#Bollywood Iconography

[newsbluster]

Amitabh Bachchan's Untold Story: Rare Memorabilia Exposed!

Amitabh Bachchan’s Untold Story: In the glamorous realm of Bollywood, Amitabh Bachchan stands tall as the ‘Shahenshah.’ This legendary actor, known for his iconic roles in movies like ‘Zanjeer,’ ‘Deewar,’ ‘Ram Balram,’ ‘Sholay,’ and ‘Sharaabi,’ continues to captivate hearts even at 81! But did you ever think about owning a piece of his legacy? Well, now you can! 🎥✨ A Glimpse into Amitabh…

[fashionhistorysoup]

A Long but Necessary Guide

Hello! I am Soup and this is my History, Anthropology, and Archeology sideblog! Welcome to my current passion, and here are a few things to make your stay a bit easier.

Tagging System

I try to tag in this order and with these details: decade, century/millennium, era/age, continent, region, country, culture, medium, misc.

Example: for a picture of a museum's embroidered Irish wedding dress worn at a lesbian wedding from 1837, I might tag it like this: 1830s, 19th century, Regency, Victorian, Europe, Western Europe, Ireland, Celtic, Exhibit, Embroidery, Queer History, Wedding, Veiled (usually in this order but most likely in any order. I will list multiple places, labels, decades, centuries, and ages/eras as I feel necessary. I will also omit tags if necessary/if no plausible info can be found).

Places are stated as nouns and cultures are stated as adjectives. Example: America not American, but Jewish or Nubian not Jews or Nubia.

Countercultures, societal generas, and established aesthetics count as cultures lmao. (Pirates, Bollywood, Punk, Cottagecore, Cavalier, Goth, Greek Revival, Hanfu, Rococo, Pop Culture, Grunge, Disco, etc.)

Miscellaneous tags so I don't forget:

Bags and Belts

Body Art and Tattoos

Charms and Amulets

Embroidery

Glass and Glasses

Hair

Hats

Jewelry

Makeup

Pajamas and Bathing

Pins and Patches

Socks and Shoes

Technology

Underwear

Veiled

Weapons

Armor

Ceremonial or Religious

Children

Fabric and Textile

Folk Regalia

Momento Mori

Mourning

Uniform

Wedding

Black History

Celtic History

Disabled History

Indigenous History

Islamic History

Jewish History

Maritime History

Queer History

Anthropology

Archeology

Cosplay

Dance

Filmography

Fine Art

High Fashion

Iconography

Theater

Activism

Art Reference

Exhibit

Fantasy (for costumes)

Favorites

Fiction (for fan art or similar)

Meme

Not Clothing (for posts I couldn't resist)

Resources (posts with heavy info or link to other references and sources)

Shopping (for posts with links to purchase items)

Dating Method

This is very important as things maybe get confusing.

This blog will primarily use the Holocene Calendar, in which the current year is 12,023 HE and the Human Era began at the building of the oldest known structure on Earth. The equation is (10,000 + current year) - (date + current year) = Human Era year. So if it's 2023 CE and the object is from 494 BCE, the object is now from 9506 HE.

All CE (Common Era, formally written as AD, the most recent 2000ish years) dates will be referred to by traditional methods and not tagged with a corresponding millennium to save myself the headache: 18th century, 1900s etc . HOWEVER, all BCE dates (Before Common Era, formally written as BC and with numbers going maddeningly backwards) will be instead portrayed by Human Era dates only. Luckily this will only be a problem from the Mesolithic Era and back so I'm not terribly worried about causing confusion.

Example: a picture of an exhibit of a bone necklace from North Italy dated from 3300 BCE might be tagged like this: 5320s, 54th century, 6th millennium, Neolithic, Chalcolithic, Bronze Age, Europe, Southern Europe, Western Europe, Italy, Alps, Exhibit, Archeology, Jewelry. Again, I overlap labels, eras, and regions as I feel necessary.

It seems confusing at first but it actually makes reading history a whole lot easier; rather than everything from before a certain Nazarene being squished together in a confusing hodgepodge of jumbled backwards dates, we now have a clear context of just how long ago an object is from as well as a clear linear view of history. Which of course leads to better appreciation.

Traditional Eras in Human Era Context:

Paleolithic: 2.5 million years PreHE - 0 HE

Mesolithic: 0 HE - 2000 HE

Neolithic: 2000 HE - 5000 HE

Bronze Age: 5000 HE - 8800 HE

Iron Age: 8800 HE - 9500 HE

Classical Age: 9500 HE - 10500 HE

Middle Ages: 10500 HE - 11500 HE

Modern Age: 11500 HE - Present

FINALY: Please note that this is a work in progress, and I only work on it when I want to, so not everything is tagged yet qwq.

Thank you! And enjoy this blog!

[studio3artgallery]



The Influence of Art from India in Bollywood: A Fusion of Creativity and Entertainment

Indian cinema, popularly known as Bollywood, is celebrated worldwide for its grandeur, vibrant storytelling, and mesmerizing song and dance sequences. At the heart of Bollywood lies the influence of art from India, which weaves its magic into the fabric of these movies, creating a unique blend of creativity and entertainment. In this article, we will explore the profound impact of Indian artists in Bollywood, delving into its visual aesthetics, cultural narratives, and the fusion of traditional Indian art and contemporary artistic expressions.

The Visual Aesthetics of Bollywood

Bollywood films are visual extravaganzas characterized by vibrant colors, elaborate costumes, and intricate set designs. The influence of Indian art and Indian paintings can be seen in every frame, as directors and production designers draw inspiration from traditional art forms to create visually stunning backdrops. From the grand palaces of Rajasthan to the serene landscapes of Kerala, these films transport viewers into a world of artistic beauty and cultural richness.

Fusion of Traditional and Contemporary Art Forms

One of the remarkable aspects of Bollywood is its ability to seamlessly blend traditional and contemporary Indian art forms. Indian classical dances such as Kathak, Bharatanatyam, and Odissi find their way into mesmerizing dance sequences, adding grace and elegance to the storytelling. Traditional folk art forms like Bhangra, Garba, and Lavani bring a festive and energetic spirit to the screen. Bollywood also incorporates modern art forms like hip-hop, jazz, and contemporary dance styles, creating a dynamic fusion that appeals to a global audience.

Depicting Cultural Narratives

Artwork from India are deeply rooted in cultural narratives and mythology. Bollywood harnesses this rich heritage to tell compelling stories. Films often draw inspiration from epics like the Mahabharata and Ramayana, showcasing larger-than-life characters and moral dilemmas. Traditional dance dramas, such as Kathakali and Yakshagana, are adapted into cinematic narratives, providing a glimpse into the rich cultural tapestry of India. Through these art forms, Bollywood preserves and disseminates cultural narratives to a wide audience within and beyond India's borders.

Artistic Expressions in Song and Dance

Music and dance are integral components of Bollywood films, serving as vehicles for emotional expression, romance, and celebration. The influence of art from India in these sequences is evident, as traditional musical instruments, such as the sitar and tabla, blend with modern compositions and arrangements. The choreography draws inspiration from Indian classical and folk dances, incorporating intricate footwork, expressive gestures, and dynamic movements. These artistic expressions create moments of joy, sorrow, and celebration, leaving an indelible impact on the audience.

