"Although Hindi cinema has its own culture, it is completely different from Indian culture, but we are not foreigners, we understand.
Talking Films & # 39; Javed Akhtar
Indian filmmakers depart from Hollywood film directors in various forms. Hollywood filmmakers are striving to understand the compositional nature of the work so that realistic stories become dominant overall, but Indian filmmakers see what they see on the screen I will not hide the fact that it is sight, illusion, fiction.
Many elements will invest clear identity in popular movie theaters in India but rarely think of Indian society and the real image of reality. However, they are looking at the Indian society as it is through distorted or broken mirrors. Among the different functions are the following.
A general Indian movie is not realistic in most cases, it is not rooted in Indian specific culture, so as to reach out to all Indian viewers. In fact, it is often a big effort to make it indistinguishable in certain parts of India.
It is derived from the traditional Indian folk form and exaggerated.
- Melodrama is always present with respect to the use of plots, characters, background music.
- The use of cameras is often flashy and draws attention to itself. In contrast to the concept of Western continuity, editing stands out as well.
- Characters are rarely unique individuals. They are often social stereotypes or archetypes.
Songs and dances are an important element of movie charm. They intervene in the flow of the story and often have no just good reason. Therefore, the film is not necessarily organic. Even in the Western sense, there is not much need to do so. This may be the reason why Western crowds resist this form of film, the lack of organicity.
- As it is understood in the case of American movies, movies rarely enter the genre. Rather, every movie is typically a combination of different genres. The concepts of Masala Mix and Tree Meal are as follows.
I never pretended that popular Indian movies are not realistic at all. They are dominated by customs common to filmmakers and audiences. These practices evolved historically and reached a measure of stability. Indian popular movies can not be judged on a realistic scale applied to western movies.
The biggest weakness of Indian movies is the script. In Indian popular movies, writing techniques are rarely taken seriously. This reflects that screenwriters are usually poor people. It also explains the vicious cycle where serious writers do not want to challenge the script. All of this contrasts with movies made in Europe and America where screenplay is the basis of movie financing and script development is a huge industry. Hollywood has a huge amount of money, especially for the development of scripts, but only a part of it is actually going to production. In India, movie development funding is rare or does not exist.
NARRATIVE:
"Writing Naseeb's script is much more difficult than Western or art movies, there is a straight story, Egyptian logic."
(Screenwriter of KK Shukla, Naseeb)
The claim that there is no story in Hindi movies is sometimes confusing for those unfamiliar with the genre. "I care whether who is getting the story credits, everyone knows there is no story in our film", and in fact, the story credits are given to friends and relatives for tax adjustment purposes There are many. Story line is almost perfectly predictable to the Indian audience, it is repetitive or repetitive reworking of many other Hindi movies, ridiculous & # 39; with the sight There is really no excuse for feelings. Having a relatively single-story story of lively or many contemporary European movies is considered unacceptable for success.
"The difference between Hindi and Western movies is the difference between epic and short films."
Jabdo actor
Of course there is good evidence that Hindi movies evolve from the village tradition of epic narration, the structures of dramas, characters, and mythic epics are drawn periodically and openly. Film makers insist that "we can return all movies to these stories," but there are still only two stories in the world, Ramayana and Mahabrata. In fact, the form and movement of a story that tends to distinguish Hindi movies is an important point that the balance between the development of the story and the magnificent emotional excess is rather different.
A story of a popular movie in India is a simple confrontation between good / moral and evil / corruption and a traditional 'Indian' family relationship, friendship duty, fate, patriotism, It is attached to morality which is ideal of social relations such as religion (and religious tolerance), restrained sexuality and so on. Evil and corruption are widely categorized as non-traditional. The West is not so many places and cultures, it is an exotic, decadent symbol.
Movie makers are familiar with building stories around the opposition party so that audiences can not easily avoid immersion:
"The intimacy of India is so strong that this element always works and has been found lost" The crowd of the grade worry that no family is a member The family is an important part of himself, the world Experience by 6.30 PM "
(KK Shukla, screenwriter)
Cultural data of citizens of India
As we examine the evolution of popular Indian movies, we have the merit to analyze more closely. They are:
Two Hindu epic, Ramayana and Mahabharata;
2. Classical Indian theater
3. Folk Theater
Parsi Theater
5. Hollywood
6. Television
Let's examine each one a bit more in order to get a clear understanding.
i) EPICS:
Hindi movies are deeply integrated into the structure of certain myths that define the outline of Indian civilization. Manmohan DeSay insists that all movies were inspired by Mahabharata, sometimes from the mother's typical figure to the heroes of the heroine, all Hindi films seem to spring up from the epic. Ramayana and Mahabharata played an important role in shaping the thought, imagination and lifestyle of the vast Indian people.
