BEES RANIYON KA BIOSCOPE - Revision history

HansaThapliyal at 05:50, 30 March 2009

2009-03-30T05:50:45Z

SaikatMallick at 02:27, 8 July 2006

2006-07-08T02:27:51Z

SaikatMallick at 12:56, 13 May 2006

2006-05-13T12:56:56Z

Show changes

SaikatMallick at 19:01, 7 May 2006

2006-05-07T19:01:42Z

SaikatMallick at 18:48, 7 May 2006

2006-05-07T18:48:55Z

SaikatMallick at 11:08, 4 May 2006

2006-05-04T11:08:14Z

SaikatMallick at 11:04, 4 May 2006

2006-05-04T11:04:37Z

SaikatMallick at 17:26, 26 April 2006

2006-04-26T17:26:46Z

SaikatMallick at 16:27, 26 April 2006

2006-04-26T16:27:10Z

Show changes

SaikatMallick at 14:24, 26 April 2006

2006-04-26T14:24:17Z

@@ Line 137: / Line 137: @@
 Suggested reading would be text like, Arts and nationalism in colonial India, Words of light, Technology of seeing, Illumination, Camera Indica, Photos of gods and few biographies of few characters relevant to Phalke stories
-Then we start tracing the life and times of Phalke based on my scrap book on the same subject. This will identify all the characters, location, technologies themes related to our subject. After having an over all view we will start focusing on the individual cities. For example, in Baroda, we will only deal with Phalke in Baroda and that particular period in his growing up and related developments. Also for example ,at Trymbakeshwar\Nasik we will be working on Phalke’s childhood, his father and family, mythological stories that shaped his mind, early toys dealing with persistence of vision or say beginning of Nationalism. Since this period belongs to childhood, it would naturally expect different texture shading from the stories and writings.
+Then we start tracing the life and times of Phalke based on my scrap book on the same subject. This will identify all the characters, location, technologies themes related to our subject. After having an over all view we will start [[focusing on the individual cities]]. For example, in Baroda, we will only deal with Phalke in Baroda and that particular period in his growing up and related developments. Also for example ,at Trymbakeshwar\Nasik we will be working on Phalke’s childhood, his father and family, mythological stories that shaped his mind, early toys dealing with persistence of vision or say beginning of Nationalism. Since this period belongs to childhood, it would naturally expect different texture shading from the stories and writings.
 Moving ahead to Baroda, he is a young man lost in learning photography, printing, music, theatre, intrigues in princely state, meeting his mentor Raja Ravi Verma. The story text would be inspired and sourced and drawn from local memories, legends, languages, paintings and unearthed unconscious of the city itself.

@@ Line 284: / Line 284: @@
 . Anantrao Karandikar –Saraswatibai’s brother, theatre person
-. Bhaurao Kolhatkar- Saraswatibai’s uncle, famous actor and owner of the kirloskar music
+. Bhaurao Kolhatkar- Saraswatibai’s uncle, famous actor and owner of the [[kirloskar]] music
 company

