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NFAI Proposal
NFAI Proposal
● To observe the use of architectural forms and urban features of a city in a film, wherein
the city itself acts as the set.
● To analyze the relation between built-unbuilt spaces and their contribution to the content
of the film.
● To arrive at principles that objectively show how the architecture, urbanism of the set
informs the socio-economic, cultural, natural and overall context of the film.
● To study all of the above with Mumbai city as a case, and the time period of 1991-2018.
● To do so, by conducting quantitative & qualitative analysis of different types of urban
locations/ buildings frequently, skillfully used in Hindi films across Mumbai.
● The goal of the project is to understand how not just the portrayal of Mumbai-esque
characters (their lingo, work culture, aspirations, etc. as Mumbaikars), but also the
portrayal of iconic spaces & areas in Mumbai is equally important and informative to the
changed definition & constantly evolving nature of Mumbai post neo-liberalisation.
The Topic:
The nature and profession of films and film-making have grown immensely in the last 100 years.
Today, cinema is one of the best and strongest media of communication across the world. Through
all these years, it has also been a mirror of our society and captured the times we live in.
With the above in mind, the most impactful attribute of cinema is the way that it captures the
changing nature of a city, its built and unbuilt spaces, the lives of its citizens, its work traditions,
etc., while framing the imagination of the viewers about that particular city. Due to the manner in
which a city or parts of the city are portrayed, an informed yet biased image of the city is
created in our minds. This image, equally informed by reality (current affairs, actual events,
personalities) and fiction (the plot, characters, song & dance) stays with us for a long time, even
after watching the film.
The often used iconic shot of the Chhatrapati Shivaji Maharaj Terminus/Victoria Terminus Station
and the large junction in the front with bustling crowds, in the opening credits of a movie, implies
many things at once. The age and the scale of the heritage CSTM/ VT Station and the vastness of
the traffic junction suggest that: that the movie is based in the large metropolitan city of Mumbai –
the urbs prima in indis - that Mumbai city has a high population and density – that these people
live very busy lives at a fast pace - that time is money for them – that implicitly the city is ruthless
and unforgiving – that the old (VT heritage structure) and the new (contemporary citizens) exist in
parallel in this city – that although it is a difficult & daunting city, it welcomes everyone. All of this
is effortlessly conveyed in the matter of a minute!
Consider the example of Basu Chatterjee’s ‘Chhoti Si Baat’ and the scenes showing the protagonist
Arun Pradeep (Amol Palekar) in different locations throughout the entire movie: The office location
in South Bombay with the largely British period colonial commercial architecture - the residential
location in a working class neighbourhood probably in Girgaon or Dadar - the post-work hangout
Irani café close to work but on the way home - reclusive yet spacious bungalow of Colonel Julius
Nagendranath Wilfred Singh (Ashok Kumar) at Khandala: each location has its own significance
that adds to the weight of the story and yet fits the larger vision of the film. The BEST bus, a
common mode of urban transport in Mumbai since many decades now, is also effectively and
repeatedly used as a setting. Infact, it is purposefully juxtaposed to the scooter owned by Nagesh
Shastri (Asrani). Infact, even the simple juxtaposition of a laid-back, push-over character (Palekar)
with a suave, brash character (Asrani) is a lesson in the nature of Mumbai city - to survive and
thrive in this city, you need confidence and determination; or you will be lost in the ocean of
people that populate it.
I have used the above examples and ideas to merely elicit my point that the architectural and
urban setting of the city where-in a film is shot, are much more than just physical ‘sets’. They are
three dimensional canvases as well as the protagonists/antagonists/supporting characters as the
film demands.
There is immense scope as an architect and a cine-lover to research in depth on this relation
between architecture and cinema, and how one informs the other. While this is known to all
film-makers and many viewers to some extent, what remains to be understood is the dynamics
particularly between urban spaces and the scene shot therein. Here, the distinction between the
‘set’ and the ‘scene’ is blurred, and the two combine to further one homogenous cause – the plot.
Particular aspects and events of the city have been portrayed time and again to great effect –
the mafia, the shutting down of mills, illegal sea trade, the growth of the real estate sector and
development lobby, the government machinery and the entertainment industry itself. Certain
architectural and urban settings have been repeatedly used in scenes to show these facets either
in live shoots, as replicated sets, or through stock stills and video footage.
Institutional buildings: Mantralaya building, Maharashtra State Police HQ, Rajabai Clock –tower,
the mill-lands, etc.
Residential buildings/ areas: Chawls of Parel, Chawls of Girgaon, Parsi Baugs, Shivaji Park,
Bhuleshwar, etc.
Unbuilt spaces: Horniman Circle, Oval Maidan, Aarey Colony, Sanjay Gandhi National Park, Juhu
beach, Girgaon Chowpatty, etc.
Urban features/ clusters: Bandra-Worli sea link, Marine Drive, Worli sea-face, etc.
Urban areas: Kala Ghoda, Ballard estate, Dharavi, Nariman Point, etc.
Peri-urban and semi-urban areas: Aksa beach, Khandala, Lonavla,
Heritage buildings: CST, Bandra fort, Vasai fort, Gateway of India, etc.
Objects/ artefacts: Hutatma Chowk statue, Flora Fountain, Kabutar-khana, Pyaavs, etc.