JOIN USMoving Images
Multiple Realities
N Manu Chakravarthy
Sampada Publications
2016, pp 248, Rs 203
Moving Images Multiple Realities is a book of essays on films. The author has attempted to look at a Third World theory of cinema through writings covering Iranian cinema to the cultural politics of Girish Kasaravalli’s films; from the plurality of Kannada cinema to Akira Kurosawa and the tradition of Japanese cinema, to name just a few of the 19 essays in this scholarly collection.
Chakravarthy is a student of cinema. And the fact that he is a teacher with over 30 years’ experience of guiding postgraduates and undergraduates in critical theory, film theory and feminist theory comes across in every essay. He argues that one of the ironies of Indian cinematic traditions is that Indian filmmakers and critics continue to believe “that Western constructs are universally valid and therefore are to be accepted as models that help the Indian cinematic traditions to evolve further.” He says that as the West alters its principles of filmmaking from time to time, and Indians feel obliged to change their standards accordingly; but he accepts that the diverse, alternative traditions have also influenced Indian films and critics in positive ways.
Chakravarthy says that it’s a paradox that Hollywood and the “popular/commercial of India” have acquired enough power over the last two decades to “sharply influence our non-mainstream filmmakers and critics to go to the extent of declaring that only popular cinema represents reality in an authentic manner.” He argues that this is because of the huge market forces that have come into play due to globalisation, and that these may have affected the aesthetics of cinema.
He says it is with this background in mind that a theory of Third World cinema needed to be shaped. “The essays are basic attempts at constructing multiple theoretical approaches that go beyond singular and reductionist aesthetic/ideological methods,” he says. He makes an interesting point when he says that the notion of “imperfect cinema” that emerged in the Latin American context could be used in Third World cinema.
In his section on Akira Kurosawa, Chakravarthy points out how Japanese cinema never gave up its “communitarian base,” in that community consciousness was never lost sight of, even while the films explored psychological angles of individuals. He also touches on the fine-tuned philosophical sensibilities of Japanese cinema by discussing the works of Kobayashi, Kurosawa and Mizoguchi, and how they raised questions that make for interesting discussion. “...can there be a single kind of truth? Can there be a single kind of mind at work behind an event? Can human experience be constructed on a monolithic plane?” asks the author, adding that the Japanese films stood out by retaining their identity. “In a scenario where we are pestered by Western theories, in a situation where we interpret everything through Western perspectives, Japanese films point to the need for constructing an alternative epistemology and theoretical/ideological categories.”
In his essay on the plurality of Kannada cinema, Chakravarthy tries to track its tradition from 1934 (with the release of Sati Sulochana) right through the decades until Bedara Kannappa (1954), Bhakta Kumbara (made in 1949 and again in 1973), Mayura (1975), Kranthiyogi Basavanna (1983). He examines how a major base of Kannada cinema has been that of Bhakti-legend-mythology-history. Interestingly, this blend was also the main platform for all the Indian cinema traditions.
Social consciousness was another important theme that formed the backdrop of Kannada cinema through the years — status of women, caste, problems associated with justice and equality. Some films discussed in this essay include famous trendsetters such as Varadakshine (1957), School Master (1958) and Bhoodana (1962). During the phase when the Navya movement in Kannada literature was affecting Kannada culture in the 1970s, films such as Samskara, Kaadu, Chomana Dudi, Ghatashraddha and Tabarana Kathe had a deep impact on the way the middle class confronted social issues.
There are several other thought-provoking essays in this book. For example, Chakravarthy’s discussions on Girish Kasaravalli in two essays: one on the cultural politics of his films and the other, an in-depth discussion of Kurmavatara. There is also an interesting interview with the director. All three are important reference points for the student of Kannada cinema.
When one mentions Kasaravalli, one has to speak in the same breath of cinematographer S Ramachandra, and Chakravarthy has written a short tribute to the man who passed away in 2011. S Ramachandra began his association with Kasaravalli with Ghatashraddha in 1977 and theirs became a famous team. Although the tribute is just a few pages long towards the end the book, it recalls some memorable moments captured on celluloid by Ramachandra, for eternity.
This book is a valuable storehouse of discussions that will be of great help to those interested in cinema.