tag:blogger.com,1999:blog-6766783946228905516.post3974277217107023689..comments2024-03-14T15:55:55.198+05:30Comments on Winds From The East: Poltical Cinema- Delhi Cinephile MeetingDeepak Kumarhttp://www.blogger.com/profile/17280954928482076322noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-6766783946228905516.post-19761689054186264022009-05-09T01:52:00.000+05:302009-05-09T01:52:00.000+05:30And I think, if we are able to at least push on wi...<I>And I think, if we are able to at least push on with our plan for a year and go on working on what we doing- one group part of screening, one group website, one group producing. A definite change would be seen even in a small way by next year</I>I have only admiration for such a constructive vision and action. And how fascinating it will be to see the change you anticipate! I shall follow this news with great interest, Nitesh.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6766783946228905516.post-30681257164399250442009-05-08T23:34:00.000+05:302009-05-08T23:34:00.000+05:30First of all thank you for posting this wonderful ...First of all thank you for posting this wonderful essay, Edwin. I wanted to ask you in the earlier comment regarding the Chinese Underground and Independent scenario so this article seriously gives an interesting glimpse to the era. Jia Zhangke’ Platform had an enormous effect on my life and when I read this piece I can so easily see the parallels that we all are working towards here in India.<br /><br />Although not like the Chinese internal screening, but the screening and talking about foreign films even in India at a certain quarter was part of a very closed intellectual circle. This aspect is still dominantly seen in the Film Societies across India and different groups of cinema. <br /><br />People who once joined them to promote and talk about good cinema today control it like how a dictator would and are not ready to leave or allow fresh blood to enter inside. Plus it’s the whole arena of Pirate films that gave everyone the accessibility to foreign films. In Jan this year, when we were knocking the doors of various embassies and talking to people to do something (like organizing screenings) and other stuff. No one actually gave us a damn. Neither did we have money or contacts. <br /><br />Eventually we broke the jinx with the help of the Iranian Cultural House and they gave us a chance to programme films. Interestingly, here we meet people who were part of various Trust/ Film Societies in India who for years did not do anything. When I straightaway told them that they too were to blame for the death of film culture in India and neglect things. He simply resorted to saying; we have set this, set that. But when we pointed regarding lapses, he simply stated “That the older lot are not ready to leave their comfort zone”. And are happy with how things are functioning. Which was clearly sad, after all, it was the same society Satyajit Ray and gang set up to promote films and talk about it and it was their endeavor in the early years that “ Bengal” till date boosts about that culture. <br /><br />It’s true that to an extent there is no political interference in the way an independent filmmaker would begin working, but the problem again creeps in at the level of censorship (government and mainstream sympathyizers and distribution. Although, the issues of Indian censorship are not much talked about elsewhere but it’s really strict. And through the history of Indian cinema it has played an important role in shaping what we see and what we don’t. And only with the wave of globalization in the late 90s they have slightly changed their orthodox views. So this is where we do need an underground hub. <br /><br />I completely agree that we need to create our own setup everywhere. Initially we are aware that an access to equipment is the most important thing. So currently one of my friends who owns a small production house with an access: HDV Camera, AVID system is supporting the whole thing. I’m sure in time to come we are gonna invest more in this interest to completely have this setup in our disposal. Because this way we will try be out of the clutches of spending too much money on technical issues. <br /><br />However, initially we working with a different setup, like I’m supporting friends as Producer for their short films. While our sister body Cine Darbaar is working on laying the ground work for introducing Cinema through various sections of the society: schools, colleges, film workshop and etc. And at the same time the journal Indian Auteur, that we soon goona distribute Xerox copies across all our festival and other screening works. <br /><br />And I think, if we are able to at least push on with our plan for a year and go on working on what we doing- one group part of screening, one group website, one group producing. A definite change would be seen even in a small way by next yearniteshhttps://www.blogger.com/profile/03667299083541761990noreply@blogger.comtag:blogger.com,1999:blog-6766783946228905516.post-71444222647238309322009-05-08T04:41:00.000+05:302009-05-08T04:41:00.000+05:30Thanks for such a thorough and generous response N...Thanks for such a thorough and generous response Nitesh it is much appreciated.