@@ Line 438: / Line 438: @@
 -Gokuldas Domodardas- cotton merchant.
-. Bhogilal Dave- Mayashankar Bhatt’s nephew. 1918-1928
+. [[Bhogilal Dave]]- Mayashankar Bhatt’s nephew. 1918-1928
-. Captain Rowan - American Householder, Studio manager with Hindustan film company - 1918 -
+. [[Captain Rowan]] - American Householder, Studio manager with Hindustan film company - 1918 -
-. Master Manhar Barve- Musician of Kirloskar Music Company - 1920
+. [[Master Manhar Barve]]- Musician of Kirloskar Music Company - 1920
-. Shankar Bapuji Majumadar- owner of Kirloskar Music Company - 1920
+. [[Shankar Bapuji Majumadar]]- owner of Kirloskar Music Company - 1920
-. Prof. Gunpatrao - 1920
+. [[Prof. Gunpatrao]] - 1920
-. Narayan Hari Apte – Novelist – 1914 - 1940
+. [[Narayan Hari Apte]] – Novelist – 1914 - 1940
 . Maharashtrian boy and his mother at Varanasi - 1920
-. Kolhatkar- Journalist for ‘Sandesh’ - 1920
+. [[Kolhatkar]]- Journalist for ‘Sandesh’ - 1920
 . Owner of the Rajapurkar stage company and his actors - 1920 - 1922
-. Nanasaheb Sarpotdar of ‘Maharashtra Film Company’ – 1914 -1940
+. [[Nanasaheb Sarpotdar]] of ‘Maharashtra Film Company’ – 1914 -1940
-. V. Damlo- Film maker - 1921 - 1944
+. [[V. Damlo]]- Film maker - 1921 - 1944
-. S. Fattelal - Filmmaker – 1921 - 1944
+. [[S. Fattelal]] - Filmmaker – 1921 - 1944
-. Dr. V Shantaram - Film maker - 1921-1944
+. [[Dr. V Shantaram]] - Film maker - 1921-1944
-. Baburao Pendharkar – Filmmaker – 1921 - 1944
+. [[Baburao Pendharkar]] – Filmmaker – 1921 - 1944
-. Himansu Rai- Actor, Filmmaker - 1935
+. Himansu Rai]]- Actor, Filmmaker - 1935
 . '''[[Devika Rani- Actress - 1935]]'''
-. Ashok Kumar - Actor - 1936
+. [[Ashok Kumar]] - Actor - 1936
-a. Dewan Bahadur T. Rangachariar- Chairman of Film and Cinema censorship committee - 1928
+a. [[Dewan Bahadur T. Rangachariar]]- Chairman of Film and Cinema censorship committee - 1928
-. Sir Ebrahim Jaffer - Committee member - 1928
+. [[Sir Ebrahim Jaffer]] - Committee member - 1928
-. Mr. Green- Bombay custom officer, committee member - 1928
+. [[Mr. Green]]- Bombay custom officer, committee member - 1928
-. Col. Crawford – M.L.A., committee member - 1928
+. [[Col. Crawford]] – M.L.A., committee member - 1928
-. Mr. Coatman – Director of public information, Committee member - 1928
+. [[Mr. Coatman]] – Director of public information, Committee member - 1928
-. Mr. G.G. Hooper – I.C.S committee member - 1928
+. [[Mr. G.G. Hooper]] – I.C.S committee member - 1928
-. Vanar Sena - 1928
+. [[Vanar Sena]] - 1928
-. Shri Gopali – Cameraman - 1928
+. [[Shri Gopali]] – Cameraman - 1928
-. Ardeshir Irani - Filmmaker - 1928
+. [[Ardeshir Irani]] - Filmmaker - 1928
 . Drowning Englishwoman whom Prathakar saves - 1926
-. Dr. Demming – American sound recordist - 1929
+. [[Dr. Demming]] – American sound recordist - 1929
 . '''[[Master Vitthal – Actor - 1930]]'''
-. Prithviraj Kapoor – Actor - 1931
+. [[Prithviraj Kapoor]] – Actor - 1931
-. Rustom Bharucha – Ardeshir Irani’s partner – 1928 - 1940
+. [[Rustom Bharucha]] – Ardeshir Irani’s partner – 1928 - 1940
-. Y.M. Khan – Fakir in ‘Alam Ara’ - 1930
+. [[Y.M. Khan]] – Fakir in ‘Alam Ara’ - 1930
-. T.S. Mahadeo – Sound operator - 1931
+. [[T.S. Mahadeo]] – Sound operator - 1931
-. Robert Flaherty – filmmaker of ‘Nanook of the north’ - 1935
+. [[Robert Flaherty]] – filmmaker of ‘Nanook of the north’ - 1935
 . Frenchman at the screening of ‘Setu Bandhan’ - 1932
-. Shahuji Maharaj – King of Kolhapur - 1921-1926
+. [[Shahuji Maharaj]] – King of Kolhapur - 1921-1926
-. Vasudevrao Karnatiki – Cameraman - 1936
+. [[Vasudevrao Karnatiki]] – Cameraman - 1936
-. Pandit Vishvanath Jadhav – Music director - 1936
+. [[Pandit Vishvanath Jadhav]] – Music director - 1936
-. JBH Wadia – Filmmaker – 1935 - 40
+. [[JBH Wadia]] – Filmmaker – 1935 - 40
-. Homi Wadia, brother of JBH Wadia – Filmmaker – 1935 - 40
+. [[Homi Wadia]], brother of JBH Wadia – Filmmaker – 1935 - 40
-. Fearless Nadia – Actress - 1936
+. [[Fearless Nadia]] – Actress - 1936
-. Sir Ibrahim Rehamatullah – Film producer - 1936
+. [[Sir Ibrahim Rehamatullah]] – Film producer - 1936
-. Chandulal Shah – Film producer / Director – 1935 - 42
+. [[Chandulal Shah]] – Film producer / Director – 1935 - 42
-. JF Madan – Cinema owner – 1920 -
+. [[JF Madan]] – Cinema owner – 1920 -
-. Dilip Kumar – Actor – 1944 –
+. [[Dilip Kumar]] – Actor – 1944 –
 . Several famous personalities captured from footage of that time

