caste men. Karnan portrays the police brutality and discrimination faced by the lower castes in a village in Tirunelveli district. Both films
Imtiaz Ali is a contemporary Bollywood director known for romantic films like Jab We Met, Rockstar, and Tamasha. This document analyzes Ali's work through the lens of auteur theory, which posits that a director's personal style and vision shapes their films. Ali's films portray realistic stories of modern youth and feature subtle acting, mixed locales, and unpredictable storytelling that forces audiences to think rather than be spoon-fed. The document reviews the history of auteur theory and identifies other Indian directors considered auteurs for their signature styles, including Hansal Mehta, Tigmanshu Dhulia, Rakesh Om Prakash Mehra, Rajkumar Hirani, Vish
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This document provides an analysis of queer identity and representation in selected Malayalam movies from 1978 to 2014. It discusses how these movies depict homosexuality and lesbian relationships in subtle ways to avoid backlash, but also push boundaries from earlier films. Key films highlighted include Randu Penkuttikal, DeshadanakiliKarayarilla, Sancharram, Rithu, Mumbai Police, and My Life Partner. The analysis focuses on how these films negotiate queer themes within the context of mainstream Malayalam cinema and society.
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This document provides an analysis of queer identity and representation in selected Malayalam movies from 1978 to 2014. It discusses how these movies depict homosexuality and lesbian relationships in subtle ways to avoid backlash, but also push boundaries from earlier films. Key films highlighted include Randu Penkuttikal, DeshadanakiliKarayarilla, Sancharram, Rithu, Mumbai Police, and My Life Partner. The analysis focuses on how these films negotiate queer themes within the constraints of mainstream Malayalam cinema and society.
Cinematic Techniques in Shyam Benegals Films A Cinematographic Analysisijtsrd
This research delves into the rich tapestry of Shyam Benegals cinematic legacy, conducting a comprehensive cinematographic analysis of five pivotal films, Ankur 1974 , Nishant 1975 , Manthan 1976 , Bhumika 1977 , and Junoon 1978 . These selections showcase Benegals distinctive narrative approach and thematic versatility, each film exemplifying his adept storytelling firmly rooted in Indias sociopolitical and cultural milieu. The objective of this study is to unravel the intricacies of Benegals cinematic techniques, exploring their profound impact on narrative construction, character evolution, and the overall stylistic essence of these significant works. Employing a meticulous methodology, the research scrutinizes the color palette, editing methods, framing, lighting, and cinematography of each film. The visual elements encapsulating Shyam Benegals directorial signature are systematically dissected, shedding light on subtle nuances that contribute to the cultural and sociopolitical significance of these cinematic masterpieces. Bichitrananda Panda | Dr. K. N. Kishore | Himanshu Sori "Cinematic Techniques in Shyam Benegal's Films: A Cinematographic Analysis" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-7 | Issue-6 , December 2023, URL: https://www.ijtsrd.com/papers/ijtsrd61258.pdf Paper Url: https://www.ijtsrd.com/other-scientific-research-area/other/61258/cinematic-techniques-in-shyam-benegals-films-a-cinematographic-analysis/bichitrananda-panda
21st Century Asian Literature 1.ppt.pptxrodabitoonon1
The document discusses the film "Three Idiots" which follows the friendship of three students in an Indian engineering college and satirizes the social pressures of the Indian education system. It depicts issues like focusing only on academic results rather than learning, and mental health problems caused by these pressures. The film uses parallel narratives in the present and past to illustrate these themes and their portrayal of these issues continues to resonate with audiences.
This document provides a brief history of Indian cinema in 3 sentences:
The first Indian silent feature film was Raja Harishchandra in 1913 directed by Dadasaheb Phalke. Alam Ara in 1931 was India's first talkie film and a major commercial success. Other notable early Indian films include Kisan Kanya in 1937 which was India's first color film, and Mother India from 1957 which was a Hindi blockbuster directed by Mehboob Khan and countered criticism of Indian culture.
The document summarizes the evolution of Indian cinema from its beginnings in 1913 to the present. It traces the transition from silent films to talkies, the influence of social and political changes on films, and the rise of Indian cinema on the international stage. Key events covered include the release of India's first motion picture in 1913, the first talkie in 1931, the growth of the industry in the 1930s-1950s, and the new wave cinema movements of the 1970s-1980s. Indian cinema developed in parallel with India's own history and has been shaped by the country's socio-cultural changes over the decades.
Impact study on portrayal of Dalit caste in Tamil cinema a content analysis.pdfPugalendhiR
This document discusses three Tamil films - PariyerumPerumal, Asuran, and Karnan - and how they portray Dalit caste.
PariyerumPerumal depicts the love story between a Dalit man and an upper caste woman, and the discrimination faced by the Dalit man from the woman's family due to their inter-caste relationship. Asuran is based on a true story of a Dalit man who murders an upper caste family after his son is disrespected and killed by upper caste men. Karnan portrays the police brutality and discrimination faced by the lower castes in a village in Tirunelveli district. Both films
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This document provides an analysis of queer identity and representation in selected Malayalam movies from 1978 to 2014. It discusses how these movies depict homosexuality and lesbian relationships in subtle ways to avoid backlash, but also push boundaries from earlier films. Key films highlighted include Randu Penkuttikal, DeshadanakiliKarayarilla, Sancharram, Rithu, Mumbai Police, and My Life Partner. The analysis focuses on how these films negotiate queer themes within the constraints of mainstream Malayalam cinema and society.
Cinematic Techniques in Shyam Benegals Films A Cinematographic Analysisijtsrd
This research delves into the rich tapestry of Shyam Benegals cinematic legacy, conducting a comprehensive cinematographic analysis of five pivotal films, Ankur 1974 , Nishant 1975 , Manthan 1976 , Bhumika 1977 , and Junoon 1978 . These selections showcase Benegals distinctive narrative approach and thematic versatility, each film exemplifying his adept storytelling firmly rooted in Indias sociopolitical and cultural milieu. The objective of this study is to unravel the intricacies of Benegals cinematic techniques, exploring their profound impact on narrative construction, character evolution, and the overall stylistic essence of these significant works. Employing a meticulous methodology, the research scrutinizes the color palette, editing methods, framing, lighting, and cinematography of each film. The visual elements encapsulating Shyam Benegals directorial signature are systematically dissected, shedding light on subtle nuances that contribute to the cultural and sociopolitical significance of these cinematic masterpieces. Bichitrananda Panda | Dr. K. N. Kishore | Himanshu Sori "Cinematic Techniques in Shyam Benegal's Films: A Cinematographic Analysis" Published in International Journal of Trend in Scientific Research and Development (ijtsrd), ISSN: 2456-6470, Volume-7 | Issue-6 , December 2023, URL: https://www.ijtsrd.com/papers/ijtsrd61258.pdf Paper Url: https://www.ijtsrd.com/other-scientific-research-area/other/61258/cinematic-techniques-in-shyam-benegals-films-a-cinematographic-analysis/bichitrananda-panda
21st Century Asian Literature 1.ppt.pptxrodabitoonon1
The document discusses the film "Three Idiots" which follows the friendship of three students in an Indian engineering college and satirizes the social pressures of the Indian education system. It depicts issues like focusing only on academic results rather than learning, and mental health problems caused by these pressures. The film uses parallel narratives in the present and past to illustrate these themes and their portrayal of these issues continues to resonate with audiences.
