About The Book
"Nothing can be valuable and useful but to analyse the films that are generated and displayed on the community" (Thomas, 2005: 61). Although the Social layers and classes preserve tendencies, contradictions and attitudes through artistic works it has two major problems: One it is broadly defined so it can be determined which aspects of society are reflected in art and which ones are not (there is always a debate about what and who is being reflected). Two the relationship between film and society is a one-way trip influencing the society and ignoring the interaction of the films on the community. The theory of Functionalism is normally regarded the other side of the Reflection theory. The film Art, in today's world, can't be classified under the heading of pure entertainment or reflection of social conditions. It has transformed into a philosophy for life having educational dignity. Lest we forget our own Natya Shastr was originated and raison d'etre for all this. "An image is not limited to what you can see. It has many different layers, and sometimes those layers dissolve the images that you see, and you just think about the layers. That is cinema": Iranian filmmaker Abbas Kiarostami. It is, therefore, up to the viewer what he wishes to look for- the layers or in between those layers.
About The Author
A graduate in Science, Bachelor of Law and Masters in Sociology Ashok Kumar is a short film maker. He has studied Radio/TV/Cinema Production-Direction from London. His experience at the BBC (External Services) and as Producer at TV Center Delhi led him to work as Faculty at the FTII, Pune, HOD Media at MICA Ahmedabad and HOD Advertising Creativity at Ramoji Universe, Hyderabad. Currently he is a Visiting Faculty at the FTII Pune, SNDT University Mumbai, Bundelkhand University, Jhansi and MICA, Ahmedabad.
Introduction
Cinema is much more than just another medium. It has evolved, transformed and has become multidimensional encompassing entertainment, information, inspiration, motivation, promotion-all in one in addition to developing itself into a new form of art. Cinema has become so entwined with the social, political, cultural and emotional lives of the people of the world that nothing stands in comparison to it. Cinema has broken boundaries and has freely entered homes and offices. Today cinema is not dependent on the society, it is the society that is dependent on cinema in more ways than one. This makes cinema an important medium to be discussed and understood afresh.. When, as a film maker and television professional, I did my MA in Sociology a lot of friends-even in the academic circles-questioned" Why sociology after all? You should have done MA in Mass Communication & Journalism. It would have furthered your knowledge of the subject, would have been easy to pass exams and could offer you better prospects as a Professor of Media." But I was clear in my mind. If cinema is a socio-political art it needs to be understood and discussed with a sociological perspective. Right from the start, like everyone else, I too was taught cinema via western view point and mainly through the international cinema. When I grew up I realized that Indians have a mine of knowledge in the domain of performing arts a lot of which is embedded in our scriptures and especially in the 'Naatya Shaastr' and Indian film makers and theatre producers-over the years-have done some exemplary work in their fields. As an Indian it would be dishonest of me to not to acknowledge their contribution. It is since then that, in addition to the international cinema, I have started showing and discussing Indian films and literature in my classes. This not only generates self-confidence and self-respect in ourselves as Indians but also makes us understand where we are coming from, making things easier for us to thereby understand where we are heading to and how. This book does not claim to be a researcher's academic exercise; it is for everyone like it should be. This book is an individual and independent effort of mine. Therefore, it is quite possible that I might have left out a few things that must have been mentioned or written in it. It is also possible that a few learned people may not agree with what I have written. This book, by no means, is an exhaustive account dealing with the Sociology of Cinema. It is my humble effort to put cinema-and all its facets-in sociological perspective. If this is of help to the academicians and useful to the students of cinema (and sociology) I would consider my effort successful.
Send as free online greeting card
Email a Friend
Visual Search
Manage Wishlist