Establishing Context using narrative and space visualized in Cinema: Study of Devdas (1955 and 2002)

Establishing Context using narrative and space visualized in Cinema A study of the adaptations of Devdas (1955 and 2002)

Establishing Context using narrative and space visualized in Cinema A study of the adaptations of Devdas (1955 and 2002)

Submitted By Sreenidhi Parasuram 15BAR34

Institute of Architecture & Planning Nirma University Ahmedabad 382481

July 2020

Institute of Architecture & Planning, Nirma University

Approval The following study is hereby approved as a creditable work on the subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite towards the degree of Bachelor of Architecture for which it has been submitted.

It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic Program.

Thesis Title : Establishing context using narrative and space visualized in Cinema Student Name : Sreenidhi Parasuram Roll Number : 15BAR34 Date : 2nd July, 2020

Prof. Supriya Kukreja Guide & Designation Institute of Architecture & Planning, Nirma University, Ahmedabad

Prof. Nishant Kansagra & Prof. Purvi Jadav Assistant Professor and Thesis Co-ordinator, Institute of Architecture & Planning, Nirma University, Ahmedabad

Prof. Utpal Sharma Director, Institute of Architecture & Planning, Nirma University, Ahmedabad

Declaration I, Sreenidhi Parasuram Iyer , 15BAR34, give an undertaking that this research thesis entitled “Establishing context using narrative and space visualized in Cinema� submitted by me, towards partial fulfilment for the Degree of Bachelor of Architecture at Institute of Architecture and Planning, Nirma University, Ahmedabad, contains no material that has been submitted or awarded for any degree or diploma in any university/school/institution to the best of my knowledge.

It is a primary work carried out by me and I give assurance that no attempt of plagiarism has been made. It contains no material that is previously published or written, except where reference has been made. I understand that in the event of any similarity found subsequently with any published work or any dissertation work elsewhere; I would be responsible.

This research thesis includes findings based on literature review, study of existing scientific papers, other research works, expert interviews, documentation, surveys, discussions and my own interpretations.

Date: 2nd July, 2020

Name : Sreenidhi Parasuram Roll number : 15BAR34 Institute of Architecture and Planning, Nirma University, Ahmedabad

Acknowledgments A lot of people have helped me take this first step to compiling this study on a version of my study on cinema and architecture. It is needless to say that growing up, cinema has been a major source of entertainment for me. It has always been a moving experience to go watch movies in the cinema halls with family, friends and even alone.

In this exploration and quest to find answers to certain questions, I would like to thank my family, for encouraging the culture of movie watching and friends for accompanying me.

It is occasionally discouraged in architecture schools to take up topics that derail from architecture and buildings, however I would like to thank my guide; Prof. Supriya Kukreja and the institute for giving me the courage to pursue my interest in this topic. Apart from the people who have formally guided me to working and helped in the shaping of this paper, I would also like to mention my peers, Abhijeet Mudgerikar and Devanshi Shah to entertain my doubts and help me clear my mind at times when everything was cluttered. I would also like to thank Hatim Buildingwala, Darshi Kapadi, Richi Shah,Taruna Khatri and Avinash Nadakumar for being a constant support in my college life.

In life, we come across various people, through this research I have had the opportunity of interacting with few of the greatest minds in film making and communication. My interaction with them has made me more passionate in finding answers to the questions and asking more questions. The faculties at the Film and Video Communication department of National Institute of Design, Ahmedabad for entertaining me and guiding me to asking the right questions at the right time.

It was in the course of this research that we were hit by a pandemic during which I got the opportunity to interact closely via video call with filmmaker and writer, Satyanshu Singh. It has truly been an honour and a fulfilling experience to learn and evaluate movies along with architecture.

The drive to tell stories and understand stories has been a constant motivation and hence I would love to thank the Comedy scene of Ahmedabad for keeping me sane at times of stress and motivating me to tell my stories with humor and make a room full of people laugh.

CONTENTS

i. Declaration ii. Approval iii. Acknowledgments 1.Introduction 1.1 Abstract 1.2 Aim and Objective 1.3 Research Question 1.4 Scopes and Limitations 1.5 Methodology 2. Tracing the timeline of Cinema 2.1 Western Cinema 2.2 Indian Cinema 3. Understanding Narrative 3.1 Narrative by an author 3.2 Narrative by director based on script 4. Space visualized in Cinema 4.1 Cinematic Representation 4.1.1 Focus and Subject 4.1.2 Scale and Proportion 4.1.3 Depth of Image 4.1.4 Quality of Space 4.2. Architectural Representation 4.2.1 Materiality 4.2.2 Views 4.2.3 Geometry 5. About the directors and the author 5.1 Victorio De Sica 5.2 Bimal Roy 5.3 Wes Anderson 5.4 Sarat Chandra Chattopadhyay 5.5 Sanjay Leela Bansali 6. Literature Review 6.1 Bicycle Thieve 6.2 Do Bhigaa Zameen 6.3 The Grand Budapest Hotel 7. Case Study of Devdas 7.1 Introduction 7.2 Scene 1 7.3 Scene 2 8. Conclusion 9. Referrences 10. List of Images

Introduction

Architecture and cinema have interacted very closely with very little conscious effort. Both architecture and cinema are mediums that evoke strong visual experiences. Through cinema we often mesmerize over locations shown in movies and aspire to go to these locations or own the kind of houses shown in them. For example, we often think about the movie “Dil chahta hai” and picture Goa and the Chapora Fort (fig 2.). The visual impact of cinema is found to be larger than that of any other art form.

Fig.1. Image of the model of the Grand Budapest Hotel used in the Wes Anderson movie, The Grand Budapest Hotel.

The interest to take up this topic came when I watched the making of the movie “The Grand Budapest Hotel” by Wes Anderson. It is through this movie that I decided to take a look at some of the movies that revolve around a single household and yet set the context. This led to taking up Devdas as a case study, the idea was to see how the story of Devdas that was first written as a book and later adapted multiple times became synonymous to a “drunken man on the path of self-destruction.”

The paper tries to see how Devdas that talks about a particular time period is shown by different directors in a different way. The paper used the fiction and the script of the director to enhance how context is established.

This is an attempt to explore the connection between architecture and cinema through the case of Devdas.

Fig.2. Famous scene from the movie ‘Dil Chahta hai’ showing Chapora Fort, Goa.

11 | Introduction

Keywords: context, cinema, space visualized, narrative, movie

1.1 Aim and Objectives The broad aim of this study is to understand the relation between architecture and cinema in terms of context. The purpose of this study is to see how context is established with the help of narrative and visualized space in cinema. The nature of the study is qualitative and intends to be established through the following objectives.

• To see how a fictional and/ or director’s script’s narrative interpreted differently in the selected movies.

•To understand what is meant by space visualized in cinema and narrative.

•Based on the understanding or narrative and space visualized in cinema seeing if context is established.

1.3 Research Questions Identify the differences or similarities in the book, the directed script compared to the visualization of space in cinema and how architecture is represented in cinema to set context.

1.4 Scopes and Limitations •The selection of frames for the movies are based on major plot points of the story from the book.

•The research is subjective as the lens chosen for the analysis are not universal in nature and are based on multiple readings.

•The commentary of spatial experiences is an individual understanding through a lens from the literature.

•The research is confined to only the selected parts of narrative and scene picked based on being major plot points based on individual’s understanding.

12 | Introduction

1.5 Methodology The methodology is through a qualitative research based on the reading on the films and watching the films.

•The definition of the various parameters for space visualized and narrative based on the literature view •The selection of case study is based on viewing of movies and literature readings •The comparison of how architecture has been represented in cinema through analysis of selected case study

CONTEXT

Physical Context Social Context

SPACE VISUALIZED

NARRATIVE Narrative from author’s fiction Narrative of Director’s script

Cinematic Representation Focus and Subject

Geometric relationship

Scale and Proportion Depth of Image

Materiality Views

Quality of space Literature Review - Bicycle thieves -Do Bhiga Zameen -The Grand Budapest Hotel Analysis through selected frames from scenes 13 | Introduction

Architectural Representation

Case Study - Devdas (1955) -Devdas (2002)

Conclusion

Tracing the timeline of cinema

2.1 Western cinema

Fig 3. The zoetrope used to create 12 to 24 frames per second.

Fig 4. First few images of a horse moving to check the zoetrope

The concept of cinema comes from persistence of vision- the ability of the human brain to retain images perceived by the eye for a brief period of time after they disappear from the field of vision. There is something called the “phi phenomenon” which explains why the individual blades of a rotating fan appear as a single circular form. The phenomenon creates movement between the frames at optimal projection speeds of between 12 to 24 frames per second, persistence of vision prevents the viewer from seeing the dark spaces between the individual images. For example, the Zoe trope is an instrument earlier used to capture movement.

Some of the first movies made initially were just clips of people going to work and coming back from work. The initial images were made of black and white images. The primary people watching these films were people who were rich and could afford the movie going experience as it was considered to be a luxury. The movies made in the initial years represented the stories told in theaters and folklore. The use of multiple cameras which capture consecutive stages of movement, was done in 1830’s. Over 1887, there was a lot of invention in equipment for capturing continuous motion invented the celluloid roll film and various methods to capture continuous motion. In 1895, the Lumière Brothers conducted the first successful projection of a motion picture.

Around 1945, the sudden wave of movies changed to what is known as Neorealism.

Neorealism is rooted in social, political and Fig 5. First few stills from a movie where women are economic turmoil of a traumatized nation. going back home from the factory.

Most of the stories of this time were told to show the reality and damage done by the World War 2.

15 | Tracing the timeline of cinema

It was focused towards telling stories of the common people and their tragedy.

Neorealism in post-war times addressed issues such as alcoholism and racial prejudice.

There were also a lot of stories that were shedding a light on how they were recovering from the war and glorified their country to encourage nationalism. There was a time post war that cinema started becoming more mainstream. A lot of people started watching cinema for pleasure. Directors like Alfred Hitchcock, Stanley Kubrick to a name a few Fig 6. The arrival of a train by Lumière Brothers. had started making an impact to the cinema going audiences. A lot of movie studios started opening up giving the rise of the opportunity to become a movie star. The use of colour in cinema was rather early on and the movie,�The toll of the sea.�

By this time cinema has largely become commercial. The rise of popular stars and movie studios emerged during this time such as Warner Bros, Nickelodeon, Disney etc.

2.2 Indian cinema

While cinema was being created worldwide at a fast rate, the emergence of cinema in India started in 1913, with Raja Harishchandra.

A large portion of the film made in India in the initial years have been found to emerge out early Calcutta and Mumbai, as theses have been princely states ruled for a long time. Cinema was found to be largely a luxurious commodity.

Fig 7. One of the first few production houses in the west, Nickelodeon Studios.

It started by showing stories of Mahabharat and Ramayana at the start of its making. There Fig 8. Mahabharat being told for the first time via were a lot of theatre groups that started ex- cinema. ploring the medium of cinema and developing movies. Most of the early studios that emerged in the cities of Calcutta and Mumbai were from rich zamindar families that could afford to get the equipment required to shoot a movie.

