I n tr o d u c t i o n to F i l m St ud i e s

Su b je c t: F i l m S t ud i e s

L e s so n : I n tr o d u c ti o n to F i l m S t ud i e s

C o ur se De v e l o p e r : Ni r ma l y a Sa m a n ta

C o l l e g e / De p a r tme n t : R a m a n u ja n C o l l e g e ,
U n i v e r si ty o f De l hi

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C O NT E NT S :

1 SCOPE
2 FILM STUDIES: AN A CADEMIC DISCIPLINE
3 INTRODUCTION
4 LESSONS: A BRIEF SUMMARY
5 FILM STUDIES: THE EA RLY CHRONOLOGY
6 IMPORTANT FILMS

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Title of the Unit:

WHAT IS FILM STUDIES?

Scope:
This introductory lesson of the BA Programme IIIrd year Application Course on Film Studies
(University of Delhi) acquaints the student with the domain of Film Studies, which is a
relatively new but an exciting academic discipline. The lesson briefly touches upon the
important aspects of the course and also explores the value and importance of the study of
such a course at the present moment. Based on the BA Programme IIIrd year Application
Course on Film Studies, University of Delhi, lessons have been developed on the following
topics.

1. Introduction: What is Film Studies?

2. The Language of Cinema
3. Strategies of Reading Film Texts
4. History of World Cinema
5. History of Indian Cinema
6. Film Movements
7. Film Genre and Issues of Form
8. Documentary Films
9. Themes in Contemporary Indian Cinema
10. Cinema Technology and Reception
11. Genders, Sexuality and Cinema
12. Questions and Quizzes

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FILM STUDIES: AN ACADEMIC DISCIPLINE

Film Studies is one of the newly emerging disciplines in the Indian academy. Some
Universities like the Jadavpur University in Kolkata offer this course at the undergraduate
honours and the post graduate level and also conducts PhD research programmes. At the
University of Delhi, the course has been introduced at the undergraduate BA Programme
level as an optional Application Paper in the III year.

Cinema today is probably one of the most powerful cultural mediums that reach out to
millions of people across the world. More and more countries are investing in the creation of
infrastructure that will felicitate the production and distribution of cinema. Cinema is a
modern mode of human expression that comprises the conception, production, distribution
and reception of films. Films or movies are the tangible end products of the cinema industry.
With the explosion of the electronic media, the middle class homes in our cities are today
inundated with visual images on a 24x7 basis. Cinema forms a major portion of what is being
offered on the many channels that we keep surfing on our television sets. Many aspects of
our life and society are visualized and represented in the films that we see. Many ideas,
thoughts and dimensions of the human experience are represented in the films that we see.
In many ways cinema reflects the way we think and often our thinking is influenced by what
we see through the medium of films. When we watch a film our notions and beliefs about
family, society, nation, and the world are played out before us. Sometimes the film may
reinforce our ideas and sometimes the films challenge and force us to rethink about the
beliefs we harbour. If we are watching a well-made film, both these experiences are
emotionally and intellectually stimulating. Perhaps that is what we mean when we say we
have `enjoyed the film.

When seeing a movie if we ask ourselves the following questions it may help us to
comprehend the essential contents of what constitutes `film studies

1. What is it that we are seeing?

2. How is it being shown?
3. Who is showing it?
4. Who else has possibly seen this?
5. What kind of emotions, thoughts and feelings are being generated in me when I see a
particular scene/particular film?
6. What ideas are being questioned and which are the ideas that are being reinforced by
what I am seeing?

In order to answer the above questions we need to learn how to `read films. Reading would
mean an interrelated understanding of the conception, production and reception of a film. In
that sense the film becomes a text. This text is understood through the prisms of history,
culture, politics, psychology and linguistics.

The `reading of films began with the theoretical assertion that films reflect or recreate
reality in exact terms but what is seen assumes meaning by the way it is being shown and
seen.

The critical discourse of Films Studies is essentially interdisciplinary. Drawing from history,
sociology, literature, aesthetics, psychology, culture studies and the various critical theories
in different disciplines of social sciences, Film Studies is an exciting as well as challenging
discipline that looks at the history of cinema and engages with the `reading of films as text
within the contexts of society, history and culture.

