The language of cinema

On the raison d'etre of the film appreciation course:PKN: The FTII's origin lay in the premise that new film-makers should have a scienti...

On the raison d8217;etre of the film appreciation course:

PKN: The FTII8217;s origin lay in the premise that new film-makers should have a scientific basis of training camera, sound, editing, direction, script-writing, rather than follow the guru-shishya style of assisting a director and learning on the job. The idea was for a new kind of cinema. For that, we also needed a new kind of audience, who8217;d appreciate the change. There had to be a medium to disseminate film culture and literacy 8211; about the evolution of cinema, the stories of the masters, the cultural and technical significance of the new films. And the idea of the course took root.

SB: Also, we realised that what we were teaching students at the institute did elicit some interest in the general public too. Given that, they also needed to be explained the methodology of film appreciation. So we started conducting some courses in Pune and outstation too.

On the students selected:

PKN: There are about 60 to 70 students selected each year, from all over the country. The initial idea was that they should act as nodal agencies that would take up follow-up exercises to spread awareness about film appreciation. So the students are selected with care 8211; people who work with groups 8211; teachers, theatre personalities, film society activists, media persons. SB: There is a wide cross-section of people, right from 20 to 70 years. And the interaction of all these backgrounds over an extended period eventually turns out to be an enriching experience for them and us, the teachers.

Some free-wheeling:
PKN: This is a kind of triggering of interest. The students are expected to follow up their special interest. Some of them have taken up the follow-up activities we hoped they would. But they are merely drops in the ocean, and I am not sure about the course8217;s total success. Maybe there should be follow-up courses too. The students, over the years, are more aware about the medium, courtesy their visual exposure. But I never thought that the course would gather so much credibility.

SB: At times, the problem lies with getting all these students on one level. Because of their diverse contexts, the level at which you pitch the ideas, frame the film becomes important. What we do here is open up possibilities for the participants. They can then pursue whatever they want.