@@ Line 5: / Line 5: @@
-A proposal for a graphic narrative tracing and representing the assimilation and developments in industrial arts and crafts that led to the film entertainment industry by tracing and drawing the life of Dadasaheb Phalke (1870-1944), the [[father of the Indian film industry]], his time traced and re-constructed from relics, remembrances through ages and industrially brought together through collective imagination and various skills.
+A proposal for a graphic narrative tracing and representing the assimilation and developments in industrial arts and crafts that led to the film entertainment industry by tracing and drawing the life of [[Dadasaheb Phalke (1870-1944)]], the [[father of the Indian film industry]], his time traced and re-constructed from relics, remembrances through ages and industrially brought together through collective imagination and various skills.
@@ Line 11: / Line 11: @@
-I was born in Kashmir in1952.My father was an educationist. I was brought up in Ajmer Pushker. I finished my graduation in science biology in1969 and did my post graduation in film direction in 1974 from F.T.I.I Poona. Same year my film Dorothy was given best documentary film award by Filmfare.
+I was born in Kashmir in [[1952]].My father was an educationist. I was brought up in [[Ajmer]] [[Pushker]]. I finished my graduation in science biology in1969 and did my post graduation in film direction in 1974 from F.T.I.I Poona. Same year my film Dorothy was given best documentary film award by Filmfare.
 My first job was with Children film society of India, teaching village children how to make films. In 1975 I joined I.S.R.O as a senior producer making science educational programmes for the village children; it was India’s first experiment in satellite transmission.
@@ Line 33: / Line 33: @@
 It was the time when the [[mechanical means of reproduction]] were being introduced. [[Industrial arts]] were beginning. The [[traditional arts]] and crafts people were finding themselves jobless. A new breed of artist and crafts people were being nurtured in art school to cope with the new market demands. The idea of perspective, oil painting and representing the nature in its free form were being introduced.
-After passing from J.J.School, Phalke went to the [[Kala Bhavan]] in[[ Baroda]] where he learnt [[photography]], [[printing]] and [[magic]]. He began his career as a small town photographer in [[Godhra]] but had to leave business after the death of his first wife and child in an out break of the [[bubonic plague]]. Persecuted, driven by from the city where he practiced the new art of photography (camera seen as life snatching lens), he went through a paranoia state for some time. During which he met the [[German magician Carl Hertz]], one of the 40 magicians employed by the [[Lumiere Brothers]]. Soon after, he had the opportunity to work with the Archeological Survey of India as a draftsman. However, restless with his job and its constraints, and moved by the swadeshi and swaraj spirit, he turned to the business of [[printing]]. He specialized in [[lithography]] and [[oleography]], and worked for [[Raja Ravi Varma]], man producing the paintings that found homes across the country. He later started his own printing press, made his first trip abroad to Germany, to assimilate the latest technology and machinery and proved to be most successful at home as well as abroad, where his excellence received high praise But, following a dispute with his partners about the running of the press, he gave up printing and turned his attention to the moving picture.
+After passing from J.J.School, Phalke went to the [[Kala Bhavan]] in[[ Baroda]] where he learnt [[photography]], [[printing]] and [[magic]]. He began his career as a small town photographer in [[Godhra]] but had to leave business after the death of his first wife and child in an out break of the [[bubonic plague]]. Persecuted, driven by from the city where he practiced the new art of photography (camera seen as life snatching lens), he went through a paranoia state for some time. During which he met the [[German magician Carl Hertz]], one of the 40 magicians employed by the [[Lumiere Brothers]]. Soon after, he had the opportunity to work with the Archeological Survey of India as a draftsman. However, restless with his job and its constraints, and moved by the swadeshi and swaraj spirit, he turned to the business of [[printing]]. He specialized in [[lithography]] and [[oleography]], and worked for [[Raja Ravi Varma]], man producing the paintings that found homes across the country. He later started his own [[printing press]], made his first trip abroad to Germany, to assimilate the latest technology and machinery and proved to be most successful at home as well as abroad, where his excellence received high praise But, following a dispute with his partners about the running of the press, he gave up printing and turned his attention to the moving picture.
 Once again, he proved successful in his new art, and proceeded to make several [[silent films]], short, documentary feature, educational, comic, tapping all the potential of this (dynamic explosive) new medium.
