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- Convenors:
-
Paolo S. H. Favero
(University of Antwerp)
Giulia Battaglia (IRMECCEN, Sorbonne Nouvelle)
- Location:
- Grande Auditório
- Start time:
- 26 July, 2012 at
Time zone: Europe/Lisbon
- Session slots:
- 2
Short Abstract:
This exhibition/panel aims to provoke the logic that has characterized conventional visual gazes upon South Asia. Approaching the subcontinent as a place to "look from" rather than to "look at" it aims to attract all kinds of visual presentations able to re-think conventional approaches to South Asia.
Long Abstract:
The relation between film and South Asia has historically been characterized by a desire to portray the diversity and charms of the Indian subcontinent. Often reproducing male hegemonic colonial perspectives this approach is particularly evident for instance in the tradition of documentary film where India, Pakistan, Nepal, etc. have conventionally been presented, in a charming blend of love and hatred, attraction and repulsion (i.e. through the fundamental ingredients of exotica) as places to "look at" rather than to "look from".
"From the inside looking out" aims to provoke this logic. Taking off from the experimentations that are taking place particularly in the field of contemporary digital practices we wish to attract visual projects which directly or indirectly invert and comment upon conventional visual representations of the Indian Subcontinent.
We welcome all kinds of visual projects ranging from documentary film, to interactive documentaries, fiction films, short films, animated films, online installations and creative visual presentations.
To propose your visual project use the 'propose a paper' link below, not forgetting to include format, runtime and other relevant info (director, producer, language, media).
Accepted papers:
Session 1Paolo S. H. Favero (University of Antwerp) Giulia Battaglia (IRMECCEN, Sorbonne Nouvelle)
Paper short abstract:
This paper aims to set the field for a number of theoretical reflections regarding the intersection between digital image-making and film in the South Asian context. To what extent can the essence of digital images influence the practices of filming and image-making at large? What are the politics of this process? How do such aspects reflect themselves upon the specificities of the South Asian context?
Paper long abstract:
This paper aims to set the field for a number of theoretical reflections regarding the intersection between digital image-making and film in the South Asian context. To what extent can the essence of digital images influence the practices of filming and image-making at large? What are the politics of this process? How do such aspects reflect themselves upon the specificities of the South Asian context?
Sandra Marques (CRIA-IUL)
Paper short abstract:
You're on the air. Now what? is the motto to question on the representations of screen representations. We made a placard sign, installed it at different public locations around Kolkata (capital of West Bengal, India) on different times and waited with the equipment prepared in a fixed shot…
Paper long abstract:
The short documentary You're on the air. Now what? (2011) is the outcome of a desire to revive an idea from the film Photo Wallahs (1991) by Judith and David MacDougall. We made a placard sign written in Bangla and Hindi, installed it at different public locations around Kolkata (capital of West Bengal, India) on different times and waited with the equipment prepared in a fixed shot… The idea is to give international exposure to commonly voiceless people, letting them construct audiovisual meanings at their will. Will they use this opportunity? How will they represent themselves? What are their representations of screen representations?
Martin Gaenszle (Institute for South Asian, Tibetan and Buddhist Studies)
Paper short abstract:
The movie “Numafung” (2002) belongs to the growing genre of ethnic cinema in Nepal. It is the first full feature film on the ethnic minority of the Limbu, directed by a Limbu and (partly) in Limbu language, and can be seen as an expression of the new ethnic awareness and pride in post-1990 Nepal.
Paper long abstract:
In terms of language and imagery the film "Numafung" is quite different from the commercial and very popular Hindi movies (for example, all the actors are non-professionals), nevertheless it was a big success and was well received in Nepal, especially in local cinemas in the east. Based on a narrative by the writer and politician Kajiman Kandangwa (who died in 2003), Karbar ki Gharbar, the film tells the story of the young woman Numafung (lit. 'beautiful flower' in Limbu) in the hills of eastern Nepal. The story recounts how Numafung, after being widowed and later unhappily remarried, eventually goes her own ways, defying her relatives and the grip of custom.
It is above all the way this story is told and film images are employed which broke new ground in Nepali cinema. The presentation, which includes visual examples, looks mainly at the staging of Limbu culture in the scenes, action, music and language, and asks how the medium of film is used to both criticise custom and at the same time create new ethnic self-images vis-à-vis outsiders. It will also consider the reception by viewers, nationally and internationally, as reflected in academic discourse, in the press and in discussions on the internet, and inquire into the potentials and predicaments of ethnic cinema in the development of a more inclusive public sphere in contemporary Nepal.
Nilanjan Bhattacharya
Paper short abstract:
In October 2011 something unique happened in Calcutta! The cutting edge European Art found its place in Durga Puja – the biggest annual religious carnival of Bengal. For this panel, I intend to present my experience of filming the process of this artwork – from the conceptualization to the implementation.
Paper long abstract:
In October 2011 something unique happened in Calcutta! The cutting edge European Art found its place in Durga Puja - the biggest annual religious carnival of Bengal. To celebrate 75 years of Germany-India Friendship, the Goethe Institut initiated a project called 'Art in Public Space'. Tempted by the traditional practice of 'art in public space', Gregor Schneider, famous German artist, agreed to create a 'sight specific art work' for the occasion. He opted to work in collaboration with local artisans. The Goethe Institut requested me to make a film on this initiative.
For this panel, I intend to present my experience of filming the process of this artwork - from the conceptualization to the implementation. I aim to examine Schneider's artistic approach and my own filmic practice. In particular, I am interested in interrogating Schneider's intended 'collaboration' and the process of making a film on his project by asking: who looks at whom?
By narrating many incidents, I will question the validity of transposing western artistic expressions to south Asia - most of which, I argue, took place without considering local specificities. I will argue that a huge Calcuttan crowd was drawn by the 'puja theme' thanks to a 'curiosity element' - that is, people's willingness to embrace newer artistic creations in relation to other cultures. While doing this, I will also question my own film practice, as a local filmmaker, and investigate the 'missing factors' which, in my opinion, can make art-collaboration a successful endeavor. My analysis will be supported by clips from my film.