Visual Symbolism and Iconography

Indian art is rich in symbolism and iconography, and Bollywood often utilizes these visual elements to enhance storytelling. Iconic imagery, such as the peacock, lotus, and sacred symbols, like the Om, are woven into the narrative, adding depth and meaning. The use of vibrant colors, such as red for passion, blue for tranquility, and yellow for joy, adds visual symbolism that resonates with the audience's emotions. These artistic choices enhance the cinematic experience and connect the viewers to the cultural and spiritual aspects embedded within Indian art.

Global Recognition and Influence

The fusion of art from India in Bollywood has garnered global recognition and influence. The mesmerizing dance sequences, elaborate costumes, and visual aesthetics have captured the hearts of audiences worldwide. Bollywood-inspired dance forms, such as Bhangra and Bollywood dance fitness, have gained popularity in international dance studios and fitness centers, showcasing the far-reaching impact of Indian art globally. Bollywood has become a powerful medium to promote Indian art and culture, acting as a bridge that transcends cultural boundaries and fosters appreciation for diverse artistic expressions.

Indian art plays a pivotal role in shaping the unique identity of Bollywood, infusing it with visual splendor, cultural narratives, and artistic expressions. From the lavish sets inspired by traditional Indian art forms to the captivating dance sequences rooted in Indian classical and folk traditions, Bollywood is a celebration of the rich artistic heritage of India. As Bollywood continues to evolve and captivate audiences, the influence of art from India will undoubtedly continue to shape and enrich the world of cinema, creating a fusion of creativity and entertainment that is truly unparalleled.

[weirdletter]

Bollywood Horrors: Religion, Violence and Cinematic Fears in India, edited by :Ellen Goldberg, Aditi Sen and Brian Collins, Bloomsbury Academic, 2020. Info: bloomsbury.com.

Bollywood Horrors is a wide-ranging collection that examines the religious aspects of horror imagery, representations of real-life horror in the movies, and the ways in which Hindi films have projected cinematic fears onto the screen. Part one, “Material Cultures and Prehistories of Horror in South Asia” looks at horror movie posters and song booklets and the surprising role of religion in the importation of Gothic tropes into Indian films, told through the little-known story of Sir Devendra Prasad Varma. Part two, “Cinematic Horror, Iconography and Aesthetics” examines the stereotype of the tantric magician found in Indian literature beginning in the medieval period, cinematic representations of the myth of the fearsome goddess Durga's slaying of the Buffalo Demon, and the influence of epic mythology and Hollywood thrillers on the 2002 film Raaz. The final part, “Cultural Horror,” analyzes elements of horror in Indian cinema's depiction of human trafficking, shifting gender roles, the rape-revenge cycle, and communal violence.

Contents: List of Plates Notes on Contributors Preface – Brian Collins Introduction – Ellen Goldberg, Aditi Sen, and Brian Collins   Part One: Material Cultures and Prehistories of Horror in South Asia 1. Monsters, Masala, and Materiality: Close Encounters with Hindi Horror Movie Ephemera – Brian Collin 2. Vampire Man Varma: The Untold Story of the “Hindu Mystic” Who Decolonized Dracula – Brian Collins   Part Two: Cinematic Horror, Iconography, and Aesthetics 3. Divine Horror and the Avenging Goddess in Bollywood – Kathleen Erndl 4. Horrifying and Sinister Tantriks – Hugh B. Urban 5. Do you want to know the Raaz?Savitri, Satyavan, and the Other Woman – Aditi Sen   Part Threethr: Cultural Horror 6. Cutural Horror In Dev: Man is the Cruelest Animal – Ellen Goldberg 7. Bandit Queen, Rape Revenge, and Cultural Horror – Morgan Oddie 8. Mardaani: The Secular Horror of Child Trafficking and the Modern Masculine Woman – Beth Watkins Notes Bibliography Index

[hasvini-jain]

NOVEMBER:FIRST WEEK

hi guys!  so this week we started with genre theories and then moved on to representation theories.

GENRE THEORIES

genre is the category in which a film falls based on its codes, conventions and content

RICK ALTMAN - Rick Altman suggests that genres are typically defined by their use of media language and codes or certain ideologies and narratives. Because of these shared characteristics, audiences are able to base their preconceptions of films on whether or not they enjoyed a film of the same genre in the past, making it easy for audiences to decide whether or not to watch a particular film.

John Hartley – Genre is Interpreted Culturally: “Bollywood films are predominantly watched and interpreted culturally by a Hindi target audience and students of the genre who understand the encoded metaphor and meaning through the elaborate dance routines e.g. in films like Dilwane Dulhaniya Le Jayenge

Steve Neale – Genre as Repetition and Difference: “Genre is familiar to audiences through the repetition of conventions like a physically strong, dynamic, violent, male hero in Action Adventure Video Games like Assassin’s Creed and GTAV but is challenged by a female lead character in Tomb Raider and Beyond: Two Souls. Repetition and Difference, meaning that an audience may enjoy observing how the conventions of a genre are manipulated from what they are used to. He adds that “difference is absolutely essential to the economy of genre” as mere repetition would not attract an audience. When films deviate from the clichéd formula of a genre, it results in a more engaging and immersive experience for the viewer. Although, this enjoyment from the subversion of a genre stems from the audiences’ familiarity with the typical conventions and style of that genre first. In the past, genre was often regarded as fixed forms, but this has changed over time and so the forms and functions of genre are more dynamic than they used to be..

David Buckingham – Genre in Constant Process of Negotiation and Change: “Genre must respond to socio-economic and cultural change e.g. Brokeback Mountain has elements of the western (setting, objects and props, dress code) to develop an emotive romance about two men and their love for each other”. David Buckingham supported Steave Neal’s idea by suggesting that genre is “in a constant process of negotiation and change”, meaning that the codes and conventions of a genre may differ from film to film and are don’t adhere to a rigid formula as texts have in the past. 

Tom Ryall - he argued that genre is a cognitive repository of images, sounds, stories, characters, and expectations, meaning that it provides a formula that is either enjoyed or not enjoyed by an audience. Sometimes, the iconographies of a media text are enough to indicate the genre, however, it is often a conjunction of iconographies that create something that we can identify as belonging to a particular genre.

Representation Theories

 Laura Mulvey-  the male gaze theory- the films represent women as passive objects of male      audience are forced to watch women from the point of view of a heterosexual male.

John Berger- “man looks, woman appears”- women are there solely for the objectification of women within all platforms of media 

Walter Lippman- he suggests that a key aspect of representation is stereotype as they are an ordinary process that allows society to make sense of themselves. he also  argues that stereotypes are connotations regarding a particular group into simple and easy recognizable schemata.

Stuart Hall- he describes representation as a process by which meaning is produced and exchanged between audience by the use of language, signs and images which represent certain things.

also, by this week we had decided upon a story for our foundation portfolio. The story was inspired from a real life incident which happened in one of my teammates family. the story was about the little girl being married off to a boy way older than her (typical child marriage cases in India),  the girl wanted to study more and pursue her dreams but sadly never gets the chance to do so. After marriage she becomes a victim of rape and domestic violence and her own family refuses to help her and asks her to ignore it as well. her husband was involved in a gang of thief's and murders and taking advantage of that she plans his murder and makes it look like a natural death. 

we decided on the shots and scenes for our 2 min opening sequence. also thought of the location and the actors.  