16 | Tracing the timeline of cinema

Fig 9. Raja Harishchandra, first Indian talkie.

Fig 9. Pather Paachanli, movie by Satyajit Ray popular for Indian Realism.

It started with these families taking family portraits for their pride. There were a lot of theatre groups that had been putting up performances for the elite people of that time. It was found that earlier cinema was found to celebrate the British rule in India through the films. The use of colour also had started in the western part of the world came to Indian cinema later on. The first colour movie made was rather disliked by people and hence underwent some changes as technology evolved.

It was only post 1940’s, that people started showing the damage made by the war, the British rule in India and the hardships of the common man. There is an awakening in the society to get over the British rule and directors like Bimal Roy, Satyajit Ray started the movement of Indian Realism; which spoke out against the social, political and economic problems in the society. In 1951, Satyajit Ray became an assistant on Jean Renoir’s movie ‘The River’. A couple of years later in 1955, we find him shooting for ‘Pather Panchali,’ known to be one of the most celebrated films of all time.

While still retaining the social committed ideology, India’s parallel cinema of 1980’s gradually started becoming mainstream with the help of big actors, big budgets to make movies and accessible plots. The plots of movies became more aspirational and showed how we had recovered from the hardships of the British Rule and doing well.

It saw the emergence of big stars and largeFig 10. (left) Satyajit Ray, (right) Bimal Roy; two of scale production house. The movie making India’s pioneers of realism culture shifted from Mumbai and Calcutta and also saw the emergence of regional cinema and other cities.

Fig 11. (left) Yash Raj films est. 2005 and Bansali productions est. in 2000 17 | Tracing the timeline of cinema

Calcutta became the visual landmark in films. In the early 19th and 20th century, a lot of lithographic imaging and print media showcased Calcutta. There was a shift in the social classes as there was a change in the classes in Calcutta. The print and audio-visual media began reflecting the patterns of behaviors and attitudes. A lot of the initial photographs and visuals were from the elite Zamindar class of the Calcutta. The initial photo studios in Calcutta were in the eastern region and were of elite household groups or couples. This tells us that the local photographic practice but equally the fashioning of new modernized selves and public persona of those who posed in these studios.

The public theaters in Calcutta was known to be active in the 1940’s. The early days of public theatre was for the elite classes of the society, the stories told in these theaters were from the western writing. The elite culture in the 19th century Calcutta were consuming serious literature of the respectable and educated classes.

The start cinema was the need to take the stories said in theatre to a larger group of people. Cinema was a medium that came from the west and also it was trying to gain more audiences as it was a relatively cheaper source of entertainment. In the early 1950’s a lot of films were situated in and around Calcutta and Bombay as these were the first few cities to have photo studios. They showed the westernized India as these were places that were British administrative cities and hence had a heavy influence in their built spaces. A lot of the media showed the nature of dominance and dependence between the imperial countries and its colonies. The zamindaar culture and the black town which is the urban development of the ligneous part of Calcutta became prominent. The physical- spatial structure was split into two with the white town in the south-central part and the Fort William and the Black Town.

18 | Tracing the timeline of cinema

Fig 12. Present day photograph of Chowringhee Lane, Calcutta.

Fig 13. An ad for cigarettes using the background of Victoria Memorial.

Fig 14. A still from “36, chowringhee lane”, shot in Calcutta.

Fig 15. Image of Town Hall, Calcutta.

Fig 16. Tipu Sultan Mosque, Calcutta

Fig 17.Historic Image of Chowringhee Lane, Calcutta.

19 | Tracing the timeline of cinema

The 19th century was a period of intense soul searching for a means that would hold the social structure together and yet enable them to make use of the opportunities of the colonial rule. The social topics which literature of the 1854 and 1899 dealt with were polygamy, widow-remarriage, the dowry system, alcoholism, lechery, whore mongering, religious hypocrisy, Hindu orthodoxy, women’s education and their habits. Hence, the 1930’s-1940’s saw a the making of Calcutta’s cultural and economic life. There was an emergence of post-war cinema. Disillusionment with the post- colonial administration grew in Calcutta at a faster pace than in other parts of India. The exposure to Italian Neorealism, lead to the village setting, a more primitive setting sending children into the city and losing to the city became a popular story arc.

In 1950, directors like Bimal Ray and Satyajit Ray had started to become popular at portraying the disparity in society. In 1951, Satyajit Ray, a former graphic designer and student of Rabindranath Tagore, became an assistant to Jean Renoir on “The River.” A couple of years later, with his own money, Ray started shooting for Pather Panchali, 1955, the most celebrated film from his “Apu Trilogy”, which focuses on a young Indian boy’s journey to adulthood. The next two Aparajito, 1957 and Apur Sansar, 1958 are cohesive in terms of theme and style but nonetheless, manage to paint a complex portrait of Indian society inseparably connected to its beautiful, if sometimes cruel landscape.

Some of the most common images of Calcutta, in the 19th and 20th century: i.

Calcutta Medical College ii.

Bazaar Pagoda on Chitpore Road iii. Government House iv. The Old Court House Street v.

Tipu Sultan Mosque vi. Dharmatolla Street vii. Colonial Calcutta, viii. Maidan ix. Victoria Memorial x.

Calcutta Docks

20 | Tracing the timeline of cinema

Timeline of Cinema 1830-1904

•Using Multiple still cameras which captured movement •Technological inovation in equipment

1895

•The Lumière Brothers conducted the first successful projection of motion picture.

1900 onwards

•Movies became popular in public places, such as museums and films had found it’s audience.

•Films were showing reconstructed or real life news events

1913 •First Indian silent film made Raja

Harishchandra made by Dadasaheb Phule marking the start of Indian cinema.

1920-1940

Post 1945

•A lot of post war stories emerged where people were talking about the damage caused by war •They also spoke about how they were recovering from the war and tried to glorify their country .

Early 2000’s

•cinema has gone mainstream and has a lot of production houses and big budgets to make movies.

•This time saw the rise of many actors and movies.

21 | Tracing the timeline of cinema

•Cinema on mythology.

•Cinema showed the experience of people in Mumbai and Calcutta.

1940-1980

•Films by Satyajit Ray addressing the realities of British Raj and Post the British Raj. • Start of Indian Realism

1980-2000’s

•We find big budgets and production houses emerging.

Post 2000’s

•This time saw the rise in large scale production and actors and being commercially popular.

Understanding Narrative

Cinema based on story telling Narrative Sequence of events

Narrative by an author

Narrative by a director based on a script

23 | Understanding Narrative

Cinema is essentially a form of storytelling.

We see a unidirectional (stories going in a sequence or series of events) storyline, devoid of any depth and filled with secondary events and different characters that help to contribute to the film. The narrative can also be called the plot or story of the cinema. In this research paper we are looking into the fictional aspect of narratives only.

This form is what most of cinema governs upon. These are fictional in nature and depend largely on the way the story is told. As the name suggests, narrative form is not necessarily narrated by someone. This form of storytelling is governed by the sequencing of a series of events. The narrative form of is not necessarily done in a linear order, i.e. one after the other like in real life. The narrative form largely depends on the cause and effect of events and actions. The other aspect of narrative form that affects such as the time in which the story takes place. One of the aspects of storytelling in cinema is the time of it. The sequence of events in cinema is sometimes changed for effect with the use of flashback. Films unlike reality, can change the time and shift to another place while.

The impact of narrative in cinema is far more important than it seems to be. We often find audiences engage to the characters in the film and their journeys and triumphs. While most of the movies that we will be looking at in this paper are of narrative in nature. A linear order, i.e. one after the other; in cinema. The narrative form largely depends on the cause and effect of events and actions. The narrative of a script tries to talk about visual aspects of the story and may be detailed according to the writer.

In this paper, we look at narratives through the following lenses based on the known fact that cinema is governed primarily by the following two forms of written word.

3.1 Narrative by an author A story of plot written by an author in the form of a book or poem is known as the narrative of an author. It can be fictional or non-fictional in nature. It does not depend on the length of the story or the nature of the story.

The narrative of the author may be based on life personal or social trauma. The narrative written by the author is usually the first form of narrative to the given story. The narrative of the author can be an account of events that happened of it can be a story that does not occur in real life. The narrative by an author is written by a person in the form of short story, peoms, novels, plays etc.

24 | Understanding Narrative

Narrative by an author

Fiction Poems Novel

Non- fiction

Short Story Plays

Narrative by a director based on a script

Can be based on a narrative by an author

Written for cinema

Dialogues

Camera positions

location of the shot

3.2 Narrative by a director based on script This is the story or plot written for cinema which can be an adaptation of a book or poem written by an author.

The narrative form of is not necessarily done in the same sequence of events that of the adapted book. The narrative of the director written as a script is often tweaked to enhance the visual experience for the audience.

The narrative by a director based on a script is when a script is written and made into the movie along with certain changes in the dialogue. The narrative by the director usually has information about where the scene is taking place, what is the camera angle, and the dialogues of the actors.

A lot of narrative written in books have been adapted to become movies. The narrative may not necessarily follow the sequence of events as written in the book but if it is an adapted movie then it will definately follow the same story and plot.

Some of the common adapted scripts written for movies from books are: •Harry Potter series •Lord of the Rings series •Godfather series

25 | Understanding Narrative

Space Visualized in cinema

4.1 Cinematic Representation Table No. 1.

The Architecture of Image: Existential Space in Cinema (Pallasmaa, 2007) 1.The Foci of Cinematic action 2. Human Scale 3. Geometry

1. Elements of structure -Proportions -Perspective

4. Lighting of space 5. Impact of colour and Material

2. Elements of depth -Lighting -Use of color

6. Depth of image

3. Elements of space -Composition -Foreground, background and center of frame

7. Spatial void

27 | Space Visualized in cinema

Space- Narration and Storytelling through films of Wes Anderson

Learning from cinema: The architecture language of space in study of sci-fi thriller genre

Cinema & Architecture: Understanding through the concept of Space-time and narrative

1.Focus and Subject

1. Film Vision

2. Scale and Proportion

3. Geometric Relation with vision

2. Scale 3. Perspective -Transfer of Dimension -Contrast in perspective

Framework for Cinematic Representation 1. Focus and Subject 2. Scale and Proportion

4. Use of lighting in space 5. Color, Texture and Material

6. Depth of Image

4. Depth in cinematic image

-Camera movement and depth

-Montage and Depth 5. Framing

-Dramatic use of Framing

-Oblique Framing

-Framing and Pictorial space

3. Depth of Image

7. Use of spatial voids

8. Boundaries or openness of space (Quality of space)

4. Quality of space 6. Shooting angle 7. Camera Movement 8. Cutting -Transitions -Uses of cutting

4.1 Cinematic Representation While space is represented in a lot of ways, I am confining to talking about the following aspects of the way space is visualized in terms of cinematic representation.

