This Research proposal was submitted for my Ph.D course before joining at EFL University,Dept of Film Studies,Hyderabad.
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Name of the applicant: G.Narsing Rao
Research programme applied for:
Ph.D in Film Studies & Visual Communication
Statement of proposed area of research and tentative topic:
Film Realism : Realistic approaches in filmmaking in Indian Film history
(1960-2010)
Statement showing knowledge of existing studies in the proposed area or on the topic.
What is Realism?
Realism in Visual Arts and Literature refers to the general attempt to depict subjects “ in accordance with secular empirical rules ”[1] and these rules are considered to exist in third person Objective reality, without embellishment or interpretation. This says that this kind of reality is independent of mans inherent beliefs and is ontologically free from mans conceptual schemes, linguistic practices and thus can be known (for knowable) to the artists who in turn represent this ‘reality’ faithfully.
Realism refers to a movement, which took place during mid eighteenth century in France. During this period realists themselves against the genre of romanticism, which was dominating in French literature and Art, work in the late 18th and early 19th centuries. Realism believed in the ideology of Objective reality and strongly questioned the exaggerated emotionalism of that Romantic Movement. Truth and Accuracy became the goals of many realists. As Ian Watt says, modern realism “begins from the position that truth can be discovered by the individual through the senses” and as such “it has its origins in Rene Descartes and John Locke, and received its first full formulation by Thomas Reid in the middle of the eighteenth century. [2] Many of the painting works came during this period were actually representing people at work places mostly, which were hectic and vivid glances as a result of Industrial Revolution and Commercial Revolution. The growth and popularity of such realistic works paved way for introduction of Photography-a new visual source that created a desire for people to produce representation, which look “objectively real”
Film as Realism:
Andre Bazin, (1918-1958), French film critic and theorist, who was a major force in film studies after World War II film studies and criticism. His theory regarding film as an objective realism mostly came as answer to other theorists who believed and questioned the photographic reality, as manipulation of true representation of the reality, during 1920s and after. He is the first emphasized and stressed what is shown in film is “objectively real” as the photographic image is. He said if photographic image is “real”, then why not the film image, which gives the same image and the process and mechanism being same. The photographic image is representation of “objective reality” (as films of Italian Neo-Realism), which depicted by the camera for the purpose of film by its author who; he calls the director who actually directs “how”? And “What”? Should be depicted; is “Invisible”. He also says that the author/director of any film speaks through film as a means of representation and expression. They use the film and its elements as such as medium, making style, approach, pattern of narrative through suitable characterization for his intended “message” but conveniently. Bazin advocates the use of deep focus (Orson Welles), Wide Shots (Jean Renoir), and the “shot-in-depth”, which he referred to as “true continuity” through mise-en-scene over experiments in editing and visual effects. The concentration on objective reality, deep focus, and lack of montage are linked to Bazin’s belief that the interpretation of a Film or Scene should left to the spectator. Bazin believed that a film should represent a director’s personal vision rooted in the spiritual beliefs known as personalism. These ideas had propounded impact on consequent auteur theory developed by French celebrated film director Francois Truffaut.
Scope of proposed research and its relevance:
Every author/director has impact on the viewer’s minds through visual mediums, as “Film” being non-verbal communication, which doesn’t requires any literary knowledge to understand. As interprets above, the film realism which deals with “Objective Reality”, as Andre Bazin said, should be analyzed as if which latent filmic elements are being played constructive role in disseminating the film “message” through this medium. Any communication medium, such as Film, and its elements functions under scientific theoretical framework with philosophical concepts while dealing with “Realism”, “Objectivity”, and the medium through its functional abilities passing out the content of the Creator/Director. I want to study those internal relations between theoretical framework and creative assumptions.
In taking the subject/story for a film to project or to screen the “Realities”, directors depend on the desperate conditions of mediums functional elements and the ways possible in treating the objectivity in relation to story and existing perceptual dimensions or beliefs in a society regarding the objective realism.
India’s film history largely written up from the stand point of state policy on Indian cinema after 1947 with its efforts to install a respectable cinema [3] and most of the filmmakers after immediate independence concentrated on melo-drama or neo-realistic approaches for filmmaking while vying on commercial viability in a sharp contrast to most celebrated film directors, such as Sathyajit Ray, who made films under the influence of Italian neo-realism while applying its approaches in India. He had selected subjects for film especially on “objective realism” which manifested in ‘Apu Triology’ and other. He adopted techniques of films based on western modern style of narrations and picturization that was very hard for mass people to understand the story concept compared to formula based masala packed films in those days. Most of the early directors concentrated only on formula based fictitious films which were, in most cases, aimed at just entertainment without any rule, concept, national appeal nor making audience consciousness about their motherland while instilling patriotic feelings. Neither this tendency finally lead to create an inclination towards development of indigenous filmmaking style nor to contribute for nation building at large.