Encoding signifieds of hairstyles in the movie ‘unstoppaAlexander Decker
This document presents a semiotic analysis of hairstyles in the movie "Unstoppable". It begins with background on semiotics and how signs can signify meanings and messages. The study then analyzes several images from the movie, examining how the hairstyles of different characters correspond to their temperament and role in various scenes. A female character with free hair is shown to signify her independent nature, while bound hair represents her being supervised. A bald character's lack of hair signifies his refusal to be commanded. Other styles, like short hair, represent undefined or mixed traits. The analysis aims to link hairstyles as signs to the characters' mental states and roles in advancing the story.
A Study Of Attitude Of Youth Towards Patriotic MoviesSean Flores
The document summarizes the results of a study on youth attitudes toward patriotic movies in India. Some key findings:
- Most youth watch and are influenced by Hindi movies, with slightly more girls watching and being influenced than boys.
- Patriotic movies were found to motivate, entertain, attract attention, and inform youth about freedom struggles, with over 25% of respondents selecting each of these impacts.
- Elements like dialogues, characters, and action scenes were most popular among both boys and girls. Patriotic movies help shape perceptions of culture, freedom, and opportunities in India for many youth.
- Friends were the most common people youth discussed movies with, followed by siblings, with most feeling pride and
This document appears to be an introduction or literature review section of a dissertation analyzing the portrayal of women in films by Indian directors Rituparno Ghosh and Shyam Benegal. It provides a brief history of Indian cinema from the silent era to modern times. It then introduces the two directors Rituparno Ghosh and Shyam Benegal. The rationale and problem statement for the research is stated as examining the portrayal of women in their films. The objectives are to conduct a comparative analysis of the portrayal of women through a content analysis of selected films by each director.
An Analogical Study of the Narrative Techniques Used In the Film Paradesi (20...inventionjournals
Narrations in films have always taken the primary place. Understanding the narrative culture of a medium becomes the prime motive of the narrator while working on adaptations. There is a strong connection between the verbal and visual representation is sequence, since literary and filmic signs are apprehended consecutively through time. The success and acceptability of a film is based on the narration style and techniques. This is very much true in Tamil cinema narrative patterns. While trying to adapt the story from a medium the director of the film Bala, has focused on trying to maintain the narrative syntax of the original, but has also closely followed the semantics of visual design. The Tamil film Paradesi is an adaptation of the Tamil translation Yerium Panikkadu of the novel ‘Red Tea’, which was has been an inspiration for the director.
A sense of humor as an essential component of pedagogical optimismSubmissionResearchpa
The given article deals with the implementation of humor in teaching process. Advantages of the possession of sense of humor for FL teachers are illustrated via a wide range of authentic cases from teaching experience. The given cases are analyzed and suggestions are given. The importance of humor effect on learners` language acquisition and creating a friendly classroom atmosphere is considered by Jalilova Lola Jalilovna and Rajabov Akhtam Uktamovich 2020. A sense of humor as an essential component of pedagogical optimism. International Journal on Integrated Education. 3, 3 (Mar. 2020), 29-34. DOI:https://doi.org/10.31149/ijie.v3i3.82 https://journals.researchparks.org/index.php/IJIE/article/view/82/79 https://journals.researchparks.org/index.php/IJIE/article/view/82
This document provides information about elements of drama and how drama can be used as a teaching tool in education. It discusses the basic elements of drama such as playwright, plot, setting, characters, dialogue, theme, and scenery. It then explains how drama games and strategies can engage students and be used to teach a wide range of subjects by illuminating human dimensions and naturally bridging different areas. Real education involves reflection, introspection and action using a relationship between the head, heart and hand, and drama and art can help students understand themselves and realize self-expression and creativity.
Adoor Gopalakrishnan is a renowned Indian film director born in 1941 in Kerala. He is considered the greatest filmmaker in Malayalam cinema, helping to bring Malayalam films worldwide popularity through his unique directorial style and focus on visuals over dialogue. Some of his most notable films include Swayamvaram (1972), Elippathayam (1981), Mathilukal (1990), and Nizhalkuthu (2002). Adoor is known for dictating every detail in his films and pushing his vision, winning several national and international awards, including the Dadasaheb Phalke Award and Padma Vibhushan. He has played a pivotal role in revolution
This document discusses the topic of cinema studies, genre, and its impact on society. It provides an overview of the basic classifications of film genres, including setting, mood, themes, target audience, and budget. It also discusses several subgenres such as documentaries, docudramas, and legal dramas. The document analyzes how different genres in films can influence and reflect social norms and perspectives.
1) New Queer Cinema in India refers to a growing movement of LGBTQ-themed Indian films in recent decades that explore queer narratives and identities more deeply and sensitively.
2) Notable examples include Deepa Mehta's 1996 film "Fire," which examined same-sex desire, and Hansal Mehta's 2016 film "Aligarh," based on the true story of a gay professor.
3) These films often challenge stereotypes and attempt to foster greater understanding and empathy for the LGBTQ community among audiences.
An Analysis of Intrinsic Elements in Mama Film by Andres Muschietti.pdfLiz Adams
This document summarizes a research paper that analyzed the intrinsic elements and theme of the horror film Mama. The key intrinsic elements identified were:
1) Plot elements of exposition, rising action, climax, falling action, and resolution.
2) Major characters of Annabel, Mama, Victoria, and minor characters.
3) Settings of various locations and times.
4) Point of view taken from the character Victoria.
The research concluded that these intrinsic elements influenced and conveyed the theme of "mother's love", as shown through the relationships between the female characters and Victoria and Lily.
An Analysis Of The Cinema Of Abbas Kiarostami As An Auteur.PdfAngie Miller
This document provides an analysis of renowned Iranian filmmaker Abbas Kiarostami's career and cinematic style. It divides his career into four periods: the Experiential period from 1970-1979, where he made short films and documentaries for children; the Epistemological period of the 1980s, utilizing non-actors; the Auteurism period of the 1990s, where his films gained global recognition; and the Innovation period from 2000 onward, experimenting with digital technology. The document analyzes Kiarostami's signature styles of using long takes, poetic dialogue, nature motifs, and philosophical questions. It examines how he influenced later filmmakers with his minimalist, unconventional approach.