@@ Line 39: / Line 39: @@
 However, the market that had opened up in the face of naked skepticism and against all odds, having proved its almost unlimited financial viability, soon attracted businessmen and money minded entrepreneurs who sacrificed the aesthetic and moral concerns of the new media on the altar of commence. Phalke thought expedient to form a film company, Hindustan films in partnership with five businessmen from Bombay in the hope that by having the financial aspect of his profession handled by experts in the field, he would be free to pursue the idealistic nature of his calling. He set up a model studio and trained technicians, actors, but, very soon, as with his printing business he ran into insurmountable problems with his partners. Disgusted, disillusioned and despairing, Phalke resigned from Hindustan company, made his first announcement of retirement from cinema and retreated with his family to [[Kashi]] where he wrote [[Rangbhoomi]], a play. (‘Rangbhommi’ fetched him accolades and honors in the realm of theatre.)
-But lacking his imaginative genius, the Hindustan company ran into deep financial loss, and he was finally persuaded to return. But it did not suit his temperament that he had to surrender his unique individual identity to the demands of meeting schedules and release dates and, after directing a few films for the company, he withdrew, content to train fresh directors, and to supervise the technical side of films production.
+But lacking his imaginative genius, the [[Hindustan company]] ran into deep financial loss, and he was finally persuaded to return. But it did not suit his temperament that he had to surrender his unique individual identity to the demands of meeting schedules and release dates and, after directing a few films for the company, he withdrew, content to train fresh directors, and to supervise the technical side of films production.
 But then the times changed and Phalke fell victim to the very cause he had championed with such zeal and self sacrifice - the onward march of technology. Sound had arrived. Unable to cope with the talkie times, the man who had fathered the Indian film industry was engulfed by an image explosion that rendered him inert and paralyzed. His own creation haunted him, mute, he fled into fragmented memories of his pre-cinema, magic lantern days, his children unaware of the tragedy of his life and excited and enthralled by a promise for the future, fantasizing with the adventures of the new silver screen god.
@@ Line 47: / Line 47: @@
-He believed that the image in not invented but is already pre-existent in the minds of the audience. So, in order to locate the image you have to either find the audience or create them. In the end, no matter what, the audience is the author and the producer themselves, not individually but collectively. For a single image to come to light takes ages and it is impossible for an individual to do so in his lifetime. So it is the accumulated knowledge and skills that industrially produces cinema. For example, for the nineteenth century, today was like a science fiction, but the imagination was already there. It was that imagination that was forcing a necessary technology to develop almost embryologically, speeding up and accelerating the hidden genetic coding to be brought forth to light-some thing hidden inside.
+He believed that the image in not invented but is already pre-existent in the minds of the audience. So, in order to locate the image you have to either find the audience or create them. In the end, no matter what, the audience is the author and the producer themselves, not individually but collectively. For a single image to come to light takes ages and it is impossible for an individual to do so in his lifetime. So it is the accumulated knowledge and skills that industrially produces cinema. For example, for the nineteenth century, today was like a [[science fiction]], but the imagination was already there. It was that imagination that was forcing a necessary technology to develop almost embryologically, speeding up and accelerating the hidden genetic coding to be brought forth to light-some thing hidden inside.
-For his personal vision, politically speaking, after having regained his sight after a brief period of blindness, he writes-
+For his personal vision, politically speaking, after having regained his sight after a brief period of [[blindness]], he writes-
 “In 1910, I happened to see the film, ‘The life of Christ’ at the America-India picture palace, in Bombay. That Saturday in Christmas, marked the beginning of revolutionary charge in my life. That day also marked the foundation in India of an industry which occupies the fifth place in the myriads of big and small professions that exist. While the life of Chirst was rolling fast before my physical eyes, I was mentally visualizing the Gods, Shri Krishna, Shri Ramchandra, their Gokul and Ayodhya. I was gripped by a strange spell. I felt my imagination taking shape on the screen. Can this really happen? Will we, the sons of India, ever be able to see Indian images on the screen?

