C.S. Venkiteswaran: I am really honoured to be here in the august presence of Bela Tarr and for the opportunity given by the academy to write a book about him. Before we begin the G. Aravindan Memorial lecture in the form of a conversation, I'll just say a few words about Aravindan because every IFFK has this lecture delivered by one of the luminaries of cinema, as a kind of remembrance of a master from our own language.
Aravindan lived between 1935 and 1991. but his films continue to captivate us with all their freshness and creative vibrancy. In everything he did, whether it be cartooning, art direction, theatre, drawing, music or film, Aravindan was able to make new connections, infuse a certain poignancy, a reflective pace and a dignified individuality. It was his keen sensitivity to all the arts, accompanied by an intense engagement both with the senses and the intellect that gave his works a haunting reverberation and unpredictable resonance. This ability to work with, through and blend different mediums with ease gave his oeuvre a very distinct character and unique sensibility, that is meditative yet deeply emotional.
This story is from the March 2023 edition of Chalachitra Sameeksha.
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This story is from the March 2023 edition of Chalachitra Sameeksha.
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Action Hero Pauly Hegemonic Masculinity in the Grammar of Realism
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Distinguished cinematic movements inevitably reflect the structural and formal changes of the film industry into its stardom. The faces of the cinematic medium have always created an iconicity.
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ദി ഗ്രേറ്റ് ഇന്ത്യൻ കിച്ചൻ, മറ്റൊരാൾ എന്നീ സിനിമകൾ ആധാരമാക്കി ഒരു താരതമ്യവിചാരം
