Parthasarathy with lyrics by Papanasam Sivan and Kothamangalam Subbu.Ĭhandralekha was released on 9 April 1948. The music, largely inspired by Indian and Western classical music, was composed by S. Vasan mortgaged all his property and sold his jewellery to complete the film, whose cinematographers were Kamal Ghosh and K. It underwent a number of scripting, filming and cast changes, and was the most-expensive film made in India at the time. Originally made in Tamil and later in Hindi, Chandralekha spent five years in production (1943–1948). Raghavachari left the film more than halfway through because of disagreements with Vasan, who took over in his directorial debut. Reynolds' novel, Robert Macaire: or, The French bandit in England. ![]() Veppathur Kittoo (one of Vasan's storyboard artists) developed a story based on a chapter of George W. However, when he launched an advertising campaign for the film he only had the name of the heroine from a storyline he had rejected. Congratulations David and Kristin on a stellar first year.Development began during the early 1940s when, after two successive box-office hits, Vasan announced that his next film would be entitled Chandralekha. We tend to see the present through a narrow window, but historical awareness widens and deepens the view.Bravo, and nobody does it better. Rather than celebrating apparent innovation, it’s more exciting to see how filmmakers connect to tradition, shaping it in ways that even they might not be aware of doing. I notice that many of our entries comment on a current event or topic by showing that it has parallels and precedents in earlier periods of film history. *There’s the theme we might call the continuing presence of the past. ![]() If the coverage of film in the popular press is ever to be as solid as, say, science journalism or even the best arts journalism, writers have to be pushed to think more originally and skeptically. Too many writers fall back on received wisdom. Again and again we hear that sequels are crowding out quality films, action movies are terrible, people are no longer going to the movies, the industry is falling on hard times, audiences want escape, New Media are killing traditional media, indie films are worthwhile because they’re edgy, some day all movies will be available on the Internet, and so on. Writers of feature articles are pressed to hit deadlines and fill column inches, so they sometimes reiterate ideas that don’t rest on much evidence. *We’ve tried to deflate some clichés of mainstream film journalism. One of the purposes of " Film Art" was to show how artistic expression in cinema is tied to practical decisions made by filmmakers that’s why we begin the book with an overview of the process of film production. *We’re happy to find that a lot of filmmakers read and link us. We’ve always believed that there isn’t necessarily a battle between film as an art form and “the business.”. *We also treat film art as tied to film commerce-both the mainstream industry and the less-acknowledged form of commerce known as film festivals. If we want as well to make an evaluation of the film, as we sometimes do, we then have some concrete evidence to back it up. ![]() incline toward somewhat finer-grained analysis of cinematic storytelling, even if that means going shot by shot. More specifically, we’re especially interested in how structure and technique work together, which few blogs outside the industry do. *In keeping with the blog’s title, we emphasize film as an art form. No, David Bordwell and Kristin Thompson don't really call it a "Declaration of Principles." But, in recognition of their first blogiversary at on their invaluable blog, Observations on film art and Film Art, David looks back over what they've done in the last year, and notices some "recurrent themes":
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