@@ Line 423: / Line 423: @@
 . Ratan Seth Tata - 1918
-. [[Zubeida – Actress – 1916 - 1936]]
+. '''[[Zubeida – Actress – 1916 - 1936]]'''
 ''89. Partners in Hindustan company-''
@@ Line 469: / Line 469: @@
 . Himansu Rai- Actor, Filmmaker - 1935
-. Devika Rani- Actress - 1935
+. '''[[Devika Rani- Actress - 1935]]'''
 . Ashok Kumar - Actor - 1936
@@ Line 495: / Line 495: @@
 . Dr. Demming – American sound recordist - 1929
-. [['''Master Vitthal – Actor - 1930''']]
+. '''[[Master Vitthal – Actor - 1930]]'''
 . Prithviraj Kapoor – Actor - 1931

@@ Line 5: / Line 5: @@
-A proposal for a graphic narrative tracing and representing the assimilation and developments in industrial arts and crafts that led to the film entertainment industry by tracing and drawing the life of Dadasaheb Phalke (1870-1944), the father of the Indian film industry, his time traced and re-constructed from relics, remembrances through ages and industrially brought together through collective imagination and various skills.
+A proposal for a graphic narrative tracing and representing the assimilation and developments in industrial arts and crafts that led to the film entertainment industry by tracing and drawing the life of Dadasaheb Phalke (1870-1944), the [[father of the Indian film industry]], his time traced and re-constructed from relics, remembrances through ages and industrially brought together through collective imagination and various skills.
@@ Line 29: / Line 29: @@
-As we follow the life of Phalke we see a definite pattern of learning and essential experience that materialized/manifested itself in his filmmaking. After being trained in the scriptures and story-telling by his father, a Sanskrit scholar and astronomer, he moved to Sir J.J.School of arts where he learnt tracing, drawing and moulding.
+As we follow the life of Phalke we see a definite pattern of learning and essential experience that materialized/manifested itself in his [[filmmaking]]. After being trained in the [[scriptures]] and [[story-telling]] by his father, a [[Sanskrit]] scholar and [[astronomer]], he moved to [[Sir J.J.School of arts]] where he learnt [[tracing]], [[drawing]] and [[moulding]].
-It was the time when the mechanical means of reproduction were being introduced. Industrial arts were beginning. The traditional arts and crafts people were finding themselves jobless. A new breed of artist and crafts people were being nurtured in art school to cope with the new market demands. The idea of perspective, oil painting and representing the nature in its free form were being introduced.
+It was the time when the [[mechanical means of reproduction]] were being introduced. [[Industrial arts]] were beginning. The [[traditional arts]] and crafts people were finding themselves jobless. A new breed of artist and crafts people were being nurtured in art school to cope with the new market demands. The idea of perspective, oil painting and representing the nature in its free form were being introduced.
-After passing from J.J.School, Phalke went to the Kala Bhavan in Baroda where he learnt photography, printing and magic. He began his career as a small town photographer in Godhra but had to leave business after the death of his first wife and child in an out break of the bubonic plague. Persecuted, driven by from the city where he practiced the new art of photography (camera seen as life snatching lens), he went through a paranoia state for some time. During which he met the German magician Carl Hertz, one of the 40 magicians employed by the Lumiere Brothers. Soon after, he had the opportunity to work with the Archeological Survey of India as a draftsman. However, restless with his job and its constraints, and moved by the swadeshi and swaraj spirit, he turned to the business of printing. He specialized in lithography and oleography, and worked for Raja Ravi Varma, man producing the paintings that found homes across the country. He later started his own printing press, made his first trip abroad to Germany, to assimilate the latest technology and machinery and proved to be most successful at home as well as abroad, where his excellence received high praise But, following a dispute with his partners about the running of the press, he gave up printing and turned his attention to the moving picture.
