What I’m going to say is not against any religion, not about religion at all. Anybody should have the liberty to freely choose his/her religion—I firmly believe in that.
This is about societal changes. Those changes might have been brought about by religion, economy, politics or geopolitics. But it’s about changes in a society.
Like Tomba, we are all born, and brought up, in this particular societal milieu. There must be a story of this society and its changes. Stories about its trials and tribulations. Stories of its defeats and victories.
The story of its journey from its birth.
But so long ago people in this society firmly believed that the story of their society directly flowed out of Mahabharata. In a sense, they believed that the story of Mahabharata was the story of their society. Like, they were directly descended from Arjun, the blue-eyed boy of Mahbharata.
Not just mere workshops but decades of conventions, acrimonious debates, series of books—for and against etc could only bring this consensus that the Mahabharata story is a skewed one.
Some very interested people projected that story for some God knows purposes.
The case of Manipuri cinema is in the same vein as that of Mahbharata story.
Prof Nabakumar talks of ‘line of our living and thriving society’( see yesterday’s post—Tomba, its ilk and workshops). But as we are dealing with cinema here, it’s more appropriate to talk in terms of ‘the line of the imageries thrown up by our living and thriving society’.
As a living and thriving society, it must throw up imageries in its every second of its daily grind. Imageries of its trials and tribulations. Imageries of its defeats and victories. Imageries of its subjects in love and romance, in joys and sorrows, in mourning and celebrations etc. But the present –day filmmakers refuse to find these imageries and hence, they are clueless about the ‘line’ the prof is talking about.
Or, they may be incapable of feeling and touching those imageries precisely because, as the Prof says, as they fail to intellectualize the uniqueness of history, our geography and our culture.
So, they are living in a constructed world of borrowed imageries from Bollywood, Hollywood and many other cinemas.
Workshops, for that matter, any other device, must be fully utilized to act as the catalysts for enabling the filmmakers to begin their personal pursuits to intellectualize the uniqueness of history, geography and culture.
C’mon, Tomba, meet me at future such workshops and try at least to listen well. Be a good listener!
For my part, I’m ever ready to gatecrash any other workshops that may come up in future.
Saturday, May 13, 2006
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