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Film studies courses deal with issues like nationalism, post coloniality, modernity, post
modernity, localism and globalization. Since Film Studies and Media Studies share a lot of
common ground, film studies is located within the larger contemporary theoretical and
historical research in media forms such as newspaper, radio and television and the internet.

In the study of films we not only discuss American, European and Indian cinema, we also
study films made in Latin American countries, China, Japan, and other Asian countries. The
films from these countries have distinct cultural and narrative patterns.

In our country, in universities where this discipline has been introduced there is an attempt
to create an indigenous notion of Film Studies so that it may be related to our present
historical context. The course is conducted with the help of film studies scholars, culture
specialists and members of the film making fraternity. Today there are a large number of
academics engaged in film studies both in India and abroad. There is also available a very
large body of academic study material in the form of books and journals that are available in
university and college libraries.

What are the careers options available to a student of Film Studies? After doing a course in
Film Studies, one can specialize in a number of fields that are related to films, some of which
are technical and some academic.

1. Academics and research.

2. Filmmaking, cinematography, sound editing, film editing, costume designing, set
designing, music composing, action/dance choreographing and managing lights.
3. The electronic media
4. Journalism
5. Advertising
6. Professional theatre
7. Printing and publishing.

INTRODUCTION
When we study something, it means we approach the subject in an organized
academic manner. It may seem, therefore, strange to think that one can `study films,
which are generally, considered either a mode of entertainment or an audiovisual medium of
instruction and education.

The words cinema, film and movies are not really synonymous. Films or the `filmic
suggests the relationship of the medium of the film with the world around it, whereas the
cinematic deals with the aesthetic and formalist aspects of the art. The word `Movies
suggests the commercial and consumable aspects of the phenomenon. But these meanings
are interchangeable. In these lessons when we use the words film, cinema or movies we
mean all the three except when we specifically define it in a particular manner.

There are two ways to study a film. We can study a film by engaging with the
technical aspects of it that are essential in its production. The camera, the lights, the sets,
the sounds, the projection, the special effects etc. Each aspect has its own history and
evolution. The other way to study a film is to analyze its theme, its historicity and its
location within socio cultural contexts. The two approaches are not mutually exclusive. They
are interrelated. Over the years changing technology has determined the manner in which a
filmmaker is able to express a theme or an idea. The movie camera used today is a highly
evolved machine that had its origins in a much simpler apparatus invented about a hundred
and fifty years ago.
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The film, Roundhay Garden Scene, by Louis Le Prince on October 14, 1888 in
Roundhay, Leeds, West Yorkshire, England is recognized as the earliest surviving
motion picture .
(http://en.wikipedia.org/wiki/File:Le-prince-type-1-cine-camera-projector-mk2-1888-
interior.png)

But why study films at all? From the very beginning of civilization human beings have
expressed themselves creatively, initially in form of drawings and pictures later in the form
of the written word. Human beings have also expressed their thoughts and feelings through
dance, drama and music, which are also known as the performative arts. Historically, one
can mark out chronologically the points in time the evolution of human creative expressions.
Films are the most modern of all these endeavours. They are just about a little more than a
hundred years old. Though it is a new form of expression it emerges out of and has very
close relations with all the other forms of human creativity like painting, dance, music,
architecture and science and literature.
One of the first expressions of human civilization is a creative impulse seen in the
form of drawings and paintings that primitive men sketched, etched or carved out on the
walls of caves which were their homes.

Cave painting at Altamira, Spain. 15000 years ago.

http://en.wikipedia.org/wiki/Cave_of_Altamira

Human being recreated on the walls and ceiling of caves images that they saw around them,
of animals, birds, humans, and nature. The desire was to capture permanently a moment
from their experience in life as a visual image. This desire to recapture a moment from life so
that its emotions may be experienced again and again made the human search for many
modes of creative expression. Initially human beings creatively expressed themselves
through painting, dance, music and architecture and later with the invention of language
human expressed also through the written and spoken words. For many thousand years of
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the human civilization, the pictorial and the literary would constitute the two major mediums
of human expression. The pictorial and the literary expressions are footprints in time. By
studying them we can understand how the human civilization has worked.
There is a relationship between the pictorial and the literary. The picture is often telling a
story just as words often try to describe a picture. When we read a story we can visualize
the characters and the events in the eye of our mind with our imagination. When we see a
painting we can create a story out of it. Sometimes a moment of a story is made into a
painting.

