girish karnad
DESCRIPTION
A presentation made on Girish Karnad as a film director.TRANSCRIPT
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GIRISH KARNAD
MEDIA APPRECIATION
KARUNYA VINUKONDA
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POINTS COVERED⢠Introduction
⢠Historical Aspect And Early Life
⢠Reflections Of Real Life Over Cinema
⢠Genres
⢠Famous Films
⢠Historical And Political Scenario Of The Country Over Films
⢠Style
⢠Script
⢠Story Line
⢠Cinematography
⢠Films & Discussions
⢠Conclusion
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GIRISH KARNAD
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INTRODUCTION
⢠Girish Raghunath Karnad
⢠Contemporary writer, playwright, screenwriter, actor and movie
⢠He is a recipient of the 1998 Jnanpith Award, the highest literary honour conferred in India.
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INTRODUCTION
⢠He was conferred Padma Shri and Padma Bhushan by the Government of India
⢠Won four Filmfare Awards where three are Filmfare Awards for Best Director
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HISTORICAL ASPECT & EARLY LIFE
⢠Born in Matheran, Maharashtra
⢠Karnataka, he was exposed to travelling theatre groups
⢠Bachelors of Arts degree in Mathematics and Statistics, from Karnatak Arts College, Dharwad
⢠Master of Arts degree in philosophy, political science and economics
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CAREER
⢠Oxford University Press
⢠Minister of Culture, in the Indian High Commission
⢠Director of the Film and Television Institute of India
⢠Chairman of the Sangeet Natak Akademi
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REFLECTIONS OF REAL LIFE OVER CINEMA
⢠Karnad endeavours to forge a link between the past and the present.
⢠Views the subjects of his plays from his own perspective
⢠Medium to communicate his own-independent and original-feelings, thoughts and interpretations
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HISTORICAL AND POLITICAL SCENARIO OF THE COUNTRY OVER FILMS
⢠Given new directions to the post-Independence Indian drama
⢠Heightened awareness of rural forms
⢠Girish Karnad harmonizes the western tradition of drama with the social-political change, sense of insecurity, frustration, isolation, depression, and search of perfection in Indian sensibility
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⢠Girish Karnad handled the themes in his own style to mock the society to revive the political situations and to transform the people to be aware of the political unrest
⢠âTheatre of rootsâ movement
⢠Rebelled against British-influenced drama
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⢠He not only links the past with the present but also the grandeur and mobility of the epics like the Mahabharata and Ramayana with the simplicity and charm of folk imagination
⢠Tries to establish a âdialectical relationship between tradition and modernityâ
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⢠The psychoanalysts like Sigmund Freud, Carl Jung and Claude Levi Strauss believed that âmyths and dreams reveal unconscious psychological forces within peopleâ
⢠He adapts mythical and historical material with a view to giving it a psychological interpretation
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Retrieval of Indian Culture and Tradition in Girish Karnadâs Films
⢠Girish Karnad is one such dramatist who makes an attempt to retrieve the treasure of culture and tradition. He has been rightly been called the âRenaissance manâ,
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⢠Karnad takes myth as a faith builder for individualâs spiritual evolution. He uses folklore to connect the magic and reality and history for a symbolic sociopolitical struggle in contemporary reality.
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⢠Presenting myths in human condition he links the present with the eternal and the contemporary with the archetypal
⢠Naga mandala
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STYLE, SCRIPT and CINEMATOGRAPHY
⢠He deftly employs all the conventions and motifs of folk tales and folk theatre-masks, dolls, curtains and the story within the story.
⢠Although he burrows the plot of his plays from different episodes of myth, history and folklore, no character in his dramatic sphere is a superhuman being
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⢠1. Vamsha Vriksha (1971, Kannada)
⢠2. D.R. Bendre (1972, documentary)
⢠3. Tabbaliyu Neenade Magane in Kannada
⢠4. Godhuli (1977, Hindi)
⢠5. Ondanondu Kaladalli (1978) in Kannada
⢠6. Kanooru Heggadathi in Kannada
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⢠7. Kaadu (1973, Kannada)
⢠8. Durga in Mahendar
⢠9. Utsav in Hindi
⢠10. Woh Ghar (1984, Hindi), based on Kirtinath Kurtakoti's Kannada play Aa Mani
⢠11. The Lamp in the Niche (1990) (documentary)
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⢠12. Cheluvi (1992, Kannada and Hindi (Dubbed))
⢠13. Chidambara Rahasya (2005, Kannada) (tele film for DD1)
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Kaadu - 1973 â Kannada (The Forest)
⢠Young boy, Kitti. The boy, who is staying with his uncle Chandra Gowda and aunt Kamali,
⢠The boy cannot distinguish the specifically man-made violence that surrounds him from the more primeval threats presented by the dense forest
⢠In a fantasy ending, the boy imagines the bird calling him and he follows the call
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⢠Movie clip
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Cheluvi - 1992 â Kannada (The Flowering Tree)
⢠Karnataka folk-tale
⢠Turn herself into a tree yielding an endless supply of blossoms
⢠A mutilated tree-stump.
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Vamsha vriksha
⢠It is a tale of three generations of two Hindu families in Karnataka
⢠Relevant today
⢠Several parts of the film rely on movement of the actors, the camera angles, light and shade, rather than the spoken words.
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STATUS OF WOMEN
⢠Girish Karnad thus has glorified the extra- marital relationship through his dramatic art, while he knows that it is for sensual fulfilment
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CONCLUSION
⢠Innovating the post sixties Indian theatre
⢠Experimental Theatre
⢠Karnad decorates Indian culture nicely
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REFERENCES⢠Portrayal of Political Power in Girish Karnad
⢠Majumdar, Neepa. Wanted Cultured Ladies Only! : Female Stardom and Cinema in India, 1930s-50s.
⢠: University of Illinois Press,
⢠Dr. Prafull D. Kulkarni (2010). The Dramatic World of Girish Karnad. Creative Books
⢠www.euroasiapub.org
⢠Critical Study Of Innovations And Experiments In The Plays Of Girish Karnad Anita Parul Mishra
⢠Modernist Strains In The Major Plays Of Girish Karnad
⢠A semiotic study of Girish Karnad's "Nagamandala By Anjali Nambiar
⢠Chaosmag Database
⢠Retrieval of Indian Culture and Tradition in Karnadâs plays by Dr. Tasleem A War
⢠Girish Karnad: A Man and ArtistâEvolution of His Dramatic Genius Dr. Krishna Singh
⢠Girish Karnad : Pioneering âThe Theatre of Rootsâ Dr. Gitanjali Bhatia
⢠Culture In The Plays Of Girish Karnad Dr. R.Chanana
⢠www.itimes.com
⢠Desires and Ecstasies of Women in The Plays Of Girish Karnad Dr. Sunil Mishra
⢠www.karnatakavision.com