+After passing from J.J.School, Phalke went to the [[Kala Bhavan]] in[[ Baroda]] where he learnt [[photography]], [[printing]] and [[magic]]. He began his career as a small town photographer in [[Godhra]] but had to leave business after the death of his first wife and child in an out break of the [[bubonic plague]]. Persecuted, driven by from the city where he practiced the new art of photography (camera seen as life snatching lens), he went through a paranoia state for some time. During which he met the [[German magician Carl Hertz]], one of the 40 magicians employed by the [[Lumiere Brothers]]. Soon after, he had the opportunity to work with the Archeological Survey of India as a draftsman. However, restless with his job and its constraints, and moved by the swadeshi and swaraj spirit, he turned to the business of [[printing]]. He specialized in [[lithography]] and [[oleography]], and worked for [[Raja Ravi Varma]], man producing the paintings that found homes across the country. He later started his own printing press, made his first trip abroad to Germany, to assimilate the latest technology and machinery and proved to be most successful at home as well as abroad, where his excellence received high praise But, following a dispute with his partners about the running of the press, he gave up printing and turned his attention to the moving picture.
-Once again, he proved successful in his new art, and proceeded to make several silent films, short, documentary feature, educational, comic, tapping all the potential of this (dynamic explosive) new medium.
+Once again, he proved successful in his new art, and proceeded to make several [[silent films]], short, documentary feature, educational, comic, tapping all the potential of this (dynamic explosive) new medium.
-However, the market that had opened up in the face of naked skepticism and against all odds, having proved its almost unlimited financial viability, soon attracted businessmen and money minded entrepreneurs who sacrificed the aesthetic and moral concerns of the new media on the altar of commence. Phalke thought expedient to form a film company, Hindustan films in partnership with five businessmen from Bombay in the hope that by having the financial aspect of his profession handled by experts in the field, he would be free to pursue the idealistic nature of his calling. He set up a model studio and trained technicians, actors, but, very soon, as with his printing business he ran into insurmountable problems with his partners. Disgusted, disillusioned and despairing, Phalke resigned from Hindustan company, made his first announcement of retirement from cinema and retreated with his family to Kashi where he wrote Rangbhoomi, a play. (‘Rangbhommi’ fetched him accolades and honors in the realm of theatre.)
+However, the market that had opened up in the face of naked skepticism and against all odds, having proved its almost unlimited financial viability, soon attracted businessmen and money minded entrepreneurs who sacrificed the aesthetic and moral concerns of the new media on the altar of commence. Phalke thought expedient to form a film company, Hindustan films in partnership with five businessmen from Bombay in the hope that by having the financial aspect of his profession handled by experts in the field, he would be free to pursue the idealistic nature of his calling. He set up a model studio and trained technicians, actors, but, very soon, as with his printing business he ran into insurmountable problems with his partners. Disgusted, disillusioned and despairing, Phalke resigned from Hindustan company, made his first announcement of retirement from cinema and retreated with his family to [[Kashi]] where he wrote [[Rangbhoomi]], a play. (‘Rangbhommi’ fetched him accolades and honors in the realm of theatre.)
 But lacking his imaginative genius, the Hindustan company ran into deep financial loss, and he was finally persuaded to return. But it did not suit his temperament that he had to surrender his unique individual identity to the demands of meeting schedules and release dates and, after directing a few films for the company, he withdrew, content to train fresh directors, and to supervise the technical side of films production.
@@ Line 65: / Line 65: @@
 Ford's assembly line relied on the separation of the production process into a set of repetitive, sequential, and simple activities. Cinema followed this logic of industrial production as well. It replaced all other modes of narration with a sequential narrative, an assembly line of shots, which appear on the screen one at a time.