This short film from 2004 depicts the tense relationship between two strangers from different religious backgrounds who find themselves in trouble on a train. Through the use of close-ups and mid shots showing their facial expressions and without dialogue, it shows their growing understanding as they help each other in a dangerous situation, conveying a message of helping others regardless of differences.
This short film from 2004 depicts the tense relationship between two strangers from different religious backgrounds who find themselves in trouble on a train. Through facial expressions and symbolic props rather than dialogue, it shows their initial distrust transforming into an understanding as they help each other in a dangerous situation. The film aims to teach a message of looking past cultural differences to see others' humanity.
This short film from 2004 depicts the tense relationship between two strangers from different religious backgrounds who find themselves in trouble on a train. Through facial expressions and symbolic props rather than dialogue, it shows their initial distrust transforming into an understanding as they help each other in a dangerous situation. The film aims to teach a message of looking past cultural differences to see others' humanity.
The Chitramela Malayalam Film Quiz - Finalscine matters
The document provides thanks and acknowledgments to several people and organizations for their help and support related to old Malayalam cinema. It then lists 6 multiple choice questions about authors related to the Malayalam film field, with 10 points for each correct answer and a 10 point bonus for getting all correct. The questions are about identifying authors based on roles they played in certain films.
The document discusses various aspects of scriptwriting and film production for a short film project. It describes writing a script in the horror/thriller genre and producing additional documents like a proposal, risk assessments, and release forms. It then discusses the key elements of an effective proposal, including a synopsis, logline, screenplay structure, characters, and target audiences. Finally, it covers writing a film treatment, which provides an engaging summary of the story, characters, and plot.
This document discusses genre theory and auteur theory in film analysis. Genre theory categorizes films based on themes and settings, while auteur theory considers a director's personal creative vision. The document provides examples of how genre theory and auteur theory can be applied to analyze films like Leon, Mean Girls, and Napoleon Dynamite. It examines elements like characters, narratives, settings, and styles used in these films. The conclusion emphasizes that genre theory and auteur theory help inform appreciation and analysis of films by providing expectations about a film's content and style based on its genre or director.
The document discusses Meenakshi Shedde, a film critic and curator who is passionate about promoting good cinema in India. She believes it is important to educate people about quality films and help them appreciate cinema beyond just commercial films. She contributes in this regard through her writings, curating Indian films for international festivals, and conducting workshops. However, she notes that in India, independent and art films still struggle to find space and prominence. The document outlines Shedde's efforts to promote appreciation of Indian cinema both within the country and globally.
This document discusses Girish Kasaravalli, a renowned Indian filmmaker. It provides background on Kasaravalli, noting that he has won the National Award for Best Feature Film four times. It describes some of Kasaravalli's directorial perspectives and techniques, such as his use of color in films. It also summarizes Kasaravalli's lecture on cinematic idioms and the impact of digital technology. Kasaravalli's influential career and contribution to Indian cinema is recognized through various awards.
This 3 sentence summary provides the high level details about the short film "Strangers":
The film shows the relationship between two men from differing religious backgrounds, a Jewish man and an Arab man, who encounter trouble aboard a train yet ultimately help each other despite their cultural differences, conveying a message of overcoming divisions and "loving thy neighbor". It uses minimal dialogue and symbolic visuals like religious necklaces and newspapers to depict the tension between the characters and their cultures without words in a way that can be understood globally.
This document provides guidance on writing academic papers and evaluating journals. It discusses the different types of papers, elements to include in various sections like the abstract and introduction, how to write the literature review, and tips for organizing the paper. Key aspects covered include defining the structure of papers, evaluating journals based on indexing, impact factors and payment models, and how to write titles, introduce topics, synthesize literature, and structure paragraphs.
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This document presents a semiotic analysis of hairstyles in the movie "Unstoppable". It begins with background on semiotics and how signs can signify meanings and messages. The study then analyzes several images from the movie, examining how the hairstyles of different characters correspond to their temperament and role in various scenes. A female character with free hair is shown to signify her independent nature, while bound hair represents her being supervised. A bald character's lack of hair signifies his refusal to be commanded. Other styles, like short hair, represent undefined or mixed traits. The analysis aims to link hairstyles as signs to the characters' mental states and roles in advancing the story.
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The document summarizes the results of a study on youth attitudes toward patriotic movies in India. Some key findings:
- Most youth watch and are influenced by Hindi movies, with slightly more girls watching and being influenced than boys.
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- Elements like dialogues, characters, and action scenes were most popular among both boys and girls. Patriotic movies help shape perceptions of culture, freedom, and opportunities in India for many youth.
- Friends were the most common people youth discussed movies with, followed by siblings, with most feeling pride and
This document appears to be an introduction or literature review section of a dissertation analyzing the portrayal of women in films by Indian directors Rituparno Ghosh and Shyam Benegal. It provides a brief history of Indian cinema from the silent era to modern times. It then introduces the two directors Rituparno Ghosh and Shyam Benegal. The rationale and problem statement for the research is stated as examining the portrayal of women in their films. The objectives are to conduct a comparative analysis of the portrayal of women through a content analysis of selected films by each director.
An Analogical Study of the Narrative Techniques Used In the Film Paradesi (20...inventionjournals
Narrations in films have always taken the primary place. Understanding the narrative culture of a medium becomes the prime motive of the narrator while working on adaptations. There is a strong connection between the verbal and visual representation is sequence, since literary and filmic signs are apprehended consecutively through time. The success and acceptability of a film is based on the narration style and techniques. This is very much true in Tamil cinema narrative patterns. While trying to adapt the story from a medium the director of the film Bala, has focused on trying to maintain the narrative syntax of the original, but has also closely followed the semantics of visual design. The Tamil film Paradesi is an adaptation of the Tamil translation Yerium Panikkadu of the novel ‘Red Tea’, which was has been an inspiration for the director.
A sense of humor as an essential component of pedagogical optimismSubmissionResearchpa
The given article deals with the implementation of humor in teaching process. Advantages of the possession of sense of humor for FL teachers are illustrated via a wide range of authentic cases from teaching experience. The given cases are analyzed and suggestions are given. The importance of humor effect on learners` language acquisition and creating a friendly classroom atmosphere is considered by Jalilova Lola Jalilovna and Rajabov Akhtam Uktamovich 2020. A sense of humor as an essential component of pedagogical optimism. International Journal on Integrated Education. 3, 3 (Mar. 2020), 29-34. DOI:https://doi.org/10.31149/ijie.v3i3.82 https://journals.researchparks.org/index.php/IJIE/article/view/82/79 https://journals.researchparks.org/index.php/IJIE/article/view/82
This document provides information about elements of drama and how drama can be used as a teaching tool in education. It discusses the basic elements of drama such as playwright, plot, setting, characters, dialogue, theme, and scenery. It then explains how drama games and strategies can engage students and be used to teach a wide range of subjects by illuminating human dimensions and naturally bridging different areas. Real education involves reflection, introspection and action using a relationship between the head, heart and hand, and drama and art can help students understand themselves and realize self-expression and creativity.