[unbroken-chains]

I feel so lucky that nowadays we're able to explore every culture possible within the distance of a click. streaming platforms, social media, digital libraries, online courses, virtual museums like how amazing is that only on Netflix I'm able to watch anime, french surrealistic movies from the 30's, Italian comedies, Bollywood, Nigerian cinema (Nollywood) and sooooo much more ! It's amazing to be able to see different iconographies and the nuances of different cultures

[kushagra-jain]

MAY 2nd WEEK

HELLO EVERYONE!! 

This week we revised genre theories, and also we started editing for REET{ two minute opening sequence ]. 

GENRE THEORIES

https://www.youtube.com/watch?v=Dn_WURMpZjA&feature=emb_logo

JOHN HARTLEY – Genre is Interpreted Culturally: “Bollywood films are predominantly watched and interpreted culturally by a Hindi target audience and students of the genre who understand the encoded metaphor and meaning through the elaborate dance routines e.g. in films like Dilwane Dulhaniya Le Jayenge.

Rick Altman - Rick Altman suggests that genres are typically defined by their use of media language and codes or certain ideologies and narratives. Because of these shared characteristics, audiences are able to base their preconceptions of films on whether or not they enjoyed a film of the same genre in the past, making it easy for audiences to decide whether or not to watch a particular film.

Steave Neal– Genre as Repetition and Difference: “Genre is familiar to audiences through the repetition of conventions like a physically strong, dynamic, violent, male hero in Action Adventure Video Games like Assassin’s Creed and GTAV but is challenged by a female lead character in Tomb Raider and Beyond: Two Souls. Repetition and Difference, meaning that an audience may enjoy observing how the conventions of a genre are manipulated from what they are used to. He adds that “difference is absolutely essential to the economy of genre” as mere repetition would not attract an audience. When films deviate from the clichéd formula of a genre, it results in a more engaging and immersive experience for the viewer. Although, this enjoyment from the subversion of a genre stems from the audiences’ familiarity with the typical conventions and style of that genre first. In the past, genre was often regarded as fixed forms, but this has changed over time and so the forms and functions of genre are more dynamic than they used to be..

David Buckingham – Genre in Constant Process of Negotiation and Change: “Genre must respond to socio-economic and cultural change e.g. Brokeback Mountain has elements of the western (setting, objects and props, dress code) to develop an emotive romance about two men and their love for each other”. David Buckingham supported Steave Neal’s idea by suggesting that genre is “in a constant process of negotiation and change”, meaning that the codes and conventions of a genre may differ from film to film and are don’t adhere to a rigid formula as texts have in the past.

Tom Ryall- he argued that genre is a cognitive repository of images, sounds, stories, characters, and expectations, meaning that it provides a formula that is either enjoyed or not enjoyed by an audience. Sometimes, the iconographies of a media text are enough to indicate the genre, however, it is often a conjunction of iconographies that create something that we can identify as belonging to a particular genre.

[sanchitb23]

November Week 1

We went over some genre and representation theories this week.

GENRE THEORIES

1. Rick Altman - Rick Altman suggests that genres are typically defined by their use of media language and codes or certain ideologies and narratives. Because of these shared characteristics, audiences are able to base their preconceptions of films on whether or not they enjoyed a film of the same genre in the past, making it easy for audiences to decide whether or not to watch a particular film.

2. Steve Neale - Genre as Repetition and Difference: “Genre is familiar to audiences through the repetition of conventions like a physically strong, dynamic, violent, male hero in Action Adventure Video Games like Assassin’s Creed and GTAV but is challenged by a female lead character in Tomb Raider and Beyond: Two Souls. Repetition and Difference, meaning that an audience may enjoy observing how the conventions of a genre are manipulated from what they are used to. He adds that “difference is absolutely essential to the economy of genre” as mere repetition would not attract an audience. When films deviate from the clichéd formula of a genre, it results in a more engaging and immersive experience for the viewer. Although, this enjoyment from the subversion of a genre stems from the audiences’ familiarity with the typical conventions and style of that genre first. In the past, genre was often regarded as fixed forms, but this has changed over time and so the forms and functions of genre are more dynamic than they used to be..

3. David Buckingham – Genre in Constant Process of Negotiation and Change: “Genre must respond to socio-economic and cultural change e.g. Brokeback Mountain has elements of the western (setting, objects and props, dress code) to develop an emotive romance about two men and their love for each other”. David Buckingham supported Steave Neal’s idea by suggesting that genre is “in a constant process of negotiation and change”, meaning that the codes and conventions of a genre may differ from film to film and are don’t adhere to a rigid formula as texts have in the past.

4.  Tom Ryall- He argued that genre is a cognitive repository of images, sounds, stories, characters, and expectations, meaning that it provides a formula that is either enjoyed or not enjoyed by an audience. Sometimes, the iconographies of a media text are enough to indicate the genre, however, it is often a conjunction of iconographies that create something that we can identify as belonging to a particular genre.

5. John Hartley – Genre is Interpreted Culturally: “Bollywood films are predominantly watched and interpreted culturally by a Hindi target audience and students of the genre who understand the encoded metaphor and meaning through the elaborate dance routines e.g. in films like Dilwane Dulhaniya Le Jayenge.

REPRESENTATION THEORIES

Laura Mulvey -  The male gaze theory - The films represent women as passive objects of male audience are forced to watch women from the point of view of a heterosexual male.

John Berger - Man looks, woman appears - women are there solely for the objectification of women within all platforms of media

Walter Lippman - He suggests that a key aspect of representation is stereotype as they are an ordinary process that allows society to make sense of themselves. he also  argues that stereotypes are connotations regarding a particular group into simple and easy recognizable schemata.

Stuart Hall - He describes representation as a process by which meaning is produced and exchanged between audience by the use of language, signs and images which represent certain things.

[thesinglesjukebox]

EVERGLOW - DUN DUN

[5.88]

Not a Law & Order reference...