Two epic have often offered themes and plots to Indian filmmakers. Very first Indian "Torquay", Raja Haryish Chandra is based on Ramayana, and since then many movies have been portrayed in plot epics. In addition, it is possible to track the influence of Ramayana and Mahabrata directly by mothers, grandparents, revenge and other mothers who repeatedly find wording in Indian films.
To understand the uniqueness of Indian film discourse, you must understand the structure of narratives in popular Indian films. Indian films are strongly influenced by Hollywood, but the art of narration is an infinite anecdote, circles, the plot in the plot remains India. Again, there is no doubt the influence of the two epics.
ii) Classical Indian Theater:
The Sanskrit Theater constitutes one of the richest and sophisticated heritage of classical Indian culture. Nathya Shastra, a classical thesis on Indian theater science, defines the drama as "imitation of the exploitation of the gods, the asuras (devils), the kings and the inhabitants of the world". According to another important treatment, Dasharpa, the drama is an imitation of the situation. Here, the idea of mimicry and imitation is the basis of the concept of Sanskrit language drama.
The Sanskrit Theater was very formatted. That's the presentation mode, the episode that put maximum emphasis on the sight. Among them, music and dance merged brilliantly and created a completely satisfying artistic unity. The Sanskrit Theater was led by a strong injunction order related to plot, hero, heroine choice, language use, narrative structure. Poetry was a very important element in the Sanskrit language drama. In fact, shortly, the drama was regarded as a branch of poetry. Poetry provided moral remarks, strengthened emotion, and portrayed vividly in the heart of the audience, the background of the action of the drama. Meme and dance are an integral part of the classic Indian theater experience. The Sanskrit Nazia (natya) meaning "drama" is derived from root nritto.
You can identify some of the characteristics of a classic Indian drama who is interested in the structure of a popular Indian movie. The Sanskrit play was a magnificent dance / drama, in contrast to the well-organized Western theater. They were non-naturalistic and stylized and demanded imaginative responses from the audience. Many of the strength and strength of the Sanskrit Theater were derived from the traditional vocabulary of traditional theatrical expression, and the more people know the tradition, the more we were able to participate in that experience. The Sanskrit drama was a heroic romantic tragic comedy with a strong lyrical taste. The ultimate purpose of a classic Indian dramaist was to create a dominant aesthetic feeling (Lhasa) to the audience.
Although popular movies have direct connections with folkloric theaters rather than classical theaters, the importance of the Sanskrit Theater is important because it is a source of folkloric theaters.
iii) Folk theater:
Due to several causes, Sanskrit's drama began to decline since the 10th century. In parallel therewith, a number of dramatic shapes were born in various provinces that preserved and embodied the essence of traditional tradition. Yatra in Bengal Province, Lam Rila and Krishna Lilla in Uttar Pradesh, Thamasha in Maharashtra, Nautan Key in Rajasthan, Baha'i in Gujarat, Bagavata Mela in Tangier, Turktut in Tamil Nadu, Andorra and Yakushakana in Karnataka are the most prevailing . These various regional dramas are inherently the creation of uneducated ethnic artists, especially the difference between the ability to embody the living shape and the degree of reliability, which is a characteristic of the classic Sanskrit Theater Common to one of the central features.
Since the 10th century, when the classic Sanskrit language was divided into mother tongues and rooted in the form of regional languages, the Sanskrit play that collapsed for centuries was replaced by a growing folk theater. In this way, tradition was not classical from ethnic, but from classical to ethnic. Folklore theaters inherit many classical customs. Of course, this does not imply that all folk art in India comes from traditional tradition. But it is important to observe that in all the rural dramas that survived to date, the influence of traditional tradition is clearly understood. In using humor, music, dance, the structure of the story, informational melodramatic imagination, Indian folk theater will definitely have a big impact on popular movie theater makers.
iv) Paris Theater: The Perth Theater is the most important cultural precedent of Indian popular films, as well as being a cultural pioneer of early American movies. Born in the 19th century, the Parsi Theater has been incorporated into Indian traditional stories, acting traditions, and technically driven film formats.
Parsi's theoretical company number was playing in front of the crowded audience over the country .. These theatrical companies have practical heart casts and are more than artistic achievements I was more interested in commercial success. The Parsi Theater was excellent in both social and historical plays. In the stylist, they blended a strange amalgam of realistic illusions, music and dance, stories and sights, bustling dialogue and stage creativity in the framework of a melodrama. Their melodious songs, crude humor, sensationism, amazing stage craft performances are designed to appeal to a wide range of people. Parsi theater depicting the style of entertainment in both Western and India represented an attempt to appeal to the most common denominator. In this way, we can see that these plays are surprisingly similar to the generality of common Indian cinema. When folk drama is based in rural village and presents vocabulary of traditional inherited theatrical expression, the theater of Parcia was meant a urban theater exposed to Western style and sensitivity.