Adoor Gopalakrishnan is a renowned Indian film director born in 1941 in Kerala. He is considered the greatest filmmaker in Malayalam cinema, helping to bring Malayalam films worldwide popularity through his unique directorial style and focus on visuals over dialogue. Some of his most notable films include Swayamvaram (1972), Elippathayam (1981), Mathilukal (1990), and Nizhalkuthu (2002). Adoor is known for dictating every detail in his films and pushing his vision, winning several national and international awards, including the Dadasaheb Phalke Award and Padma Vibhushan. He has played a pivotal role in revolution
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1) New Queer Cinema in India refers to a growing movement of LGBTQ-themed Indian films in recent decades that explore queer narratives and identities more deeply and sensitively.
2) Notable examples include Deepa Mehta's 1996 film "Fire," which examined same-sex desire, and Hansal Mehta's 2016 film "Aligarh," based on the true story of a gay professor.
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This document summarizes a research paper that analyzed the intrinsic elements and theme of the horror film Mama. The key intrinsic elements identified were:
1) Plot elements of exposition, rising action, climax, falling action, and resolution.
2) Major characters of Annabel, Mama, Victoria, and minor characters.
3) Settings of various locations and times.
4) Point of view taken from the character Victoria.
The research concluded that these intrinsic elements influenced and conveyed the theme of "mother's love", as shown through the relationships between the female characters and Victoria and Lily.
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This document provides an analysis of renowned Iranian filmmaker Abbas Kiarostami's career and cinematic style. It divides his career into four periods: the Experiential period from 1970-1979, where he made short films and documentaries for children; the Epistemological period of the 1980s, utilizing non-actors; the Auteurism period of the 1990s, where his films gained global recognition; and the Innovation period from 2000 onward, experimenting with digital technology. The document analyzes Kiarostami's signature styles of using long takes, poetic dialogue, nature motifs, and philosophical questions. It examines how he influenced later filmmakers with his minimalist, unconventional approach.
This short film from 2004 depicts the tense relationship between two strangers from different religious backgrounds who find themselves in trouble on a train. Through the use of close-ups and mid shots showing their facial expressions and without dialogue, it shows their growing understanding as they help each other in a dangerous situation, conveying a message of helping others regardless of differences.
This short film from 2004 depicts the tense relationship between two strangers from different religious backgrounds who find themselves in trouble on a train. Through facial expressions and symbolic props rather than dialogue, it shows their initial distrust transforming into an understanding as they help each other in a dangerous situation. The film aims to teach a message of looking past cultural differences to see others' humanity.
This short film from 2004 depicts the tense relationship between two strangers from different religious backgrounds who find themselves in trouble on a train. Through facial expressions and symbolic props rather than dialogue, it shows their initial distrust transforming into an understanding as they help each other in a dangerous situation. The film aims to teach a message of looking past cultural differences to see others' humanity.
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The document provides thanks and acknowledgments to several people and organizations for their help and support related to old Malayalam cinema. It then lists 6 multiple choice questions about authors related to the Malayalam film field, with 10 points for each correct answer and a 10 point bonus for getting all correct. The questions are about identifying authors based on roles they played in certain films.
The document discusses various aspects of scriptwriting and film production for a short film project. It describes writing a script in the horror/thriller genre and producing additional documents like a proposal, risk assessments, and release forms. It then discusses the key elements of an effective proposal, including a synopsis, logline, screenplay structure, characters, and target audiences. Finally, it covers writing a film treatment, which provides an engaging summary of the story, characters, and plot.
This document discusses genre theory and auteur theory in film analysis. Genre theory categorizes films based on themes and settings, while auteur theory considers a director's personal creative vision. The document provides examples of how genre theory and auteur theory can be applied to analyze films like Leon, Mean Girls, and Napoleon Dynamite. It examines elements like characters, narratives, settings, and styles used in these films. The conclusion emphasizes that genre theory and auteur theory help inform appreciation and analysis of films by providing expectations about a film's content and style based on its genre or director.
The document discusses Meenakshi Shedde, a film critic and curator who is passionate about promoting good cinema in India. She believes it is important to educate people about quality films and help them appreciate cinema beyond just commercial films. She contributes in this regard through her writings, curating Indian films for international festivals, and conducting workshops. However, she notes that in India, independent and art films still struggle to find space and prominence. The document outlines Shedde's efforts to promote appreciation of Indian cinema both within the country and globally.
This document discusses Girish Kasaravalli, a renowned Indian filmmaker. It provides background on Kasaravalli, noting that he has won the National Award for Best Feature Film four times. It describes some of Kasaravalli's directorial perspectives and techniques, such as his use of color in films. It also summarizes Kasaravalli's lecture on cinematic idioms and the impact of digital technology. Kasaravalli's influential career and contribution to Indian cinema is recognized through various awards.
This 3 sentence summary provides the high level details about the short film "Strangers":
The film shows the relationship between two men from differing religious backgrounds, a Jewish man and an Arab man, who encounter trouble aboard a train yet ultimately help each other despite their cultural differences, conveying a message of overcoming divisions and "loving thy neighbor". It uses minimal dialogue and symbolic visuals like religious necklaces and newspapers to depict the tension between the characters and their cultures without words in a way that can be understood globally.
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Hashtags are metadata tags used on social networks by placing the # symbol in front of a word or phrase. Hashtags show the popularity of a topic over time and are coded by social media algorithms. They allow users to connect with like-minded people and support causes. Key principles of hashtags include discussing topics, expressing ideas, sharing experiences, and creating trends to appear in searches and grow participation. The document provides tips on using hashtags, such as only using one or two at a time to avoid spamming, using memorable words, and promoting hashtags by repeating them. Hashtags are also useful for journalists as a content source and for live reporting. Geo-tagging and social bookmarking are also discussed. An assignment is
A pretty powerful video editor application, which will not stamp a watermark or place a time limit on your clip. With FilmoraGo, making video with music and effects, FilmoraGo helps you make funny videos and relive your memories anywhere.
Mobile storytelling involves creating videos using a mobile device. The process includes pre-production, production, and post-production stages. Pre-production involves planning the video length, actors, audio, and creating a script and shot list. Production is executing the script and shooting the video and audio. Post-production is editing the video and audio, adding titles, and finalizing the video. Key elements of video include frames, shots defined by properties like angle, camera movement, and scale.
Philosophy concerning teaching and learning.
The positive teaching is output of clear philosophy.