Alex Clifton: It's a far stronger track than "Adios," although that wasn't much of a challenge in the first place. It's a bit basic, but the swagger of this does make me want to wear stilettos and tromp on the face of my enemies. Isn't that what we all long for in girl-group songs? [6]

Brad Shoup: Everything's so big and thudding and fun: it's got that double-harmonic thing that -- in flute form -- flavored a lot of early-2000s pop rap. At the end the melody and Everglow get to vamp together, and it's my favorite part. [8]

Ryo Miyauchi: The titular hook is a delight, like an assassin's catchphrase before her kill disguised as an innocent nursery rhyme. I wish the rest of "Dun Dun" felt as bratty as the playground taunt it's born to be. The idols try their best lashing out their words, but paired with the brass hits, the performance plays too straightly to girl-crush tropes despite their best efforts to establish more character. [6]

Kylo Nocom: It's perfect from the intro to the first drop, but afterwards all of "Dun Dun" contains no significant surprises. Given the refusal to drop out the instrumentation for the hook on the second go-around, Everglow realize they've run out of ideas and consciously try to hide this fact. If they really wanted to impress, that bleating in the outro would've been given more time, but what's done is done. [6]

Joshua Lu: The opening riff is an incredible hook, and Everglow toys with it well throughout the song, like how it becomes the plain-spoken titular hook, or how the song closes off with a reinterpretation. The song noticeably sags whenever the riff isn't present, like during that pre-chorus that drags on too long, but those moments are thankfully sparse. [6]

Kalani Leblanc: The condition of K-Pop post-Produce 101 series is claustrophobic and oversaturated with faces, as everybody and their cousins on those shows have debuted in groups since then. Post-PD101 groups must find ways to be distinct against the crowd attempting the same -- when there are only so many times girl-crush or soft-boy concepts can be done. I guess Everglow's attempt at that is getting by with being tankie-girl crushes? The aggressive thumping beats -- which is literally all of their songs -- with the smirky deliveries, paired with the iconography of the video, is how I got to that conclusion. "Dun Dun" itself is catchy in the way only a K-pop song could accomplish, but entirely forgetful. [5]

Iris Xie: The Charli XCX-style vocal of the starting ad lib sets expectations far too high for the subsequent pre-chorus, which is monotonous and kills its own momentum. "Dun Dun" recovers somewhat at its chorus -- the quiet "You're so done" and how it explodes into the EDM-banger of the second "You're so done" is everything I expect from the mastery of specific energy-activating tropes of K-pop, but Mia's pre-chorus continues to nullify "Dun Dun's" speed at every bar. I do like how the producer weaves different trap synths and pseudo-Bollywood melody cliches that help break up the monotony, because these additions of varying layers in the arrangement are a major factor in how Everglow stands out sonically. I want more K-pop producers to vary their background synth arrangements for different sections of their songs. Unfortunately, "Dun Dun" strains under a rigidity that doesn't allow Everglow to fully embody their "baddie girl" energy, which results in a missed opportunity of using that girdled structure to provide reinforcement for more wild moments. Yes, Everglow, go forth and conquer with a song usually made for a K-pop boy group -- but not with BTS's "Fire" version 1.3.02. [6]

Alfred Soto: An exhausting revue-review of two decades of perk: I imagine Red Velvet covering "Spice Up Your Life." [4]

[plus398sizeathjackets]

With the ever-growing popularity of the internet, access to different clothing is easier than ever for the average consumer. One area that continues to spread globally, previously rarely seen in the West, is Asian fashion. The vibrant and varied colours and styles of Asia have developed a keen international market, particularly those fashions coming Men suit  from Korea and Japan.

Japan and Korea lead the way in spreading Asian fashion to the rest of the world because of the rapid adoption of cutting edge technology in these countries. Always eager to adopt modern technology, Japanese and Korean markets similarly aim to enjoy the most modern fashion trends. Japanese and Korean clothing is some of the most forward-thinking in the world.

Origins of Asian Fashion

The forward-thinking styles come from a history of eager adaptation to modernity in these countries, and the unique styles of modern Asian fashion actually have their roots in 19th Century attitudes. After Japan was first opened to the West, Japanese fashion combined the trends and styles of foreign labels and markets with traditional culture and trends, an attitude which continues today. Often this clothing is homemade with customisation added by the wearer. These highly adaptable styles of clothing are often referred to as Japanese Street Fashion, and are now chronicled leather jackets  by a number of websites.

Influence of Japanese Fashion

Much of the Asian fashion you will find on such websites stems from Japan, where many different styles of clothing exist. Street fashion includes such styles as Lolita (looking like a young girl), Gyaru (girly-glam) and Bosozoku (inspired by manga and anime). Recent trends have leant towards doll-like and fantasy elements being introduced, for instance dolly kei and fairy kei fashions, whilst Japanese hip-hop is also increasingly influential.

The immediate influence of these various Japanese street fashion styles is felt in China, Korea, Hong Kong and Taiwan. The West Coast of the United States is also receptive to the trends. As a result, these surrounding countries share many similar styles and trends, though in the nature of street fashion they are suitably adaptive. In Hong Kong, for instance, where business is paramount, styles tend to be more conservative.

In addition to these more locally influenced sherwani  countries, Asian fashion is increasingly popular on the global market. Famed Japanese fashion designer Rei Kawakubo, founder of brand Comme des Garcons, has played a large role in the fashion industry since the 80s, and worked with the likes of Louis Vuitton and high-street retailers H&M. In addition, easy access to Asian media, such as films and anime, has made Asian fashion more popular in Western society.

What makes Asian fashion so popular is the sheer originality of the designs. Consumers are encouraged to customise their own clothing, and as a result outfits can look incredibly diverse. Asian clothing has potential for a lot of personality, with each sub-category relating to certain principles. These fashions instantly make a wearer part of an identifiable movement. For instance, cult kei, another modern style, uses a range of distinctive religious iconography.

Asian Clothing Online

Another reason Asian fashion is so popular is cool leather jackets  that online markets makes it easy to acquire for consumers all over the world. Bidding sites such as eBay are heavily populated by international sellers giving access to new trends and original designs. A quick online search for Asian fashion, Korean Fashion, Japanese fashion will bring you directly to trending markets. By shopping for these fashions online, you can be sure to be at the forefront of emerging styles, at affordable prices. User reviews are abundant to ensure that you buy quality products, so even when ordering from halfway around world you can be sure of a good deal.

You can also gain access to ever-evolving original designs by visiting custom online markets where users from all over the world design their own clothing to sell. Beyond purchasing clothing, the internet allows users to critique designs, comment on each others' clothing and increasingly share and combine their fashionsFashion week is a week-long event that is held to commemorate the fashion industry and the cogs that keep the wheel moving. Fashion designers, brands and houses display the latest and best of their collection via runway shows. Buyers and the media are prominently present during this activity and this helps the designers to showcase and sell their work. Fashion week is an important event in the lives of the fashionable since it is here which determines the trends that are in Vogue and those which are passé. The most popular and well-known fashion weeks are held in the biker leather jackets  four major fashion capitals in the world namely New York, London, Milan and Paris.

Fashion has stormed the globe in a big way and some other countries which also host other important fashion weeks in the world are; Madrid, Australia, Rome, Dubai, Hong Kong, Buenos Aires, Singapore, Toronto, Jakarta, India, Berlin, Barcelona, Seoul, Tokyo, Sao Paulo, Los Angeles and Dallas.

Fashion week is a seven day long entertainment cum business event where people from all walks of life fraternize with those from the fashion industry. This event is bi-annual in nature and is held in the major fashion capitals in the world like London, New York, Paris and Milan. Fashion weeks are held several months prior to commencement of the fashion season so that it allows the buyers and press a better chance to preview the trends and designs for that season. January to April hosts fashion shows to showcase the autumn and winter collections. On the other hand, September to November showcases the spring and summer collections. This gives ample time to the buyers, retailers and purchasers to assimilate and include the fashion plus size leather jackets  designers into their stores.

