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From the Editor

Greetings to everyone. Firstly, I would like to thank everyone for the responses, opinions and thoughts following the first issue. All of it have been encouraging and helpful in a number of ways. The second issue of the MCPH film club journal continues with the original objective of bringing together ideas about different spaces in cinema – across theory and …

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Film Aesthetics of Control Society: On Amen (2013) and Traffic (2011)

Early in 2011, when the Malayalam film Traffic (Dir.Rajesh Pillai) came out, a clear sense of accomplishment reflected in the way the film was advertised – a claim that was reciprocated positively in its reception and reviews as well. Contemporary accounts on Malayalam cinema often credit it as one of the first films that announced the beginning of an era …

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Making Homes Everywhere We Go: Finding Cinema in Everyday Life

It was a warm sultry afternoon when M and I decided to watch Kiarostami’s Close-Up on a dull-ish day in that pink house. Cups of tea in hand and no idea of the whirlwind I was to slip into, I remember thinking of another film I watched the other day and feeling a little queasy. The film was ‘Talk to …

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Making sense of “new generation” in Malayalam Cinema

The beginning of 2010s saw the appearance of a new kind of cinema in the Malayalam film industry, promising an end to a longstanding ‘crisis’ of the industry (marked, according to some commentators, by an ‘irrational’ dependence on super-star system, the subsequent compromise of the quality of story and the drifting away from the norm of realism of the middle-class …

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In search for identity, pleasure and good memories: Food and cinema

“The Indians are the Italians of Asia”, Didier pronounced with a sage mischievous grin. “It can be said, certainly, with equal justice, that Italians are Indians of Europe, but you do understand me, I think. There is so much Italian in the Indians, and so much Indian in the Italians. They are both people of the Madonna – they demand …

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On the face of it: Community and State in a Mohanlal Police Thriller

  The accompanying picture to this essay (fig. 1)is from a 1990 movie Mukham [face] (dir. Mohan), starring Mohanlal and Ranjini. Mohanlal plays the character of Hariprasad, Assistant Commissioner of Police, now in charge of investigating a series of murders which can be inferred to be the doing of a serial killer.  The victims are all upper class women, and …

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A tale of wonder: Sahaj Pather Goppo

I came to know about Sahaj Pather Goppo (Colours of Innocence) absolutely by accident. Sure, there was a small feature on the two child artists Nur Islam and Samiul Alam, who won the National Awards this year in the entertainment supplement of a Bengali daily. But apart from that and a small review in another Bengali daily, the mainstream media …

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When John Locke Watched Memento

Dearest Lady Masham, I am writing to you about something absolutely extraordinary; something that I cannot explain without the fear of being termed a lunatic. I confide in you with the firm conviction that you believe I am mentally sane, and that I speak the truth. Before I proceed, it is my obligation to apologise for failing to write to …

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Exploring the presence of god: Onscreen to off-screen

In a scene from a popular Tamil movie, Seedan, the heroine Mahalakshmi (played by Ananya) is ready to jump into a step well. Behind the heroine carved on the rock is a peacock feather.  To the culturally aware it suggests “god is always behind you.” We hear her suicidal thoughts and the then a male voice taunts her to jump …

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An Interview with Nitin Chandra

Nitin Chandra was born in a middle class Bihari family. He completed his schooling from Don Bosco Patna and later completed his Intermediate from Bihar College of Engineering in 1998. He was selected for Bachelor of Information Technology in Delhi and he was in Delhi for 4 years and later pursued Masters in Communication Studies with Specialisation in Video Production …