ShodhKosh: Journal of Visual and Performing Arts最新文献

{"title":"TRANSMEDIA STORYTELLING OF HINDI CINEMA: A CASE STUDY OF YASH RAJ FILMS","authors":"Ipsita Barat","doi":"10.29121/shodhkosh.v5.i1.2024.653","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.653","url":null,"abstract":"This study aims to explore the concept of transmedia storytelling in Hindi cinema, specifically in the film Ra.One (Anubhav Sinha) and the Dhoom series. Transmedia storytelling is the practice of telling a story across multiple media platforms, and it has become increasingly popular in today's culture due to technological advancement. These films were chosen for analysis because of their widespread popularity and extensive transmedia extensions, which make them prime examples of how Hindi cinema uses multi-platform storytelling. The research investigates how these films effectively employ transmedia techniques to tell stories suitable for multiple media channels. The study will employ textual and narrative analysis methodologies to delve into the transmedia elements employed in Ra.One and the Dhoom series. Additionally, the study will examine the economic logic of transmedia storytelling integrated into the studio business model of Hindi cinema, contributing to a deeper understanding of the relationship between media convergence, narrative techniques, and industry practices. This analysis aims to shed light on the strategic deployment of transmedia storytelling in Hindi cinema and its implications for audience engagement and industry dynamics.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"48 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-05-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141116840","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"SATIRE AND ITS RHYTHM THROUGH THE LENS OF CARICATURE AND CARTOON PRACTICES IN INDIA: A REVIEW","authors":"Jashadeep Kar, Saday Chandra Das","doi":"10.29121/shodhkosh.v5.i1.2024.655","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.655","url":null,"abstract":"The major key factor of modern ‘caricature’ art has been not only constricted to only the voice of society and the political domain, neither is it still subjected to newspapers, magazines and journals, banners, templates, and posters but it is legitimated to be spontaneous equally an ambiguous ‘etiology’ of art practice having its inseparable bonding through 21st century as ‘digital expression’ as well. Caricature art has always been hands-up with its impact on the human psyche or vice-versa as well and its elongated limbs hold a tremendous grip over any fragile, discursiveness, and expectation that weakens the stimulus growth of society which can never be overlooked. This research paper- ‘Satire and its Rhythm through the Lens of Caricature and Cartoon Practices in India: A Review’ fundamentally has made an attempt to showcase the study of satire through caricature and cartoon art by Five eminent artists from India and their perception of this subject.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"110 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-03-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140380797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"CONTEMPORISING PUNJABI CINEMA: CHRONOLOGY AND CULTURE","authors":"Harneet Kaur","doi":"10.29121/shodhkosh.v5.i1.2024.885","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.885","url":null,"abstract":"Indian Cinema is a complex and layered structure with Mumbai based Bollywood productions calling the shots. However, cinema in various languages of India, based out of the many different states is what lends the colour of diversity and the flavor of the local to cinema in India. The present contribution seeks to look at Punjabi cinema through the lens of masculinity, caste, and the evolution of themes. A brief historical perspective on Punjabi cinema is imperative to locate contemporary themes and depictions in the correct light. Cinema in Punjab has evolved over the last fifty years from the depiction of the rural Jatt hero of the 1980s to the NRI Jatt hero of the 2000s. The music industry of Punjab is also inextricably linked to Punjabi cinema as many singers feature as actors and heroes in films. The same is not true for female singers, bringing in the issue of gender and at times, toxic masculinity in Punjabi cinema. The women in Punjabi cinema are either young enchantresses or matronly mothers, who pamper the hero in equal measure. The paper will examine in detail some protagonists of Punjabi cinema who resonate across decades and are glorified till date. The issue of the usually upper caste hero and his family controlling the village with guns and goons has been a recurring image throughout the course of Punjabi cinema. Bollywood, too, cannot do without its fix of at least one Punjabi song, remixed or original and one character who belongs to Punjab. Thus, the chapter will bring out the nuances of Punjabi culture as depicted in Punjabi cinema, adding to the existing scholarship from a more contemporary context.