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How will you build in your understanding of the importance
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What are the HARD goals that motivate you and how will these goals be reflected in your planning?
Assessment serves several important purposes: it determines if educational goals are being met, informs decisions about student placement and advancement, identifies student needs and areas requiring further instruction, and provides feedback to educators on curriculum and teaching methods. Effective assessment provides diagnostic feedback, helps set standards for understanding and mastery, evaluates student progress, and relates to how students are developing their knowledge and skills. It also motivates students to self-evaluate and improve their performance.
This document discusses how understanding growth mindset can help teaching. It explains that a lesson plan guides instruction and includes objectives, materials, and evaluation. A growth mindset believes abilities can be developed, while a fixed mindset believes abilities are innate. Understanding mindsets helps teaching by encouraging students to take on challenges, never give up, seek feedback, and collaborate for growth. It also helps teachers understand individual students to plan lessons that meet diverse needs.
How might you contribute to your own professional development and that of your colleagues
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How to generate topic in Social Scientific Thinking _ Nithin KNithin Kalorth, PhD
Identifying the cogitative skills and developing it most important for the social scientific thinking. I clearly take a position that every discussion should engage with the contest over knowledge and thus forming a valid point in discussion.
Summary of Paper Digital art and Environmental awareness: Trends and scope.
Nithin K, Research Scholar, Mahatma Gandhi University, Kottayam
nithinkalorth@gmail.com
Photojournalism is a form of journalism that uses images to tell news stories or support written news stories. There are two main types - photos that support a story, and photos that are the story themselves. Key aspects of photojournalism include timeliness, objectivity, and using photos to make facts relatable. The first photojournalist was Carol Szathmari in the 1850s. Major developments included the first halftone photo reproduction in 1880 and the use of photographers during wartime PR. The 1930s-1950s were considered the golden age of photojournalism, fueled by popular magazines. Leading photographers from this era included Robert Capa and Margaret Bourke-White. In the modern era, large photo
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In the early 20
Identification and analysis of images in Anjathey Nithin K
1.
2. Media Watch
Volume 4
Number 3
ISSN 0976 0911
September 2013
EDITORIAL
SONY JALARAJAN RAJ
Crowd to the cloud lessons ofteaching and learning media, Coursera.orgto Poynter.org
innovations in media education, Universalization ofmedia education a reality now!
ARTICLES
269
A FULYA SEN
Critical Media Literacy in Media Education: A Debate on the Contribution to
Democracy
278
ANURADHA MISHRA GAUR
Media Education in India and United Kingdom: A Comparative Study
285
NIDHI SHENDURNlKAR TERE & ARCHANA CHANUVAI NARAHARI
Exploring Interdisciplinarity in Indian Media Education and Research: An Analysis
300
VEMULAKONDA SAl SRINIVAS
De-Westernizing Media and Communication Education in India
315
ROHINI S. KUMAR
Small Screen in the Indian Subcontinent: A Study on Five Decades of Doordarshan
332
SUSAN R MASSEY
Text to Memory: A Study on Comprehension and Oral Reading Fluency
348
HAMID ABDOLLAHYAN & NILOOFAR HOOMAN
Resistive Reading ofAnti-Islam Movies by Educated Arnerican Audience: An Analysis
364
JONGSUNG KIM
Relationship between Facebook Usage and Self-Efficacy among Collegiate Athletes
375
BARRY NNAANE
Public Perception and Role ofMass Media in Fight against Corruption in Nigeria
391
NITHIN KALORTH
Identification and Analysis ofImages in Anjathey
4. Identification and Analysis ofhnages: N Kalorth
The Tamil film Anjathey had a parallel script approach which made a path breaking
trend in Tamil cinema. The composition offrames, selection of shots and its counter meaning
in narration of Anjathey were explained splendidly by director Mysskin. This paper
investigated thirty-six selected images from the to establish the uniqueness of various film
languages. While analyzing Anjathey, it is significant to look at new emerging generation of
Tamil cinema. Tamil cinemas are popular in its aesthetic and cultural values from the early
years ofIndian fihn making. Fihn critics ofmainstream and online media noted the arrival of
a new wave in Tamil and gave siguificance to the directors. Young Tamil directors are
defying tried-and-tested formulas offilm making to tell stories the way they need to be told.
And what's more, they're making money at the box office too. Serious Tamil movie enthusiasts
are touting this trend as the re-emergence of' good cinema', and the directors as the rightful
heirs of legendary filmmakers like Balu Mahendra, K Balachander, Mahendran and
Bharatiraja. As one put it, there have been efforts to make good movies in the recent past,
but not so many of them simultaneously (Mohan, 2009). The Tamil new wave cinema is also
characterized by style, personal financing, a minimum song soundtrack (with songs in the
background rather than lip synched and danced to a shorter running time, no parallel comedy
track the comedy arises instead from within the plot) and themes that are sharply observed,
tough-minded explorations of rural life and life on the mean streets. The characters here are
rooted in family, culture and tradition but are forced to break with everything because of
their personal choices - usually love or ambition. It is difficult to pinpoint the exact moment
when this fihn revolution in contemporary Tamil cinema started, but can two fihns as possibly
having inspired and kick started this new wave: Autograph and Kaadhal. Both films were
artistically made, entertaining, and - most crucially - huge box office hits. It must have
startled the Kodambakkam industry to see two intimate love stories with no stars winning
such a huge audience (Pradeep, 2009).
Sebastian (2008) observes that the siguificance of new wave is not only visible in
Tamil cinema alone. Their influence is being felt through the rest ofIndian cinema, signalling
to filmmakers that our formulaic movies can be reinvented. Already paralleling the Tamil
revolution is a new kind of Hindi movies, evidenced by the multiplex movie. Except their
themes are urban, looking at sex, adultery, relationships, work pressure, crime and everything
else that contemporary living throws up. If Tamil movies depend too much on a rustic milieu,
Hindi movies lean too much on the urban. Both cinemas need to cross over (Pradeep
Sebastian, 2008). Examples are Radhika MMS, Love Sex and Dokha, Dev D, Rock star,
Ishkiya, Deily Belli etc..
Anjathey is also such a kind movie which has multiple genres. It has family drama,
social context and romance and that story is complex to narrate (Sivkumar, 2008). are
mostly oflow budget. The technical perfection is very high and the adaptation offilm making
style from word cinema is used in Tamil. These also help to change offilm language. Use of
body languages, natural observable fact as cue for fihn meaning delivery is used. The examples
can see in following text which came in Anjathey. Love and violence are the major background
of all Tamil movies for a long run oftime. It can visible in new wave too. But the divergence
is in the treatment and style adopted here from former.
392
5. Media Watch 4 (3)
In this paper, the author has identified the images which are useful to study the style
which used by director Mysskin. The film deals about the behaviours and attitudes of
characters in various phases oflife. To illustrate resemblance and disparity of events shots
Mysskin and Anj athey
The movie Anjathey released after Mysskin directing his first venture Chitram
Pesudathi. The post Anjathey made Mysskin more mature. The film techniques used in this
film are discussed by many critics in a positive way. The film stars Narain, Ajmal, Prassana,
Vijayalakshmi, M S Bhaskar, Livingston, Pandirajan in lead roles. The fihn also gifted actor
Narain a new stand in Kollywood. Mass media and critics described his performance as a
challenging one. The Moviebuzz at sify.com described as Narain's acid test (Moviebuzz,
2008) and eventually he succeeds the test.
It is also given praise to Mysskin which made mass media to compare with world
cinema directors like Kurosowa. The website Kollywoodtoday.com described him as Akira
Kurosawa ofKodambakkam. Rinku Gupta of Times ofIndia mentioned him as a Samurai.
(Gupta, 2008). Director Mysskin is kuown for his aggressive approach of screen writing
and reason of his aggression was due to the milieu of society and attitudes of film field in
Tamil Nadu. In an interview with Gupta, Mysskin tells that
"I am very happy today. After Chithiram 5, I wrote the script of
Nandalala6 but found no takers. In sheer anger, I wrote Anjaathe in 37 days.
Anjathey crafted me and prepared me for Nandalala. I discovered my visual
side. Ibelieves every film should be a battle. Every director should feel he is a
Samurai, in a battle oflife and death. There is no looking back. He has to give
his best" (Gupta, 2008).
The genre of Anjathey is not a conventional action thriller. It has a main plot on
friendship, crime and family drama. This is the main reason of the film which made an
outstanding. Anjathey was a commercial success for which Mysskin received great
compliment for his clutch over his expertise. The meaning of the title Anjathey is Do not
fear and it signifies corning of age genre too.
Holquist (1986) states that context plays an important role in shaping genres (p234).
The context ofAnjathey is laid in parallel. It is about the growth and decline offriendship
and activities offemale trafficking and reaction ofbody of cops towards it. When both story
lines meet up the conflict of Anjathey starts.
The protagonist Sathya (a rowdy turned to the police) is handled by Narain while
AjmalArneer gets into shoes ofKirubha (fail to get selections in police and become drunken).
The main contrast can see from these two characters. Actress Vijayalakshmi handles the
role ofUttara, sister of Kiruba who admires and loves Sathyavan aka Sathya even when he
leads his life in dark shades. M S Bhaskar and Livingston are senior artists in Tamil film
industry who does characters of the fathers of both Sathya and Kripa Shankar aka Kripa
respectively. Prassana and Pandirajan are main antagonists in film making role ofDaya and
Loganathan aka Logu who are indulged in female trafficking and former is expelled from
para- military for raping daughter of his senior officer. It is to be noted that both actors are
known for their comic and romantic acting in earlier films. The other characters ofthe film
are many from drama and unpopular in the main stream. The notable performance from
393
6. Identification and Analysis ofhnages: N Kalorth
Bomb Ramesh as Kuruvi friend of Sathya and Kripa is well executed. In real, he was a
stunt master who lost his hand during a bomb blast scene of a fibn shoot. The characters are
very realistic and it apts the narration.
The plot of the Anjathey has twist and turns and film consists of narrative form .
Narrative can be defined as "a chain of events in cause-effect relationships occurring in
time and space" (Bordwell & Thomson, 1997). Agood narrative allows for the suspension
of disbelief, presents believable characters that we can relate to or hate and provides engaging
storylines. Chatman, in his book "Story and Discourse" (1978), explains what are the
necessary components of narrative. Chatman offers story and the way the story is
communicated as two elements of narration (1978).
Anjathey is fibn about two friends who separates tum of events. Sathya and Kiruba
bought up at police colony neighbourhood. The story offibn revolved around their friendship
and how circumstances make people to do their virtue. Film review website sify.com highly
reccomonds Anjathey by noting it as urnnissable, sparkling, fresh and innovative film from
Mysskin (2008).
The images selected here for analysis are chosen on the basis of the language
expressed which are subjective and for showing contrasting events in the fibn. The film
making intension and narrating complexity of Mysskin in Anjathey can be understood by
analysing the images. The images of study are given after the bibliography for reference.
Images to study the style of Film language
There are various elements that combine to make a fibn which are cinematography,
sound, mise-en-scene, and editing. The films tell stories in moving images, they are visual
texts with their own set of rules and conventions that we have learned to read. Everything
that we see in a film has been chosen to construct a story with a particular meaning with
which we will interact. Cinematography includes framing of the shot and the angle of the
camera. Every aspect ofcinematography holds particular connotations and these connotations
make meanings for audiences and are important in the way a film tells a story. Mise-enscene gives an idea what is in the scene and shot. It includes movements, actions and
gestures, facial expressions, costume, properties, location and color. Sound can be of a
dialogue, music, sound effects and these sounds can be on screen or off screen.
In the film Anjathey also we can see use of film language by effective employ of
these three elements. There are thirty six images that studied here. The movie name gives
meaning "Do not fear".
Structuralist film theory
A stucturalist film theory which rests its roots in structuralism, which put light over
the idea how the presentation of codes and convections provide meaning of the fibn. In his
book Structural Film Anthology, Peter Gidal (1976) states that the fibn produces certain
relations between segments, between what the camera is aimed at and the way that 'image'
is presented. The dialectic ofthe fibn is established in that space oftension between materialist
flatness, grain, light, movement, and the supposed reality that is represented. Consequently
a continual attempt to destroy the illusion is necessary. Presenting reality is part of the new
394
7. Media Watch 4 (3)
wave movement. We witnessed it from the French new wave movement which made film
with real incidents and surroundings. Tamil popular cinema is highly connected with dramatic
theme. Most of directors add unreal elements into the cinema.
Opening and concluding images
The title and opening credits of the movie are shown in the background of the city
where the film is happening. In these shots the early morning of the city is shown, thus it
means as starting. It is calm yet gives a mood oftension with the theme music. As the movie
goes on the frames also get tensed and the film end with a clam, green and peaceful farming
field to signify a new and fresh beginning. After a lot of bloodshed and screen especially
towards the climax ofmovie audience get a relief ofpeace with that shot. Both the opening
and closing shot are extreme wide shot (See Figure 1 and Figure 2).
Character growth of Sathya and Kripa
The film's main story line deals with the growth of the main two characters Sathya
(Narain) and Kripa (Ajmal Arneer). The two character's attitudes and image have changed
in starting and end of the film. Rest of all other characters in the fibn are constant while
comparing to Sathya and Kripa.