Most importantly, at the Parsi Theater, traditional theatrical performances were held in the central stage and the concept of the Indian Procyanian Theater, where the audience was surrounded, was introduced. Actors will also enter the stage through the audience. The Parsi Theater (or Nataka Company, which was known in Eastern India in partnership with the East India Company) uses the West's stage concepts while incorporating Indian traditional theater themes and stories, Everything is a closed stage, leading us to the style of the stage now in fashion. This opened up the way for the camera to record the scene from the viewpoint of the front row audience. There was a central stage and audience on all sides, cameras that had to be stationary since they were heavy then could not capture performance on the stage. In this way, the Parsi Theater has supported the transition from a traditional Indian theater to a movie theater.
v) HOLLYWOOD CINEMA
The origin of the movie in the second half of the 19th century, the majority of popular art was a novel or a theater, so American movies virtually depended on historical accidents from natural style stories to natural themes of the story It was. Instead of the essay shape and lyric poetry, I adopted the basic tactics and goals of a realistic novel. Conscious style is lost to encourage the audience, establishing fantasies of reality of the movie Identification with characters on the screen "
(Satacit Ray)
Indian filmmakers were very fascinated by Hollywood musicals in that they are interested in Hollywood musicals and relate the characteristics of traditional Indian theater and performance in some interesting way. The heyday of Hollywood musicals spread from the 1930s to the 1950s, and most of the musicals produced over the last two decades depicted the world of entertainment itself. While providing both the drama character and the audience an opportunity to indulge in fantasy flight, the story of these movies was entirely conventional. It was through the work of the plot that an obvious disparity between the story and the sight was reconciled. However, this is not a characteristic common in Indian movies.
Commercial movies in India were largely dragged out of Hollywood musicals, but the story was different in that it was not used for healing narratives / scenes. Instead, the sequence of singing and dancing was used as a natural representation of daily emotions and circumstances. Hollywood played a musical to maintain the real facade to justify the sight. They not only showed off singing and dancing, they actually talked about singing and dancing. Meanwhile, while Indian filmmakers are trying to strengthen the elements of fantasy through music and sight, the impression that singing and dancing is a natural and logical expression of emotions in a given situation in the performance of a movie Was activated again. Music contribution is an important element in the cultural construction of feelings. In this way we will check both the similarities and differences between Hollywood musicals and major Indian films.
The two basic elements of "invisible" style are Minsren and continuous editing. It means that the technology must be used in such a way that it is not noticed and it will be invisible itself. In that sense. Not displayed "style" led to the principle of "centering". Camera angle, lighting, focus, framing, costume, set design all worked together to keep the main purpose of the story in the center of the frame. On the other hand, discontinuity brought about by editing was understood by practice aimed at maintaining effective spatial and temporal continuity on a shot basis. Continuous actions, visual combinations, common sounds, matching success shots with visual similarity, 180 degree systems, etc. guarantee continuity of editing. Indian filmmakers who excessively love dramatic camera movements, luxurious use of color, flashy editing, sound self-conscious use depart sometimes from Hollywood's "invisible" style. In the case of Hollywood filmmakers, what is displayed in the story closure, discreet nonreflective cameras, image continuity, peeping objectization, shot centering, frame balance, in the audience's mind The screen is an objective report of actual events, not a series of intentionally created events. In this regard, it is appropriate to remind the concept of demonstration (Aristotle's term, which is similar to the life claimed by art) in the sense that it should not be regarded as truth, but interpreted as culture Take it for. Here, the reality may be claimed as a cultural component.
In recent years, Hollywood has become a major hunting ground for movie plots, stories and characters, which is a Hindi remake of Hollywood's success. This Fenoemon deepened the influence of Hollywood by remaking each shot using easily available DVDs. Importantly, the success of Europe and Latin America is unprecedented, Bollywood & # 39; film.
vi) Television:
In the 1980s, the cultural and visual influences of television in film production were felt somewhere, especially against the popularity of MTV format editing (fast cut). It is clear in Indian popular movie theaters in the 1980s and 1990s.
Camera pace, quick cutting, dance sequence, camera angle related to contemporary music television finds a clear analogy in contemporary Indian film. We must investigate the work for filmmakers like Mani Ratnam to recognize this. As modern Indian audiences are increasingly exposed to music television programs and these innovative presentation techniques, their sensitivity is clearly beginning to be formed by them. Naturally, contemporary Indian filmmakers are drafting MTV's technology greatly in order to maintain the appeal of the public. This is not surprising as movies are the place where art and technology meet. It is a soundtrack that helps you build & # 39; images & # 39; The relationship between filmmakers and technology is not necessarily easy, but new technologies such as digital images and virtual reality have won.
What we are seeing is the emergence of a unique genre of filmmaking in India as a result of the coalescence of the diverse powers we discussed above. This genre, which linked reality and fantasy, stories and sights, music and dance, tradition and modernity, was deeply rooted in people's cultural life and spirit, accepting new and foreign influences. This genre is dramatically melodramatic, allowing a huge amount of Indians to come to terms of social modernization while preserving the Indians.
