Aesthetics of cinema:Director of Manipal Institute of Communication Varadesh Hiregange speaking at the film appreciation workshop in Udupi on Sunday.
"Cria Cuervos", Saura. Cartel Polaco.
"Los sobrevivientes", Tomas Gutierrez Alea, ICAIC, Cuba.
Desde lo que «El Viento se llevo» hasta «Algunos prefieren quemarse», el cine en Hollywood poseia valores humanisticos, en general, que superaban y a veces sobrevivian gracias al talento la guadana inexorable del negocio en la industria, pero eso ya paso a la historia, un film serio, por lo general es de bajo presupuesto y solo se distribuye entre elites. El lenguaje no interesa, lo que se busca es el circo romano que llene la taquilla con el veneno de turno y de los actores solo nos queda el escandalo de sus vidas privadas, ya practicamente la palabra «actuacion» ha sido abolida del vocabulario, la fama se mide por los millones que gana alguien en el cine y los dudosos Oscares palidecen de verguenza ante cualquier film en blanco y negro interpretado por Humprey Boggart, por no mencionar el mitico «Casablanca». Estas son mis reflexiones de critico de cine, ya viejo y amargado con el cambalache que vivimos hoy en la industria, ya que de arte en si lo poco que queda esta en la insula Barataria para disfrute de la nobleza con ansias de algo nuevo que los motive del hastio del esplendor y el dinero. Pero no es mi idea, censurada por la bulla y la parafernalia en torno a los thrillers de taquilla que te hacen parecer un orate en la muchedumbre bulliciosa que quema cuantiosas sumas por perder su tiempo mirando veneno y remakes sin sentido de novelas de caballeria computadortizadas con argumentos copiados de antes de Cervantes, son ya voces muy autorizadas las que se levantan contra la marea de basura ideologica que como un tsunami tiene sepultado al lenguaje cinematografico y sus valores universales bajo toneladas de dinero contante y sonante. El cine, ya no es el cine, es terreno de inversionistas de minas de cobre, oro o uranio, y un director cinematografico ya no es un director, es simplemente quien va administrar y garantizar la ganancia y el buen trabajo de ingenieros, tecnicos y mineros. Hoy, la profesion de la gente del cine no dista mucho de la de un minero, si trabajas bien, te arriesgas y sacas oro, te pagan, si no, te botan, y, asi, los directores, a quienes no se les exhige talento, sino maldad de comerciantes para cobrar hasta por fabricar escandalos de alcoba con sus actores. Todo para vender, ya, de los diamantes de la cinematografia solo quedan cenizas como un en un paisaje despues de la batalla. Y he aqui las reflexiones sobre el tema que nos llegan de la India, el pais que mas peliculas produce y que demuestra que no soy el unico critico que piensa de esta manera sobre el cine actual: Gualtetrio Nunez Estrada, escritor, periodista y critico de cine cubano (ICAIC-MES) radicado en Sarasota, Florida.
Big exhibitors are not interested in serious films’
Staff Correspondent
Online edition of India’s National Newspaper
Monday, Oct 11, 2010
ePaper | Mobile/PDA Version
Udupi: Director of Manipal Institute of Communication Varadesh Hiregange said on Sunday that people should encourage films with aesthetic value.
He was speaking at the inauguration of the screening of a variety of films and a one-day workshop on film appreciation titled “The other side of cinema” organised by Artists’ Forum and Saangathya journal, here.
Prof. Hiregange said India produced the largest number of films in the world. “However, the important question is do the Indian films have an aesthetic value or are they being made just with an eye on box office collections”, he said.
Film making was an art. Film appreciation workshops could enlighten audience with a focus on camera work, sets, narrative and dialogues. “It is only then, they can pass a judgment on whether the film is good or bad. However, in India big theatres are not interested in screening serious films as not much money can be made out of them”, he said.
He said that film-maker Girish Kasaravalli had said that people should have a taste for good cinema. Film-makers such as Satyajit Ray, Mrinal Sen and others had played an important role in creating an enlightened audience for their films in West Bengal. Such efforts were required in other parts of the country.
When Satyajit Ray’s Pather Panchali was screened in the West for the first time, there was some criticism as the audience there was not used to see people eating with their hands. “Film appreciation courses help people in understanding such cultural differences”, he said. How to distinguish between a commercial film and art film?, is one question which was asked by most people, he said. Film-maker Shyam Benegal had said that an art film was one where aesthetics were given importance. “If a film has good quality or aesthetics, people will see it even after 30 years. It can even become a textbook film”, Prof. Hiregange said.
Editor of the journal Saangathya Parmeswara Guruswamy, President of Artists’ Forum Ramesh Rao and Managing Trustee of Sri Janardhan were present.
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Big exhibitors are not interested in serious films’
Staff Correspondent
Udupi: Director of Manipal Institute of Communication Varadesh Hiregange said on Sunday that people should encourage films with aesthetic value.
He was speaking at the inauguration of the screening of a variety of films and a one-day workshop on film appreciation titled “The other side of cinema” organised by Artists’ Forum and Saangathya journal, here.
Prof. Hiregange said India produced the largest number of films in the world. “However, the important question is do the Indian films have an aesthetic value or are they being made just with an eye on box office collections”, he said.
Film making was an art. Film appreciation workshops could enlighten audience with a focus on camera work, sets, narrative and dialogues. “It is only then, they can pass a judgment on whether the film is good or bad. However, in India big theatres are not interested in screening serious films as not much money can be made out of them”, he said.
He said that film-maker Girish Kasaravalli had said that people should have a taste for good cinema. Film-makers such as Satyajit Ray, Mrinal Sen and others had played an important role in creating an enlightened audience for their films in West Bengal. Such efforts were required in other parts of the country.
When Satyajit Ray’s Pather Panchali was screened in the West for the first time, there was some criticism as the audience there was not used to see people eating with their hands. “Film appreciation courses help people in understanding such cultural differences”, he said. How to distinguish between a commercial film and art film?, is one question which was asked by most people, he said. Film-maker Shyam Benegal had said that an art film was one where aesthetics were given importance. “If a film has good quality or aesthetics, people will see it even after 30 years. It can even become a textbook film”, Prof. Hiregange said.
Editor of the journal Saangathya Parmeswara Guruswamy, President of Artists’ Forum Ramesh Rao and Managing Trustee of Sri Janardhan were present.
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