Posted by magiccaarpet in 24 frames.
Title : INQUILAB
Director : Gauhar Raza
Duration : 40 minutes
Language : Hindi
Synopsis
This film is a tribute to the memory and sacrifice of Bhagat Singh, one of the most venerated nationalist figures in contemporary India. The documentary traces the evolution of this revolutionary icon as a political thinker and a visionary. It begins by tracking the early influences, beginning with Bhagat Singh’s family, locating him in the national and international political context and finally tracing the roots of his future ideological formations. The film spends little time in glorifying Bhagat Singh and his comrade’s revolutionary actions; however, most of them have been effectively used to illustrate his political persona. Through diverse textual material available at various repositories, it delineates their dream of independent, socialist and multi-cultural India. The film, we believe, is an attempt to craft an intellectual biography of Bhagat Singh in an audio-visual format.
Hello,
I need a copy of the telefilm ‘Tamas’ which was shown on Doordarshan so many years back. I need it for a research paper. Could someone lend it, copy it for me, preferably in Mumbai? Would not mind getting it in any format.
Regards,
Mangesh Karandikar
mangesh_mk@yahoo.com
-K. JESHI in The Hindu
Photos: S. Siva Saravanan
Making themselves heard (Top)Transgenders
“Celebrations and fanfare at Koovagam festival is just one happy day in a year in the life of a transgender. What about the suffering we undergo during the remaining 364 days?” asks Padmini, a transgender.
A dancer and the winner of Miss. Koovagam title this year, she also fights for the rights of transgenders as secretary of Thaai Vizhudhugal Trust.
Stills from Navarasa
“Awareness on the third gender should reach the youth in schools and colleges and parents. Our soul is that of a woman trapped in a man’s body. We have an identify as a third gender and we want to be respected,” she told the audience at a recent screening of Santosh Sivan’s national award winning documentary Navarasa, which put the spotlight on transgenders. And, they turned out in good numbers to voice their woes at the interaction organised by Cinema Club of Coimbatore at Kasturi Sreenivasan Trust auditorium.
The story
The film revolves around the story of a young girl Shweta who sets on a journey to Koovagam festival to bring her uncle Gautam back. He runs away to marry the deity Aravan at the festival. Along the journey she gets a peek into the way of life of a transgender and their culture.
Stills from Ammayyappa
Bobby darling, actor in Bollywood, brings out the sadness and struggles faced by transgenders by narrating her story to Swetha. When a documentary film-maker in the movie asks why they make a nuisance in public places and harasses people on trains. Revathy, a transgender replies: “It is frustration on the society,” and asks “Have you been beaten up your brother in a cricket bat?” “I’m a Hindu, my husband is a Christian and my mother-in-law follows Islam. We live in harmony and follow religious unity,” says another transgender. Their request - let us live in peace.
Transgenders who watched the film say it failed to highlight their issues. “Society including parents, relatives and friends abandon us and illtreat us,” says 55-year-old Madhana from Ukkadam, who makes a living as a caterer. She, along with a group of 10 transgenders work as caterers and live as one big family.
“We feel every bit a woman. So, we love to plait our hair, wear flowers and wear skirts. And, that’s when the problem begins at homes. Films should create awareness among parents to accept a transgender child,” they add.
Issues on lack of a third gender column in application forms were also discussed. Artist Jeeva commented the film as a visually appealing docu drama that failed to capture the emotional trauma of transgenders. Ammayyappa, a 15-minute documentary by Saveetha of Cinema Club portrayed the lives of transgenders Pattu, Mayil and Jeevatha in Koundampalayam and discussed society related issues and their voting rights. Deepan’s short-film `Thirunangai’ used camera as a character (transgender) to record one day in the life of a transgender.