<br /><br />It sounds, at least at the surface, like politics at the level of general governance remains at a distance to the issue of non-system filmmaking. I claim this since the <I>stronghold</I> (absolutely the correct word) of the mainstream continues to grip the viability of independent filmmakers in other societies supposedly free of political tension such as that currently in India. The minimum autonomy for independent film, I believe, can only be gained effectively by forceful initiative, and creation of its own subjectivity. This is in opposition to campaigns attempting to sway influence from the existing mainstream and system film. If there has been a lesson to be drawn from the inception of China’s sixth generation and new documentary film movements (NDFM), it is precisely this: eventually, even the mainstream depends on the emergence of that which subverts it, antagonizes it, in order to refresh itself, and ultimately assimilate. Recently I couldn’t resist putting Jia Zhangke’s essay <A HREF="http://unspokencinema.blogspot.com/2009/04/images-that-cannot-be-banned.html" REL="nofollow">Images That Cannot Be Banned</A> up at UC, because it gives such vivid first-hand account of this process, blow by blow. Needless to say, I recommend it. <br /><br />How accessible are DV cams and software? I cannot think of a better in-road for an underground to emerge than investing in their logistics. The wider and more freely available DV/miniDV/HD equipment are, especially in communities that pool these resources the greater the chance for an autonomy to arise.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-6766783946228905516.post-37007665793108622672009-05-07T21:48:00.000+05:302009-05-07T21:48:00.000+05:30Thanks for the comment, Edwin. Today was one the l...Thanks for the comment, Edwin. Today was one the last phases of elections in India and in another ten days the mandate will be out. I'm not sure how faithful British Media is regarding highlighting issues pertinent to the naxalite movement across India. But it’s only when the news is good enough for Indian Media their movements are reported. For eg- A couple of weeks back, naxalites(maoist) who are not supported in any ways by the national communist parties of India had hijacked a train to stop people from going out to vote, so they did make the national news this time around. However, the issues of naxalism is something that media is not seriously bothered in reporting or talking about. Although, it’s growing at an alarming rate across different states of India. And it seriously needs attention.<br /><br /><br />I personally feel that the current establishment (mainstream cinema) has a stronghold on every aspect governing the lives of Indians. From electronic media, print and movies we are fed the same thing in a viscous chain of cycle. And interestingly most superstars and film fraternity are closely related to political establishment or practice it themselves. What is interesting to note that in both cases it’s difficult for people to really break into either of the fray if they don’t belong to the establishment or their self appointed governing bodies? Esp in Politics the seeds of youth gaining experience entering took a blow when during the tenure of the Janta Party(1977-1980)the youth organization through which the very leaders had joined were de-functed.<br /><br />So when the nature of the establishment and its are so closed there is no choice for growth and co-existence for any form of alternative cinema- writing, film making, distributing in this country. Hence, its only when we join hands with different youth groups that cut across India to start some form of underground movement that things can change. <br /><br />The premises of such a movement definitely based on an idea of co-operation that would eventually allow us to cut across different boundaries that governs and control filmmaking and its different avenues of promotion.<br /><br />This is the only way where I see we can grow in small but important steps for democratization of Indian Cinema that is largely governed by families (nepotism) and not by talent of individuals.niteshhttps://www.blogger.com/profile/03667299083541761990noreply@blogger.comtag:blogger.com,1999:blog-6766783946228905516.post-494864304781627582009-05-07T05:11:00.000+05:302009-05-07T05:11:00.000+05:30The scale and significance of these elections inte...The scale and significance of these elections interests me, Nitesh. I wonder how faithful to the situation is the Brit media in its portrayal of the communist movement's disruption of the process?<br /><br />Do you envision an Indian cinema of militancy? Or, is it that politics exists as a hindrance to its growth? Perhaps this is a false binary of sorts, forgive me, but I am as curious as I am naive in these matters.Anonymousnoreply@blogger.com