Wednesday, June 07, 2006

BSNL helpdesk

I rang up BSNL helpdesk for internet services. A lady came to the line promptly.

Me: Hello, is it helpdesk for internet?

The lady: Yes

Me: I want to ask something

The lady: OK

Me: Why was that I could not any internet access last night(5ht night)?

The lady: Oh!... (she sounded as if she just heard about it). What type of internet access?

I was foxed momentarily by the question.

Me: Umm..it is Sancharnet.

The lady: There was not any problem in the Imphal last night. It must be in some other nodes, like Shillong or Kolkatta. But the service is ok now. Please try it.

Me: Thank you. But will the service be still ok this night?

The lady: Sure.

That was me in the afternoon.

In the evening, I found a news item in Telegraph:

In the town of Hailakandi in Cachar district of Assam, the internet access is reported to be frequently disrupted. So, the reporter met the BSNL officers in Silchar, from where the service is delivered to Hailakandi. The top official for internet services in Silchar office told the reporter that, as the ‘authenticated servers’ are Delhi, it is upto them in Delhi to ensure steady access of internet in Hailakandi. He pointedly told the reporter that they (in Silchar) could nothing to improve the service.

Well, that’s news to me. Internet access is so tightly controlled from Delhi!

Anyway, as I had already typed it out in Words (for cut and paste!), I’m giving below what I meant as yesterday’s post.
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Yesterday ‘workshop’ does not leave my mind as yet. I kept thinking about it all the day today.

Normally, a creative person conjures up a story line from his/her life or, from the intricate mesh of relationships with his/her friends, relatives, neighbors, acquaintances etc Can an artist bring forth anything original in the absence of such intimate and scorching moments of his life experiences? Can he do in a social vacuum?

If we focus on cinema, a screen writer should have seen the scenes, the shots in flashes of images, if not in terms of concretely formed bodies of images. These images come out of his life experience. Taking the cues from these glimpses of images, the director and the cinematographer, in turn, try to translate all the written words of the screen writer into images—series of living and entertaining images. The trick is to stand on the essence of the imageries of one’s society and let them blossom into the fictitious and dramatized situations of the story line.

Then, why is this need for ‘guidelines’ for not seeing some particular sets of images and incorporating some particular sets of images in Manipuri cinema? I mean, the imageries sprung out of our society are all there in front of everybody—they are not endowed with different shades of hues for different sets of classes of people in this society. They are there in front of everybody as they are—unchanging.

I guess, it is very tough creative endeavour to come to terms with the intrinsic imageries of one’s society. On individual plane also, coming to peace with oneself is the toughest part of our life. It is tough, agreed but the first condition to go there is to pull down all the barriers, not putting newer ones up. By pulling down all the barricades, one is just taking a huge step in opening up his mind. With the brain not opening up, you are not going anywhere. No newer ideas, no fresh winds will ever com to you.

In my personal experience also, I could not see the stark faces of the majority of the people here which are stained by the chronic deficiency of nutrients. They are all there in front of everybody. But I was not able to see them. I needed the eyes of an American to be able to see them for myself. Here are the details.

So, is it case of Manipuri cinema needing the eyes of some people outside of our society so that the people connected with our cinema begin to have a glimpse of the intrinsic imageries thrown up by our living society?

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