-ಎನ್ ಸಿ ಮಹೇಶ್
ಪ್ರೇಕ್ಷಕರು ಥಿಯೇಟರ್ನಲ್ಲಿ ಮಿಸುಕಾಡಿದ ಬಗೆಯನ್ನು ಕೊಂಚ ಉತ್ಪ್ರೇಕ್ಷಿಸುತ್ತಲೇ ನಗುತ್ತ ಗೆಳೆಯರೊಂದಿಗೆ ಹರಟುತ್ತಿದ್ದೆ. ಆ ಚಿತ್ರ ನೋಡುವ ಧೈರ್ಯ ತೋರದ ನನ್ನ ಗೆಳೆಯರು ನನ್ನ ವಿವರಣೆಗಳಿಗೆ ಖುಷಿಗೊಳ್ಳುತ್ತಿದ್ದರು. ಅಂದರೆ ಚಿತ್ರ ನೋಡದೆ ನಾವು ಬಚಾವಾದೆವು ಎಂದು ಅವರೆಂದಾಗ ಯಾಕೋ ನನಗೂ ಪಿಚ್ಚೆನಿಸಿತು. ಹಳ್ಳಿಯಲ್ಲಿನ ಪೌರಾಣಿಕ ನಾಟಕಗಳ ಪ್ರಾಕ್ಟೀಸು, ಪೈಪೋಟಿ ಮುಂತಾದವುಗಳನ್ನು ತುಂಬಾ ಹತ್ತಿರದಿಂದ ಕಂಡು ಗೊತ್ತಿದ್ದ ನನಗೆ ಪ್ರಚಂಡರಾವಣ ಸಿನಿಮಾದ ಬಗ್ಗೆ ಕಾಮೆಂಟ್ ಇಷ್ಟು ದೂರಕ್ಕೆ ಜಿಗಿಯಬಹುದೆಂದು ಭಾವಿಸಿರಲಿಲ್ಲ. ನಮ್ಮ ಚಿತ್ರೋದ್ಯಮದವರು ಎಷ್ಟು ತಪ್ಪಾಗಿ ಲೆಕ್ಕಾಚಾರ ಹಾಕುತ್ತಾರೆ ಎಂಬುದರ ಬಗ್ಗೆ ಖೇದ ಶುರುವಾಯಿತು. ರಾತ್ರಿಯಿಂದ ಬೆಳಿಗ್ಗೆವರೆಗೆ ನಡೆಯುವ ನಾಟಕವನ್ನು ಪ್ರತಿಹಂತದಲ್ಲಿ ಚೇತೋಹಾರಿಯಾಗಿಡಲು ಸಂಭಾಷಣೆಯನ್ನಷ್ಟೇ ನೆಚ್ಚಿಕೊಳ್ಳದೆ ಸಂಗೀತಕ್ಕೆ ಹೆಚ್ಚು ಒತ್ತು ಕೊಡುತ್ತಿದ್ದ ವಿಧಾನ ಯಾಕಿಲ್ಲ ಎಂಬುದನ್ನು ಈ ಮಂದಿ ಯೋಚಿಸಿಯೇ ಇಲ್ಲವೇನೋ ಅನಿಸಿತು.
ಒಂದು ಕಾಲಘಟ್ಟದಲ್ಲಿ ಪ್ರಚಂಡ ಯಶಸ್ಸು ಕಂಡ ಪ್ರಚಂಡರಾವಣ ನಾಟಕವನ್ನು ಸಿನಿಮಾಗೆ ಜಗ್ಗಿಸುವ ಬಗ್ಗೆ ಚಿಂತಿಸಿಲ್ಲ ಮತ್ತು ಚಿಂತಿಸಲು ಬಂದಿಲ್ಲ. ಒಂದು ಮಾಧ್ಯಮದಲ್ಲಿ ಒಗ್ಗಿಬರುವ ಬಗೆ ಬೇರೊಂದು ಮಾಧ್ಯಮದಲ್ಲಿ ಧ್ವನಿಪೂರ್ಣವಾಗಿ ಹೊರಹೊಮ್ಮಲು ಏನೇನು ಸಿದ್ಧತೆ, ತಯ್ಯಾರಿ ಅಗತ್ಯ ಎಂಬುದನ್ನು ಸಾರಾಸಗಟಾಗಿ ತಿರಸ್ಕರಿಸಿರುವುದರಿಂದ ಚಿತ್ರ ಕಳೆಗಟ್ಟದೆ ಹೋಗಿದೆ. ಪುರಾಣದ ಚಿತ್ರಿಕೆಗಳು ಅಂದರೆ ಕೇವಲ ಬಣ್ಣಬಣ್ಣದ ಸೆಟ್ಸ್ನಿಂದ ತುಂಬಿರುತ್ತವೆ; ಈ ಕಾಲಕ್ಕೆ ಅವು ಸ್ವಲ್ಪ ಡಿಫರೆಂಟಾಗಿ ಕಾಣಿಸುತ್ತವೆ; ಮಾಮೂಲಿ ಕಮಷರ್ಿಯಲ್ ಸಿನಿಮಾಗಳಲ್ಲಿ ಸಾಮಾಜಿಕ ಬದುಕನ್ನು ಕಂಡು ಬೇಸತ್ತ ಪ್ರೇಕ್ಷಕ ಈ ಬಣ್ಣಬಣ್ಣದ ಜಗತ್ತನ್ನು ಖಂಡಿತಾ ಬೆರಗಿನಿಂದ ನಿರೀಕ್ಷಿಸುತ್ತಾನೆ ಎಂದಷ್ಟೇ ಲೆಕ್ಕಾಚಾರ ಹಾಕಿಕೊಂಡಿರುವುದರಿಂದಲೇ ಎಲ್ಲವೂ ಉಲ್ಟಾಪಲ್ಟಾ ಆದದ್ದು.