Latest innovation, flamboyant designs and striking new trends are showcased during these fashion weeks and all the latest collections are compiled into a special report and covered in all the leading fashion magazines in the world as well as the websites which cater exclusively to fashion. The first ever fashion week was held in 1943 with the purpose to distract attention in World War II from French fashion when workers from the fashion industry were unable to travel to Paris. It was believed that designers in America relied on the French for their inspiration and design. A fashion publicist by the name of Eleanor Lambert had organized an event called Press Week to showcase the works of American fashion designers. Magazines such as Vogue began to feature more American designers in their features and stories.

In the year 1903 a New York based shop held the country's first ever fashion show to lure middle-call socio economic groups into the store. Close on their heels, in 1910 major department stores were holding private fashion shows of their own. Along with promoting fashion these shows had elements of entertainment and were very theatrical in nature. It was theme based and accompanied with a narrative commentary. Fashion weeks helped in integrating all aspects of the fashion industry and bringing it under one roof.We are living in a world surrounded by numerous things that are either related to the technology, the latest gadgets or the latest fashion. And Fashion today has made its significance felt in almost all business suits for men  sectors of life. Fashion can be termed into two groups: One group which follows fashion trends and adopts them and the other group who create fashion and style statements for the others to follow them. It can also be extended to another set of people who rarely have anything to do with fashion trends but yet follow their own style to create their own unique personality; adding one more style to the fashion world.

Fashion is not just about cosmetics and make up or the hair-do. It is a sense of creating the charisma of looking good in anything you wear and this magic is created with the right kind of accessories going along with the foot wear and the clothes, making up a pleasant picture to view. Many a times, people who do not afford to buy expensive clothes look their best in their casual wear, just by presenting themselves in that manner of sophistication and creating an aura around them with the confidence of looking good.

There are myriad forms of fashion, and trends keep on changing with the seasons. From the early 60s and 70s to the present millennium, there has been an immense change in the forms,blue suits for men  looks and thoughts about fashion trends.

In India, much of fashion has been influenced by the Hindi Film Industry, popularly called Bollywood. The trends that have changed through time can be fairly seen in the movies made during the 60s and 70s and how they have evolved in various forms bringing about a style that can be followed by the general public. People have aped the west from very early times and this was no exception. The clothes made in the 60s and 70s were very much influenced by the western countries and given a traditional touch. The Bell Bottoms, scarves and the hair style was very much prevalent in those days as an icon of style. Later in the 80s and 90s, Fashion world sizzled like never before. There was a craving by the people to look different, stylish and modern and this could be seen in their outlook towards their outfit, new styles of hair, makeup, accessories like purses, earrings, necklaces, matching footwear etc.

People were conscious about each and every new thing that was marketed and they copied the styles from their Bollywood idols. Bollywood started as a platform for theatre artistes and went on to become a commercial entry to the youths and aspirants for a career in the film and fashion industry. This gave the youth of today to emphasize on the fashion black men in suits  world. Art and music have become an inseparable thing of the past and so it is deeply rooted in the present as well with more features and facilities.

Today fashion, art, music, designers, dance etc all have a place in the industry and people can choose to take up anything related to this industry as their profession too. Art and music have long been implemented in the school co-curricular activities and the Higher colleges are now offering various courses for better professionalism in these areas. There are also various acting schools and the small screen i.e., the television has opened up avenues in bringing out the talent in the young minds through numerous platforms of music and dance. This is the innovation of the millennium in creating jobs and work in the fashion industry. The trends that we see are brought about by the fashion houses that have regular seasons to showcase their invention, many of which are popularized in FTV, Zee Trendz and TLC channels. We can also get a glimpse of the stylish outfits through these shows that the models present. Today, Modelling is also one of the platforms for an entry into the world of fashion.

In the yester years, fashion was constrained only to the actors in the film or those that were bold enough to carry themselves in the public that they were considered fashionable. Others just wooed wedding sherwani  them behind close doors. Slowly when times began changing, we could see the women showing off their styles in the traditional saree with an embroidered blouse and a different neck style. Then we saw the saree being draped in various styles like the Bengali style or the Gujarati style etc. The women were liberating their choice of freedom and it could be seen in their appearances with a high heeled slipper or the handbag she carried or the way she held her saree or the hair and the makeup she wore. All these changes brought about the invention of churidhars and then the salwar kameez and finally the fashion of dresses was out in the open. Women accepted to the fact that there was nothing wrong in looking good and the men of course, loved to see the attractive side of women and fantasized the idea over their spouses.

This change in attitude of the public was very well taken by the fashionistas and a huge market was created to meet the demands of the public. Today fashion creates a new look with distinct style for a particular person and keeps oneself updated with the latest trends seen in the market. This industry is popular for its glamour as well as the mixture of Indian tradition and culture put into the designer wear that the models showcase.

People love to experiment different textures SEO Training  of materials used in the outfits and so the designers give them a wide collection of dresses using all kinds of clothes. There is the traditional Khadi and silk combination that is presently creating waves seen in both men's and women's wear. Then we have the embroidery work in zardosi, swarovski studded tops and lehangas and multi stoned work in bridal collection sarees etc. Then the most sought materials like cotton, polyster, chiffon, crush materials used in varied iconoclastic designs and styles.

Always there is a hope for the designers that the youth want a change in the fashion and are glad to keep up the trend with a fusion of Indian and western mix of fashionable wear. Also the youth of today are very practical in their sense of styling for a particular occasion. Be it a party or for a marriage or the casual look, they want the best and they believe in looking the best. And to achieve this, people go one step ahead in ensuring that they have everything in their wardrobe for any kind of occasion.

Apart from the stylish clothes and fashion that is currently popular people want to try something that goes along with their SEO training course outlook. So the market started towards the very own friend of a woman- The Hand Bag or the Purse. The Fresh look of a purse with magnificent colours and its stylish features like the chain handle or the jazzy zips with numerous pockets in different shapes attracted the public like never before. And with the increasing demand of the prices of branded purses, it became a must for every woman to complete her shopping. So did the other accessories line up by creating a place for themselves in the market. Just Seo training certification  a few to quote, the earring and necklaces, the various Belts, hand bracelets and brooch, the stiletto and its wonderful embroidered, party wear slippers along with its brotherly high rugged shoes giving a perfect cowboy look etc.

[tomorrowprojects-blog]

“Sometimes, body stances express more than entire songscapes can. While studying the romancing couple in movie posters from Bollywood romances of the last 10 years, we noticed a stunning pattern emerge. As women tread new territory in the script, they begin taking up equal space in the poster too. The heroine’s stance matches her man’s --- unlike the Bhagyashrees of Maine Pyaar Kiya and the Kajols of DDLJ, she’s not leaning on him, gazing at him, or hiding behind his shield-like chest anymore. Instead, her upright posture and frontal gaze portray a new confidence vis-à-vis her man --- and sometimes, as in the Tanu Weds Manu poster, turned away from both the camera and the man, not bothered to make the effort to match anyone’s expectations. And so the heroine in Humpty Sharma ki Dulhania poster inverts the DDLJiconography, to show the woman in charge of the romance, lifting the hero and the storyline with ease.”

