Winds From The East

    CABOOSE Caboose is an independent publisher of books about film located in Montreal, Canada. Caboose publishes a small number of innovative books each year on topics related to film theory, history and criticism. They are often collaborative in nature and create whole new fields of enquiry and modes of discussion of interest to specialists and general readers alike New Books on Cinema The New Cinephilia- Girish Shambu http://tokioga.com/index.php?route=product/product&path=62_126&product_id=1758 Mise en Scene http://tokioga.com/index.php?route=product/product&path=62_126&product_id=1758  Montage http://tokioga.com/index.php?route=product/product&path=62_126&product_id=1757 Decoupage http://tokioga.com/index.php?route=product/product&path=62_126&product_id=1756  

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13 BCD 13 Basement Hauz Khas Village New Delhi

13 BCD to launch on Feburary 1st 2012 1st Gallery dedicated to Cinema in India Criticism+Collaboration+Curating Cinephilia In India Kicks-Off @ 13 BCD Hauz Khas Village New Delhi

Gauri Gill, Nandini Valli, Elaine Stocki, Althea Thauberger, two each from India and Canada shortlisted for Canada's largest cast prize for photography. Check out their work and particpate in the Open Online Voting. Cast Online Vote: http://thegrangeprize.com/vote-2011 Visit the Facebook Page: http://www.facebook.com/pages/The-Grange-Prize-India/254943217871078 Pic Copyright:- Nandini Valli (Indian), Seated 1, 2006, from the series Definitive Reincarnate, inkjet print on archival paper, 79 x 76 cm. Courtesy of the artist and Sakshi Gallery, Mumbai © 2011 Nandini Valli

Cine Darbaar in association with the Japan Foundation, Iran Culture House, Indian Auteur and Sri Aurobindo Center for arts and culture, is organizing a 3 day programme titled Cinephilia and Beyond, to be held on the 22 nd , 23 rd and 24 th July, 2011. Cinephilia and Beyond is an independent programme for the young Cinephiles, to enrich them with innovative sessions, film screenings and interactive workshops. The ceremony will be inaugurated by eminent film maker Mr. Buddhadeb Dasgupta, along with a special screening of his latest film Janala (The Window). The inauguration will be preceded by a key note address on Buddhadeb Dasgupta and his films by Mr. Sandeep Marwah, MD, Marwah Studios, along with the opening of an exhibition on visual story telling from Iran, which will be shown on all 3 days. Buddhadeb Dasgupta has won the Golden Bear award at the Berlin International Film Festival and The Golden Lion at Venice Film Festival and will be conducting an exclusive Mast...

(In No Particular Order) 1) Carbiou- Found Out 2) Sharon Van Etten 3) Mirrors- Hide and Seek 4) Peter Broderick- Sideline 5) Ariel Pink's Haunted Graffiti: Round and Round/ Menopause Man 6) Hichkas- Yeh Rooze Khoob Miad 7) Arcade Fire - "Sprawl II (Mountains Beyond Mountains) 8) Wild Nothing- Summer Holidays 9) saito kazuyoshi- gekiteki na syunkan (fav discovery of the year) 10) Efterklang-Full Moon 11) Girls- Carloina/Heartbreaker 12) Beach House- Zebra

IA author Manjari Kaul on the latest film of Ashutosh Gowarikar, Film theorist, Andre Bazin, in his essay, “The Ontology of the Photographic Image” notes that if cinema was ‘put under psychoanalysis, the practice of embalming the dead might turn out to be a fundamental factor in [its] creation’. Cinema’s preoccupation with history, the spirit and achievements of a particular age, its heroes and its villains, the glory and shame are never a pointer simply to an era gone by but also to a continuum that the filmmakers wish to evoke between the past and the present. The historical film in Hindi cinema has been a genre devoid of imagination for it seems that the only times in the country’s past that seem to get evoked time and again are- the vibrancy of the Mughal era, the heroic freedom struggle and the holocaust of the partition of the Indian subcontinent. Ashutosh Gowarikar has, over the years, marked out the Historical as his preferred territory. He has sung his eulogy to M...

You said in a press conference that out of the 43000 feature films that have been made in this country since the dawn of cinema, only 5000 have been preserved. What do you believe justifies this callous attitude towards our film heritage? The tendency to preserve is not inherent in our culture. There is a clear lack of initiative in the field of archiving. There is also a lack of a proper series of steps being taken by the established authorities to educate the young generation of film lovers, or even the current members of the film fraternity. Do you believe that this lackadaisical attitude also stems from a disinterest from a commercial standpoint in the preservation and later, exhibition, of these films? I believe that these films, once released, will definitely find a commercial audience. There is an also a sustained effort from our side (NFAI) to upgrade these films to more updated formats – for instance, the present edition of IFFI features an exhibition of 5 obscure Indian films...

