movie cultural social essay
challenging journey for women in Hindi cinema” Nandkumar (2011) suggests that the portrayal of women in the history of Indian films from the era of silent films to the present has undergone numerous changes. Despite the changes, women are still portrayed as a secondary character in most commercial films even today. This stereotypical portrayal of women in Indian cinema is mainly due to historical and cultural reasons (Gokulsing & Dissanayake 2004). Initially, the society stigmatized women from acting in
put together and meaning, are integral to the film. Reflexivity in film is distinguished as a film that is self-aware. A film that is aware of the process that has been taken to produce a film, the illusion that is usually created in main stream cinema is not present instead the audience are made aware that the film is simply an illusion i.e. “The fictional nature of a story can be suspended only by a direct communicative act, which is not mediated by the conventions of the fiction itself. Reflexivity
Furthermore, it helps in rejuvenating the mind of a person. It surely is beneficial in many ways, however, it is also creating a negative impact on people and society. We need to be able to identify the right from wrong and make decisions accordingly.
Most importantly, cinema shows pretty violent and sexual content. It contributes to the vulgarity and eve-teasing present in our society today. Thus, it harms the young minds of the world very gravely.
Whatever a movie maybe about, one should not forget that a movie is a portrayal of writer’s imagination unless it’s a biopic. One should not madly follow them. Students must to realize that it isn’t necessary for their lives and situations to have resemblance with the movie. They should understand and know the difference between the reel life and real life and try to inculcate only the positive aspects of cinema.
Movie is a mere representation of the writer’s thoughts and imagination and they are not always worth our time and money. What’s the point in investing into something if it isn’t worth our time and we feel disappointed at the end of it?
For me, the “film culture” that O’Hehir is lamenting exists in items like You Ain’t Seen Nothin’ Yet, the NYFF Main Slate selection by Alain Resnais (Last Year at Marienbad). Maybe it’s blasphemy to give up on a Resnais, but I’ll own it: I couldn’t find a way into the film, so I looked for a way out of the theater. It’s handsomely staged and marvelously cast, but the picture is so frightfully dull that I couldn’t lock in on it. He’s so busy constructing magical realism and frames within frames that he doesn’t accomplish the simpler task of engrossing his audience. Even worse is the Main Slate documentary Leviathan, a fly-on-the-wall portrait of commercial fisherman that almost seems designed to challenge its audience to pay attention—it’s more like watching murky home movies than an actual film. At the post-screening Q&A, critics grappled for meaning; one asked, not unreasonably, if there was some buried message about the commercial fishing industry. “One thing we’re trying to do is make films that don’t say anything,” announced co-director Lucien Castaing-Taylor with pride. Mission accomplished, I guess.
Like O’Hehir, I’ve come to this conclusion after two weeks of preparation for the 50th New York Film Festival—a time in which I’ve seen a great many films, from Antonio Mendez Esparza’s quietly powerful Here and There to Cristian Mungiu’s riveting yet low-key Beyond the Hills to Christian Petzold’s modest character drama Barbara. But I have to confess that I’ve seen nothing at the NYFF that resonated as deeply or engaged me as thoroughly as Looper—yes, a Bruce Willis action movie, but one with an ingeniously worked-out plot, surprisingly deep emotions, and a thing or two to say about the uncertainty of inevitability. Moreover, it’s a lot of fun, which is a quality that doesn’t have to exist separately from cinematic brilliance. It would be easy to presume otherwise; too many film writers turn up a collective nose at films aimed at reaching and cheering a mass audience, as though truly great cinema must be met (at least) halfway.
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