These terms are derived from reading in various architecture thesis paper and via various film analysis. The selection of the terms are based on the definition of the terms and the fact that they talk about the spatial aspects in a cinematic lens. The cinematic representation tries to understand the cinematic quality of the frame based on: a. Focus and Subject. b. Scale and Proportion c. Depth of Image d. Quality of space

The cinematic representation of the visualized space is an important aspect.

It helps understand what the intension of the director could be based on the way certain things are shown. Table no. 1 shows a list of various parameters that are used to arrive at the analysis.

29 | Space Visualized in cinema

4.1.1 Focus and Subject Understanding the intent of the structure of the scene with relation to the subject in focus we can expect the spatial language of a particular scene. Focus helps us understand what the intention of the director are at the first glance of a scene. It helps understand the relation between the subject (i.e. the characters or the object) in the frame. In architecture, it is important to understand the focus of a space or the vision that is established in a design and how one can place the subject of that design in the space while accomplishing the intent of the space.

Fig 18. (top) Image from a German movie where we find the focus and subject to be highlighted in orange and the backgrounds are lined out.

The subject is the object or person that is in the frame that easily grabs an audience’s attention. These are kept in mind with the help of the film maker Alfred Hitchcock’s rule of images size, ‘The size of any object in a frame is directly proportional to the importance of that object in that story at that moment.”

The foci of cinematic action are where the actions are taking place and the relationship of that subject to that scene. Film makers use various tolls to help in keeping the audience engaged to the subject.

The use of focus and subject is for audiences to understand the context of the cinema and the intension behind a particular scene.

It helps in establishing where the character is coming from or where the character is going.

For example (fig 19.), The scene from Schindler’s list where we see a little girl in a red dress walking through the Nazi soldiers killing the people and the unrest in town through her movement. The use of the colour adds to capture the attention of the viewer but also Fig 19. . A still from The Schindler’s List with the girl. through her movement we see all the hardships.

30 | Space Visualized in cinema

4.1.2 Scale and Proportion

The proportion of the space in relation to the human scale. Each element in the space gives a sense of scale which gives the space a uniqueness or alienation. The proportion of one object to the other adds to the understanding of the placement of those objects.

In films, unlike reality we can deceive the audience of the sense of scale and proportion. In cinema scale and proportion is artificially used to the benefit of the story teller.

The scale and proportion are always compared to human scale since the absence of human scale deprives the space of its meaning and purpose.

We often find the use of camera or camera lenses to change the scale of objects. With the help of new technology such as CGI there has been an exponential use to tweak the sense of scale with respect to human scale. It is with the help of this that we see certain spaces to appear grander than others.

For example, the use of scale can be seen in ‘Gulliver’s travels’; where we find the exploration of three scales, i.e. the normal human scale, a miniature version and gigantic version of humans and hence the scales that are surrounding the characters change, there are times were they look really small and times that they appear to be gigantic spaces. In fig 14; we find the two variations of the size of the person and the find building on the sides to appear smaller.

The scale and proportion of things can also be seen in fig 13., Where one object appears larger than the other as it is placed closer to the camera.

Fig 20. Image from a German movie where we see the difference in the scale of our subject and the proportion of the surrounding space. The dark red figure appears to be larger than the light red figure

Fig 21 A still from “The Gulliver’s Travel’s “ (2010)

31 | Space Visualized in cinema

4.1.3 Depth of image In designing a space there are many layers which help in enhancing the space such as the subject, the built language, the furniture, the placement of the object, the perspective of the space, the composition of the space, scale of built elements etc. These detailing help in establishing the meaning of the frame which are not literal but experienced through the interaction of these layers in the frame.

The depth of image helps use understand the foreground, background and the center. It also depends on the composition of the space.

Depth can be brought out by movement of Fig 22. . This scene from the movie ‘Nebraska’ shows actors or with the help of movement of the use of single point perspective which helps to camera also. show Depth in the image.

Fig 23. This scene from a movie uses the placement of the lamp in the foreground to create depth in the image.

Fig 24. Mapping of ‘A lovely night’ from ‘La la Land.’

32 | Space Visualized in cinema

For example, the Fig. 22, shows a scene from the movie Nebraska which has a scene of depth with the help of single point perspective. The fig 19, shows the image of a movie that uses depth with the help of foregrounding with the help of the lamp placed in the front.

4.1.4 Quality of space The quality of the spaces tells us the openness of a space in terms of enclosure, semi- open and closed nature of space through special planning. It is also related to lighting of the space which helps analyze the nature of space and quality of the experience inside it. These are not just defined by the physical attributes of the space making but also effects such as color, lighting and depth of image. The quality of the space will help determine how it helps with or directs the way the actors move.

For example, fig 24. has mapped out the movement of the actors in the song, ‘A lovely night’ from the movie ‘La la Land’ which tells us that it was in an open space and that there is a bench and a car park. We also with the help of the visual from the movie that it was at a park..

4.2 Architectural Representation When we talk about Architectural Representation in space visualized we talk about certain qualities of the space that help enhance and add to the character of the frame selected.

Table No. 2.

Learning from cinema: The Francis DK Ching: architecture language of space Framework for Architectural RepreForm, Space and Orsentation in study of sci-fi der thriller genre 1.Focus and Subject 2. Scale and Proportion

1. Symmetry

3. Geometric Relation with vision

2. Material

4. Use of lighting in space 5. Color, Texture and Material

1. Geometric Relation with frame 2. Materiality

6. Depth of Image 3. Views

7. Use of spatial voids

8. Boundaries or openness of space (Quality of space)

33 | Space Visualized in cinema

3. View

4.2.1 Geometric relations with vision There is a direct relation of vision with geometry. The reading of the vision and geometry in a space is read through the detailing of the space in terms of its spatial language. The placement of these elements which direct your vision into the depth allow you to understand the first basic movement and which space comes first.

Fig 25. These images show how balance or imbalance is incorporated in movies to show geometry. (a) shows symmetry, (b) shows asymmetric images

The geometry of space can be achieved with the help of with the help of symmetry and asymmetry. The use of geometry is to help in showing the direction and gaze of the audience also. The use of geometry when it is symmetric in nature helps in maintaining harmony and balances whereas asymmetric frames show imbalance and chaos.

The use of geometry in cinema is important to also show dominance such as while showing a church or a temple. The geometry is taken into consideration with the help of camera heights and camera placement.

For example, fig 25(a) shows a shot to the entrance of a building which is symmetrical in nature and we find the entrance clearly and more predominantly due to the use of symmetry whereas fig 25 (b) shows an asymmetric shot where the actor placed on the left hand side and not at the center. We find that it creates and imbalance in the frame where one side is blank while the other side has the actor.

While an axial condition can exist without a symmetrical condition being simultaneously present, a symmetrical condition cannot exist without Fig 26. A pictorial representation to show symmetry implying the existence of an axis or center about from Francis D.K Ching’s “Forms, space and order.” which it is structured. An axis is established by two points; a symmetrical condition requires the balanced arrangement of equivalent patterns of form and space on opposite sides of a dividing line or plane, or about a center or axis.

34 | Space Visualized in cinema

4.2.2 Materials depicted Materials in a space can trigger a sense or mood. In cinema, there is a careful use of different materials and textures to impact the senses of the audience when projecting a space within a movie.

Even when it comes to black and white films, we can understanding the material and texture used in the film.

We always find the use of materials and texture to enhance the context. The use of materials helps understand and establish texture. The materials such as having more plantation or landscape adds a smooth texture to the frame and if there is the use of color then color would be predominantly green which would evoke a calm and mindful feeling.

While in architecture the material is used to help with structure and stability and due to elastic properties, in cinema the use of materials is with the effect of helping with the texture or to show the kind of space that is created. The materials are shown to add effect to the story as well as depict the nature of the space.

For example, fig 27. shows the use of wood, glass, metal and stone, sets the context of the cinema in terms of the fact that it’s in a built space with ‘FM’ written on the side with a metal sheet.

35 | Space Visualized in cinema

c d

b

a

b

a

c

d

Fig 27. This image from a movie helps determine the colors used and the materials of the movie. In this case we see wood, glass, stone a steel being used as marked.

4.2.3 Views

Fig 28. Pcitorial depiction of a view of an interior space .

The quality of space that must be considered in establishing openings in the enclosure of a room is its focus and orientation. While some rooms have an internal focus, such as a fireplace, others have an outward orientation given to them by a view to the outdoors or an adjacent space. The size and location of these openings determine, of course, the nature of the outlook as well as the degree of visual privacy for an interior space.

A small opening can reveal a close-up detail or frame a view so that we see it as a painting on a wall.

A long, narrow opening, whether vertical or horizontal, can not only separate two planes but also hint at what lies beyond. The large scene can dominate a space or serve as a backdrop for the activities within it.

A window can be located such that a specific view can be seen from only one position in a room.

Fig 29. Pictorial depiction of a view of an interior space.

“Interior openings offer views from one space to another. An opening can be oriented upward to offer a view of treetops and the sky.

A bay window can project a person into a scene. If large enough, the projected space can become an alcove able to be occupied.

Views should not be limited to the outdoors or adjacent spaces. Interior design elements can also provide subjects for visual attention.�

This crates the spatial experience more interesting and engaging as an element is not representative of the larger narrative but its importance is as much in the way we experience the movie. The limitation of viewing cinema Fig 30. Views not just confined to outdoors or spaces on a screen helps us select what can be seen but also interior design elements that are subjects in a particular shot or scene. of visual attention,.

36 | Space Visualized in cinema

About the directors and author

The Grand Budapest Hotel (2011)

The criteria for selecting the following directors was on the basis of the correlation they have with each other.

Wes Anderson

We arrived at “Bicycle Thieves” and “Do Bhigaa Zameen” as we find that Bimal Roy was inspired by “Bicycle Thieves” and a poem by Rabindranath Tagore to create “Do bhigaa Zameen.”

We came from trying to understand “The Grand Budapest Hotel” to “Devdas” by selecting a movie that is based in India and that the two movies focus on one or two households.

based on the criteria of stories that take place in one or two houses

Devdas (1955 and 2002)

Sanjay Leela Bansali

Bimal Roy

Do Bhigaa Zameen (1953)

Bicycle Thieves (1948)

Victorio De Sica 38 | About the directors and the author

5.1 Victorio De Sica

(7th July 1901- 13th Nov. 1974)

Director of Bicycle Thieves (1948)

Fig 31. Victorio De Sica

Victorio De Sica

(7th July 1901- 13th Nov. 1974)

1901 Born in Italy

1933 Founded his own company and produced comedies.

1948 Made the award winning and popular “ Bicycle Thieves”

1974 Died in France at the age of 73

1917 Started acting in silent films

1946 First Neo- realistic film “Shoeshine”

Known for shooting in real locations

39 | About the directors and the author

Victorio started off his career in cinema as an actor in 1917 in silent films. He spent most of his childhood in Soc , Italy. He is known to have started Italian Neorealism in cinema. His movie the Bicycle Thieves was his first film to win an Oscar award for best foreign film. De Sica did a lot of film making because his father was a journalist and knew a lot of businessmen hence he was able to pursue as a actor. He worked with a lot of children in his film career. He initially started by directing a lot of “white telephone genres of movies that is light comedies. He progressed from playing clown and old men as romantic comedies. Later on he went on a life long collaboration with Cesare Zavattini where the two of them were instrumental in Neorealism. After the war, the two of them Zavattini and De Sica, wrote and directed a lot of movies in neorealist style.