International Film & Television Club (IFTC) is organizing the 3 rd Global Film Festival; Noida from 12 to 14 th November, 2010 at Marwah Studios, Film City, Noida. The film festival will be focusing on the theme of children this year by bringing in films from diverse country such as Iran, France, America, Spain and U.K. The opening film of festival will be a Japanese Anime film, Nitobeh and the closing will be a Spanish Masterpiece Spirit of the beehive. The festival is also organizing seminars and workshops that will be held throughout the 3 days. The prominent topics to be explored in seminars are Commercial Viability of Children Films (Headed by renowned director Mr. Sudhir Mishra), Are animation films for children only (by Mr. Kundan Shah) and How to make children films available in Multiplexes (By Ms. Sai Paranjpye). The workshops will be held on Delhi : A venue for shooting films, Cinema and social Responsibility and Children Films not a child’s play to be taken ...

casual appraisal of how Varma tends to assume his audiences know everything beforehand, and much like a bad storyteller who cannot wait to tell you about the twist in the tale without setting it up first, he is essentially making films only he can enjoy. Varma is often believed to have triggered some sort of a revolution in terms of how Bollywood films are made – a reputation that is largely a yield of his 1998 film Satya. His frequent complaint is that a lot of the writers on his films, or even his audiences, tend to compare whichever of his efforts is the latest to feature on the marquee with this earlier tour-de-force of a film– thereby invariably resulting in a circumstance of unbalanced and unequal comparison, where Satya will always triumph, but more importantly, his latest film will always be given the raw end of the deal. It is to Satya’s credit and some sort of a perverse ode to its endurance that a film its director makes in 2010 is still compared to a film he made in 1998...

The action on Indian Auteur might be a little less these days but we slowly sorting out all the mess to get things back in order. From the content to design. But our offline efforts with IA sister body Cinedarbaar is being noticed. Here is a major news wire(IANS) service story on film clubs in Delhi. Cinedarbaar is actively involved in the space for film programming, interaction, discussion and championship of auteur studies. It has been involved in programming and otherwise in over 15 festivals, 10 film workshops, 5 major Film Interaction Programme( National Film Awards, Indian Panorama etc), Summer Film Camp for Children and Cinephile Meetings in the last one and a half year of its existence. Delhi is talking world cinema, thanks to film clubs By Mohita Nagpal New Delhi, Aug 16 (IANS) No longer are “Breathless”, “Rashomon” and “Amores Perros” the preserve of the well-heeled at Delhi’s arty evenings. Critically acclaimed international films like these have struck a chord amon...

When dreams and reality coincide, the concoction can be deliciously smooth and fantastic, literally. Satoshi Kon’s anime mostly allude to that concoction – the merging of the real and the fantasy, the thoughts and the illusions blurring lines between. But these are not the only pegs to his storytelling. Kon’s creation are an amazing introduction to the world where line blurs, the definition concedes a conundrum, giving way to a chaos of simplicity. Like the name, Studio Madhouse, that has produced all his films till date, Kon’s films delve into a realm that tries to reflect the utter madness that our imagination can infuse into any ordinary circumstance. Portions of his films feel like captured memories, the heightened ones of course. Manga –artist turned anime director, Satoshi Kon’s oeuvre, over the last two decades, garnered him the name “auteur anime director”. His films have been known for defying the conventional genre and their exquisite, fantastic choice of subjec...

Cine Darbaar, in collaboration with the Embassy of Japan, Directorate of Film Festivals, Japan Foundation, is organizing a 3-day Animation film festival at Siri Fort auditorium II on the 20 th , 21 st & 22 nd August, 2010. It’s the first time that a festival will be celebrating Japanese-Anime, Manga (Comics) and Pop-culture in India. Anime Cine Experience will be bringing the great anime works of Japan with films like The Girl who leapt through time, Grave of the fireflies, 5cm per second, Voices of Distant Star, The Place Promised in Our Early Days . In its inaugural edition the festival will showcase Japanese comics, anime serial, short film competitions, pop-culture exhibitions. To give the audience a wider understanding of Anime, the festival will have workshops and special discussions will be conducted by one of the emerging game designers in India, Mr. Shubham Mauria, on the topic of The Relation of Anime and Its Avatars in Popular Culture in Relation to Japa...

This tradition of exposing the vulnerability of the male ego, in cinema, ran rather curiously, simultaneously with the tradition of taking a male figure and granting him exclusivity among lesser mortals. Would it be wrong to say that for a long time, and even now, the discussion on the nature of the male ego has remained the most significant dialectic between purely studio-based mainstream blockbuster cinema and smaller cinema? Is it ironic that Ben Hur and Shadows were released close to each other; or that the same year gave us Luke Skywalker and Alvy Singer? READ MORE

Taipei Economic and Cultural Centre, New Delhi, in collaboration with Directorate of Film Festivals will be hosting acclaimed Director Ang Lee’s Retrospective Film Festival from 23 rd to 25 th July 2010 at Siri Fort Auditorium, New Delhi. Thereafter, the movies will be showcased in Pune and Kolkata. The five films that will be screened for audiences are: Fine Line (1984), Pushing Hands (1992), The Wedding Banquet (1993), Eat Drink Man Woman (1994), Crouching Tiger Hidden Dragon (2000). This festival traces Ang Lee’s journey starting from his first college. READ MORE

IA talks about experimental auteur Tom Chomont and examines his role in the hierarchy of the 1960s Structuralist Cinema in America, while also inaugurating its annual Film Critic Symposium in its Issue 11 READ MORE

Rossellini says, “A shot is not right when it is beautiful, but beautiful when it is right,”; and these attributes (right, or wrong) can be attached to something only in relation to something else; only within a context; which is to say, something is right only when something else is wrong. In the case of a film, that context is a set, almost unchangeable aesthetic plan that a film chooses for itself. Read More