Sita Vanavasa, by Raja Ravi Verma

http://giftstoindia.sulekha.com/raja-ravi-varma-painting-print-sita-vanavasa-variant-34-
cm-x-26-5-cm_deal-offer_13204

The above is a painting by the famous Indian artist Raja Ravi Verma (April 29, 1848-
October 2, 1906). The painting is titled as `Sitas Vanvaas (Sitas exile). It is the artists
visualization of a particular scene from the epic `Ramayana. Description of Sitas exile is
one of the high points of the narrative in the epic poem Ramayana.
We can see that the artist is trying to make a `realistic representation of the scene. The
artist imagines how Sita must have looked, what dress she was wearing and the place that
she was exiled in. He uses colours and textures to create a mood and gives

http://photo.net/photodb/photo?photo_id=10022710

The above photograph is from a theatrical representation of Ramayana. The photograph is

of the woman who plays the role of Sita in the theatrical representation. (photographer:
Vrindavan Lila, from Sita, Ramayan play, Mayapur from a certain expression to Sitas face. A
more realistic representation of the scene would be through photography where Sita would
be enacted by a real human being and photographed. If we took the photograph of Sita in a
theatre where Ramayana was being performed we would have a different image.

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Both Ravi Vermas painting and the photograph from the theatre have static images of Sita.
It is as if Sita is frozen in time. The viewer is made to imagine what Sita would be doing after
the moment in the image. We can only conjecture. But in the film Sampoorna Ramayana
(1961) directed by Babubhai Mistri, Sita is picturised as a moving image. We see her in a
dynamic form.

There is something magical about seeing a moving image. That is why when we go to see a
film we often say we are going to the `movies. The word movie is derived fro the word
`move. Movement. The moving images that we see projected in the cinema screen seems
almost real but we know it is not. This approximation of reality that films are able to achieve
is what makes this medium so very captivating. A viewer is actually transported into the
world that is being projected. In the dark cinema hall, the viewers become part of a
community of individuals setting out on a journey. Seeing a film is experiential. The
darkness, the magic of the moving images, accompanied by sound, effects recreates a real
world that one is transported to. The images on the silver screen in front of us seems real
but we know they are not real. They are just projections. The screen becomes an extension
of our mind. What we see in our daily lives, what we sometimes dream, what we imagine, all
our fantasies, our nightmares, our desires and our hopes, our fears, our anxieties and our
joys are played out in front of us and we become for a period of time totally engrossed in the
projected world of the film. The experience makes a deep impact, individually as well as
collectively.

LESSONS: A BRIEF SURVEY

The Language of Cinema

In order to express, we need a language. The artist expresses through the language of
drawings and colours, the writer through words. The filmmaker uses visuals, sounds, music,
sets, costumes, editing and graphics to express his art. The components that make up a
movie, form the `language of cinema. A filmmaker uses this language to construct a film in
much the same way as a writer uses words and punctuations to create literature. Just as
there is grammar, syntax and organization in the way writers use words to form phrases,
sentences, paragraphs and stanzas, to create various kinds of prose, poetry, and drama, the
film maker also uses the `language of cinema to create various types of movies.

The filmmaker consciously puts together various components of the `language of cinema to
create an understandable audio-visual statement. The student of cinema unravels this
language in order to understand how meaning is created in cinema. Along with a critical and
theoretical understanding of the socio-political and cultural aspects of cinema, the student of
film studies also needs to have an insight into the process of filmmaking to fully grasp the
multiple layers of meaning in cinema

Sometimes writers need to breaks rules of grammar and usage because the subject
demands such a treatment; similarly filmmakers also break established rules and create new
rules in order to express their ideas effectively.

While learning about the language of cinema we look into the history of photography from
the early black and white still daguerreotype to the modern moving digital images. We also
need to know the development of the technology of camera; from the still camera to the
movie camera and the projection system without which a movie is not possible.