De Sica showed his skill in training non professional actors and shoot most of his films outdoors and in natural environments.He also had a great compassion for the poor.

5.2 Bimal Roy

(12th July 1909 - 8th Jan. 1965)

Director of “Do Bhiga Zameen”(1953) and “Devdas (1955)” Bimal Roy was born in Dhaka, that was part of Eastern Bengal. He started as a cinematographer at New Theaters in Calcutta.

Later on, Bimal Roy became an assistant director to P.C. Barua who made the first hindi adaptation of “Devdas”.

Bimal Roy in gained recognition from his first film “Udayer Pathey (1944)”. With the decline of New Theaters, Bimal Roy had to move out of Calcutta to Bombay where he started his own “BR Productions.” The first movie produced under “BR Productions” was “Do Bhiga Zameen (1953).” The film was widely acclaimed in India and abroad.

He was known to have started realism in India with the movie ‘Do Bhiga Zameen’ which is inspired by a poem by Rabindranath Tagore.

Fig 32. Bimal Roy

Bimal Roy

(12th July 1909- 8th Jan. 1965)

1909 Born in Dhaka, Eastern West Bengal

1953 Started his own He was know for his portrayal of realities of production in Indian society and bring out social message. Mumbai called It is said that the film Devdas was never shot BR Productions on location in Bengal and was instead photographed in a studio in Andheri. The director had a liking for the way seasons changed and used a lot of inanimate objects to symbolize his characters in the movie 1953 Devdas. pioneered Indian His movie ‘Do bhiga Zameen’ has been in- Realism spired by Vittorio De Sica’s ‘Bicycle Thieves’ and both of these movies have been revolutionary for the time they were made in.

He made a lot of adaptations of Saratchandra Chattopadhyay such as: •Parineeta (1953) •Devdas (1955) 1965 •Sujata (1959) •Madhumati (1958) Died in Mumbai at the age of 65.

40 | About the directors and the author

1935 Assisted at the New Theaters, Calcutta with P.C. Barua who directed Devdas (1935) 1953 Made his movie “Do Bhiga Zameen”, inspired by “Bicycle Thieves

1953 onwards Made various adaptations of Sarat Chandra Chattopadhyay’s books

5.3 Wes Anderson

(12th July 1909 - 8th Jan. 1965)

Director of “The Grand Budapest Hotel”(2014)

Fig 33. Wes Anderson

Wes Anderson

(1st May 1969- present)

1969 Born in United States of America

2014 Won many awards for the movie “The Grand Budapest Hotel”

1996 Directed his first movie: “Bottle Rocket”

Known for his distinct style of symmetric frames and colours.

41 | About the directors and the author

Wes Anderson is an American 21st century director who is known for his strong visual style and use of colors. Wes Anderson has a distinct style to create interior spaces.

He started his interest in making films at a very young age making home videos on his Super-8 camera. One of his first movies was “Bottle Rocket” which was based on a short movie.

His movies generally have a dysfunctional family relation full of escapism and a distinct pattern. A lot of his films are inspired by art nouveau as said in the paper “Space-Narrations, storytelling through the films of Wes Anderson. It is said that the idea of the movie “The Grand Budapest hotel” germinated from a character sketch along with a collaborator and friend. The locations were inspired and tried to capture postcard like photographs seen at the Library of Congress. The locations were inspired from Austria, Hungary, Poland, Germany, and the Czech Republic.

The movie is set in three different time zones and is shown with help of different aspect ratios; 1.37, 1.85 and 2.35.1 or styles of filming in the movie. His style of film making focuses on the geometric aspect of the frames. Wes Anderson manages to create a fictional world with distinct characteristics. The Grand Budapest Hotel, has won many awards for it’s set design and costume Design.

5.4 Sarat Chandra Chattopadhyay (15th Sept. 1876- 16th Jan. 1938)

Author of “Devdas”(1917) Sarat Chandra Chattopadhyay was born in a village in West Bengal. He was known to have spent his childhood in poverty and had very little education. He began writing as a teenager and was known to be one of the most popular Bengali writers of his time.

Sarat Chandra’s writing career was taking off during the nationalist movements of our country, India. Much of his writing talks about the unstabilty in society. He believed that “the pen is mightier than the sword,” and that his writing could help awaken a social consciousness bring social and political reform. His stories connected to the people not just in Bengal but around India. He stories spoke about strong women and the complexities of family relations and society.

Sarat Chanda was said to be at the forefront of realistic literature.

Fig 34. Sarat Chandra Chattopadhyaya

Sarat Chandra Chattopadhyay (15th Sept. 1876- 16th Jan. 1938)

1876 Born in a village in West Bengal.

1907 Started writing novels and stories in Bengali.

“Devdas” was one his most popular books published in 1917 is one of the books that has been adapted several times. It is known to be one of his best works and has been inspired by his own life. The popularity of the story of Devdas has seen various adap- Wrote a lot on tations as it helped show the social context society, politics; of that particular time. forefront of r realistic literature.

Sarat Chandra has written many other books which have been adapted later. He mostly writes his stories based in Bengal and in the time that he was writing. He has written a lot of novels such as: •Palli Samaj •Charitraheen 1938 •Nishkriti •Grihadaha Died in Calcutta at •Pather Dabi •Sesh Prasna the age of 61.

•Parineeta •Srikanta 42 | About the directors and the author

Poor and did not receive proper education.

1923 onwards He wrote a lot when the nationalist movement in India had was going on.

1917 Devdas is one of his widely adapted books.

5.5 Sanjay Leela Bansali (24th Feb. 1963- present)

Director of Devdas (2002)

Fig 35. Sanjay Leela Bansali

Sanjay Leela Bansali (24th Feb. 1963- present)

1963 Born in Mumbai.

1999 Made first commercially successful “Hum dil de Chuke Sanam” Known for his extravagant style and “larger than life” sets.

1989 Started his film career as assistant to Vidhu Vinod Chopra

2002 Made an adaptation of Devdas

43 | About the directors and the author

Sanjay Leela Bansali is a contemporary director who had reinterpreted Sarat Chandra and Bimal Roy’s Devdas for the newer generation. Sanjay Leela Bansali is a gujarati born in Mumabi. He started his film career by being an assistant to Vidhu Vinod Chopra. His first movie was “Khamushi: The musical.”which did not gain any commercial success. He later made “Hum dil de Chuke Sanam” which was widely commercial and had a lot of star cast in it . It also saw the extravagant set designs and locations. It showed how Sanjay Leela Bansali exaggerated reality for effect and to show grandeur.

His take on Devdas also gained a lot of attention with the cast that was involved and the fact that it was already a popular story being retold. His version of Devdas in 2002 was inspired by Bimal Roy’s version of the original book.

His movies have known to have ornamentation to a large extent. He also is found to use certain colour for his movies to set the theme. Devdas has been one of the most memorable and often refereed to in general conversation. His movies are known to be festive in nature and are mostly showing an exaggerated form of reality. Some of his recent famous movies have been periodicals showing events of history.

Table 3.

Victorio De Sica

Bimal Roy

Wes Anderson

Origin

Italy

USA

Style of movie

Neo Realism

West Bengal Neo Realism

Movie/ Book Selected

Bicycle Thieves

Year they 1948 directed the selected movie/ book

Sarat Chandra Sanjay Leela ChattoBansali padhyay West Bengal Mumbai

Expressionist Neo Realist Literature

Expressionist

i.Do Bhigaa The Grand Zameen Budapest Hotel ii. Devdas

Devdas

Devdas

i.1953

1917

2002

ii.1955

44 | About the directors and the author

2011

Literature Study

6.1 Bicycle Thieves Directed by Victorrio De Sica (1938) Bicycle Thieves is loose adaption of the book Bicycle Thieves by Luigi Bartolini published in 1948.

This movie is known to one of the most important movies for cinema globally as it was the first time that realism was depicted in cinema.

For the first time, there were stories being told that spoke the realities of a city post war.

Unemployed Antonio Ricci (Lamberto Maggiorani) is elated when he finally finds work hanging posters around war-torn Rome. His wife, Maria (Lianella Carell), sells the family’s bed linens to retrieve Antonio’s bicycle from the pawnshop so he can take the job.

However, disaster strikes when Antonio’s bicycle is stolen, and his new job is doomed unless he can find the thief. With the help of his lively son, Bruno (Enzo Staiola), Antonio combs the city, growing increasingly desperate for justice.

Narrative

Author’s Narrative It is a house that has been done over, situated in an alley which opens up on the Piazza della Chiesa di Santa Maria della Pace, a pleasant bit of architecture by Pietro da Cortona.

46 | Literature Study

Script Narrative Could not find the exact script and only explanations of movie.

Cinematic Representation a. Focus and Subject The human figures highlighted with yellow are the focus of this scene. They are the two that are taking us through the space. We find the two humans walking and the other dotted lines are the ones that are helping us understand where the humans are. As we have defined the focus is what the director wants to make us see, we primarily watch the two people walking and we see the two people. b. Scale and Proportion The darker yellow appears to be larger than the lighter yellow as we see how the scale of the man in from front of the building and we see the scale of the child in lighter yellow to be smaller. The proportion of the of the two people is found to be in comparison to the built spaces around.

c. Depth of an image We know from the scene that the buildings are used as a background since they are set at the back to create depth. We also feel the depth in the image because we find them using the principle of perspective. We can see that all the building roofs incline to a corner and see the roads merge at one point.

d. Quality of space The part shown in yellow is the built spaces which are placed on the background as spoken earlier in the depth of image. They are spaces that are telling us where the two people are located. The brown part of the image shows the road that is the road, where we find the two people interacting with the open space by their walking.

47 | Literature Study

Architectural Representation a. Materiality From the frame, we can figure out some of the materials used that help understand the architectural nature of the space. From the story since we know we are in Italy we can assume the kind of materials shown in this image.

b. Geometric Relation with the frame The frame is found to be symmetric in nature and is balanced with the placement of the people on either side of the frame. The placement and density of the buildings are also helpful to maintain the balance in this case.

c. Views In this frame, the view is that of the crossroad. The views having many buildings shows the character of where the father and son are. There aren’t any small accessories or objects that tell us about specially but since the scene is about when

48 | Literature Study

opens up on the Piazza della Chiesa di Santa Maria della Pace, a pleasant bit of architecture by Pietro da Cortona.

Conclusion In conclusion comparing the narrative and the space visualized in the frame.

