Color and Artefact Emotion in Alternative Cinema: A Comparative Analysis of Gabbeh, Mirch Masala, and Meenaxi: A Tale of 3 Cities
2009; Berghahn Books; Volume: 3; Issue: 2 Linguagem: Inglês
10.3167/proj.2009.030208
ISSN1934-9696
Autores Tópico(s)South Asian Cinema and Culture
ResumoThis article discusses filmic emotion by focusing on how the dominant color (blue in Gabbeh and Meenaxi; red in Mirch Masala) is used to elicit emotion. Through alienation effect, the viewer is distanced from the aims and goals of characters, and is less likely to experience the sorts of emotions that result from identification. The first two films use multiple frames of narration leading to character(s) in the outer frame becoming like spectators, invested in, for instance, fortune of others emotions that are central to the enjoyment of movies. In Mirch Masala, narration focuses on class struggle; there is minimal engagement with characters' individual aims, goals, and desires. While the red film foregrounds social anger, the blue films foreground consciousness. The three films together ask questions about what makes war and what makes peace, and how human action and human consciousness, represented through colors, figures in all this.
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