ಪುರಾಣಗಳನ್ನು ಸ್ವೀಕರಿಸುವ ಮನಸ್ಥಿತಿಗಳು ಎಂಥದಿರುತ್ತವೆ ಮತ್ತು ಅವು ತಮ್ಮ ಜೀವನಕ್ರಮವನ್ನು ಪುರಾಣದ ಕೆಲವು ಪಾತ್ರಗಳಿಗೆ ಸಮೀಕರಿಸುತ್ತ ಹೇಗೆ ಒಟ್ಟಂದದಲ್ಲಿ ಬದುಕು ನಡೆಸುತ್ತಿರುತ್ತವೆ ಎಂಬುದು ಅಭ್ಯಾಸಯೋಗ್ಯ ವಿಚಾರ ಎಂಬುದು ಇವರ ತಲೆಹೊಕ್ಕಿಲ್ಲ, ಇವತ್ತು ಅಂಥ ಒಟ್ಟಂದದ ಮನಸ್ಥಿತಿಗಳು ಹಳ್ಳಿಗಳಲ್ಲೇ ಛಿದ್ರಛಿದ್ರವಾಗುತ್ತಿರುವಾಗ, ಆದರೂ ಕೆಲವರು ತಮ್ಮ ಪೂರ್ವಸ್ಮೃತಿಯೆಂಬಂತೆ, ಬಣ್ಣ ಸೆಳವು ಅಂತೆಲ್ಲಾ ಮಾತಾಡುತ್ತ ಇವತ್ತು ಪೌರಾಣಿಕ ನಾಟಕಗಳಲ್ಲಿ ಪಾತ್ರಗಳನ್ನು ನಿರ್ವಹಿಸುತ್ತಿರುವ ಸಂದರ್ಭದಲ್ಲಿ ನಗರದ ಜನತೆ ಈ ಚಿತ್ರವನ್ನು ಸ್ವೀಕರಿಸುವ ಬಗೆ ಎಂಥದ್ದು? ನಿಮರ್ಾಪಕರಿಗೆ ಬಣ್ಣಗಳ ಕಾಂಬಿನೇಷನ್ ವಿಚಿತ್ರವಾಗಿ ಆಕಷರ್ಿಸಿದಂತಿದೆ. ಹಾಗಾಗಿ ಇದು ಮೊದಲಿಗೆ ಬಣ್ಣಗಳ ಮೆರವಣಿಗೆ. ಆದರೆ ಭಕ್ತಪ್ರಹ್ಲಾದ, ನರಕಾಸುರವಧೆ ಮುಂತಾದ ಪೌರಾಣಿಕ ಚಿತ್ರಗಳು ಗೆದ್ದದ್ದು ಯಾಕೆಂದರೆ- ಒಂದು, ನಿರೂಪಣಾ ಕ್ರಮ; ಎರಡು, ಪುರಾಣ ಮನಸ್ಥಿತಿಯನ್ನು ದಾಟಿಸುವಲ್ಲಿನ ಸಫಲತೆ. ಕಾಲಧರ್ಮ ಎನ್ನುವುದು ಮುಖ್ಯವಾಗುವುದು ಈ ಘಟ್ಟದಲ್ಲಿಯೇ
ಕತೆ ಹೇಳುವ, ಕತೆ ಕೇಳುವ ಪರಿಪಾಠ ಮಾಯವಾಗಿ ನಮ್ಮ ಜನಪದ ಕತೆಯ ರಾಕ್ಷಸರೆಲ್ಲ ಸತ್ತು, ಕಾಲವಾಗಿ ಹೋಗಿ ಹ್ಯಾರಿಪಾಟರ್ ಕಥೆಗಳು ಎಲ್ಲೆಡೆ ಚಾಲ್ತಿಗೆ ಬರುತ್ತಿರುವ ದಿನಗಳಲ್ಲಿ ಪ್ರಚಂಡರಾವಣ ಎಂಟ್ರಿ ಕೊಟ್ಟಾಗ ಯಾರು ಈ ರಾವಣ ಎಂಬ ಪ್ರಶ್ನೆ ಇವತ್ತಿನ ಮಕ್ಕಳಲ್ಲಿ ಎದುರಾಗುತ್ತಿದೆಯೇ? ಹಳ್ಳಿಗಳಲ್ಲಿ ಇವತ್ತಿನ ಕತೆ ಹೇಗಾಗಿದೆಯೊ ಗೊತ್ತಿಲ್ಲ; ನಗರದ ಜನದ ಬದುಕು ವಿಚಿತ್ರ ಮಾಪರ್ಾಡುಗಳಿಗೆ ಗುರಿಯಾಗುತ್ತಿದೆ. ನಮ್ಮತನವನ್ನು ಅವರು ಆಗಾಗ ಸ್ಯಾಂಪಲ್ ಟೇಸ್ಟ್ ಮಾಡುವಂತೆ ಮಾಡುವ ಮಟ್ಟಕ್ಕೆ ಇಳಿಯುತ್ತಿದ್ದಾರೆ. ಇದನ್ನು ಸರಿಪಡಿಸಿಕೊಳ್ಳಲು ಹಲವರು ಶ್ರಮಿಸುತ್ತಿದ್ದಾರೆ; ಮತ್ತೆ ಕೆಲವರು ಸೋಗು ಹಾಕುವುದರಲ್ಲಿ ನಿಪುಣರಾಗುತ್ತಿದ್ದಾರೆ. ಪುರಾಣದ ಅಷ್ಟೂ ಪಾತ್ರಗಳು ನಮ್ಮಲ್ಲಿ ನಾನಾ ಮುಖಭಾವಗಳಲ್ಲಿ ಹಾದುಹೋಗುತ್ತಿರುವಾಗ, ಪುರಾಣ ಪ್ರಜ್ಞೆ ಇರುವ ಒಂದಷ್ಟು ಜನ ಅವೆಲ್ಲವನ್ನು ತಮ್ಮತಮ್ಮಲ್ಲೇ ಗುರುತಿಕೊಂಡು ಚಿತ್ರವಿಚಿತ್ರವಾದ ವ್ಯಾಖ್ಯಾನಗಳಿಗೆ ತೊಡಗಿರುವಾಗ ಪುರಾಣದ ಜಗತ್ತು ಇವತ್ತು ಎಷ್ಟು ಪ್ರಸ್ತುತ? ಅಥವಾ ಅದನ್ನು ಸಮಕಾಲೀನ ಪ್ರಜ್ಞೆಯೊಂದಿಗೆ ಯಾವ ರೀತಿ ಸಮೀಕರಿಸಿ ನೋಡಲು ಸಾಧ್ಯ?
ಇಷ್ಟೆಲ್ಲ ಸವಾಲುಗಳಿದ್ದರೂ ರಾವಣನನ್ನು ಪ್ರಚಂಡನನ್ನಾಗಿಸಲು ಹೋಗಿ ಸೋಲುಂಡದ್ದು ತುಂಬ ದಯನೀಯ ಅನಿಸುತ್ತದೆ. ಕತೆಯ ಮುಂದುವರಿಕೆಯ ಏಕತಾನತೆಯನ್ನು ಮುರಿಯಲು ಮತ್ತು ಹೊಸ ಗುಂಗನ್ನು ಸೃಷ್ಟಿಸಲು ಹಾಡುಗಳನ್ನು ಇವತ್ತು ಬಳಸಿಕೊಳ್ಳುವುದು ರೂಢಿ. ಈ ಪ್ರಕಾರಕ್ಕೆ ಒಗ್ಗಿಹೋಗಿರುವ ನಮ್ಮನ್ನು ಪೌರಾಣಿಕ ನಾಟಕಗಳ ಹಾಡಿನ ಮಟ್ಟುಗಳನ್ನು ಒಂದರಿಂದೊಂದು ಕೇಳಿಸಲು ಶುರುಮಾಡಿದರೆ ಪ್ರೇಕ್ಷಕ ಸಿಡಿಮಿಡಿಗೊಳ್ಳದೆ ಇರುತ್ತಾನೆಯೇ? ಎಲ್ಲರೂ ಹಾಡು ಹಾಡ್ತಾರಲ್ಲಪ್ಪ ಗುರೂ..! ಅಂತ ಉದ್ಗಾರ ತೆಗೆಯುವುದು ಬಿಟ್ಟರೆ ಬೇರೇನನ್ನೂ ಅವರಲ್ಲಿ ಹುಟ್ಟುಹಾಕಲು ಸಾಧ್ಯವಿಲ್ಲ. ನಾಟಕದ ಗ್ರಾಮರ್ರೇ ಬೇರೆ. ಸಿನಿಮಾದ ಗ್ರಾಮರ್ರೇ ಬೇರೆ. ಸೂತ್ರಗಳ ಸಾರವನ್ನು ಸರಿಯಾಗಿ ಅಥರ್ೈಸಿಕೊಳ್ಳದೆ ಹೋದರೆ ರಾವಣನಂಥ ಪ್ರಚಂಡನೂ ನಮ್ಮ ಕಾಲಮಾನದಲ್ಲಿ ಕಳಾಹೀನವಾಗಿ ಕಂಡುಬರುವ ಬಗೆ ಎಂಥದಿರುತ್ತದೆಂಬುದನ್ನು ಈ ಚಿತ್ರನೋಡಿದರೆ ತಿಳಿಯುತ್ತದೆ.