We can conclude the following about the physical and social context.

Physical Context:

As seen in the frame, we see the two characters at the crossroad. The narrative tells use that the father and son are searching for their stolen bicycle and hence we see them at the crossroad which helps establish confusion as happens when one is at a crossroad and doesn’t know where to go. We also see that with help of scale of the buildings in the surrounding that the father and son look insignificant and small which tells us about the fact that they are probably in a part of the city that is richer. We also see from the buildings upfront that the materials that are possibly shown are that of glass, wood, concrete.

Social context:

49 | Literature Study

From the narrative and the frame selected, we can say that the character that is in focus is the father and son who are rather poor. The frame also tries to tell us how they are poor as we can see the emptiness in the frame. Other than the two people on the street we do not see any other human being and that helps to add a sense of helplessness to the characters. We also can understand from the frame that this is probably a rich locality as there are less people on the street and buildings are taller and well ornamented. The social setting is that this is Italy post war and hence we know from the narrative that the family has lost their cycle which is very important to them. From the placement of the father and son we can also say that since the father is tensed about the loss of his cycle and has forgotten about his son not keeping up with him.

6.2 Do Bhiga Zameen Directed by Bimal Roy (1953)

a a

b c

c

d

d 50 | Literature Study

A zamindar threatens to seize two acres of land owned by a humble family if they fail to repay their debts. The father of the family then works as a rickshaw puller in Kolkata to earn money. The movie deals with the dilemma of how villages are turning into cities and how the zamindar is turning the land he owns to the textile mill.

The scenes are a progression to how the father and son move from the village to the city and how suddenly the dynamics of the space change from one to the other.

This movie has often been compared to Bicycle Thieves made in Italy in the 1948.

This is one of the first few movies that spoke about realism in India and was made by one of the first few directors of realism in India.

The story is takes us through the hardships of the economically poorer people and the effect that post Independent India was facing.

Narrative The narrative of the story of ‘Do Bhiga Zammen is from a poem of Rabindranath Tagore titled “Dui Bhiga Zameen” in Bengali.

Author’s Narrative Script Narrative After a month and a half, Could not find the leave the land and go exact script and out. only explanations . of movie. . . .

At the end of one day, I wanted to return to the country.

Cinematic Representation a. Focus and subject From the frame (a), we can find that the man and the lady shown in orange standing in the frame are the focus as we find them placed at the center of the frame apart from the fact that they are talking.

The focus is put on these two people also because they are in motion.

b. Scale and Proportion The built spaces shown in red are seen as larger than then two people shown in yellow. This tells us about the scale of the built structure as compared to the human beings standing ahead. We also the difference in the scale between the father and son as one is older and the other younger.

The proportion of the building in red is judges with help of the human scale placed right in front of the building.

c. Depth of an Image The frame (d) from the frames chosen help us understand the larger than life nature of the city life. We find the use of perspective to create depth in this frame. The fact that we can see the sky and the bridge together adds a grandeur to the frame which tells us about the monumental nature of this structure. d. Quality of space The frame from the scene e, shows use the nature of the space, we can see that the road highlighted in brown is a part of a bridge and hence we can say that they are in a open space but however they are walking on a structure. We know from the frame that there are a lot of people and movement in the bridge. This also tells us that this is a public space where they are walking.

51 | Literature Study

c

Architectural Representation a. Materiality From the frame marked (a) we know some of the materials used were be stone, hay, bamboo mesh and branches of trees. We see that the houses in the frame (a) use these materials. We know from (c) that the frame is of Howrah bridge and thus, we can say that the material shown is steel.

The materials shown in (a) are more primitive and hence to add to the fact that the setting is that of a village. We also see from the material used in frame (c) is a newer material as steel is relatively a modern method of construction.

b. Geometric relation with the frame.

The geometry of the frame is symmetric and we can say so because we can see that the father and son are placed right at the centre of the frame and hence they balance out the frame. The crowd seen on either side of the frame is found to be even and hence we find the frame to be symmetric.

c. View From the view shown in the frame (c) it can be found that there is a huge structure of trusses which is the Howrah bridge that seems to be the view for this frame. We do not find any other object to add any effect to the narrative here. We also see that the view shows primarily the structure that the two of them are walking in.

52 | Literature Study

After a month and a half, leave the land and go out. . .

At the end of one day, I wanted to return to the country.

a

c

Conclusion In conclusion comparing the narrative and the space visualized in the frame. We can conclude the following about the physical and social context.

Physical Context:

The physical context in this scene moves from a village to the city. The physical aspects that help us understand the details of this movement is that we can see that through material we see the difference in the construction of the village houses and the city. We find in frame (a) that there are only two people in the frame and hence we see they are walking through stones. The houses are placed close to each other. We also find from frame (c) that the space is very crowded and there is some level of chaos that helps us understand that this is a city. The scale and proportion also help us understand how from the first frame (a) to the frame (b) there is a change in the scale of the building in the background.

Social context: c

53 | Literature Study

From the frames selected you can make out from the fact that the there is the progression from a village to a city. We know from the text of the author also that there is an aspiration to go the city from the village. We find this when we look at the way the Howrah Bridge is shown and hence we find that the city is shown as an aspirational factor as it was during 1953 as we were a free country and growing and cities were expanding and as we find out later in the story that the farm lands turn to mills. Bimal Roy much like his style to show the realistic approach shows the initial transition from the village and city to make the city look grand and a place where people can make money.

6.3 The Grand Budapest Hotel Directed by Wes Anderson (2014)

One of the scenes from the Grand Budapest Hotel which is the introductory scene of M. Gustave.

The story starts in 1932 where- Mustafa is telling the story from his teenage days where he is Zero Mustafa or Zero.

We are introduced to M. Gustave H, the concierge at the hotel. He is preparing for the departure of Madame D. As she is returning to her home from the hotel, we find her tell M. Gustave “I love you,” as she drives off.

Narrative

Narrative of the author Since the Grand Budapest hotel is not based on any book or poem hence we do not have a narrative by any author to compare it to.

54 | Literature Study

Narrative of the script

CUT TO: The elevator on its way down. M. Gustave sits with Madame D. (now wearing gloves) on a velvet-upholstered bench.

She clutches his arm and looks deeply concerned.

Zero stands at attention with the jewel case alongside a veteran elevator operator.

M. GUSTAVE : Perhaps this will soothe you.

MADAME D.(Alarmed) :What? Don’t recite.

M. GUSTAVE : Just listen to the words.

MADAME D.(Anxious): Please. Not now.

Cinematic Representation a. Focus and subject

The highlighted images are the focus of this frame. We find that the four people placed in the center and the square are the focus.

We find that the order of placing the characters shows us who is the main character and the emphasis on them.

b. Scale and Proportion

The placement of the 4 people helps us understand the scale and proportion.

The lighter yellow figure is found to be behind and is seen to be smaller as compared to the two figures in darker yellow that is placed in the front.

c. Depth of an Image

The depth of the image is deciphered by the fact that it is in perspective and we see the space converge at a point.

d. Quality of space

We notice the fact that this is a lift as we can see the placement of the lift boy holding onto the controller.

The space showed to be compact and enclosed.

55 | Literature Study

Architectural Representation a. Materiality

From the frame selected, we do not find what the material is and we only know that I uses a red paint. We find the handle of the lift and that is made of metal. We do not see the use of materials as distinctly.

b. Geometric relation with the frame.

We know from Wes Anderson’s previous works and the history of his film making that he is known for his geometry. In this case, we find that the geometry is extremely central and we find that the gaps between the people and the sides is minimum. We find that since the frame is centralized with the placement of the people and the level at which it is seen, we can say that the frame is symmetric in nature.

c. Views We find that there are very few things to see in the view of this frame. We find that there is the handle that is used to operate the lift and the confinement of the lift. There is little ornamentation that helps us understand that this is not a ordinary lift and probably of a porch and expensive place.

56 | Literature Study

The elevator on its way down. M. Gustave sits with Madame D. (now wearing gloves) on a velvet-upholstered bench. She clutches his arm and looks deeply concerned.

Zero stands at attention with the jewel case alongside a veteran elevator operator.

Conclusion In conclusion comparing the narrative and the space visualized in the frame.

We can conclude the following about the physical and social context.

Physical Context:

The physical context is not very easily understood from this frame as we can see only that there are 4 people standing in the center of a enclosed space. Due to the way the space is visualized with the help of the positioning of the 4 people who are closely placed, we feel like its a very compact space. However, we do not know where this compact space is from this frame. With the glossy effect from the lift, we can say that its probably a posh place where the lifts look bright and glossy. We can assume that it is a hotel since there is a boy who wears the cap stating “lobby boy�.

Social context:

From the selected frame, we can not establish the social context, of where we the scene is taking place. However, with the help of the depth of images, we can say that the placement of the people is made according to their importance. We find that the lobby boy is placed far behind and the person controlling the elevator is in the front. We also find that the only person in a different colour attire is in the women, who is of a higher class as she is the one who is leaving.

57 | Literature Study

Parameters for analysis.

Narrative

by a director based on a script

by an author

Space Visualized Cinematic Representation

Architectural Representation

Focus and Subject

Geometric relationship Materiality

Scale and Proportion Depth of Image

Views

Quality of space Background of directors

Context 58 | Literature Study

Case Study

The Grand Budapest Hotel (2011)

based on the criteria of stories that take place in one or two houses and in India.

Devdas’s house

Devdas (2002)

Parvati’s house

Selecting the scenes • based on the interacting between the two houses •common plot points of the movies and book.

60 | Case Study

From the many versions of Devdas the 1955 and 2002 version are selected as they are closest to the book written.

The next part was to select the scenes that focus on Devdas and Parvati’s house.

Devdas The book

Devdas (1955)

The choice of taking up Devdas as a case study came up after looking into the movie “The Grand Budapest hotel” and then the case study was chosen on the criteria that the story of the movie be taken in one or two houses or confined to a few place and that the story be taken place in India.

Devdas: the book by Saratchandra Chattopadhyay 1917 - written in Bengali in 1901 - published in 1917 - writer took many references from real life.

Fig 36. Devdas book cover

Fig 37. A scene from Devdas(1935) 1953 -Tamil and Telugu version by Vadantam Raghavaiah

Fig 38. Devdas 2002 book cover -Directed by Sanjay Leela Bansali - Same year a bengali version by Shankti Samanta

The story of Devdas was written by a famous Bengali author Saratchandra Chattopadhyay. He was from a village in West Bengal and most of his childhood and youth was spent in poverty and he received very little formal education. It is said that most of his writing gained momentum along with the nationalist movements that were 1928 -Silent film by Naresh happening during the time he had gained Chandra Mitra maturity. Devdas was written in 1910 and published in 1917 in Bengali. The book like 1935 - 1937 - directed by P.C. Barua most of his work spoke about the social - Second adaptation of and political reform during that time. It has Devdas been said that Saratchandra was at the fore- P.C. Barua also made front of a movement of realistic fiction that Bengali and Assamese would find many followers in the course of versions of this movie the 20th century.