An essential aspect of the language of cinema is mise-en-scene. This French term literally
means `having put into the scene. Mise-en-scene consists of all those visual aspects that

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appear within a single shot and would include the sets, props, costumes, performance and
movement, lighting and camera movements.

The camera, its position and movements are integral to the language of cinema. As the
camera became more sophisticated with technological development, its capabilities increased
which films makers exploited to their advantage.

Once shots have been taken there arises the need to join them up to make a coherent audio-
visual narrative. This is what editing is all about. The editor decides on the length of each
shot and the manner of transition from one shot to another. Just as there is a film editor,
there is also a sound editor who decides how and where sound needs to be introduced. The
sound editor also decides on the `silences within the film.

The art of cinema, its essential quality, its expressions, are fundamentally connected to the
camera and the manner in which the filmmaker is able to exploit the many things that the
camera is able to do. The amazing nature of a cinematic experience arises out of the manner
in which the film maker is able to connect the various images the camera is able to capture
in order to narrate a story.

History of World cinema

The history of cinema spans a little more than a century, yet it is a very exciting history
because cinema makes a dramatic and phenomenal impact on the culture of a society. The
fast paced technological developments of the twentieth century were a catalyst to film
production and distribution and helped in its spread and influence right across the world.

The history of World cinema would not only include the study of the technological evolution
that made cinema possible but also the early influences of theatre and other performing and
non performing art forms that influenced film making. (photography, painting, pantomime,
music hall etc)

Between 1896 and 1912 short films were made and projected to a paying audience only to
experience the thrill of a newly invented form of entertainment. The audience saw the
Lumiere Brothers short films and were thrilled to see the verisimilitude of reality in the
moving images that were projected on screen. Between 1913 and 1927 full length feature
films in the form of narration of a story evolved but these films were silent. For story, the
filmmakers began to adapt novels and thus began a close relationship between novel/short
story writing and filmmaking.

With the coming of sound and further technological improvements filmmaking became an
industry and generated huge profits particularly in Hollywood. So big budget films with
elaborate sets were made and films actors became stars. The star provided the crucial links
between cinema, fashion, food and life style and made great cultural impact particularly
among the urban viewers.

In the years that followed the great economic depression in the West, and around the time of
the Second World War, film making saw great expansion and cinema became international
with many film makers from Asia, Africa, East Europe and Latin America experimenting with
the form. They developed new approaches, contributing to the generation of aesthetically
rich film language. This was also the time that television made its appearance and
confronted and challenged cinema. The film industry needed to adjust and reinvent itself to
combat the new media challenge. The dynamic interrelationship as well as the
competitiveness between television and cinema continues till this date.

History of Indian Cinema

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India is today the largest producer of films in the world. The film industry in India is a multi
million rupee industry and employs thousands of people. Though Mumbai is the hub of this
industry, but Chennai, Hyderabad, Thiruvananthapuram, Kolkata and many other cities in
the country spin out many films every year. We have come a long way from the time that
Dada Saheb Phalke made the first feature film (silent) Raja Harishchandra (1913). To think
that this industry is just about a hundred year old its expansion is really remarkable. In India
we not only make films for our own audiences but also export our films to different countries.
In fact the popularity of Indian films abroad have made producers make films specially
targeting a worldwide audience.

Film Movements

When we study the history of cinema we find that at various points of time and at various
places, film makers have been infuenced by certain specific ideas and concerns and made
films based on those convictions. They used the medium of cinema to creatively express a
common concern. When we study these films and the film makers as a group we say we are
studying a `film movement.

The major film movements that have been identified are the Russian formalism, German
expressionism, Italian neorealism , French new wave and the new Indian cinema. Each of
these movement have produced dintinct film makers who can be identified by the uniquenss
of thier style of film making. The film movement of one country or region have often
influenced film makers of other countries. For example, Italian neo realism had a profound
effect on many film makers in India in the 1950s.

Film movements can be seen as an offshoot of larger cultural and social movements and are
generally a departure from the traditional film making of the time. They make bold
statements in the manner in which they communicate to the audience and force a relook into
accepted ways of understanding the society and the world.

