by Ranjan Das.
In journals and seminars dealing with cultural studies one frequently encounters topics like “globalisation and cinema of post colonial societies: the architectonics of displacement and the re-inscription of space’; or “ecofeminism and the politics of documentary film: telegenics of poverty versus celebrity in Narmada Bachao Andolon”.
These are specialised topics, mostly esoteric and incomprehensible to the common man. But of course, such discourses are not meant for the common audience who want their money’s worth when watching the week’s latest release that has turned into a blockbuster. Neither do they appeal to filmmakers who are engaged in the rude reality of hammering out a screenplay or hunting for prospective producers to get their projects off the ground.
But for a long time it was felt that anybody interested in filmmaking needs to be grounded in different aspects of cultural studies and political thoughts. Such an approach was encouraged by film scholars and academicians who loved cinema passionately but had no experience in filmmaking, nor did they aspire towards it.
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