With new-found interest and specific courses in the craft,film curation is gradually finding takers in India
It is important to understand how one goes about documenting a film. What are the thoughts of a particular era that are represented in the film. These are difficult questions that need to be asked by a film curator before selecting a film for a festival, says film curator Italo Spinelli,on the craft of film curation.
Film curation is fast achieving the status of a precise science. With its roots in art and museum curation,its job profile deals with archiving,documenting,researching,contextualising and cataloguing films. It also deals with all the work that goes behind selecting movies for a film festival. Understanding film copyright laws,convincing directors to send their movies for festivals and balancing a festival with mainstream films and documentaries are some additional aspects of this field.
The Film and Television Institute of India,Pune,became the first government institute to conduct a four-day course on the subject last week. Now,there are plans to replicate it every year and even have a full-fledged course. In addition,the Dr Ambedkar University in Delhi is working on becoming the first college in the country to have a full-time course on the subject. Beena Paul,artistic director,International Film Festival of Kerala,who is helping design the course,says,The course will include subjects like issues and debates in film history,the practical aspects of curators work research,writing and building networks and the cultural context in film curating. The course,which is in the final stages of the syllabus design,will be ready by next year,she adds.
While it became a precise and disciplined study in the west almost three decades back,as Spinelli points out,there has been no fixed date in history when film curation came to be established as a science. In India,with the advent of smaller film festivals in the tier-two and tier-three cities,film curation,also called film programming,is now becoming an emerging field in the area of film studies and history. Spinelli illustrates another example to prove his point.
Having been the curator of the 12-year-old Asiatica Festival in Rome,he explains his point through the film,Under the Hawthorn Tree,at the Common Room Theatre of the FTII. Zhang Yimous poignant tale of two lovers in the backdrop of the Chinese revolution was one of the films that he had selected for the festival last year. Asian cinema is very wide and vast. A film like this,in addition to showcasing the history of a country,also showcases the life of the people from that era. It is not just about the cinema or the story,but one needs to look beyond it. That was a reason why even a film like 3 Idiots was shown at the festival. He adds that 3 Idiots was a commentary on the education system of India,and the competitive nature of people.
Film curation in a country like India is a lot like event management. This is a view proposed by Ashish Rajadhyakha,Fellow at the Centre for the Study of Culture and Society,Bengaluru. Rajadhyaksha,who had been a part of the Guanzhou Film Festival that was held late last year,adds that film curation is also about learning the platforms and the spaces where a film is shown. The place where a film is being shown is also important. Open spaces,closed spaces,big screens and projection theatres are all important elements of the festival, he says.
India produces over 900 films a year. She says,For a film curator,it becomes very important to study art history and film studies. Their knowledge base has to be very vast.