 Cinematic production uses the practices of Fordism but begin the dematerialization of the commodity form. Rather than requiring a State to build the roads that enable the circulation of its commodities, as did Ford, the cinema builds its pathways of circulation directly into the eyes and sensoriums of its viewers. It is the viewers who perform the labor that opens the pathways for new commodities. In a world organized like cinema, consciousness becomes a screen on which the affects of production are manifest.
 The Loop and Spatial Montage
 All nineteenth century pro-cinematic devices, up to Edison’s Kinetoscope, were based on short loops. As "the seventh art" began to mature, it banished the loop to the low-art realms of the instructional film, the pornographic peep show and the animated cartoon. In contrast, narrative cinema has avoided repetitions; as modern Western fictional forms in general, it put forward a notion of human existence as a linear progression through numerous unique events.
 Can the loop be a new narrative form appropriate for the computer age? It is relevant to recall that the loop gave birth not only to cinema but also to computer programming. Programming involves altering the linear flow of data through control structures, such as "if/then" and "repeat/while"; the loop is the most elementary of these control structures. If we strip the computer from its usual interface and follow the execution of a typical computer program, the computer will reveal itself to be another version of Ford's factory, with a loop as its conveyer belt.
 The manual construction of images in digital cinema represents a return to nineteenth century pre-cinematic practices, when images were hand-painted and hand-animated. At the turn of the twentieth century, cinema was to delegate these manual techniques to animation and define itself as a recording medium. As cinema enters the digital age, these techniques are again becoming the commonplace in the filmmaking process. Consequently, cinema can no longer be clearly distinguished from animation. It is no longer an indexical media technology but, rather, a sub-genre of narrative painting. Given the preceding principles, we can define digital film in this way:
@@ Line 93: / Line 96: @@
 Sign-production may be described according to four criteria: 1) the amount of physical labor which is necessary in order to produce expressions, 2) the type-token ratio, 3) the continuum which is to be shaped, and 4) the mode and rate of articulation. These four criteria may be used to describe both the modes of sign-production by which expressions are produced and the modes of sign-production by which ‘expression- are related with’ content’-.’
 Modes of sign-production that may be defined by the intensity of the physical labor that they require for the production of sign-expressions include: 1) recognition, 2) extension, of a previous experience of sign-expressions. Extension involves a choice of existing or potentially existing sign-expressions as ‘tokens’ of ‘expression-types.’ Replication involves producing ‘expression-tokens’ according to the model of already-existing ‘expression-types.’ Invention involves the production of completely new sign-expressions.
-The process of creating the storyboard involves 3 separate phases – finding the text, writing a screenplay, and designing the storyboard. I see it as a highly labor intensive and time consuming exercise at the same time requiring specialize skills and expressions. Only a well coordinated collective can deliver a work of such density
+The process of creating the storyboard involves 3 separate phases – finding the text, writing a screenplay, and designing the storyboard. I see it as a highly labor intensive and time consuming exercise at the same time requiring specialize skills and expressions. Only a well coordinated collective can deliver a work of such density.
@@ Line 234: / Line 237: @@
-. Types and Characters
+'''8. Types and Characters'''
 . Sadashiv Govind Phalke (18 -1906) - father, Sanskrit scholar, teacher at Elphinstone College, Bombay
 . Dwarkabai Phalke (18 -1901)- mother
 . Dhundiraj Govind Phalke (1870 - 1944)
 . Shivram Govind Phalke
 -Phalke’s elder brother, secretary to Rameshchandra Dutt in Baroda state
 . Phalke’s elder sister
 . Kamala (18 -1900) – Phalke’s first wife
 . Kamala’s daughter- (1807-1900)
 . Saraswatibai (1689-1947)- Phalke’s second wife
 Phalke’s children
 . Bhalchandra (1907-19)- worked in the rubber industry
@@ Line 414: / Line 425: @@
 . Zubeida – Actress – 1916 - 1936
-. Partners in Hindustan company-
+''89. Partners in Hindustan company-''
 -V.S. Apte—money lender