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"16 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140422162","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"NṞTYA GAṈAPATI: INSIGHTS FROM LITERATURE, ICONOGRAPHY AND BHARATANATYAM","authors":"K. Vadivelou, Saju George","doi":"10.29121/shodhkosh.v5.i1.2024.690","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.690","url":null,"abstract":"In Hinduism, dance is a ritual, and deities like Siva and Krishna are depicted as dancers. The Bhakti period in South India facilitated the development of music and dance as avenues to praise God and attain salvation or eternal bliss. Lord Siva, particularly, is revered as the God of dance, and various dancing forms of other Gods are present in Hindu Mythology alongside Nataraja. Gaṇapati worshipped as the remover of obstacles, is specifically praised as Nartana Gaṇapati in his dancing form. The Agamas enumerates sixteen forms of Gaṇapati, with Nṛtya Gaṇapati, the dancing form, being one of them. References in Vināyakar Parākkiramam and numerous literary works elaborate on different aspects of Gaṇapati's dance. Presently, Bharatanatyam performances incorporate kritis, slokas, and songs dedicated to Nartana Gaṇapati. This form is established and venerated in Siva and Gaṇapati temples, often depicted through sculptures nationwide. This article delves into numerous literary references and temple depictions to enhance comprehension of Gaṇapati as a dancer and the incorporation of Nṛtya Gaṇapati in Bharatanatyam.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"21 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140418461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"'DIGITAL MINIMALISM' - A STUDY TO FIND OUT WAYS TO MAKE THE BEST USE OF DIGITAL TECHNOLOGIES AND MINIMISE ITS ILL-EFFECTS","authors":"Saheb Kumar, Lok Nath","doi":"10.29121/shodhkosh.v5.i1.2024.640","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.640","url":null,"abstract":"Digitalisation can be understood as the usage of digital technologies by governments, businesses and in social processes with the objective of improving them. The story of digitalisation begins with the invention of Internet, which at first was an academic research project (1969), turning into a global commercial network in the 1990s. After the invention of Internet, many advanced digital technologies have been developed and many more are continually being developed. Now we have smartphones, smartwatches, advanced computers, Artificial Intelligence (AI), Internet of Things (IOT) and many more advanced digital technologies. Today, almost every sector has adopted digital technologies, be it media, healthcare, defence, entertainment, commerce and industry, education, or anything else. Such is the penetration of digital technologies in our daily life that the present age is called 'Digital Age'.At present whole world is witnessing digital transformation. COVID-19 pandemic has catalysed the digitalisation of the world. Digitalisation has eased our life a lot. Now we can book our travel tickets online, we can consult doctors online; e-shopping, online education and many more things can be done digitally. But together with opportunities, digitalisation has brought with itself innumerable risks which are also to be minimised. Melvin kranzberg considers technology to be neither good, nor bad, but also not neutral.There has been a dramatic increase in the use of internet, computers, smartphones, and other electronic devices over recent decades, and this has brought with itself not only benefits but also harms. Excessive digital use leads to health issues (both physical and mental), cyberbullying, privacy issues, cyberfrauds, cyberhacking etc.This research paper thus explores the concept of 'Digital Minimalism', a philosophy of using digital technologies for meaningful purposes rather than for mere entertainment or idle time. The paper also tries to find out ways to minimise the ill-effects of excessive and improper usage of digital technologies. Digitalisation is not only bringing benefits to our societies but also harms, thus through this paper the researcher aims to make the users of digital technologies use them wisely so that it does not harm their daily lives rather it benefits them. For this the researcher reviewed several books, research papers, articles, news, reports, and other related literature. He also utilised survey methods to get an idea about how people use digital technologies. He shared a Google form and got 103 responses. The data and charts generated in the form were used for data analysis.At the end of this paper the researcher found that it is very easy to practice 'Digital Minimalism' and make the best use of digital technologies.