Read more at http://to-morrow.in/article/the-romance-makeover

[feministbollywood]

Xmas Tree by Bollywood Santa (2014/2015)

Though Bollywood doesn’t shy away from using Christian iconography or featuring Christian characters, few films focus on Christian holidays or themes. Indeed, while plenty of films have explored Hinduism and Islam, and their conflicts and complements, I think you might have to go back to 1977’s Amar Akbar Anthony for a look at how…

[gurvichandi-blog]

Truck Art

An ode to the vernacular art of Indian trucks

Indian truck or lorry art is a form of folk art, stringing together a unique form of expression that does not merely stand for its utilitarian and aesthetic purposes, but also attempt to grasp the sentiments and emotions of the drivers. A truck is a canvas, on which one can paint a reflection of their values and beliefs (political and religious), it carries elements of one’s personality to contain jokes or poetry or slogans and symbols of patriotism. Through the exterior of one’s truck, the viewer can see the spirit of its driver, the truck as an extension of himself. The truck is also a mobile art gallery of representational, vernacular art, a free-form kaleidoscopic exhibition.

The history of this compelling art form dates back to the Raj when craftsmen made glorious horse draw carriages. Later in the 1920s, buses were decorated to attract passengers (Jain, 2007). The common design elements of truck art breaches from other forms of arts, such as architecture, film poster designs, western typography (drop shadows) etc. The interplay with the classic, folk and modern design elements composes a rather bizarre remixing of representations that wondrously stitch together a simple narrative of one’s longing for home. The nomadic nature of the driver is critical to his self-conception through his truck, he pines for an imagined home away from home, but also as his means of livelihood and his partner (or a temporary stand in for his wife, a rather pseudo wife). The truckers take great pride in their trucks as they most of their time with them than their family, therefore decorating his truck lavishly in a way that allows him to supplement the truck for his family and children and especially their wives as the trucks are predominantly feminized and endowed with bridal symbols. “They might adorn the cabin with bangles-things that remind them of their wives” (Jain, 2007).  In align with that, it is therefore quintessential to regard how this vernacular art form influences not just the world of art but also the lives of its artists and the truckers who interact with it on a daily basis. As Dan Eckstein notes, “depending on which region they are from, you will see Hindu, Muslim, Sikh and Christian iconography,” alongside photos of bollywood stars and political logos, that say much about the person behind the wheel (Jain, 2007). Due to the dangerous nature of the job, there is a lot of decoration on the truck that is tied to lending one luck on the road and warning away bad omens. This essay will explore the common elements of Indian truck art within the scope of semiotics, to understand them as unique signifiers of truck drivers economic, political and religious affiliations and commitments. Sadly, truck art is undergoing a rather repressive transformation, hand painted images are being replaced by stickers. However for the better or worst, truck art is being molded and shapeshifted in the mainstream, as it is taken out of its folksy demeanor and made into something designer as prints on shirts. Indian advertising industry has also adopted truck art into its plethora of representations, for its character of Indian-ness, as it has a very unique identity and history.

Before I attempt to dissect the conventions of this vernacular art, it is important that I include an analysis of the humans behind the wheel. What is it like to be a truck driver in India? What socio-economic issues surround them? What role does art play in their profession? One can compare an Indian truck drivers nature of work to the precarity of freelancers and contract based work, which is a topic inducing concerns amongst students. Most truck drivers in India are free agents meaning that anyone with a truck and a valid driver's licence can get work and of course a man. Trucking is generally perceived to be a male-dominated field and that is also the case for India. It is regarded as a suitable profession for a woman, because of the perceived physical labour that it requires. Truck driver are often not affiliated with a company that can grant them stability with fixed salaries and benefits. Rather, they are paid per trip, with income averaging up to 7,500 rupees a month (Prabhu, 2008). The pressure of such unstable job, garners one with great stress and responsibility to overwork and be on the road constantly. Truck drivers are the unsung heros, contributing to maintain stability in India’s economy. India has an intercreate web of road, weaving through the country's treacherous landscapes and road transportation serves as a predominant mode for transportation. Regardless, the country overlooks the well being of its truck drivers and their importance in the daily functioning of the country. Despite the hardships, the truck drivers maneuver through this difficult profession by fostering a rather unique bond with their vehicle. The nature of the profession is brutal, it not a lucrative field in any sense, an individual is completed to take on this role predominantly because of financial difficulties, lack of education or the scarcity of jobs elsewhere. The long nights spent on an never ending road, away from their family, isolated and alone, the truck drivers attempt to induce a sense of comfort in their trucks by immersing themselves in symbols and signatures of their home. The truck drivers and their relation to their vehicles are rather peculiar subjects of study, justifying an intervention of semiotics, as a way to understand not only the objective beauty of the art form jeweled on their trucks, but also the underlying subjectivity of truck driver and their relation to the broad conventions of society.

The truck driver is without his truck. It is the TATA trucks that infiltrate the roads of India, not bestowed with modern comforts such as air conditioning, an essential feature for driving in hot temperatures. The sturdy 1960 Tata trucks not only serves as the literal driving mechanism, but also as a canvas for a truck driver to paint an extension of himself or the things that he adores (Prabhu, 2008). The trucks come with wooden cabins with contain a seat for the driver and usually his apprentice, the tiny areas is often transformed into everything, a temple, kitchen, bedroom and an office space. However, the design of the space is not objectively conveying comfort as the it cramped, with little room for stretching. Often times the trucks are overloaded, going over the capacity of what the structure of the truck can contain, a rather dangerous situation as this takes a toll on the brakes. Regardless, the trucks remains a sanctuary for its driver, a capsule of all things nice, provoking nostalgia. The structure of the truck or its technicality is not the center of focus, having a mechanism that can move over long distances with the ability to carry a ton of cargo, is the only requirement for the job. However, it is also interesting to note the breachment of the truck maker, Tata, into the overall design of the truck. The most well recognized design component of these trucks is the “Horn Ok Please” sign displaced at the back of the truck. The origin of the phase is still unsure, as there are several theories bridging history into it. Regardless, it is simply believed to signify to use the horn before trying to pass, since most trucks do not have functional side mirrors and also lane disciplines are seldom followed on Indian roads. Regardless, the center of attention is the placement of “Ok” in the middle of “horn please.” Many academic have concluded that the original of the “OK” dates back to WW2, when trucks were mostly used to transport military cargo and also these trucks ran on kerosene (Prabhu, 2008). This, is a truck is hit, it can blow up, therefore, “Horn On Kerosene please,” makes sense. Although this may not be relevant to the trucks today, but the saying as integrated itself as the common design element on the truck.

Fig 1.0

It is important to note that India does have an efficient railway transportation system, but that entails more money. Road transportation via trucks is regarded as a cheaper mode of delivery and trade. Despite, India is not a country that is known for maintaining its roads as most roads are treacherous resulting in thousands of accidents in a year. India is a country which is dissolved in religion, majority of people are still immersed in a particular faith, which breeds its own unique beliefs and superstitions. Truck drivers usually being sole providers of a family are garnered with the responsibility for the wellbeing of their family. It is a traditional patriarchal construct. However, for the truck drivers, their wellbeing and safety is put in the hands of god. As mentioned before, truck cabins often become temples to protect one from the dangers of the road. The inside of the truck is ladened with religious imagery, texts, objects and symbols, whilst the outside is usually adorned with superstitions of black magic to ward off a bad eye.The presence of these symbols is large dependant on a particular religion an individual follow, given that there are so many different belief sets in India, allows for an array of diversity in symbols that could be present on a truck. Regardless, it is common to find devils and black magic charms on the front and rear ends of the truck. The devil is usually represented with horns, fangs, outstretched tongue and an elaborate mustache (see figure 1.1), his job is simply to ward off evil eye and prevent accidents. The dangerous nature of the job, and on top of the financial stability is contributing to a shortage of truck drivers, entailing an end of a very unique vernacular art form. Regardless, an appreciation and understanding of this very unique art form can offer an insight into history within the conventions of arts and economics.