ಚಿತ್ರನೋಡಿ ಹೊರಬರುವಾಗ ಎಲ್ಲರ ಬಾಯ್ಗಳಲ್ಲೂ ವಜ್ರಮುನಿಯ ಹೆಸರು ಕೇಳಿಬರುತ್ತಿತ್ತು. ದೇವರಾಜ್ ರಂಗಭೂಮಿಯ ಹಿನ್ನೆಲೆಯಿಂದ ಬಂದರೂ ರಾವಣನ ಗತ್ತು, ಗೈರತ್ತು ಕಾಣಿಸಲು ಸಾಧ್ಯವಾಗಿಲ್ಲ ಎನ್ನುವುದು ಅವರ ಮಾತಿನ ಒಟ್ಟು ಆಶಯವಾಗಿತ್ತು. ಇದು ಇನ್ನೊಂದು ಪಾತ್ರದಲ್ಲಿ ಪ್ರಚಂಡ ಯಶಸ್ಸು ಸಾಧಿಸಿದ ನಟನೊಬ್ಬ ಕಾಲವಾಗಿ ಹೋದಾಗ ಅದೇ ಛಾಪನ್ನು, ಅದೇ ಗುಂಗಿನಲ್ಲಿ ನಿರೀಕ್ಷಿಸುವುದು ಎಷ್ಟರ ಮಟ್ಟಿಗೆ ಸರಿಯೊ ಕಾಣೆ. ರಂಗಪ್ರಯೋಗವೊಂದರ ಬಗ್ಗೆ ನಟರಾಜ್ಹೊನ್ನವಳ್ಳಿಯವರ ಜೊತೆ ನಾನು ಚಚರ್ಿಸುತ್ತಿದ್ದಾಗ `ಆ ನಟ ನಿಜಗುಣ ಶಿವಯೋಗಿಗಳ ಥರ ಮಾತಾಡಿದಾರೆ ಅಂತನ್ನಿಸಲ್ಲವಲ್ಲ ಎಂದು ಯಾರೋ ಒಬ್ಬರು ಹೇಳಿದಾಗ ನಿಜಗುಣ ಶಿವಯೋಗಿಯ ಮಾತುಗಳನ್ನು ನೀವೇನಾದ್ರೂ ರೆಕಾಡರ್ು ಮಾಡ್ಕೊಂಡು ಇಟ್ಕೊಂಡಿದ್ದೀರೇನ್ರಿ. ಅವರು ಅದೇ ಭಾವದಲ್ಲಿ, ಧಾಟಿಯಲ್ಲಿ ಮಾತಾಡುತ್ತಿದ್ದರು ಅಂತ ನಿಮಗೆ ಹೇಗೆ ಗೊತ್ತು? ಅಂತ ಪ್ರಶ್ನೆ ಎಸೆದು ನಕ್ಕಿದ್ದರು ನಟರಾಜ್ಹೊನ್ನವಳ್ಳಿ.