In Figure 3, we can see a worm's eye view camera angle of Kripa who is doing
body exercise early morning. This shot shows when local rowdies threaten and beat him for
occupying practicing place of gang head. Kripa's hard work, dedication to his dream and his
attitude for peace is being shown with this image/shot.
On the other hand Sathya heads with gang head and beat him as revenge for harassing
Kripa. Sathya is outspoken, lazy and a man with no aims in life. He always with his friends
spends most oftime in local bar drinking and making useless fights. The Figure 4 shows the
Sathya and friends sitting in a bar where Kripa comes to gift him a ring as his birthday gift.
Kripa never visits a bar and everyone becomes surprise when he enters the bar.
This image is composed with suggestions of friends and Kripa in medium shot.
Both Sathya and Kripa have humane and moral values in their behavior even though
their life was crossing through the roads of darkness. This figure 5 and figure 6 are examples
for showing this behavior. In figure 5 during a temple festival Sathya find out Daya tries to
rape Uthara when she takes her bath. When Sathya arrives Daya escapes from the bathroom.
Later Sathya took the dress off Uthara and gives to her. Even he was drunk, he did not
intend to harm Uthara's pride. Likewise in the figure 6 which is taken from climax sequence,
in which Kripa points gun at Daya who was going to sexually harass one of the two whom
they kidnapped.
The body language is the vital part ofhuman communication. Visual codes of body
language help in conveying the meaning ofthe message than use ofwords, since the most of
visual codes are universal. In the Anjathey, the Daya's (Prassana) repeated body language
is shown. He communicates with his hand. When he comes first time on screen his hand is
shown (Figure 7). He is looking at watch at every occasion. When he is in trouble he looks
at his watch, the perfect example is shown during climax. When is shot by a cop and about
395
8. Identification and Analysis ofhnages: N Kalorth
to die he looks at his watch (Fignre 8). It shows his plans are destroyed. He happens to kill
his man when he was about top caught by police.
During that run also he sees the watch (Fignre 9). The other two instances where
Mysskin use the body langnage of Daya flawlessly are when Kripa asks why Sathya beat
him during temple festival. He becomes answerless. That time it shows his bare hand (Fignre
10). As the film progresses Daya and his gang happens to stay at Kripa's home as a safety
measure for hiding when police chase them. At this point of time Daya peep into the room
where Uthara changes her cloth. Here his sexual urge towards her is shown by his hands
rubbing against his knees (Fignre 11). The use of hand movement is an excellent cue used
by Mysskin throughout the movie to represent evil thoughts and act by Daya.
The growth and decline of friendship between Sathya and Kripa is an important
subplot in Anjathey. The extreme long shot of Sathya and Kripa when they return home
after he is released from the police station is shown in a long camera take (Fignre 12).
Meanwhile the time Sathya is warned by Kripa that he will shoot Sathya ifhe continued his
evil act but at climax Sathya shoots Kripa as reverse. The contrasting events exhibit crux of
the film but this might be the most noted. When Sathya is selected for police by influence
and Kripa fail to get selected. That night Sathya enjoys by drinking alcohol and comes to
wish Kripa. But Kripa is shown here (Fignre 13) as frustrated man and who cry at Sathya
for cheating. Here is the first scene where their friendship is devoted. The other image
which shows the worsening in their relation is when Sathya meets Kripa in a local bar.
Sathya is shocked by the appearance of Kripa when he was about to beat Sathya (Figure
14). The actual aggression of Kripa is shown when his father faint at home. This leads
Kripa comes to Sathya and his family and challenge Sathya that he will destroy him at any
cost. This time Kripa is shown very powerful by occupying a maximum of space in the
screen (Fignre 15). During the climax scene Kripa realizes Sathya is good and says sorry.
The shot how of realization is very emotional. Close up shot of the ring worn as locket on
Sathya's neck. When seeing this Kripa feels sorry for misunderstanding his friend (Fignre
16). Their friendship is rejoined by Kripa's death.
The images which show character change in Sathya are remarkable here. There
are four images which I have selected here. On the day he joins the duty he is harassed by
the senior cop and he is shown as powerless. While he asks the other policeman where he
was to sit, Sathya is shown out offocus to make him down cast (Fignre 17). The next image
is when he falls down by seeing a man shows his wife head which he cut for killing her
(Fignre 18). This image shows how Sathya reacts towards the crime world. Then in the
next image is of long run shots where he tries to save a life of a man who was dying on the
road. He carries death body in bike with the help of old women. This image shows humanity
in his (Fignre 19). The scene where he gets charged as police is a twist in the tale. When
masked gang arrives at hospital to kill a man, Sathya fights and make run gang away from
hospital. The image where he knifes at gang head is shown in a powerful angle for the
domination of Sathya (Fignre 20).
Daya uses Kripa for wrong deals are another catalytic plot of the film. When is
realized he was misused Kripa get frustrated. This is shown with a help of a helmet. At first
he was asked to collect a plastic bag from a man who is standing in the cinema hall. He is
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9. Media Watch 4 (3)
not aware about what is inside the bag. While he is removing the helmet, his face is shown
with no expressions since he does not know what is inside the bag and why he was told to
be. (Figure 21) Later on, when Kripa understands that girl who kidnapped by Daya was at
Kripa's home. That time his extreme close up used with helmet is on. And he beats his head
for mistake that happened. (Figure 22 and 23)
When Daya is killed by police his dead body is shown with the bunch of money.
This shows money could not help him. This image gives a strong message (Figure 24) of
life. There are many shots in the film which are sometimes confusing audience. But these
deliberate confusions parts ofthe new wave movies ofTamil industry. Vendrig J. & Worring
M (2002) points out that movie is the result ofan artistic process sometimes causing confusion
on purpose, the necessity for human j udgement will always remain to some extent (p. 494).
With the help of character analysis, I came with a character graph map of Sathya
and Kripa with changes in their behavior. The good, bad phase in their behavior and time of
the reality realization oftheir mistake or reality is noted with the narrative structure. After
death of Kripa some montage is shown with end credit titles which justify the Sathyagood
deeds again.
-Sathya
-Kripa
Start
Middle
Eod
Future
AlCisTitle
Table 1: Graph of Kripa and Sathya character change
Axis Values: 0-3 (Bad deeds/moral) 3-6 (realization of the reality / mistake) 6-9
(Good deeds/morals)
Images to study contrasting events
Life is of twist and turns, when Mysskin sketches the scene there are lots of
contrasting events happens in the life of Sathya and Kripa. These are shown with visual
images. The two images in which first, father of Sathya disgrace and put side by side him
with Kripa at commencement ofthe film. For the reason that Sathya is ill treat and Kripa is
hard working and a man with a mean. Later on the identical circumstances repeats at
Kripa's home where parents of Kripa compare him with Sathya. Both scenes are looking
alike and audience is connecting each other with relieving (Figure 25 and 26).