(Fig 1.1)

The depth of the relationship between the truck and its truck driver, can only be completely understood amongst them. It is noted that most truck drivers do not disclose the true meaning behind the symbols that they adorn their trucks with, as they pertain to their personal and emotional struggles. Regardless, we can generalize the intentions of the truck driver and situate them within the common assumptions, gathered from recorded understandings. Most often truck art is compared to folk art, this is rather a unique comparison which requires one to step back to its drivers. Most of the truck drivers are from agrarian communities, which were and are still being displaced due to urbanization (Ramchandran, 1992). Most farmers are finding it hard to make a living in their particular field of work, as their lands are being “bought off”, rather snatched away from them, to give way to a world that they are outsiders to (Ramchandran, 1992). The farmer then translates his commitment and love away from his crops to his truck, as it became the source for retaining his livelihood. The trucks that come out of Punjab, a farming state, are ladened with imagery of wheat and mustard crops. It is as if the driver is still holding back, almost longing for his previous life. Regardless, by painting his truck with images of his past life, the signifiers of work which were the mustard and wheat fields are now bestowed onto the truck. Like as he worked on his crop, the driver puts long hours and endless labour to garner the fruits, to feed his family.

It is to note that the love between the truck and his driver, is not for the driver’s dependence on it financially, the truck serves as a maker for his identity, a showcase of the things he cares about, a mode of communicating with the people on the road, which includes commoners and other truck drivers. India is a vast country, not only in its geography, but it is also diverse in culture and languages. We can view these truck drivers as ambassadors of their culture, moving through a different scape not only carrying their identity, but also of their region. For a ex-farmer from Punjab, he carries a representation the regional richness of his people, of their agrarian ways of life through his trucks as it zooms through the highways of India. And for a trucker from central India, the truck can embody something that is dear to him. All in all, trucks are not representations and signifiers of one’s character, but also carry with weight of a uniform identity of a community. In Fig 1.1, we are exposed to a landscape, filled with all sorts of biocultural diversity. It capture a scene of village life, which can be reflected from the nature of the women’s dress, a depiction of a cow being milked alongside an open field dipping into a river. The scene contained within this image, captures an ideal Indian life. Rather, a traditional way of life, before the breachment of urbanization and modernization, tearing the fabric of Indianness. With globalization, we are becoming citizens of the global village, but that global village usually entails painting over other culture with the codes and conventions of the west. And this has left any Indians who found it hard to integrate into these new norm, as outsiders in their home. The photo captures that longing, it is a signifier for the lost world that once was, but also preserving it and recognizing it. It also captures an inner diasporic struggle of an individual and one’s longing to hold onto his ideal world by painting it on his truck.

Fig 1.2

Regardless, there is a national uniformity amongst the diversity of these trucks. Nationalism is a quintessential component of Indian identity, in regards to its history containing the long oppression by the British. During the colonization period, the British through propaganda provoked divides in India based on religion, class and caste. This was an essential step to control a country. Regardless in the fight for independence, the freedom fighters tried to strengthen the country on a shared cause. The country did come together and the freed itself off 200 years of colonization. Regardless, there are still regional divides amongst Indians, in relation to languages. However, Indian still remain united, sharing common symbols and narratives, that add to a collective identity of a nation. Like all countries, India does have its nationals, such as a national bird, animal, flower and such. There is also common notions that all Indians take pride in, such as Taj Mahal, Bollywood and cricket. Therefore, alongside containing one’ regional elements, with one’s personal elements, the trucks tend to embody a collection of symbols that convey Indianness. Lotus, peacock and tiger, which are all the nationals of India, can be found on a truck. They could vary in how they are depicted in terms of design and color, but they are the common design elements of a truck. The truck driver is an Indian citizen, therefore for him to showcase his patriotism through truck is valid. He is carving out a place for himself in the whole concept of India, he is contributing to it, he is a part of it, he is carrying a lineage, a history of struggle with him on his truck. Carrying all these symbols, not only work as uniform markers of identity between truckers but also as a celebration of independence. The trucks trekking through the woven roads of India, carry representations of unity and peace, to bind a vast country within a common narrative.

Still to analyze

Taj mahal - patriotism, comparing truck to one of a kind, precious monument

Bright colors - has to be noticed from the distance, especially at night for the utilitarian purpose, folksy

Truck as wife - personification of the truck as a wife, and the act of decorating represents the husband’s devotion and love for her, because they truckers spend so much time away from home. May truckers also refer to their trucks as sons, daughters, tigresses, ladla, or laadli. Also as sex symbols.

RTO (regional transport office) rules and regulations: license plate and such

Bibliography

Bryan, A. D., Fisher, J. D., & Benziger, T. J. (2001). Determinants of HIV risk among Indian truck drivers. Social science & medicine, 53(11), 1413-1426.

Burgin, V. (1986). The end of art theory: Criticism and postmodernity. Humanities Press International.

Champakalakshmi, R. (1999). Trade, ideology and urbanization: South India 300 BC to AD 1300. OUP Catalogue.

Russell, C. (2001). Self-taught art: the culture and aesthetics of American vernacular art. Univ. Press of Mississippi.

Jain, A., Menezes, R. G., Kanchan, T., Gagan, S., & Jain, R. (2009). Two wheeler accidents on Indian roads–a study from Mangalore, India. Journal of forensic and legal medicine, 16(3), 130-133.

Justo, C. E. G., & Tuladhar, S. B. S. (1984, May). Passenger car unit values for urban roads. In Journal of the Indian Roads Congress (Vol. 45, No. 1).

Jain, K. (2007). Gods in the bazaar: The economies of Indian calendar art. Duke University Press.

Prabhu, B. V., Surekha, A., Holla, A. J., & Patel, K. M. (2008). Value stream mapping of truck operations: a case study. South Asian Journal of Management, 15(2), 107.

Pritchett, J. (1979). Nigerian truck art. African Arts Los Angeles, Cal., 12(2), 27-31.

Ramachandran, R. (1992). Urbanization and urban systems in India. OUP Catalogue.

[kushagra-jain]

NOVEMBER 1st WEEK

We went over some genre and representation theories this week.

GENRE THEROY

1. Rick Altman - Rick Altman suggests that genres are typically defined by their use of media language and codes or certain ideologies and narratives. Because of these shared characteristics, audiences are able to base their preconceptions of films on whether or not they enjoyed a film of the same genre in the past, making it easy for audiences to decide whether or not to watch a particular film.