In India the report of the Patel Enquiry (Film Enquiry Committee, 1951) which is the major first state initiative after independence to address and reform the film industry, embodies several key tenets of this, aesthetic of realism, on advocating a cinema of ‘social purpose’, designating mass cultural industry as “Gamblers” who work after at the cost of both the taste of the public and prosperity of the industry, and recommending that numerous state institutions to be started, including Film Finance Corporation(FFC), the National Films Archives of India(NFAI), and Film Training Institute, between 1945 and 1975,which Aijat Ahmad identifies as the “high period of decolonization”[4].By keeping in view of this, state institutions were incepted towards promoting ‘socially meaningful and realist cinema’ which can represent truly the social, cultural conditions of India in order to bring the real issues into limelight to make people aware of it and also to reduce social inequalities in order to create favorable conditions for inclusive growth in the country. This was contrary to early filmmakers who actually wanted to entertain and just reap profits.
There was always a demand for a film of “Indian Origin” or “indigenous” film that has its own unique style in adopting realistic approaches in story-telling and in filmmaking style rather than replicating merely the style of foreign film movements. Because, As Fredric Jameson argued, ‘realism designates an active, curious, experimental, subversive-in a word-scientific-attitude towards social institutions and the material world; and the “realistic” work of art is therefore one which encourages, disseminates this attitude, yet not merely in a flat way or mimetic way or along the lines of imitation.' [5]Only few directors attempted to make films on realistic issues in India after independence and having indigenous style compared to formula films with above said characteristics. In my study try to know who were those directors attempted and made films on real social issues with realistic approaches either independently or through state financial support. It makes an interesting study to know about the role of early films in promoting and also in exerting ideas of patriotism among Indian audience that could instil our values, culture and traditions with a unique indigenous identity coupled with representation of Indian social conditions and objectivity through realistic approaches because “ indigenous realism played a crucial role in nation building”[6]
My research focuses on the evolution and constant changing scenario took place in film industry right from early days to present (Study period from 1960 t0 2010) about 50 years. Also analysing the theoretical framework consisting in films regarding realism and the approaches adopted by different film directors in film making along with indigenous representation of social evils and issues towards creating awareness among people for grater good of society. To find out how many film directors involved in making realistic cinema during period of 50 years and whether their outlook was corresponding to the Govt. vision of promoting indigenous yet based on realistic films which consisting of realism? To know how different directors treated different realistic issues along with objective reality while differentiating in film making style? How films have been promoted through state institutions in order to fulfilling Government vision? What constitutes “reality” for our filmmakers and what kind of approach has been adopted in depicting story and characterizations besides entertaining with a realistic approach? How realistic is the film while using latest technical apparatus in shaping the story that meant for representation of ‘objective reality’? Is there was/is any manipulation with technical advantages used unnecessarily beyond story limit also not conducive to theoretical interpretation of film realism and its philosophical congruity? To find Realism through film to represent Indian social conditions and to promote socially meaningful cinema which stands for both for awareness among all citizens and for strengthening the unity and integrity of our nation. Realistic films always helpful in bringing out real issues into main stream and educate people for an affirmative action to eradication of social evils and poverty towards making our nation a fruitful, equitable and prosperous country. In the words of Gyanendra Pandey, realism-or other, various national realisms- were important in writing up the biography of the emerging nation state and creating the authoritative self-image of the nation. [7] And my research could include other relevant issues in this regard which supports my research question as my study continues with a proper interpretation and suggestions given by my supervisor and guide.
By
Scope of proposed research and its relevance:
Every author/director has impact on the viewer’s minds through visual mediums, as “Film” being non-verbal communication, which doesn’t requires any literary knowledge to understand. As interprets above, the film realism which deals with “Objective Reality”, as Andre Bazin said, should be analyzed as if which latent filmic elements are being played constructive role in disseminating the film “message” through this medium. Any communication medium, such as Film, and its elements functions under scientific theoretical framework with philosophical concepts while dealing with “Realism”, “Objectivity”, and the medium through its functional abilities passing out the content of the Creator/Director. I want to study those internal relations between theoretical framework and creative assumptions.
In taking the subject/story for a film to project or to screen the “Realities”, directors depend on the desperate conditions of mediums functional elements and the ways possible in treating the objectivity in relation to story and existing perceptual dimensions or beliefs in a society regarding the objective realism.
India’s film history largely written up from the stand point of state policy on Indian cinema after 1947 with its efforts to install a respectable cinema [3] and most of the filmmakers after immediate independence concentrated on melo-drama or neo-realistic approaches for filmmaking while vying on commercial viability in a sharp contrast to most celebrated film directors, such as Sathyajit Ray, who made films under the influence of Italian neo-realism while applying its approaches in India. He had selected subjects for film especially on “objective realism” which manifested in ‘Apu Triology’ and other. He adopted techniques of films based on western modern style of narrations and picturization that was very hard for mass people to understand the story concept compared to formula based masala packed films in those days. Most of the early directors concentrated only on formula based fictitious films which were, in most cases, aimed at just entertainment without any rule, concept, national appeal nor making audience consciousness about their motherland while instilling patriotic feelings. Neither this tendency finally lead to create an inclination towards development of indigenous filmmaking style nor to contribute for nation building at large.