There are also many other images that are related to each other for contrasting
events. One of such is during test for selection in the police. While officers are interviewing
Kripa the shot is high angle to make Kripa less dominates. In that officers are drinking tea
and when next shot shows Sathya offered to drink tea before officers since he is recommended
by the minister. This is shown satirically in drawing fatal system and governance (Figure 27
and 28) . There are another two images which show Sathya and Kripa at the bar, in first
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10. Identification and Analysis ofhnages: N Kalorth
Sathya is drunken. Kripa comes to bat to presenting a ring as a birthday gift. While he goes
back Sathya goes and get hold ofKripa's hand, the same type of frame construction is used
when Sathya meets Kripa at the same bar (Figure 29 and 30).
Sathya was good and he had ability to discriminate good and evil even when he was
living in dark shades of life. But when Kripa becomes in another phase oflife he was easily
influenced and blindly believes people without thinking. These two events are shown in
simple two frames. In first Sathya is not giving importance and neglecting Daya when he
gives his hand as a mark of friendship. But Kripa accepts Daya and exchange hand shake
each other when they meet at the local bar (Figure 31 and 32).
During the start of the film, Sathya is arrested by police for a fight in the bar. That
time Kripa releases him from police with the help of the father. Later on Kripa is arrested
by police for the reason of making mishap ion bar. At this time Sathya is police and he is
helpless to release Kripa. The two images in first father of Kripa are advised not to get
together with Sathya and the image in which police is taking Kripa to station are similarly
framed (Figure 33 and 34).
The other two shots which show the relation between main three characters (Sathya, Kripa
and Uthara) are when Uthara sees a childhood photo and during Kripa's death. Both shots
give an image offriendship which is shared between them (Figure 35 and 36).
Conclusion
Reviewing the 36 images and drawing an analytical conclusion of character shift,
director Mysskin used the power of visual images to deliver film language and to show
contrasting events and enhancing frame meaning through the film. The usual style of film
making that was used habitually in Tamil film industries were broken down here. The
characters were oflife and the full justification for the characters and the story is done by
Mysskin through Anjathey. The fihn says there is no one good in the world. All are living
with some mistakes done in their life. So the visual images are shown as balancing all
characters. To sum up, I would say that Anjathey is defiantly a path breaking film in Tamil
industry and it can marked as a perfect example of growing new wave films of Tamil. The
movie can be studied in depth for understanding visual grammar and use ofthe same kind of
visual treat for contrasting events. It is interesting to study further how Tamil uses other
techniques to sustain the trend of new wave. Anjathey opened up a new kind of aggressive
style in Tamil industry. The impact of Anjathey and its structure on forthcoming and
contemporary cinemas are to be observed.
References
Bordwell, D. & Thomson, K. (1997). Film Art: An Introduction, McGraw-Hill, New York,.
Chatman, S.( 1978). Story and discourse: narrative structure in fiction and film, Ithaca:
Cornell University Press.
Gupta, R. (2008, May 7). Mysskin is kollywood Samurai. Times ofIndia . Retrieved from
h Up:// articles. timesofindia. indiatimes. com/200 8-0 5-07/news-interviews/
27744184_1_mysskin-tamil-fihn-director-samurai on June 3 2012.
Lacey N., (2000). Narrative and Genre: Key Concepts in Media Studies, Macmillan.
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11. Media Watch 4 (3)
Holquist, M (Ed). Bakhtin, M. M. (1986). Speech genres and other late essays. In The
Dialogic hnagination: Four Essays. University ofTexas Press. ISBN 9780292782860.
Mohan, G (2009, January 11). The Tamil New wave. Indian Express Retrieved from http:/
Iwww.indianexpress.cominews/the-tamil-new-wave/4087220n May 13 2013
Moviebuzz. (2008, Febraury 14). Narain's acid test. sify.com. Retrieved from http://
www.sify.comimovies/narain-s-acid-test-news-tamil-kkftVbibiih.html on May 12
2013.
Moviebuzz. (2008). Anjathey. sify.com. Retrieved from http://www.siry.comlmovies/anjatheyreview-tamil-14605383.html on May 122013.
Peter Gidal. (1976). The theory and defmition of Structural film. in Structural Film Anthology,
BFI.
Pradeep. (2009). The New Kollywood. Behind the woods. Retrieved from http://
www.behindwoods.comlfeatures/column!index-s II.html on July 6 2012.
Roussou, Maria. (2001). The interplay between Form, Story and History; The Use ofnarrative
in cultural and educational virtual reality in Virtual Storytelling Using Virtual Reality
Technologies for Storytelling. Springer Berlin Heidelberg, Berlin. ISBN: 978-3-54045420-5. DOl: 10.1007/3-540-45420-9 20.
Sebastian, Pradeep. (2008) Beyond Old Kollywood. The Hindu. Retrieved from http://
www.hindu.comlmag/2008/01/13/stories/2008011350150500.htrn on July 142012.
Sivakumar. (2008). Anjathey - Review. Passion for Cinema. Retrieved from http://
www.passionforcinema.com/anjathey-reviewon6June2012.
Vendrig, J. & Worring, M. (2002) Systematic Evaluation of Logical Story Unit Segmentation.
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www.mediaknowall.com/camerause.htmlonJuly 13 2013.
Sequence of Figures and their Captions (1-36)
1. Opening title which indicates Anjathey, 2. Shot just after climax and before closing credits, 3.
Introduction shot of Kripa, 4. Kripa visits the bar, 5. Sathya giving cloth to Uthara, 6. Kripa points
gun towards Daya in climax sequence, (7-11) Use ofDaya's hand as cue of body language, 12, Kripa
warns Sathya, 13. Kripa after failing the selection, 14. Kripa burst out of aggression, 15. Kripa turns
against Sathya out of revenge, 16. Kripa finds out Sathya's love for him after seeing the ring on a
chain, (17-20) Changes in Sathya, (21-23) Use ofhelmet at points where Kripa understanding situations,
24. Death scene of Daya after shootout, (25-26) Reaction from families of Sathya and Kripa, (27-28)
Interview of Kripa and Sathya, (29-30) Bar shot repeats with shift in character, (31-32) Rejection!
Acceptance of Daya by Sathya and Kripa, (33-34) Jail release shots of Sathya and Kripa, (35-36)
Images to show bonding and love with span of time
Note: The figures considered for analysis appeared in Page No. 400
Nithin Kalorth is a Research Scholar at the School of Social Sciences, Mahatma Gandhi
University, Kottayam-686 041, India. His research interests include South Indian fihn studies,
digital photography, social and political documentary, democratization ofvisual media, public
sphere and social media. Apart from his academic ventures, Nithin is actively involved in
short fihn and documentary film making. Email: nithinkalorth@gmail.com.
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