Strategies of Reading Film Texts

This lesson looks at some of the important theories that are used to study and analyze films
and film language. These theories are tools in the hands of academics that help them to
unravel the many dimensions of a film that may not be apparent when one is watching it just
as a form of entertainment. Theories concerning the nature of film as a cultural production
have given impetus to film movements and inspired experimentation and innovation by film
directors who went on to make unique films. For example, Formalism as a theory help the
development of the Soviet film movement. Theories regarding cultural productions in society
its reception at different points of time, theories about human society, history, and human
psychology, about gender and feminism, theories about the structure of language and
linguistics and theories about art and aesthetics have all impacted film studies.

Film Genre and Issues of Form

Films may be categorized by their essential form. The categories are called genres. The
genre often determines the style of filmmaking. Each of the genres has a history of its
evolution. Films are known by the genres as films of romance, melodrama, western, thriller,
detective, children, gangster and such other categories. The categories are not water tight,
but understanding the film from a particular category type helps in understanding how the
film differs from others and also from the ones within its own genre.

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Documentary Films

When film language is used to `document something we can say a documentary film is
being made. The first films ever made by Lumiere Brothers were documentaries. The feature
film, is a later development in the history of cinema. The documentary film is distinct from
the feature film. Over the years the documentary has evolved into an independent form of
cinematic expression. The range of subjects that the documentary engages in is very wide.
News, tourism and travel, culture, history, geography, wild life, nature, education and
politics, all are subjects of various documentary films making. Documentaries may be
directly instructional, politically provocative, emotionally evocative or simply a vehicle
carrying information and news. The student of film studies is interested in the manner the
film maker conveys the subject of the documentary and how there is a certain point of view
in the way the narrative of the documentary is structured. Documentary

Themes in Contemporary Indian Cinema

Though popular Indian cinema has been presenting the socio-cultural-politico milieu
of India for almost a century, it was not considered a subject of intellectual and scholarly
discussions in India, until recently. However, the attitude of scholars and intelligentsia seems
to have changed towards the popular Indian cinema in the past couple of decades. Thanks to
the emergence of film and cultural studies in academia in India and abroad (especially in the
departments of cinema and comparative studies in North American Universities) the most
popular of the popular arts in India has finally been considered as an important source to
understand the society and culture of India.
The present chapter or lesson aims at interrogating how contemporary popular Indian
cinema engages with the socio-cultural-politico milieu of today. It introduces differing social,
cultural, historical and political themes such as globalization, society and culture, politics,
nation and nationalism, tradition and modernity, terrorism, underworld, gender, queer
culture, youth, so on and so forth in contemporary popular Indian cinema to the students.
Besides, it also investigates how all these contemporary issues have been approached and
presented in the films released after the year 2000.

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FILM STUDIES: THE EARLY CHRONOLOGY

PREHISTORY:
130 BC: Greek, philosopher, thinker, historian and scientist Ptolemy discovers the
phenomenon of `persistence of vision in the ancient capital city of Alexandria.

1250 AD The beginning of European Renaissance. Leon Battista Alberti invents the
forerunner of camera obscura.

1456 AD First books to be printed with the movable type.

1700 ADs -
1800 Ads With the development of widespread literacy there is rise of news papers and
journals through out Europe and the beginnings of the mass culture of books,
magazines and newspapers.

1834 AD Zeotrope , a device that produces an illusion of movement due to rapid

succession of static pictures, an ancient (180 AD) invention by Chinese
inventor Ting Huan is patented.

1844 AD Morse telegraph. Beginning of long distance electronic transference of

messages.

1839 Daguerreotype photography arrives.

The daguerreotype (original French: daguerrotype) is an early type

of photograph, developed by Louis Daguerre, in which the image is
exposed directly onto a mirror-polished surface of silver bearing a
coating of silver halide particles deposited by iodine vapor. In later
developments bromine and chlorine vapors were also used, resulting in
shorter exposure times. The daguerreotype is a negative image, but the
mirrored surface of the metal plate reflects the image and makes it
appear positive in proper light. Thus, daguerreotype is a direct
photographic process without the capacity for duplication. While the
daguerreotype was not the first photographic process to be invented,
earlier processes required hours for successful exposure, which made
daguerreotype the first commercially viable photographic process and
the first to permanently record and fix an image with exposure time
compatible with portrait photography. (from the Wikipedia)

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1850 Photographic magic lantern comes into use.