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"14 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140419875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"POEM IN MOTION: A UNIQUE BLEND OF EAST AND WEST IN SANDHYA RAJU’S PERFORMANCE POETRY OF MAYA ANGELOU’S POEM ‘PHENOMENAL WOMAN’","authors":"Sajna Sanal","doi":"10.29121/shodhkosh.v5.i1.2024.782","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.782","url":null,"abstract":"Dance is an ancient, universal art form that stirs the souls of the performer as well as the admirers. Dance has the power to heal, nourish, teach, and spread joy and peace. In India, a multicultural and multilingual country, innumerable folk, and classical dance forms have flourished and continue to be practised across villages, towns, and cities. Religious festivals, cultural gatherings, social movements, and youth programmes are incomplete without the rhythm and beauty of music and dance. On Feb 2, 2022, the eminent Kuchipudi danseuse Sandhya Raju launched a terpsichorean rendition of the famous poem ‘Phenomenal Woman’ written by the American poet and activist Maya Angelou and published in 1978, as a tribute to the former’s mother on her birthday. Raju, with her co-dancers from the Aayana Dance Company, made a creative interpretation of the poet’s powerful words, while adding a verse of her own which in turn emphasised the concepts of inner strength of a woman and the depth of mother-daughter bonding. The choreography largely borrows from Kuchipudi, a dance form with its origin in an eponymous village in Andhra Pradesh and founded in the classical Sanskrit treatise Natya Sastra. Angelou’s emphatic paean to the confidence and inner beauty of the woman fuses with the Indian performance art form to weave a mesmerising visual-aural experience to the viewer, bringing in an East-West blend that surpasses the boundaries of language, culture, and race.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"16 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140421005","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"REFLECTION OF MEDIA IN VIOLENCE AGAINST WOMEN WITH SPECIAL REFERENCE TO LUCKNOW DISTRICT","authors":"Zeeshan Haider Rizvi, Ritu Singh Meena","doi":"10.29121/shodhkosh.v5.i1.2024.741","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.741","url":null,"abstract":"Violence against women is a serious issue in various places including Lucknow. The shocking number of instances put a deep emphasis on the lives of women. Media can play a significant role in reducing the incidences by highlighting the issues. Due to its high reach in various forms like print, vocal, and presentation, the media can inform the citizens regarding the importance of healthy living. The study discusses the role of media in Women's empowerment and highlights the cases of crime against women. The study highlights and discusses the crimes being majorly faced by women in Lucknow. The researcher also verified the facts and figures through a survey data method of research. The study puts forth the reasons for these crimes and provides possible remedies by doing a thorough examination of statistical data, case studies, and social issues. It is anticipated that this article can help bring about good change in the situation surrounding the protection of women in Lucknow by shedding light on the many facets of the subject.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"240 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140443278","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"REEL RHYTHMS: A STUDY ON HOW CARNATIC MUSICIANS EMBRACE INSTAGRAM'S REEL ROUTE TO RESONATE WITH THE YOUNGER GENERATION","authors":"Srivaralaxmi Venkatraman, Uma Maheswari P","doi":"10.29121/shodhkosh.v5.i1.2024.746","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.746","url":null,"abstract":"Carnatic Music, a symbol of our culture and tradition is performed in cultural festivals and events across the country with Chennai being the Locus for it. With the advent of new age technology and social media platforms, musicians have started using them to connect and communicate with general audience. Before Covid-19 pandemic, reels and short videos were not frequent. However, during and after the lockdown, Instagram, Youtube and Facebook have become the primary platform for Carnatic musicians to exhibit and engage. We also observe a huge number of followers-fan base for musicians like Sanjay Subramaniam, Aurna Sairam, Rajhesh Vaidhya, Abby V, Sudha Raghunathan, Mahesh Raghavan across social media platforms. Young musicians and artists struggling to break through the music ascendency in society find Instagram and Facebook as valuable platforms in reaching out to common people. The research focuses on why Carnatic musicians have started using Instagram extensively and the ways adopted to interact with the audience. This study examines the use of Instagram by 10 popular Carnatic musicians, analysing their social media engagement parameters. The research has referred to the Uses and Gratification theory to categorise the requirements of using this medium of communication. The study includes in-depth interviews with budding musicians to understand their perspective on engaging in Instagram promotions and gratifications they get. The analysis and results reveal the gradual increase of musicians using Instagram and other social media platforms without compromising the art form.