Explorations in Cinema through Classical Indian Theories

This book explores cinema and film theory through classical Indian theories. While non-Western philosophies have largely been ignored by existing paradigms, Gopalan Mullik responds through an interrogation of how audio-visual images are processed by the audiences at the basic level of their being outside of Western experience. In the process, this book moves away from the heavily Eurocentric film discourse of today while also detailing how this new platform for understanding cinema at the most basic level of its meaning can build upon existing film theories rather than act as a replacement for them.

The first book of its kind to apply traditional Indian theories to cinema as a means of examining film Compares and contrasts Indian theories with Western approaches to open film theory to exciting new avenues while still acknowledging existing works Includes illustrations, boxes, and figures to help convey dense theoretical concepts

Autorentext

Dr. Gopalan Mullik is a Visiting Lecturer at St. Xavier's University, Kolkata, India.

Inhalt

1. Introduction.- 2. Film Theories and Cinema: Limitations of Disembodied Vision in Existing Film Discourse.- 3. Vedic Cosmology and the Notion of Correlative Opposites: A Classical Indian Paradigm of Thought and Its Influence on Artworks.- 4. Nyya Theory of Perception or Pratyaka: An Embodied Theory of Meaning and Its Relation to Cinema.- 5. Bharata's Theory of Rasa or Aesthetic Pleasure: Classical Indian Theories of Aesthetics and Their Relation to Cinema.- 6. nandavardhana's Theory of Suggestion or Dhvani: Classical Indian Theories of Art and Their Relation to Cinema.- 7. Conclusion