Page 1

EYE TO ART Practice of art reflects a plethora of social, economic and cultural phenomena in modern societies. In the general framework of cultural studies which seeks to account for cultural differences and practices by reference to the overall map of social relations, the way culture should be specified in itself and in relation to economics and the social learning spheres is delivered via films. Interestingly in the conjunction of Hindi film, folklore is stronger and more diversely used. Folk life and expression remain a vital genre and cinema makers also are exploring how folklore elements appear in, and merge with, popular cinema. The aesthetic practice in which the process of becoming or being in an absolute state is cohesive to the fact that in the process of becoming something one must express ones experiences. Experiences become actions or expressions and vice-versa. Massive consumption of films have created specific mass audiences who respond to the creative percepts and thereby cultivating media-audience centric communication networks. The potential art is recognized and identified by the audience at various inter personal as well as intra personal levels. The advent of aesthetic nuance is drawn upon the incineration of several past flawed experiences and the outcome of those learning values which are revered by practices of holistic understandings of universality. These universal values are profiled upon understanding of visual appeal and dynamics of compositional sense reflecting values of love, compassion, deeper understandings of ethos of life and living. To understand the numerous skills and artistic imprecations suggested by various artists incorporated in a film the key is skillfully watching the art work. Unlike in a still piece of work (like painting, sculpture) a film is a constantly moving imagery producing sound and visual effects. It is a Diaspora of storytelling; it is often full of signifying elements like (light, sound costume, acting, dialogues, screenplay, dances etc) which points to several distractive as well as attractive components which might take the audience close or far to the essence of the film. So, it is very important to be able to watch film in a manner that only significant essence is drawn upon! How does a viewer do that??

NTV (New Technique of Viewing) is a proposed way which states that for effective way of reaching the underlined essence of art work (pertaining to film watching) the process is not only desirable but shall provide an imperative assistance to the writers of art movements and critiques as well. NTV (New Technique of Viewing) incorporates: SEEING = RECOGANIZATION seeing comes before reorganization! It is seeing which enables us to identify few specific scenes which are resorted in the making of our full-fledged automated visual ideological structure. ‘Seeing’ enables people to equate their relationship with the surroundings. The instant response or the mode of emotional reaction to these happenings is that people instantaneously resort to make use of sound (the word) to express the feeling. Dynamics of these terms are so central to each other that one gets automatically associated with the other. These could also be compared with the terms like ‘action’ and ‘reaction.’ PLEASURE = SENSITIVE INTERPRETATION AND PERSPECTIVE ANALYSIS I.

Sectional reception of visual appearance - ignites initial sensitivity or emotion:-

We see several examples of short term gratification induced with such visual portrayals. These may be ethically or inversely designed for commercial purposes. The best examples can be driven out from commercial ad films. Most of them are made to draw and catch up attention for inducing a buying need in audiences. II.

Dynamic response of visual appearance:-

(Attraction- love for the emotion- tragic fallout- catharsis (purging or emotional cleansing) – has dynamic resolutions)! The dynamics of universal gratification is based upon the above mentioned cyclic process. The spectator oriented and artist driven work must incorporate a fine balance of tragedy and catharsis. However it is very essential that folk be a part of artistic expedition. And catharsis must be such that it must behold several challenges drawn upon by tragedy. However tragedy must be acceptable too, not overtly violating that shock viewers.

NATURE OF BEHAVIOUR = ACTION INCORPORATING THE PATTERNS INTO VALUES OF ACTION AND REPRESENTATION OF VARIOUS VALUES THE AESTHETIC CONNOTATION A relationship of cause and effect - Wishful thinking and willingness - The process of becoming - Expression of experience - Experience becomes expression - The two ways process leads to alternatives - New ideas are created in the process of becoming holistic

These values of magnum opus incorporate compassion, truth (for all), sharing with caring and dividends of love based upon truth (for all, including, nature, humans, entire eco system). It is these values of conscious living that appeals aesthetic connotation and thereby ART n revered sense. CINEMATIC RENDITION: The language of visual narration must be responsive to the principles of fine lighting. it is very important to note that the light is the key of visual narrative index and hence a lot of efforts must be put to bring about fine balance of light. The main components of studio lights (i.e. key light fill light & back light) must be experimented each time for effective, creative and innovative results. However, natural lights must also be used as an expansive resource of abundant color pallet. It is very desirable that folk genres be used in color schemes, costumes and over all ambiences to make viability stronger and connections easier between the spectator and the visual narration.

Practice of art reflects a plethora of social  

Pallavikhosa Film Aesthetician E.M.R.C, D.A.V.V Indore(India)