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"76 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140448461","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"UNBOXING NEW MASCULINITY: ANALYSING KEN’S EVOLUTION IN BARBIE’23","authors":"Javairia Nousheen, Abhisarika Prajapati","doi":"10.29121/shodhkosh.v5.i1.2024.712","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.712","url":null,"abstract":"The representation of masculinity in media has long been dominated by traditional stereotypes, perpetuating rigid gender norms, and limiting the scope of diverse expressions of male identity. However, the film \"Barbie\" which recently released starring Margot Robbie as Barbie and Ryan Gosling as Ken presents a refreshing departure from this norm by offering an intriguing portrayal of Ken, a character with a rich history in popular culture. This research paper examines how the movie reimagines and challenges conventional notions of masculinity through Ken's character arc.The paper shall establish the historical context of Ken's portrayal in previous Barbie movies and merchandise, where he often embodied the archetypal male figure, emphasizing physical appearance and material possessions. Through a comprehensive analysis of \"Barbie'23,\" the study explores how the film deconstructs these stereotypes and reconstructs Ken as a multifaceted and relatable character, embracing a broader spectrum of masculinity. Key themes explored include Ken's journey of self-discovery, emotional intelligence, and vulnerability. \"Unboxing New Masculinity: Analysing Ken’s Evolution in Barbie’23\" seeks to contribute to ongoing conversations about reimagining masculinity in media and highlights the importance of inclusive storytelling for young viewers. By breaking away from the traditional mold, \"Barbie'23\" exemplifies a forward-thinking narrative that paves the way for a more accepting and diverse portrayal of masculinity in children's entertainment.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"632 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140446178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"BREAKING STEREOTYPES: PORTRAYAL OF MOTHERHOOD IN NEW-AGE MALAYALAM CINEMA WITH SPECIAL REFERENCE TO KUMBALANGI NIGHTS AND UYARE","authors":"Anu Paul","doi":"10.29121/shodhkosh.v5.i1.2024.779","DOIUrl":"https://doi.org/10.29121/shodhkosh.v5.i1.2024.779","url":null,"abstract":"Motherhood has been an idealized stereotype in literary works and movies. The burden of the duties entitled to a mother in a patriarchal society often detriments the growth of the woman beyond the identity of motherhood. Motherhood theory puts forth the argument that motherhood is not a universal experience but is shaped by social and cultural factors. Motherhood is perceived differently across different cultures and is influenced by cultural norms, gender roles, class, race, and ethnicity. The experience of motherhood is often associated with sacrifice and selflessness, but it is also marked by guilt, ambivalence, and stress. Motherhood theory seeks to understand the multiple dimensions of motherhood and the various ways in which women navigate the challenges of raising children. The 2019 Malayalam movie “Kumbalangi Nights” was helmed by director Madhu C. Narayanan and produced by Fahadh Faasil. The mother in the movie, though absent in person, is portrayed as a strong and independent woman who has her own desires and ambitions. The movie uniquely deals with the absence of a mother yet how she is omnipresent in the lives of her children, a much more realistic motherhood, breaking away from the traditional stereotype of a self-sacrificing mother who puts her family before everything else. “Uyare” (2019), follows the story of a young woman, played by Parvathy Thiruvothu, who dreams of becoming a pilot but is attacked by her ex-boyfriend and left disfigured. The father in the movie, played by Siddhique is shown as a supportive and empowering figure who helps his daughter to overcome her trauma and achieve her dreams. These two movies portray how regardless of the presence of a glorified mother, self-reliant, strong individuals can be raised rather than upholding the stereotypical image of a selfless, sacrificing mother.","PeriodicalId":425253,"journal":{"name":"ShodhKosh: Journal of Visual and Performing Arts","volume":"876 ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-02-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140446270","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}