ವಜ್ರಮುನಿ ಮತ್ತು ದೇವರಾಜ್ ಸಂಬಂಧಿತ ಪಾತ್ರಗಳ ಬಗೆ ಪ್ರೇಕ್ಷಕರು ಹೀಗೇ ಲೋಕಾಭಿರಾಮವಾಗಿ ಹರಟುತ್ತಿದ್ದದ್ದನ್ನು ಕೇಳಿದಾಗ ಹೊನ್ನವಳ್ಳಿಯವರ ಮಾತು ನೆನಪಾಯಿತು. ಪುರಾಣದ ಲೋಕಕ್ಕಿಂತ ನಮ್ಮ ಲೋಕ ತುಂಬ ವಿಚಿತ್ರವಾದ್ದು ಅಂದುಕೊಂಡು ಸುಮ್ಮನಾದೆ
Posted by magiccaarpet in 24 frames.
I am happy to share with all of you the news that APNA ALOO BAZAAR BECHA has won the Golden Deer award (Best Short Film) at the ECOFILMS festival held in Rodos, Greece last week. This award is a tribute to the struggles of farming communities all over the world that are confronted with uncharted dilemmas in the face of expanding& capitalism, and in particular to the three persons who bared their souls in front of the camera: Bachni Devi, Rajbir Singh & Khem Singh.
Pankaj H Gupta
APNA ALOO BAZAAR BECHA
from subsistence ecology to the market
A documentary by Pankaj H Gupta
30”, DVD.
Few mountain communities, however remote, remain untouched by globalisation and development. Jardhar gaon, a typical village of middle Himalaya in Garhwal, led an isolated existence until just 30 years ago, in an egalitarian, subsistence ecology. Today, it is in the middle of rapid social and environmental transformation.
This short documentary, based entirely on local perspectives, reflects on this process of change – what triggers the shift to modernisation and what impacts it has on the personal, social and environmental relationships. In particular, the film focuses on the primary subsistence activity of farming: whether it can survive in the face of steady outmigration, and if the attempts by Beej Bachao Andolan (Save the Seeds Movement) to resist modernisation can be successful.
Mitr-Sanketa is a registerd orgainsation and presently working on creating awareness on the issues of trafficking. We request you to make arrangements for us to come and screen a film on trafficking of women and children and have a discussion with the group.
The program is called MAT-Movement Against Trafficking. The program is for 2 hours, wh
ich includes discussions on the topic/issue, followed by a 26 minutes’ film. This is followed with facilitating the group to understand the various perspectives, angels related to the emotional, social, economic,cultural, political aspects related to trfaficking and the victims. Our discussions also highlight on our own attitudes towards this dangerous so called social evil and urge people to understand how to keep themsleves safe, while breaking the silence wrapped around this form of slavery. These discussion could also help each of us as individuals to do our bit in speaking about trafficking, the victims, and how our chidlren, youth must protect themselves and further
safeguardwomen & children at risk and those who have been forced
into this slavery.
We invite you to partner with us. We request you to organise/arrange groups at
your instituions/ slums/schools/ colleges/ clubs/anywhere else and our team
will facilitate the discussions and the sceerning of the film-this is just for 2 hours and this is where we must begin the action of prevention of women & chidlren being trafficked and forced into prostitution.
We do not charge any fees for the prorgam.
Kindly let us know if you would make arrangements for LCD/Screen.
If you might require any clarification, please feel free to call
Brinda-9845518138
with kind regards
Dear Friends
Greetings from Marupakkam, a media action group based in Madurai involved in organizing regular film screenings, film festivals and video workshops. We also make documentaries.
As you all know very well, we have been organizing an annual documentary film festival in and around Madurai since 1998. We are happy to inform you that our next edition i.e. 10th MADURAI INTERNATIONAL DOCUMENTARY AND SHORT FILM FESTIVAL 2008 will take place on 26-30 November 2008.
The MADURAI INTERNATIONAL DOCUMENTARY AND SHORT FILM FESTIVAL is being organized by Marupakkam, in association with educational institutions, voluntary organizations, film societies, theatre groups, cultural groups and other like-minded individuals of Madurai. The screenings will take place in colleges, villages and various auditoriums.
The festival is a non-competitive one with no entry fee. There is no specific theme for our festival. Any film that is produced anywhere in the world during the last 24 months (approximately) in any language, in any format, in any style is welcome. The films that are not in Tamil should have English sub-titles. The screening format is DVD. Kindly allow us to keep the DVDs for our further non-commercial screenings in and around Madurai. Ours is a non-funded festival, completely organized with donations and volunteer support.
The festival will have following sections: 1) INTERNATIONAL 2) REST OF INDIA -films made outside Tamilnadu 3) FILMS FROM TAMILNADU 4) UNDER CONSTRUCTION - films distributed by Magic Lantern foundation, New Delhi 5) RETROSPECTIVE 6) SPECIAL PACKAGE – documentaries and short films from Kerala.