@@ Line 1: / Line 1: @@
-KAMAL SWAROOP
+'''KAMAL SWAROOP'''
-A story board on Phalke
+'''A story board on Phalke'''
@@ Line 10: / Line 9: @@
-. My journey and Phalke
+'''1. My journey and Phalke'''
 I was born in Kashmir in1952.My father was an educationist. I was brought up in Ajmer Pushker. I finished my graduation in science biology in1969 and did my post graduation in film direction in 1974 from F.T.I.I Poona. Same year my film Dorothy was given best documentary film award by Filmfare.
@@ Line 27: / Line 27: @@
-. Tracing Phalke – A Biographical introduction
+'''2. Tracing Phalke – A Biographical introduction'''
 As we follow the life of Phalke we see a definite pattern of learning and essential experience that materialized/manifested itself in his filmmaking. After being trained in the scriptures and story-telling by his father, a Sanskrit scholar and astronomer, he moved to Sir J.J.School of arts where he learnt tracing, drawing and moulding.
@@ Line 43: / Line 44: @@
 But then the times changed and Phalke fell victim to the very cause he had championed with such zeal and self sacrifice - the onward march of technology. Sound had arrived. Unable to cope with the talkie times, the man who had fathered the Indian film industry was engulfed by an image explosion that rendered him inert and paralyzed. His own creation haunted him, mute, he fled into fragmented memories of his pre-cinema, magic lantern days, his children unaware of the tragedy of his life and excited and enthralled by a promise for the future, fantasizing with the adventures of the new silver screen god.
 . Phalke and his vision
 He believed that the image in not invented but is already pre-existent in the minds of the audience. So, in order to locate the image you have to either find the audience or create them. In the end, no matter what, the audience is the author and the producer themselves, not individually but collectively. For a single image to come to light takes ages and it is impossible for an individual to do so in his lifetime. So it is the accumulated knowledge and skills that industrially produces cinema. For example, for the nineteenth century, today was like a science fiction, but the imagination was already there. It was that imagination that was forcing a necessary technology to develop almost embryologically, speeding up and accelerating the hidden genetic coding to be brought forth to light-some thing hidden inside.
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-. Industrial mode of production in cinema
+'''4. Industrial mode of production in cinema'''
-a) my vision of the industrial mode of production
+''a) my vision of the industrial mode of production''
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 We usually think of computerization as automation, but here the result is the reverse: what a camera previously automatically recorded now has to be painted one frame at a time. But not just a dozen images, as in the nineteenth century, but also thousands and thousands of frames.
 b) Why this can only be realised through the collective approach I have adopted
 A network of cottage industries and spatially distributed production zones
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-. The art/Film schools in India and the vision they were set up with and where they are today.
+'''5. The art/Film schools in India and the vision they were set up with and where they are today.'''
 In my understanding earlier industrial schools were set up to mass produce the artifacts for the consumption for the European market knowing the copying ability of the Indian crafts man. Or white man’s moral duty to teach the Indians the form and the laws of the nature. Teach them perspective and render and represent nature as it is. Bring in a western sensibility for which already a middle class market was developing. On the other hand the nationalist middle class was developing a new aesthetics basing their sensibilities on their own tradition which could resist the political image onslaught of the British. Becoming a part of the image warfare. When this political conflict resolved there was a change in the policy. They were looking for a new policy for the art schools. For example, F.T. I. I. was set up as a part of the Nehruvian vision. But apart from the traditional film forms that had their roots in scripture, folk dramas, some what illusionist images of Raja Ravi Varma’s painting of Indian mythological, narratives based on the music Theatre, for us - I am saying as a F.T. I. I. student, we were introduced to Ray -- who had a long three generation history from European novels adapted the Bengali sensibility in print and a realistic illustration for the same text. The development ended with him. Coding was over. Then we were flooded by European art cinema whose source is still a mystery. But the F.T.I. I. students could not render them for Indian sensibilities or were not clever enough to produce them and export them to the source country.
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 But today a new kind of literature is happening, waiting to be animated into moving images. A literature that moves in times and space freely, representing a philosophy of simultaneity and non linear thing, ready to embrace the digital technology.
 . Why the art and film schools are the ideal locations for realising this idea
 Cinema is a composition of pre-linguistic images and pre-signifying signs, which constitute a 'pre-verbal intelligible content' It is not a universal language, nor is it a primitive language, but is composed of images and signs that come before language. The images and signs which make up cinema are like a presupposition or necessary correlate 'through which language constructs it own signifying units. What we need is a semiotics of the Imaginary.
 The difference between language and imagery as modes of representation, of course has always been in dispute. That history painting should be a formally unified and concentrated composition that could reveal its meaning in a glance. This suggests that experience of thought that could occur instantly was dramatically different from our experience of language. The problem then becomes one of temporality, of the instant versus the linear. Narrative in language maintained a linear sequencing of events whereas painting and later, photography was involved in the presentation of a single moment.
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 Spatial montage is more purely cinematic and painterly. It combines mobility of camera and movement of objects characteristic of cinema which the “hyper-realism” of old Dutch paintings which presented everything “in focus.” In analog cinema, the inevitable “depth of field” artifact acted as a limit to the information density of an image. My aim is to create images where every detail is in focus and yet the overall image is easily readable. This could only be done through digital composting. By reducing visible reality to numbers, to achieve this….only a coming together of film and art school can make it possible ( language, films, visual arts).
-Phase 1 – Finding the text: phalke narratives
+'''6. The Workshops'''
 STORY TEXT: UNIVERSITIES (7 CITIES)
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-Phase 2 – Writing the screenplay: film school: time image
+''Phase 2 – Writing the screenplay: film school: time image''
 After translating the Phalke stories to English, conceived in vernacular and arranged in a chronological order, we approach a film school.
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 Freeing linear structure to a new meaning, we will try and build the screen play into a multiplayer construction densely coded and representing a more contemporary notion of time and space, written in a language giving exact clues to the multi layered story board.
 Phase 3 – Story Board
 When we reach a design institute or an art school we have with us a detailed shot break down text, a massive d. v recording earlier two stages containing ideas and all the visual references collected during our pilgrimages to Phalke cities necessary for the final multi layered story board. By multi layered I mean that they are not only photographic representation but Tran formative imagination forcing a densely coded pictorial constructions.
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 . Cities, periods, & themes:
 . Trymbakeshwar – 1870 – 80