1955 - directed by Bimal Roy - Third adaptation of Devdas

Fig 39. Devdas poster.

2009 -Directed by Anurag Kashyap in Hindi - contemporary version, trying to retain the essence of Devdas.

Fig 40. DevD poster 61 | Case Study

7.1 Background of the author

The first film of the novel by Pramathesh Barua- was released just before Saratchandra’s death in 1938. The Hindi version of the bilingual gave cinema its first memorable Devdas in the form of K.L Saigal. The subsequent Dilip Kumar- Vyjayanthimal- Suchitra Sen starred directed by Bimal Roy is known to be closest to the novel and considered classic of celluloid screen. It is said that Sanjay Leela Bhansali’s Devdas gives the story and extravagant backdrop, making it a ‘visual treat’. The film directed by Sanjay Leela Bhansali starring Shahrukh Khan, Aishwarya Rai Bacchan and Madhuri Dixit and Jackie Shroff is a testimony to the time that it was made where cinema was more actor driven.

7.2 Introduction The story of Devdas has been rewritten for a long time. There have been multiple adaptations of this story in cinema as well as in television. The word ‘Devdas’ has been used so much in India that it has created a visage of a haggard, lovelorn soul, who is in a path of self- destruction. This story stuck on for so many years because this was perhaps for the first time that in modern Indian literature, the day- to- day lives of ordinary people, complete with their joys, heartbreaks and their thoughts, became the matter of narrative.

There are four principal characters in this story: a. Devdas b. Parvati c. Chandramukhi d. Chunilal There are also four primary locations in this movie: a. Devdas’s house b. Parvati’s house c. Chandramukhi’s brothel d. Parvati’s in-law’s house

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Narrative plot points in the book and movies: a. When Devdas returns from the city back to his house. b. When Parvati and her friend Manorama are talking about Parvati’s marriage c. When Parvati goes to Devdas’ house late in the night to ask him if they will get married. d. Devdas’ fight with his father and him leaving his house e. Devdas finding a chariot to meet Parvati again before his death f. Devdas’ death

7.3 Scene 1: Frame 1: Where Devdas meets Parvati after coming back from the city.

Narrative: Narrative of the author Script of 1955 Script of 2002 The next day he went to Par- Almost darkness has been Devdas came from vati’s house and called out, spread in the sky.

London, and went to ‘Aunty’.

Long shot scene meet directly Parvati.

Parvati’s mother welcomed Where Parvati’s Scene began with the close him in and said,’Come in, son.’ Grandmother was talking up He spent some time talking about Devdas’ arrival with of Parvati’s feet where to her and then asked, ‘Aunty, Parvati’s mother on their Parvati mother was putting where is Paro?’ house courtyard. colour on her feet.

‘Probably upstairs.’

Parvati was standing with Somebody knocked the Devdas went upstairs and them, after looked door and called found Parvati lighting the eve- outside, towards the Protagonist name. ning lamp; he called, ‘Paro.’

Devdas’ house, path, which She was startled at first. was empty.

Cinematic Representation Devdas 1955

Devdas 2002

Focus and Subject

Scale and Proportions

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Depth of Image

Quality of space

Architectural Representation Materiality Devdas (2002) frame does not have any architectural representation.

Geometric relation with the frame

Views

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The next day he went to Parvati’s house and called out, ‘Aunty’.

Long shot scene Where Parvati’s Grandmother was talking about Devdas’ arrival with Parvati’s mother on their house courtyard.

Scene began with the close up of Parvati’s feet

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Cinematic Representation While comparing the starting frames from both the versions of the story, we find that the 1955 version of Devdas makes an attempt to show us the location of where the conversation is taking place. We find from the narrative that Parvati, Parvati’s mother are waiting for Devdas to come to the house.

In the 1955 unlike the author’s narrative, we find the addition of Parvati’s grandmother in the conversation. We find that the rooms of the house are set in the background which enables us to understand that the conversation is taking place in a courtyard which is supported by the narrative in the script of 1955. Whereas in the frame of 2002 Devdas we find the foot of Parvati to be of focus and is the only reference for understanding the scale and the depth of the frame. We only know with the help of the plate and Parvati’s feet.

Architectural Representation.

The 1955 version of Devdas has established certain aspects of the household, such as the materials of the house are mostly of concrete and seem to be plastered, there is a cow shed which is seen further in the background that tells use the hay used for the shed. We also know with the help of the frame that the central tulsi plant holder is placed at the center making it symmetric and balancing the frame. The view of the frame, starts with the plant, then the columns on the background, then the kitchen or room in the background through which we can also see the plinth level of the house.

Conclusion Physical Context: 1955- In the frame of the 1955 Devdas, it is found that through the frame, that the coversation between Parvati, her mother and her grandmother is taking place in the courtyard of their house. We find that the physical context is being established with the help of the views where we see the Tulsi plant space and the column next to which Parvati is standing. We also find that with the help of the scale and proportion, that the house is not very big as, we can see the height of the house as compared to the women standing in front of it.

2002- Through this particular frame, we do not know where the conversation is happening and we just know that those are Parvati’s feet with the help of the narrative that we know from the author.

Social Context: 1955- In this frame, we can see that because of the fact that the house has a courtyard and with the help of scale as we see the house to small, we can say that Parvati is not from a very well to do family. We also see a shed at the background in the distance, which tells us about the typical village type household.

In this case, the director finds it important to tell us (i,e, the audience) about Parvati’s social context.

2002- In this frame, we can tell that Parvati is slightly better off than the one shown in 1955 as we see her hands have ornaments.

We also find that despite the fact that the director does not show us any build space, we find that with the help of just the fact that the director made the choice not to show her house in the beginning of the scene is an important aspect that she is better off and is little more upper in the social strata.

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Scene 1: Frame 2: Where Devdas meets Parvati after coming back from the city.

Narrative: Narrative of the author Script of 1955 He spent some time talking Cut to PARVATI to Parvati’s mother and then She came to stairs asked, ‘Aunty, where is Paro?’ ‘probably upstairs.’

Devdas went upstairs.

Script of 2002 Parvati Pan Shot Parvati was running with excitement

Cinematic Representation Devdas 1955

Devdas 2002

Focus and Subject

Scale and Proportions

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Depth of Image

Quality of space

Architectural Representation Materiality

Geometric relation with the frame

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Views

He spent some time talking to Parvati’s mother and then asked, ‘Aunty, where is Paro?’ ‘probably upstairs.’

Cut to PARVATI She came to stairs

Parvati Pan Shot Parvati was running with excitement

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Cinematic Representation 1955- The cinematic representation in terms of the frame is focused on the movement of Parvati through the staircase and we can see the scale of the staircase in comparison to Parvati as she is walking on it. In this case we find that the staircase is the center of the frame and is a element that is being used by the subject i.e.Parvati.

2002- The cinematic representation of the frame selected is through the movement of Parvati through the long corridor. We find that corridor helps to create a depth in the image and Parvati being in the centre of the frame, helps to understand the scale of the corridor.

Architectural Representation

1955- The architecture is represented by the kind of staircase used in the frame. We find that the staircase here is a straight flight one. We can also see that the flight of staircase is rather short. From the materiality we know that the staircase is made of wood and house has a plastered wall.

2002- The corridor shown in this frame, tells use that the house has long winding corridors that is seen through the frame.

We also see the use of stained glass along the corridors which tells us about the semi-openness to the space.

Conclusion: Physical Context: 1955- We find that the staircase is an important transition element in this frame. We see that the house is not very large as the staircase has a short flight. Hence, we can tell from this that the although the walls are plastered we do not know where the house is place. With the help of the narrative written by the author and the previous scenes of the movie that the house is in Calcutta.

2002- We find the use of long corridors to be the transition element in this frame. We see that stained glass helps to make the corridors look long and intertwining.

Social context: 1955- Although the staircase, we see that the family is not very well of as the flight of the stairs is short and we find the use of wood for the staircase as it seems to have been an element added later to the house.

2002- We find that the family is better off and that the long corridors tell us that the family has a larger house. We see that the director uses the frame to also exaggerate the longing of meeting Devdas after a long time as is the style of the director.

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Scene 1: Frame 3: Where Devdas meets Parvati after coming back from the city.

Narrative: Narrative of the author Devdas went upstairs and found Parvati lighting the evening lamp; he called, ‘Paro.’ She was startled at first.

Cinematic Representation

Script of 1955 As she heard the sound of shoes Parvati entered inside the room. Parvati was searching something to do suddenly she pours oil in diya,than took match box to kindling diya..

Devdas 1955

Devdas 2002

Focus and Subject

Scale and Proportions

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Script of 2002 She came in the room, sat on bed.

Suddenly, bumble bee start dancing, Parvati was trying to save her.

Architectural Representation

Depth of Image

Quality of space

Architectural Representation Materiality

Geometric relation with the frame

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Views

Cinematic Representation Devdas went upstairs and found Parvati 1955- The cinematic representation in terms lighting the evening lamp; he called, ‘Paro.’ of the frame is focused on Parvati as she arShe was startled at first. rives to the room and goes to light a lamp. We see that the scale and focus of the scene is in she heard the sound of shoes Parvati enParvati’s movement. tered inside the room. Parvati was searching something to do suddenly she pours 2002- Similar to the 1955 version, we see oil in diya,than took match box to kindling that the frame focuses on Parvati and her diya.. desperation to meet Devdas. We see that cinematic aspect focuses on Parvati and her lying on the bed.

She came in the room, sat on bed.

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Architectural Representation 1955- The room in which Parvati enters is found to have very little ornamentation and elements. We see that Parvati’s scale is shown in comparison to the column in the room along side which she is found to be standing.

The room looks small as the column is seen to be wide.

2002- Similar to the 1955 version, we see that Parvati is in her bedroom and we see her lying down on her bed. Since there are a lot of elements to the frame, we see that the room is larger and can accommodate these elements. We find that although, there isn’t a distinct architectural feature, the bed helps us understand that the nature of the room.

Conclusion: Physical Context: 1955- Through the frame, the physical context is that we are in Parvati’s bedroom. We know that this is a bedroom as we see her walk up to this room and light a lamp which shows us that she knows this room well.

2002- The same applies to this case also. Although we do not see Parvati light a lamp, we see the built up to her approaching the room and the way she is lying on the bed, tells us that she is in her room.

Social Context: 1955- The fact that there are very few elements in this room and that it is dark tells us that the family is not rich. The fact that there is a column in the middle of the room is possibly because that is the only room that is shared among the members of the family.

2002- There are a lot of elements in the room as compared to the 1955 room. We can tell from this that Parvati is richer and hence can afford these many items in her room. The fact that the bed is shown to be so elegant and that the room is well lit tells us that despite the fact that the narrative talks about the same time period, as the director uses his freedom of expression, we see that there is more exaggeration to the fact that Parvati is better off and rich.

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7.4 Scene 2: Frame 1: When Parvati goes to meet Devdas late at night.