In India the report of the Patel Enquiry (Film Enquiry Committee, 1951) which is the major first state initiative after independence to address and reform the film industry, embodies several key tenets of this, aesthetic of realism, on advocating a cinema of ‘social purpose’, designating mass cultural industry as “Gamblers” who work after at the cost of both the taste of the public and prosperity of the industry, and recommending that numerous state institutions to be started, including Film Finance Corporation(FFC), the National Films Archives of India(NFAI), and Film Training Institute, between 1945 and 1975,which Aijat Ahmad identifies as the “high period of decolonization”[4].By keeping in view of this, state institutions were incepted towards promoting ‘socially meaningful and realist cinema’ which can represent truly the social, cultural conditions of India in order to bring the real issues into limelight to make people aware of it and also to reduce social inequalities in order to create favorable conditions for inclusive growth in the country. This was contrary to early filmmakers who actually wanted to entertain and just reap profits.
There was always a demand for a film of “Indian Origin” or “indigenous” film that has its own unique style in adopting realistic approaches in story-telling and in filmmaking style rather than replicating merely the style of foreign film movements. Because, As Fredric Jameson argued, ‘realism designates an active, curious, experimental, subversive-in a word-scientific-attitude towards social institutions and the material world; and the “realistic” work of art is therefore one which encourages, disseminates this attitude, yet not merely in a flat way or mimetic way or along the lines of imitation.' [5]Only few directors attempted to make films on realistic issues in India after independence and having indigenous style compared to formula films with above said characteristics. In my study try to know who were those directors attempted and made films on real social issues with realistic approaches either independently or through state financial support. It makes an interesting study to know about the role of early films in promoting and also in exerting ideas of patriotism among Indian audience that could instil our values, culture and traditions with a unique indigenous identity coupled with representation of Indian social conditions and objectivity through realistic approaches because “ indigenous realism played a crucial role in nation building”[6]
My research focuses on the evolution and constant changing scenario took place in film industry right from early days to present (Study period from 1960 t0 2010) about 50 years. Also analysing the theoretical framework consisting in films regarding realism and the approaches adopted by different film directors in film making along with indigenous representation of social evils and issues towards creating awareness among people for grater good of society. To find out how many film directors involved in making realistic cinema during period of 50 years and whether their outlook was corresponding to the Govt. vision of promoting indigenous yet based on realistic films which consisting of realism? To know how different directors treated different realistic issues along with objective reality while differentiating in film making style? How films have been promoted through state institutions in order to fulfilling Government vision? What constitutes “reality” for our filmmakers and what kind of approach has been adopted in depicting story and characterizations besides entertaining with a realistic approach? How realistic is the film while using latest technical apparatus in shaping the story that meant for representation of ‘objective reality’? Is there was/is any manipulation with technical advantages used unnecessarily beyond story limit also not conducive to theoretical interpretation of film realism and its philosophical congruity? To find Realism through film to represent Indian social conditions and to promote socially meaningful cinema which stands for both for awareness among all citizens and for strengthening the unity and integrity of our nation. Realistic films always helpful in bringing out real issues into main stream and educate people for an affirmative action to eradication of social evils and poverty towards making our nation a fruitful, equitable and prosperous country. In the words of Gyanendra Pandey, realism-or other, various national realisms- were important in writing up the biography of the emerging nation state and creating the authoritative self-image of the nation. [7] And my research could include other relevant issues in this regard which supports my research question as my study continues with a proper interpretation and suggestions given by my supervisor and guide.
By
Narsing.G Rao
Bibliography:
1. Morris, Pam (2003). Realism. London: Routledge.
2. Watt, Ian (1957). The Rise of the Novel: Studies in Defoe, Richardson and Fielding. Berkely: University of California Press.
3. Ashish Rajadyaksha [1998]. Cinema of the World: Indian cinema, case study; The Oxford guide to film studies, edited by John Hill & Pamela Church Gibson, OUP;
page-534.
4. Ashish Rajadyaksha [1998]. Realism, Modernism and Post-Colonial Theory, The Oxford guide to film studies, edited by John Hill & Pamela Church Gibson, OUP; page-416.
5. James Fredric [1977]: ‘Reflections in conclusion; in Theodor Adorno’, 1977.
6. Ashish Rajadyaksha [1998]. Realism, Modernism and Post-Colonial Theory,The Oxford guide to film studies, edited by John Hill & Pamela Church Gibson, OUP; page-416.
7. ------------ Ibid ----------------
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4. Ashish Rajadyaksha [1998]. Realism, Modernism and Post-Colonial Theory, The Oxford guide to film studies, edited by John Hill & Pamela Church Gibson, OUP; page-416.
5. James Fredric [1977]: ‘Reflections in conclusion; in Theodor Adorno’, 1977.
6. Ashish Rajadyaksha [1998]. Realism, Modernism and Post-Colonial Theory,The Oxford guide to film studies, edited by John Hill & Pamela Church Gibson, OUP; page-416.
7. ------------ Ibid ----------------
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