We are happy to inform you that senior filmmakers Anand Patwardhan and Deepa Dhanraj have agreed for their retrospective (5 films each) as part of our 10th MADURAI INTERNATIONAL DOCUMENTARY AND SHORT FILM FESTIVAL 2008. As our previous festivals Magic Lantern Foundation, New Delhi has also agreed to share 10 films from their Under Construction package. Our special package – a new addition, will feature 10 films from Kerala. Sarat Chandran of Third Eye Communications, Kochi has agreed to help us to curate the package. There will be a seminar on Tamil documentaries as part of our festival. R.R.Srinivasan of Kaanchani Thiraipada Iyakkam, Tirunelveli has agreed to coordinate the proceedings.
Interested film makers are requested to send their entries under first 3 sections only. The last date to send the entry is 15 September 2008. Our selection committee comprising of senior filmmakers, writers, artists, activists, film students and fans will announce their recommendation on the list of films to be screened, on 15 October 2008. We will screen only the films as per the recommendations.
Entries can be sent to: Marupakkam, A 9/4 K.K.Nagar, Madurai 625020, India. Ph: 91-9344479353; 91-452-2523992; E mail: marupakkam@rediffma il.com
Entries should have following materials: 2 DVD copies of the film, a CD with synopsis, filmography and stills, and a set of hard copy comprising synopsis, filmography and posters if any.
Please visit www.maduraifilmfest .blogspot. com for regular updates and further details.
In solidarity
Amudhan R.P.
Coordinator,
-Tina
Sometimes, people tend to go bonkers inspite of holding an international repute and lots of respect. IIFA awards night was certainly no exception to this rule and the ’sarkar’ family of bollywood looked too raunchy hoisting themselves all along, once again through IIFA. When you say you have this platform to represent Indian Cinema to the international audience, you should be really careful. It better not be a ‘one family show’ which it has been, since its inception. What are you trying to prove, anyway? Is it a ‘Kaun banega bollywood ka badshah’ contest?
As I watched the IIFA night unfold on my telly screen, I could not help but to sympathize with the audience who were exposed to the typical fanfare of our cinema, sans the major players!!!! The ceremony was too conspicuous with the absence of major stars like Shahrukh (Who seems to have sworn to abhor IIFA till Bachchan Saaab’s reign is on), Salman (Who took all the limelight from the Bachchans last year), Hrithik (Too confused about the camp politics, maybe!), Priety Zinta (Busy gathering info on cricket), Shahid and Vidya (Do we know the reasons? ahem..), Sanjay, Dharmendra clan and Amir, who of course does not attend these tamaashas.
Most of the show would have been digestable, if not for the terrible two - Boman Irani and Riteish Deshmukh. In the beginning itself, their proclamation that they were going to be terrible hosts - came very true. They jumped like monkeys, they wallowed in their sarcasm and spoofed like it was their sole business. I couldn’t understand why they were shouting all along. Maybe their headfones were defunct, or they had some hearing disorder or they thought most of the audience had hearing disroder, I tried to console myself thus. Still the urge to get out there and ask them to take a chillpill it was getting stronger. Wish someone told them how terrible they were. They made jokes on everyone including the Senior Bachchan, as if the award functions were meant for that. Though the spoofs on Sarkar, Om Shanti Om and Guru were okay, the one’s on Taare Zameen Par was in very bad taste. The duo made remarks on Amir’s absence in all the award functions. A superb movie such as ‘Taare Zameen Par’ wasn’t properly mentioned. Instead Boman and Riteish came up with a spoof that portrayed the movie in bad taste to the audience. The movie, for the first time in the history of Indian cinema brought out the problems of a totally neglected chunk of society effectively and what does our so-called international Indian film fraternity do? They promptly spoof it and laugh it off. Shame on you guys!! Time to grow up, period. Why are we being so hard on each other? Karan Johar was seen smiling at all the Shahrukh Jokes, being the only representative of the Khan camp. It looked like the Bachchan family hasn’t taken the world tour rejection very kindly and was hell bent on venting it’s fury that night. Vivek Oberoi looked smiled excessively. Saif looked creepy with his shades on. Otherwise the happy couples looked great, held hands and posed well.