Narrative: Narrative of the author It almost one o’clock at night.

A faint moonshine clung to the sky. Parvati wrapped herself in swathes of bedsheets and came down the stairs very softly. She looked around---- not a soul was awake. She opened the door and walked into the street quietly. On the village roads there wasn’t a soul around, nothing stirred and she had hardly a chance of running into someone. She came and stood before the gate of the zamindar’s house.

Script of 1955 There was dark night, PARVATI was lying on her bed, she woke up and covered herself with shawl, open room door, looked towards the Devdas house from terrace.

Cinematic Representation Devdas 1955

Devdas 2002

Focus and Subject

Scale and Proportions

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Script of 2002 PARVATI was standing before Devdas house, wrapped her by shawl, full moon was at the sky.

Depth of Image

Quality of space

Architectural Representation Materiality

Geometric relation with the frame

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Views

It almost one o’clock at night. A faint moonshine clung to the sky. Parvati wrapped herself in swathes of bedsheets and came down the stairs very softly.

There was dark night,PARVATI was lying on her bed, she woke up and covered herself with shawl, open room door, looked towards the Devdas house from terrace.

PARVATI was standing before Devdas house, wrapped her by shawl, full moon was at the sky.

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Cinematic Representation 1955- The cinematic representation in terms of the frame is focused on Parvati as she is preparing to leave the house to meet Devdas. We see that through the use of depth of image, we can see Devdas’s house in the background. The focus here is on Parvati and the background helps to add to the focus.

2002- Similar to the 1955 version, we see that the frame focuses on Parvati as she is looking towards the moon. Here also similar to the frame of 1955 we see Devdas’s house in the background however, we see that the focus in on Parvati’s face and not her entire self.

Architectural Representation 1955- The architecture represented here is that of the one shown in the background.

We see that the house of Devdas shown in the background is larger and we do not see the entire house but just a room in which the light is on and visible.

2002- Similar to the 1955 version, we see that Parvati is standing in front of Devdas’s house where we do not see much of the household as seen in 1955 version. We only see the pediment of the house which tells us about the kind of household.

Conclusion: Physical Context: 1955- Through the frame, the physical context is we are at Parvati’s house however through the focus, we know that we are going to go to Devdas’s house. We do not know the exact location of the events that are happening in the scene however we can assume with the help of the narrative that the terrace of Parvati’s house and hence we can see that she is over looking to Devdas’s house.

2002- The same applies to this case also.

Here the director uses the focus and subject to be on Parvati entirely. We do not see the emphasis on the background which in this frame is the primary aspect that helps establish the physical context.

Social Context: 1955- Although with the help of the narrative, we know that Parvati is of a lower class than that of Devdas. We also find this seen when Parvati hesitates to go to Devdas’s house. We find that the fact that we can not see Devdas’s entire house in the background also tells us how big is his house.

2002- The use of the pediment in the background of the house of Devdas seen tells us that Devdas is of an upper class than Parvati.

We do not find Parvati to be extremely poor as compared to the 1955 version as we see that Parvati is well covered and from the previous scenes we know of the same.

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Scene 2: Frame 2: When Parvati goes to meet Devdas late at night.

Narrative:

Narrative of the author She opened the door and walked into the street quietly. On the village roads there wasn’t a soul around, nothing stirred and she had hardly a chance of running into someone. She came and stood before the gate of the zamindar’s house. On the threshold the old guard, Krishan Singh, lay on his charpoy reading the Ramayan. He spotted Parvati and without looking up he asked, ‘Who is that?’

‘It’s me.’

The guard could tell it was a woman.

Script of 1955 Dogs were barking after a couple of seconds, she was moving towards the Devdas house where watchman was reciting Ramayana. He stop for a while asked Parvati. Now the Dialogue started:Guard:Kaun?

Parvati :Main....

After the Parvati’s response ,he recited again.

Cinematic Representation Devdas 1955

Guard:Kaun?

Devdas 2002

Focus and Subject

Scale and Proportions

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Script of 2002 She start walking go to Devdas house, captured the scene from High Camera Angle, where guard was reciting Ramayana, he spotted PARVATI and asked. Now the dialogue started:-

Depth of Image

Quality of space

Architectural Representation Materiality

Geometric relation with the frame

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Views

She opened the door and walked into the street quietly. On the village roads there wasn’t a soul around, nothing stirred and she had hardly a chance of running into someone. she was moving towards the Devdas house where watchman was reciting Ramayana.

She start walking go to Devdas house, captured the scene from High Camera Angle,

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Cinematic Representation 1955- The cinematic representation of this frame is through the use of transition again. We see that the gate is being used to help us determine the scale of the house. We also find that the frame is very dark and hence we do not notice a lot of the happenings but from the narrative we know that since it is night time, there is darkness.

2002- We see the use of scale to show the large house of Devdas that Parvati has entered. We find the focus has shifted from the previous frame to this frame to Devdas’s house. The house is now placed at the centre of the frame and it is the foreground of things.

Architectural Representation 1955- The architecture represented here with the help of the gate and the fact that there is a guard sitting on a plinth at the gate. We also find that the gate is huge as compared to the small door as seen in Parvati’s house.

2002- The architecture represented here is very exaggerated as is the style of the director as seen previously we also find that there are large columns and the pediment in the house of Devdas.

We see the house to be well lit despite it being late in the light.

Conclusion: Physical Context: 1955- As we see Parvati walk towards Devdas’s house, we find that the physical context is governed in this case just by the entrance to the house. The approach is through the open area and not covered.

2002- The physical context is although similar to the 1955 version of Devdas, the house is the main focus and provides the context. The fact that the house has large columns and a pediment is a representative of the similarity to the exaggerated ornamentation as seen in the previous frames.

Social Context: 1955- We find that with the help of the narrative that Parvati has stepped out of her house late in the night and hence we see that this is an aspect that is looked down upon in society especially for women. The fact guard then stops to ask her who she is as and she runs into the household which shows that Devdas belongs to rich household to be able to have a guard at the gate of his house.

2002- The use of the pediment and the large columns tell us that Devdas has a very extravagant house and that there is a sense of dominance in the frame that is shown. We see that we are looking up to the house which tells us the sense of dominance and emphasizes the fact that Devdas belongs to a rich household. We do not find Parvati in this entire scene and that tells us that her position in the society as shown in the narrative in neglected.

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Scene 2: Frame 3: When Parvati goes to meet Devdas late at night.

Narrative: Narrative of the author Parvati thought, ‘How would you know that?’ But she didn’t say a word and just sat there, a little embarrassed.

‘So late… shame on you. How will you face everyone tomorrow?’ Parvati kept her head bent low as she replied,’ I have the strength for that.’

Devdas wasn’t angry, but he was very upset as he said,’ Oh, the shame of it--- are you still a child? Didn’t you feel any shame coming here like this?’

Parvati shook her head and said, ‘No.’ ‘Tomorrow won’t you feel very ashamed?’

Cinematic Representation

Script of 1955 DEVDAS:Ghar ke andar kaise ayi?

Kisi ne dekha?

DEVDAS was holding a book.

PARVATI:Darbaan ne dekha tha..

DEVDAS:Baramde mein naukar chakar bhi the unki bhi nazar padi hogi.....

PARVATI:Shayad padi ho...

DEVDAS:Tumne asa kyun kiya Parvati?

Kal kya sharam se tumhara sir neeche nahi hoga?

Cut toPARVATI Head to Shoulder Close up of PARVATI PARVATI:Zarur hota agar main yeh na janti ki meri sari lajja tum dhak loge...

Cut to DEVDAS DEVDAS:Main...lekin mainbhi kaise muh dekhaunga?

Devdas 1955

Devdas 2002

Focus and Subject

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Script of 2002 Thunder effect audible and visible.

PARVATI and DEVDAS both of them were sitting on the floor.

Scale and Proportions

Depth of Image

Quality of space

Architectural Representation

Materiality

Geometric relation with the frame

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Views

Parvati thought, ‘How would you know that?’ But she didn’t say a word and just sat there, a little embarrassed.

‘So late… shame on you. How will you face everyone tomorrow?’ Parvati kept her head bent low as she replied,’ I have the strength for that.’

DEVDAS:Ghar ke andar kaise ayi? Kisi ne dekha?

DEVDAS was holding a book.

PARVATI:Darbaan ne dekha tha..

Thunder effect audible and visible.

PARVATI and DEVDAS both of them were sitting on the floor.

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Cinematic Representation 1955- The cinematic representation shows the dynamic between the conversation between Devdas and Parvati. We see that depth is used to create the various aspects of dynamic between the two characters as we see that both Devdas and Parvati are at focus in this frame. We find that both of them are in between a lot of furniture in Devdas’s room as the narrative suggests.

2002- We find that Devdas and Parvati are placed at the centre of the frame and hence we see that they are the focus of the frame.

We find that room of Devdas is seen from far and hence we see a lot of Devdas’s room.

Architectural Representation 1955- The architecture represented here is with the help of the elements in the room. We find that the door in the background is made of wood and of traditional double swing style.

We see that household is well equiped with a lot of furniture which suggests that the room is large enough to hold these many furniture.

2002- We find that similar to the notion seen in the 1955 version, the room of Devdas is seen as wide and large. We find the use of columns again in the background that suggest the exaggerated expression of Devdas’s richness.

Conclusion: Physical Context: 1955- Through the frame, the physical context is that we are at Devdas’s room with a lot of elements of furniture. In this case the physical aspect of the frame is through the door shown in the frame. We also find that the furniture is a lot different from conventional furniture.

2002- In this version of Devdas , although the physical space is the same, we do not know where this space is. We find that the columns and the large space of the room to be misleading and does not tell us where we are.

The narrative helps us understand that we are indeed in Calcutta where we are at Devdas’s room. The fact that the two characters are placed at the centre of the room tells use that they are in the middle of something serious which is then supported by the narrative.

Social Context:

1955- The social context is the fact that Devdas has the ability to own all these furnitures in his house. The fact that there are not just furniture that are generally used by also furniture that are of various types tells us of Devdas’s rich household. We also find that through the focus and depth of image, Devdas is seen more prominently which tells us that the male is superior to the female and that he is more important to the scene when the two them are talking.

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2002- The fact that the two characters are placed in Devdas’s large room tells use that the two of them are in trouble and that Devdas is seen to be even more rich as shown in the 1955 version. We find that the columns are used because of the ties to the British Raj as shown in the narrative later and that is why there is the use of such elements.

