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Also referred to as the second period of Marxist aesthetics, the theory of Social Realism, the foundations of which were laid in the 1930s under the leadership of Stalin by such writers as Jdanov, Gorky, and Radek, his most loyal comrades, has become the most popular narrative style in cinema in particular (presumably due to cinema's reaching a greater number of people), both among critics and the public. Though I doubt the public has any notion of the theory behind what they are watching.
The irony is that the West, which has been anti-Russia throughout history, has imported this trend from Russia, which is neither "socialist" nor "realistic".
This narrative style, which extends from Italy to Germany and Iran, and from there to India, in the process that began with Italian Neorealism, and especially with the 1948 Italian film Ladri di biciclette, written by Cesare Zavattini and directed by Vittorio De Sica, though it has at times been misused with works made in the name of glorifying poverty and misery, is still the most sought-after narrative style.
Mira Nair's 1988 film... There are social realist flavors, and it certainly does not resort to agitation to capture the audience.
This lament, which Mira Nair, who made a name for herself in the world of cinema with 4 documentaries, dedicated to the street children of Bombay, attracted attention at the time with its winning a good award at the Cannes Film Festival in 1988. When we look at the subject of the film, the protagonist is an emotional, sensitive, and proud child named Krishna, the child of a poor family, and it is significant that the director gave the character the name of a god in Hindu mythology. In Hindu mythology, Vishnu is known as the protector of the universe. When there is a crisis in the world, Vishnu descends to Earth by choosing an avatar suitable for the crisis, the problem. Krishna is one of Vishnu's popular avatars or incarnations. Hindu families choose the god that suits them. Krishna is known for his powerful features. Probably the character of Krishna in the film was also depicted as someone who symbolizes strength, but alas, the story, which takes place in the back streets of Bombay, leaves no strength in Krishna. Or it has represented the weak against the one who symbolizes strength.
Through our wretched Krishna, we witness the events in the filthy back streets of Bombay. Brothel, female pimps, drugs, child laborers, child prisoners, arbitrary imprisonment, female trafficking, cheap deaths, custody of female children, child sex workers, etc...
Nair says that the initial inspiration for the film came from the spirit of Bombay's street children, which is announced to us viewers with the end of the film, which she dedicated to them anyway.
Nair also decided to make the film after watching Héctor Babenco's drama Pixote (1981). Actually, this did not come as much of a surprise to me after watching the film, although the narrative style of this film is not as harsh as Héctor Babenco's Pixote (1981), they have many troubles that meet on common ground...
The child actors in the film are real street children, and the naturalness of this is reflected in every frame of the film. Especially the performance of Shafiq Syed, who is only 4 years older than me... This is his only work in cinema anyway.
This film, which will permanently shatter your perception of the colorful and cheerful streets of India that Bollywood, supported by the Indian state especially in the last 20 years, presents to the world, is undoubtedly one of the best works in the history of cinema.
The irony is that the West, which has been anti-Russia throughout history, has imported this trend from Russia, which is neither "socialist" nor "realistic".
This narrative style, which extends from Italy to Germany and Iran, and from there to India, in the process that began with Italian Neorealism, and especially with the 1948 Italian film Ladri di biciclette, written by Cesare Zavattini and directed by Vittorio De Sica, though it has at times been misused with works made in the name of glorifying poverty and misery, is still the most sought-after narrative style.
Mira Nair's 1988 film... There are social realist flavors, and it certainly does not resort to agitation to capture the audience.
This lament, which Mira Nair, who made a name for herself in the world of cinema with 4 documentaries, dedicated to the street children of Bombay, attracted attention at the time with its winning a good award at the Cannes Film Festival in 1988. When we look at the subject of the film, the protagonist is an emotional, sensitive, and proud child named Krishna, the child of a poor family, and it is significant that the director gave the character the name of a god in Hindu mythology. In Hindu mythology, Vishnu is known as the protector of the universe. When there is a crisis in the world, Vishnu descends to Earth by choosing an avatar suitable for the crisis, the problem. Krishna is one of Vishnu's popular avatars or incarnations. Hindu families choose the god that suits them. Krishna is known for his powerful features. Probably the character of Krishna in the film was also depicted as someone who symbolizes strength, but alas, the story, which takes place in the back streets of Bombay, leaves no strength in Krishna. Or it has represented the weak against the one who symbolizes strength.
Through our wretched Krishna, we witness the events in the filthy back streets of Bombay. Brothel, female pimps, drugs, child laborers, child prisoners, arbitrary imprisonment, female trafficking, cheap deaths, custody of female children, child sex workers, etc...
Nair says that the initial inspiration for the film came from the spirit of Bombay's street children, which is announced to us viewers with the end of the film, which she dedicated to them anyway.
Nair also decided to make the film after watching Héctor Babenco's drama Pixote (1981). Actually, this did not come as much of a surprise to me after watching the film, although the narrative style of this film is not as harsh as Héctor Babenco's Pixote (1981), they have many troubles that meet on common ground...
The child actors in the film are real street children, and the naturalness of this is reflected in every frame of the film. Especially the performance of Shafiq Syed, who is only 4 years older than me... This is his only work in cinema anyway.
This film, which will permanently shatter your perception of the colorful and cheerful streets of India that Bollywood, supported by the Indian state especially in the last 20 years, presents to the world, is undoubtedly one of the best works in the history of cinema.
A cast of players whose names I had not heard tell of before, and a director whose name I had not heard tell of before. A marvelous cast, and marvelous directorial decisions, sound design, cinematography, the splendor of the songs chosen for the soundtrack, and DATSUN.
Datsun, a short film most deserving of the dozens of awards it has received.
And whenever I think, "If this film is an American film, wherefore the strange English accents, and wherefore the steering wheels of the vehicles on the right side?", that film turns out to be a product of the cinema of New Zealand. 'Tis a most pleasing detail to see the nature of Australia and New Zealand, so reminiscent of the southern parts of these United States, and the way this nature has permeated the souls of the people, in their films and literary works.
Datsun, a short film most deserving of the dozens of awards it has received.
And whenever I think, "If this film is an American film, wherefore the strange English accents, and wherefore the steering wheels of the vehicles on the right side?", that film turns out to be a product of the cinema of New Zealand. 'Tis a most pleasing detail to see the nature of Australia and New Zealand, so reminiscent of the southern parts of these United States, and the way this nature has permeated the souls of the people, in their films and literary works.
'Tis Christmas week, and I am re-watching the series "A Ghost Story for Christmas", with its productions made since the 60s. Though these tales signed by M. R. James have been adapted many times by the BBC, and I am particularly fond of the Lawrence Gordon Clark versions, I believe this is one of my favorite adaptations, likely owing to my being an admirer of Rory Kinnear.
One must not disregard Mark Gatiss's skill in period pieces either.
Both versions of this tale, which was also adapted by the BBC in 1980 with a cast including Michael Bryant, Freddie Jones, and Jonathan Pryce, have secured their place among classic British Christmas adaptations.
One must not disregard Mark Gatiss's skill in period pieces either.
Both versions of this tale, which was also adapted by the BBC in 1980 with a cast including Michael Bryant, Freddie Jones, and Jonathan Pryce, have secured their place among classic British Christmas adaptations.