The magic lantern or Lanterna Magica was the
ancestor of the modern slide projector. The invention of
photography enabled the inexpensive creation and
reproduction of slides, and thereby greatly expanded the
repertoire of available images. Slide shows would feature
famous landmarks, foreign lands, and personages. Posed
photographs were sold in series, telling uplifting stories
and moral tales. Though there was a huge market for
these lanterns and slides in the 19th century, they
eventually fell out of favour after the invention of moving
pictures, and the few surviving lanterns and slides are
sought-after collector's items. (From Wikipedia)
1884 Photographic roll paper introduced by Eastman
1889 Eastman introduces flexible roll film medium for photography.
1891 Development of Kinetoscope.

The Kinetoscope is an early motion picture exhibition

device. Though not a movie projectorit was designed
for films to be viewed individually through the window of
a cabinet housing its componentsthe Kinetoscope
introduced the basic approach that would become the
standard for all cinematic projection before the advent of
video: it creates the illusion of movement by conveying a
strip of perforated film bearing sequential images over a
light source with a high-speed shutter. First described in
conceptual terms by U.S. inventor Thomas Edison in
1888, it was largely developed by his employee William
Kennedy Laurie Dickson between 1889 and 1892.
Dickson and his team at the Edison lab also devised the
Kinetograph, an innovative motion picture camera with
rapid intermittent, or stop-and-go, film movement, to
photograph movies for in-house experiments and,
eventually, commercial Kinetoscope presentations. (from
Wikipedia)

1895 December 28. Lumiere Brothers first public showing of Cinematographe films
at Grand Caf, Paris. In America, the Biograph Company and the American
Mutoscope Company founded.

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IMPORTANT FILMS

Name of Movie Director Year Genre Movement Country

BATTLESHIP SERGEI 1925 HISTORY FORMALISM USSR
POTEMKIN EISENSTIEN
METROPOLIS FRITZ LANG 1927 CITY EXPRESSIONIS GERMANY
T
THE PASSION OF JOAN CARL THEODOR 1928 HISTORY, FORMALISM FRANCE
OF ARC DREYER DRAMA
SILENT
MODERN TIMES CHARLIE CHAPLIN 1936 COMEDY, AUTEUR USA
SILENT
SANT TUKARAM DAMLE, FATTELAL 1936 DEVOTIONAL EARLY INDIAN INDIA
, CINEMA
MYTHOLOGIC
AL
GONE WITH THE WIND VICTOR FLEMING 1939 ROMANCE POPULAR USA
BICYCLE THIEVES VITTORIO DE SICA 1948 DRAMA AUTEUR, ITALY
ITALIAN
NEO REALISM
DO BHIGHA ZAMEEN BIMAL ROY 1953 NATION INDIAN
NEO REALISM
SEVEN SAMURAI AKIRA KUROSAWA 1954 NATION AUTUER JAPAN
PATHER PANCHALI SATYAJIT RAY 1955 RURAL, AUTEUR, INDIA
DRAMA INDIAN
NEO REALISM
WILD STRAWBERRIES INGMAR BERGMAN 1957 DRAMA AUTEUR SWEDEN
MEGHE DHAKA TARA RITWIK GHATAK 1960 CITY AUTEUR, INDIA
INDIAN NEO
REALISM
BREATHLESS JEAN LUC 1960 DRAMA FRENCH NEW FRANCE
GODARD WAVE
PSYCHO ALFRED 1960 HORROR, AUTUER
HITCHCOCK THRILLER
WEST SIDE STORY ROBERT WISE & 1961 MUSICAL POPULAR USA
JEROME ROBBINS
THE FANTASTIC RICHARD 1966 SCIENCE POPULAR USA
VOYAGE FLEISCHER FICTION
GARAM HAWA M.S. SATHYU 1973 PARTITION, AUTEUR, INDIA
NATION INDIAN
NEO REALISM
BHOOMIKA SHYAM BENEGAL 1981 WOMAN AUTEUR, INDIA
INDIAN
NEW WAVE
SWADESH ASHUTOSH 2004 NATION POPULAR INDIA
GOWARIKAR

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