2. Steve Neale - Genre as Repetition and Difference: “Genre is familiar to audiences through the repetition of conventions like a physically strong, dynamic, violent, male hero in Action Adventure Video Games like Assassin’s Creed and GTAV but is challenged by a female lead character in Tomb Raider and Beyond: Two Souls. Repetition and Difference, meaning that an audience may enjoy observing how the conventions of a genre are manipulated from what they are used to. He adds that “difference is absolutely essential to the economy of genre” as mere repetition would not attract an audience. When films deviate from the clichéd formula of a genre, it results in a more engaging and immersive experience for the viewer. Although, this enjoyment from the subversion of a genre stems from the audiences’ familiarity with the typical conventions and style of that genre first. In the past, genre was often regarded as fixed forms, but this has changed over time and so the forms and functions of genre are more dynamic than they used to be.

3. David Buckingham – Genre in Constant Process of Negotiation and Change: “Genre must respond to socio-economic and cultural change e.g. Brokeback Mountain has elements of the western (setting, objects and props, dress code) to develop an emotive romance about two men and their love for each other”. David Buckingham supported Steave Neal’s idea by suggesting that genre is “in a constant process of negotiation and change”, meaning that the codes and conventions of a genre may differ from film to film and are don’t adhere to a rigid formula as texts have in the past.

4.  Tom Ryall- He argued that genre is a cognitive repository of images, sounds, stories, characters, and expectations, meaning that it provides a formula that is either enjoyed or not enjoyed by an audience. Sometimes, the iconographies of a media text are enough to indicate the genre, however, it is often a conjunction of iconographies that create something that we can identify as belonging to a particular genre.

5. John Hartley – Genre is Interpreted Culturally: “Bollywood films are predominantly watched and interpreted culturally by a Hindi target audience and students of the genre who understand the encoded metaphor and meaning through the elaborate dance routines.

REPRESENTATION THEORY

Laura Mulvey -  The male gaze theory - The films represent women as passive objects of male audience are forced to watch women from the point of view of a heterosexual male.

John Berger - Man looks, woman appears - women are there solely for the objectification of women within all platforms of media

Walter Lippman - He suggests that a key aspect of representation is stereotype as they are an ordinary process that allows society to make sense of themselves. he also  argues that stereotypes are connotations regarding a particular group into simple and easy recognizable schemata.

Stuart Hall - He describes representation as a process by which meaning is produced and exchanged between audience by the use of language, signs and images which represent certain things.

ACTORS’ PPT

As far as REET’s progress is concerned, we decided to make actors’ ppt

Actors’ PPT was shared with all the actors to inform them about their individual roles and detailed information of the story. This made it easier to communicate what we expect from the actors. We included a synopsis, the storyline, characteristic and background of each character in form of a mind map, actors proposed for each character and their character’s journey i.e character arc.

This much only for this week! Thank you!!

[gurvichandi-blog]

Truck Art and Semiotics

What is it?

Truck or lorry art is a form of folk art, stringing together a unique form of expression that does not merely stand for its utilitarian and aesthetic purposes, but also attempt to grasp the sentiments and emotions of the drivers. A truck is a canvas, on which one can paint a reflection of their values and beliefs (political and religious), it carries elements of one’s personality to contain jokes or poetry or slogans and symbols of patriotism. Through the exterior of one’s truck, the viewer can see the spirit of its driver, the truck as an extension of himself. The truck is also a mobile art gallery of representational art, a free-form kaleidoscopic exhibition.

The history of this compelling art form dates back to the Raj when craftsmen made glorious horse draw carriages. Later in the 1920s, buses were decorated to attract passengers. The common design elements of truck art breaches from other forms of arts, such as architecture, film poster designs, western typography (drop shadows) etc. The interplay with the classic, folk and modern design elements composes a rather bizarre remixing of representations that wondrously stitch together a simple narrative of one’s longing for home. The nomadic nature of the driver is critical to his self-conception through his truck, he pines for an imagined home away from home, but also as his means of livelihood and his partner (or a temporary stand in for his wife, a rather pseudo wife). The truckers take great pride in their trucks as they most of their time with them than their family, therefore decorating his truck lavishly in a way that allows him to supplement the truck for his family and children and especially their wives as the trucks are predominantly feminized and endowed with bridal symbols. “They might adorn the cabin with bangles-things that remind them of their wives.”  In align with that, it is therefore quintessential to regard how this vernacular art form influences not just the world of art but also the lives of its artists and the truckers who interact with it on a daily basis. As Dan Eckstein notes, “depending on which region they are from, you will see Hindu, Muslim, Sikh and Christian iconography,” alongside photos of Bollywood stars and political logos, that say much about the person behind the wheel. Due to the dangerous nature of the job, there is a lot of decoration on the truck that is tied to lending one luck on the road and warning away bad omens. This essay will explore the common elements of Indian truck art whilst tracking back to their unique history in Indian folk art whilst translating and understanding these riots of colors, bedizened top to bottom, front to back with eye popping landscape, portraits, calligraphic poetry, icons as unique signifiers of one’s economic, political and religious affiliation. Sadly, truck art is undergoing a rather repressive transformation, hand painted images are being replaced by stickers. However for the better or worst, truck art is being molded and shape shifted in the mainstream, as it is taken out of its folksy demeanor and made into something designer as prints on shirts. Indian advertising industry has also adopted truck art into its plethora of representations, for its character of Indian-ness, as it has a very unique identity and history.

Common design elements

Horn OK Please - displayed on the back, the origin of the phrase is still unsure,there are several theories however it is a simple conveyor to use the horn before trying to pass, since most trucks do not have functional side view mirrors and lane discipline is seldom followed, if there are lanes at all. Regardless the main uncertainty around the slogan is around why there is an “OK” in the middle? So thus researchers assume that they history of this dates back to WW2, when Indian trucks ran on kerosene, so if it hit they can blow up easily therefore “Horn Please, On Kerosene.” Another theory is that most trucks are made by TATA. “Ok Tata” is a common way of saying goodbye in India, so okay is written in front of TATA’s logo.

Lotus Peacock and Tiger- national bird and animal - very patriotic - national flower of India, sign of fertility, bharatnatyam dance pose, sign of offering to god

Bright colors - has to be noticed from the distance, especially at night for the utilitarian purpose, folksy

Taj mahal - patriotism, comparing truck to one of a kind, precious monument

Truck as wife - personification of the truck as a wife, and the act of decorating represents the husband’s devotion and love for her, because they truckers spend so much time away from home. May truckers also refer to their trucks as sons, daughters, tigresses, ladla, or laadli. Also as sex symbols.

Devils & charms - devils appears on the front and rear fenders - with horns, fangs, outstretched tongue and an elaborate mustache, their job is to simply ward off evil and to prevent accidents. Om and other religious symbols are part of the embellishments, in Rajasthan, a show is believed to ward off bad omen, so on trucks it is usually painted on the mudflaps

RTO (regional transport office) rules and regulations: license plate and such

Resources:

Card game: http://www.shantanusuman.com/project/truckopoly/

Sound pollution laws: http://www.hindustantimes.com/india/no-more-horn-ok-please-in-mumbai/story-eMiRGVLDqyoXuZdAX2tddJ.html http://www.tandfonline.com/doi/abs/10.2752/174322005778054456