Abstract
The whole theoretical process being discussed in the work is briefly mentioned in the Introduction of this chapter including a literature survey and a comparison between Indian and Western methodologies.
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Notes
- 1.
Richard Allen and Murray Smith, Eds. “Introduction”, in Film Theory and Philosophy (Oxford: Clarendon Press, 1997): 1–35, 1.
- 2.
David Bordwell and Noël Carroll, Eds. Post-Theory: Restructuring Film Studies (Wisconsin and Madison: The University of Wisconsin, 1995).
- 3.
It may be mentioned that early film theorization in the West, like Vachel Lindsay’s, The Art of Moving Picture (New York: Macmillan, 1915) and Hugo Münsterberg’s, The Photoplay: A Psychological Study (New York: D. Appleton, 1916) and, had predominantly dealt with the cinegoers’ embodied experiences of cinema.
- 4.
Karl Marxs’ seminal works are Communist Manifesto (1848) and Das Kapital (1867–1894), both of which have been translated and published many times in the English language.
- 5.
See Sigmund Freud’s seminal work in 1905, Interpretation of Dreams (English translation published by London: Macmillan, 1913), all his subsequent works being based on this insight.
- 6.
Annette Kuhn and Guy Westwell, Oxford Dictionary of Film Studies (Oxford: Oxford University Press, 2012): 250.
- 7.
Bordwell, “Historical Poetics of Cinema”, 374.
- 8.
Ibid., 6–7.
- 9.
Ibid., 7.
- 10.
Bordwell, “Contemporary Film Studies and the Vicissitudes of Grand Theory”, 7.
- 11.
Ferdinand de Saussure, Course in General Linguistics, Trans. and Introduced by Wade Baskin (New York: McGraw-Hill, 1916).
- 12.
Bordwell, “Contemporary Film Studies and the Vicissitudes of Grand Theory”, in Post-Theory, 3–36, 6.
- 13.
Ibid., 3.
- 14.
Ibid.
- 15.
Bordwell, “Film Studies and Grand Theory”, 8, modified.
- 16.
Ibid., 10.
- 17.
Bordwell, “Film Studies and Grand Theory”, 13–8.
- 18.
Ibid., 12.
- 19.
Kuhn and Westwell, “Cognitivism (cognitive film theory)”, in Oxford Dictionary of Film Studies, 86.
- 20.
Geoffrey Nowell-Smith, “How Films Mean, or, from Aesthetics to Semiotics and Half-Way Back Again”, in Reinventing Film Studies, Eds. Christine Gledhill and Linda Williams (London: Arnold, 2000): 8–17, 14.
- 21.
Nowell-Smith, “How Films Mean”, 14.
- 22.
Ibid.
- 23.
See Amartya Sen, The Argumentative Indian (London: Allen Lane, 2005).
- 24.
The word darśan stands for the Sanskrit name of an Indian philosophical school, thought or system.
- 25.
Surendranath Dasgupta says “The word saṃskāra is used by Pāṇini in three different senses: (1) improving a thing as distinguished from generating a new quality (2) coglomeration or aggregation and (3) adornment. The meaning of saṃskāras in Hindu philosophy is altogether different. It means the impressions (which exist sub-consciously in the mind) of our experiences, whether cognitive, emotional or conative, exist in sub-conscious states and may under suitable conditions be reproduced as memory (smṛti).” A History of Indian Philosophy, Vol. 1, First Indian Edition (Delhi: Motilal Banarsidass, 1975), Footnote 1, 263, modified.
- 26.
Dasgupta, A History of Indian Philosophy, Vol. 1, Footnote 1, 263.
- 27.
Matilal, Perception, 29.
- 28.
Edwin Gerow’s “Notes” in S. K. De, Sanskrit Poetics as a Study of Aesthetics with Notes by Edwin Gerow (Bombay: Oxford University Press, 1963): 81–112, 87–8.
- 29.
Ānandavardhana’s Dhvanyāloka, 81–2.
- 30.
Bordwell, “Historical Poetics of Cinema”, 370.
- 31.
Ibid.
- 32.
Matilal, Perception, 70, modified.
- 33.
Ibid.
- 34.
Karl H. Potter, Presuppositions of Indian Philosophies (Delhi: Motilal Banarsidass, 1991): 51.
- 35.
Ibid., 51, modified.
- 36.
Ibid., 51.
- 37.
“Reason” is “the intellectuall faculty by which conclusions are drawn from premises” and “intellect” is “the faculty of reasoning, knowing, and thinking as distinct from feeling [experience]” (OERD). Clearly, this is circular reasoning based on the assumption that these intruements can independently know reality without being a part of it leads to the farther assumption that “intelligence” does not form a part of empirical reality.
- 38.
Mohanty, Classical Indian Philosophy, 16.
- 39.
Matilal, Perception, 36.
- 40.
Mohanty, Classical Indian Philosophy, 16, modified.
- 41.
Daniel Ingalls in Ānandavardhana’s Dhvanyāloka, 2.4L FN 44, 232.
- 42.
Bordwell, “Historical Poetics of Cinema”, 387, emphasis added.
- 43.
Marshall Edelson, Hypothesis and Evidence in Psychoanalysis, quoted in Frederick Crews, Skeptical Engagements (New York: Oxford University Press, 1986): 80; quoted in Bordwell, “Historical Poetics”, 387–8.
- 44.
Bordwell, “Historical Poetics”, 387–8.
- 45.
Gerow, “Notes”, 86–7.
- 46.
Vachel Lindsay, The Art of Moving Picture (New York: Macmillan, 1915 and Modern Library, 2000) and Hugo Münsterberg, The Photoplay: A Psychological Study (New York and London: D. Appleton & Co., 1916).
References
Allen, Richard and Murray Smith. Eds. 1997. Film Theory and Philosophy. Oxford: Clarendon Press.
Bazin, André. 1967 and 1971. What Is Cinema? Vols. 1 and 2. Ed. Hugh Gray. Berkeley, CA: California University Press.
Bordwell, David. 1985. Narration in the Fiction Film. London: Routledge.
Bordwell, David and Noël Carroll. 1996. Post-Theory: Reconstructing Film Studies. Wisconsin and Madison: The University of Wisconsin Press.
Carroll, Noël. 1988. Mystifying Movies: Fads and Fallacies in Contemporary Film Theory. New York: Columbia University Press.
Matilal, Bimal Krishna. 1986. Perception: An Essay on Classical Indian Theories of Knowledge. Oxford: Clarendon Press.
Mohanty, J. N. 2000. Classical Indian Philosophy. New Delhi: Oxford University Press.
Palmer, R. Burton. Ed. 1989. The Cinematic Text: Methods and Approaches. New York: AMS Press.
Potter, Karl H. 1991. Presuppositions of India’s Philosophies. Delhi: Motilal Banarsidas.
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Mullik, G. (2020). Introduction. In: Explorations in Cinema through Classical Indian Theories. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-45611-5_1
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