SCENE 1 FOCUS AND SUBJECT

SCALE AND PROPORTION

DEPTH OF IMAGE

QUALITY OF IMAGE

MATERIALITY

GEOMETRIC RELATION TO THE FRAME

VIEWS

FRAME 1 (1955)

FRAME 1 (2002)

FRAME 2 (1955

5)

FRAME 2 (2002)

FRAME 3 (1955)

FRAME 6 (2002)

SCENE 2 FOCUS SUBJECT

FRAME 1 (1955) AND

SCALE AND PROPORTION

DEPTH OF IMAGE

QUALITY IMAGE

OF

MATERIALITY

GEOMETRIC RELATION TO THE FRAME

VIEWS

FRAME 1 (1955)

FRAME 2 (1955)

FRAME 2 (1955)

FRAME 3 (1955)

FRAME 3 (2002)

Conclusion

Physical Context: 1955 While looking at the physical context established in the various frames seen, we find that Devdas’s house is larger than Parvati’s house. The use of materials in Parvati’s house are rather primitive . We find that she has a shed in her house, which goes to say that they probably rear cattle. The house as seen in the frames tells us that her house follows a rather vernacular style as seen from the quality of space created. The scale of the house also is seen to be rather small as seen in the first frame. We find that in comparison, Devdas’s house is larger and that although his house uses the same materials, there is a large gate that is seen in the house. The fact that there are so many elements in the room that give us the information that Devdas owns a lot of items as compared to Parvati. We see through the frames that Parvati’s house has some elements that are attached later on perhaps.

2002 While we look at the two household, we see that Parvati’s house is almost similar to Devdas’s house except for the fact that Devdas’s house has a lot of ornamentation on the facade as compared to the ornamentation on Parvati’s house. We see that there is a lot of use of stained glasses in Parvati’s house which tells us that there is a sense of transparency and that also helps to make the house look larger. Devdas’s house on the other hand has very large pediments and columns in the facade. The rooms are shown to be very large and filled with furniture and various other elements. Parvati’s house has a lot of furniture as well but it still looks crowded which suggest that there is not enough space to accommodate the furniture. Devdas’s house on the other hand, has a lot of furniture and has a lot of large empty space.

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Social Context 1955 In this version of Devdas we find that the social divide between the classes is evident. The way Parvati’s house is shown to be smaller and lesser equipped with items, tells us that there is a division in classes. We know from the narrative that Devdas’s household is found to be of Zamindar’s which at the time that it was written was considered to be a upper class. The households shown although have a similar style in terms of the materials used, they are rather different. We are able to see the entire house of Parvati’s in this version whereas we do not know much about the spaces in the house of Devdas which tells us that Parvati is of a poorer class. From one of the frames, we also find that there is a shed at Parvati’s house which could be the source of income for the family as it was found at the time the story was written.

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2002 The social context in this case is found to be similar to the context of the 1955 version although the dynamic between the two have change. We find that in this version Devdas’s household is found to be that of lawyers as suggested by the director’s narrative. We also know from the way that the house of Devdas is shown that there is a sense of dominance and the exaggerated facade and columns tell us about the families ties to the British Raj. Whereas, when it comes to Parvati’s household although her house almost as grade as Devdas’s house, we see that there aren’t large columns or pediments but we find that there extensive use of stained glass which suggest that there is a large sense of transparency.

We also find that in this version when Devdas and Parvati interact they are eras equals.

From the narrative, we know that although this version deviates from the author’s narrative, it retains the differences in the classes.

Narrative

Cinematic Representation

Devdas the book (1917) Devdas by Bimal Roy (1955) •The narrative in the book is set in a •The narrative here is also is set in village in West Bengal and Calcutta. tioned only through dialogue and n the book.

•The narrative has some instances of dialogue between the characters •The narrative consists of where th however there are a lot of places also describes who all are in the sc in between to describe the space in which the story is taking place.

N.A

The cinematic representation is no but also the space around the char

Architectural Representation

N.A

•The architectural representation in the frame and the interaction be frame is evident.

•The materiality of elements is don lated measure.

Director’s Influence

N.A

Since Bimal Roy is known to be fro know that he was not from a very Parvati is shown to be poorer than that Bimal Roy has also stuck to th deviated or changed much of the n

Physical Context

N.A

The physical context between Dev we are able to map Parvati’s entire we only see parts of Devdas’s hous

Social Context

94 | Conclusion

N.A

We also find from the views that P nacular houses in India. We see tha Devdas’ house as compared to Par do not necessarily tell us that the s

The social context in this version i is vernacular in nature, we know t they work at Devdas’s house. Devd mindaar. This is a reflection of the prevailing in parts of West Bengal

n Calcutta, however it is mennot directly mentioned as in

he scene is taking place and it cene and details the dialogues

ot only on the main characters racter.

is through the elements used etween the characters and the

Devdas by Sanjay Leela Bansali (2002) The narrative here is also is set in Calcutta, however it is mentioned only through dialogue and not directly mentioned as in the book.

Similar to script of 1955, the narrative consist of some instances of where the dialogue is taking place however it deals more with the dialogues and not on detail elements.

The cinematic representation is primarily focused on the main characters and not too much on the space around the character.

•The architecture representation is found to be a supporting aspect of the movie and we find that the characters do not interact with the elements or items much. We see them as ne more carefully and in calcu- props to add to the scene.

•The materiality and geometric relation to vision is more distinct and noticeable. We find that they are used also as an ornamental aspect. om a village in Calcutta and we Sanjay Leela Bansali as known is from a well to do family and well to do family, we find that was raised in a city, we find the character of Paravati has a n Devdas distinctly. We can see large house and there is very little and close to no difference he story of the book and not between Devdas and Parvati’s house. We find that the focus is narrative from the book. on the actors and the space making elements are used in the foreground or background or centre of the frame.

vdas and Parvati’s house is that e house through the movie and se.

The physical context between Devdas’ and Parvati’s house is very extravagant. We see that Devdas’ house has an elaborate facade and large and thick columns. Whereas, in Parvati’s house we see the use of stainless glass through the corridors.

Parvati’s house resembles a verat there are a lot of furniture in We also see a lot of ornamentation in both the houses as rvati’s house. The houses alone compared to the houses of in the 1955 version. We see find story is taking place in Calcutta. that the scale of the houses are very huge as compared to the 1955 houses. is that since Parvati’s house The social context in this case is found to be similar to the that her family is poorer and context of the 1955 version although the dynamic between das on the other hand is a Zathe two have change. We find that Devdas’ family is now diZamindaar system extensively rectly related to the Britsh Raj. We find that although the difduring the British Raj. ference in caste still exists, Parvati’s house is still larger and ornamented.

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List of figures Fig 1. Set of “The Grand Budapest Hotel.” (2020, July 2). [Photograph]. https://Www.Instagram.Com/p/B9CptRWIRa-/. https://www.instagram.com/ p/B9CptRWIRa-/

Fig 3. Zeotrope. (2020, February 23). [Photograph]. https://encrypted-tbn0.gstatic.com/images?q=tbn%3AANd9GcSDED2e1QyWd0IqZfGlMJQnQ0DwJ6bD3A2JYrh3C4G9D4_MMCdq&usqp=CAU Fig 4. Moving Horse. (2020, February 6). [Photograph]. https://cdn.britannica.com/s:700x500/69/59669-050-01A722A5/ photograph-series-horse-Eadweard-Muybridge.jpg

Fig 9. Pather Panchali Poster. (2020, June 23). [Illustration]. https://en.wikipedia.org/wiki/Pather_Panchali#/media/File:Pather_panchali _poster_in_color_1.jpg

Fig 10. Satyajit Ray and Bimal Roy. (2020, April 23). [Photograph]. https://www.google.com/url?sa=i&url=https%3A%2F%2Fen.wikipedia.org%2 wiki%2FSatyajit_Ray Fig 11. Production houses. (2020, April 2). [Illustration]. https://encrypted-tbn0.gstatic.com/images?q=

Fig 13. Ad for cigarettes using the background of Victoria Memorial.(2020, February 27).

[Photography]. In Visual worlds of Modern Calcutta.

Fig 14. x.(2020 February 27). [Photograph]. In Calcutta: The living city.

Fig 15. x.(2020, February 27). [Photography]. In Visual worlds of Modern Calcutta.

Fig 16. x.(2020, February 27). [Photography]. In Visual worlds of Modern Calcutta.

Fig 17. Chowringee Lane. (2020, April 16). [Photograph]. https://www.instagram.com/p/B7QlZpIAjuE/

Fig 19. Chowrangee Street. (2020, February 22). [Photograph]. https://www.instagram.com/p/B709AQLoC8K/

Fig 21. Gulliver’s travel. (2020, May 2). [Photograph]. https://cdn1.thr.com/sites/default/files/imagecache/landscape_ 928x523/2010/12/gullivers_travels_2010_a_l.jpg Fig 24. La La Land mapping. (2020, February 2). [Illustration]. https://www.archdaily.com/805884/interiors-la-la-land

Fig 26. Symmetry. (2020, May 22). [Photograph]. In Form, Order and Space .

Fig 28.Views . (2020, May 22). [Photograph]. In Form, Order and Space .

Fig 29.Views . (2020, May 22). [Photograph]. In Form, Order and Space .

Fig 30. Views . (2020, May 22). [Photograph]. In Form, Order and Space .

Fig 31 Victorio De Sica. (2020, June 22). [Photograph]. https://www.google.com/url?sa=i&url=https%3A%2F%2Fen.wikipedia.org Fig 32 Bimal Roy. (2020, June 22). [Photograph]. https://upperstall.com/profile/bimal-roy/

Fig 33. Wes Anderson. (2020, June 22). [Photograph]. https://www.google.com/url?sa=i&url=https%3A%2F%2

Fig 34. Sarat Chandra Chattopadhyay. (2020, June 22). [Photograph]. https://theprint.in/theprint-profile/sarat-chandra-chattopadhyay-thecreator-of-some-of-indian-literatures-most-iconic-women/178206/

Fig 35. Sanjay Leela Bansali. (2020, June 22). [Photograph]. https://www.google.com/url?sa=i&url=https%3A%2F%2Fin.bookmyshow.com

Fig 36. Devdas book cover. (2020, April 29). [Illustration]. https://upload.wikimedia.org/wikipedia/en/6/6c/Devdas_Bengali_book_front_cover.jpg Fig 37. Devdas 1935. (2020, January 1). [Photograph]. https://upload.wikimedia.org/wikipedia/commons/thumb/4/4d/ Kundan_Lal_Saigal_and_Jamuna_in_Devdas_%281936%29.jpg/220px-Kundan _Lal_Saigal_and_Jamuna_in_Devdas_%281936%29.jpg

Fig 38. Devdas Poster 2002. (2020, January 1). [Illustration]. https://upload.wikimedia.org/wikipedia/en/thumb/9/9a/Devdas_%282002 _Hindi_film%29.jpg/220px-Devdas_%282002_Hindi_film%29.jpg Fig 39. Devdas Poster 2002. (2020, January 1). [Illustration]. https://upload.wikimedia.org/wikipedia/en/thumb/9/9a/Devdas_%282002_ Hindi_film%29.jpg/220px-Devdas_%282002_Hindi_film%29.jpg

Fig 40. Devdas book cover. (2020, April 29). [Illustration]. https://upload.wikimedia.org/wikipedia/en/6/6c/Devdas_Bengali_book_front_ cover.jpg