Govinda and Akshay were their usual charming self. They performed with an amazing energy which only comes with years of hardwork and a penchant to entertain. Harman baweja dispelled all the controversies of being a Hrithik-lookalike by dancing miserably. Priyanka was mesmerizing. Kareena and Katrina should seriously consider hiring some good dance trainers. Shyam Benegal’s award was sensible and so was Mumtaz’s. But there were certainly better music compositions last year than AR Rehman’s for Guru. Chak De India found some mention. Everyone wants to be in the next Shimit Amin movie after shahrukh’s success. Many people who really represented movie industry looked totally out of place, sidelined and uncomfortable, faking smiles for the benefit of camera. Why is it that there is no representation for regional cinema when ‘Indian’ cinema is presented on an international platform? Are regional movies not equal to hindi movies? if yes, is bollywood being properly represented through IIFA? If yes, it’s time to cackle and say boo. If no, it’s time to grow up, IIFA.
The Flying Eye - Retrospective Michael Ballhaus
Film
04 - 13.07.2008
Goethe-Institut/Max Mueller Bhavan
Free Entry. All are welcome!
Inauguration: 04.07.2008 at 6:30 p.m.
with the talk
Eye to Eye - The Cinematographic Art of Michael Ballhaus
by Indian cinematographer Sunny Joseph
Fassbinder is no stranger to Indian film audiences and the films in this series may have been screened before but this time from a radically different perspective – literally from behind the camera – spotlighting Michael Ballhaus, Germany’s best-known cinematographer.Born in Berlin in 1935, Ballhaus took up a teaching position at the German Film and TV Academy in Berlin.His work with Rainer Werner Fassbinder began in 1970 and it was at this time that Ballhaus developed his unique style. The legendary 360-degree tracking shot, in which the camera moves in a circle around the actor became the hallmark of Ballhaus’ style.
In the 1980s he began a second career in the United States where he rapidly became one of Hollywood’s most sought-after cameramen and significantly influenced both German film during one of its most interesting phases, as well as Hollywood’s film aesthetic. Having worked with famous German and international directors Ballhaus is the silent man behind the scene who makes films more enjoyable even today with for example his latest work the Hollywood blockbuster, The Departed which won four Oscars.
The Goethe-Institut/Max Mueller Bhavan is showing movies from his early German phase, when he worked with Rainer Werner Fassbinder.
Indian cinematographer Sunny Joseph will open the series with an introductory talk on Michael Ballhaus, entitled Eye to Eye - the Cinematographic Art of Michael Ballhaus. In the talk, Sunny takes a close look at the ways and means by which Michael Ballhaus transmits the emotions contained in the story to the spectators. This enquiry focuses on the uniqueness of Michael Ballhaus’s cinematographic art, the technological innovation and his methodology of creation – SIMPLICITY. All this is discussed agianst the backdrop of a quest into the marvels of eye and the faculty of vision.
Born in 1957, Sunny Joseph studied at the Film and Television Institute of India, Pune and is a cinematographer, editor, script writer and director, who has worked on several award-winning films. He is especially well-known in the South Indian cinematography scene, with many of his films winning best Kannada or Malayalam film awards. He is an active member of film societies and lectures at various film institutes. With his long-standing theoretical and practical expertise, Sunny Joseph is therefore the perfect person to introduce German cinematographer Michael Ballhaus in our current series.
Calendar
|
|
Film
04.07.2008, 7:00 p.m.
|
Germany, 2002, 13′
|
Goethe-Institut/Max Mueller Bhavan
|
|
Film
04.07.2008, 7:15 p.m.
|
Germany, 1970/71, 103′
|
Goethe-Institut/Max Mueller Bhavan
|
|
Film
05.07.2008, 4:00 p.m.
|
Germany, 1971, 124′
|
Goethe-Institut/Max Mueller Bhavan
|
|
Film
05.07.2008, 6:30 p.m.
|
Germany, 1974, 123′
|
Goethe-Institut/Max Mueller Bhavan
|
|
Film
06.07.2008, 6:30 p.m.
|
Germany, 1975, 120′
|
Goethe-Institut/Max Mueller Bhavan
|
|
Film
11.07.2008, 6:30 p.m.
|
Germany, 1976, 86′
|
Goethe-Institut/Max Mueller Bhavan
|
|
Film
12.07.2008, 6:00 p.m.
|
Germany, 1978, 120′
|
Goethe-Institut/Max Mueller Bhavan
|
|
Film
12.07.2008, 4:00 p.m.
|
Germany, 1976, 104′
|
Goethe-Institut/Max Mueller Bhavan
|
|
Film
13.07.2008, 6:30 p.m.
|
Germany, 1992, 103′
|
Goethe-Institut/Max Mueller Bhavan
|
