Ram Ke Naam

Story:
"Ram Ke Naam" is a documentary film directed by Anand Patwardhan, an Indian filmmaker
known for his socially and politically engaged documentaries. The documentary was released
in 1992 and explores the contentious issue of the Babri Masjid-Ram Janmabhoomi dispute in
Ayodhya, India. The total duration of the documentary is 1 hour 31 Minutes.

The Babri Masjid-Ram Janmabhoomi dispute was a long-standing and highly polarizing
religious and political issue in India. It centred around the belief of some Hindus that the
Babri Masjid in Ayodhya was built on the birthplace of Lord Ram, a revered deity in
Hinduism. This led to demands for the mosque to be demolished and a temple to be
constructed in its place.

Types of Shots:

• Wide Shot (WS) or Establishing Shot: These shots are typically used at the
beginning of a scene or sequence to establish the location or context. In the
documentary, wide shots are used to show the setting, such as the city of Ayodhya or
the Babri Masjid.
• Medium Shot (MS): Medium shots focus on the subject while still showing some of
the surroundings. In the documentary, this is used to show an individual or a group of
people involved in the events or interviews.
• Close-Up (CU): Close-up shots focus tightly on a particular subject, often a person's
face or a specific object. In the documentary, close-ups might be used to capture the
emotions and expressions of people being interviewed or to highlight important
details.
• Extreme Close-Up (ECU): This is an even tighter shot, often used for extreme
emphasis on a detail, such as a facial expression or an object of significance, which
was used in the documentary.
 • Point-of-View (POV): POV shots are used to show what a character or person is
seeing from their perspective. In a documentary, this might be used to put the
audience in the shoes of someone involved in the events. This was a kind of shots
used in the documentary.

Rules of Composition:

• Framing: The documentary uses framing to capture significant moments, interviews,

and events related to the Babri Masjid issue. The framing choices are often based on
documentary-style cinematography, aiming to present a realistic portrayal of events as
they unfold.

• Rule of Thirds: It suggests dividing the frame into nine equal parts with two
horizontal and two vertical lines, and placing key elements or subjects at the
intersections or along these lines to create balanced and visually pleasing
compositions. In "Ram ke Naam," this rule may not always applied, as the
documentary focuses more on capturing real events and interviews rather than staged
or composed shots.

• Movement: The documentary incorporates various camera movements and

techniques to capture dynamic events and convey the sense of movement within the
narrative. This might include tracking shots, handheld camera work, and more to
provide a sense of immediacy and engagement.

• Balance: It ensures that the visual elements within the frame are distributed in a way
that creates visual harmony. While the documentary may not adhere to traditional
balance concepts seen in art and photography, it likely seeks balance in the way it
presents different perspectives and viewpoints on the Babri Masjid issue. It may strive
for balance in storytelling by including voices from various sides of the controversy.

Type of Documentary:

"Ram ke Naam" incorporates the elements of observational and expository documentary

styles. The film observes and documents real events, rallies, and religious ceremonies
associated with the Ram Janmabhoomi movement. It also includes expert interviews and
provides factual information to present a comprehensive view of the subject matter.
Additionally, the documentary can be seen as having elements of participatory filmmaking
since the filmmaker, Anand Patwardhan, actively engages with the subject matter by
interviewing key figures and documenting their perspectives.