A KIND OF DOCUMENTARY
practice art for art’s sake and ‘get away with it’!
If there was a unified theory of Arts; it would say that there are inherent possibilities & limitations in every medium, and art-practice playing with & within these is for the sake of that specific art. It can be seen how both ‘Dhrupad’ and Phillip Glass’ music fit this definition. What is true of music ought to be true of Cinema for, ‘All Art Aspires to the State of Music
This is the age of DV. What Vishnu & I have been able to get away with is something that could have happened only between the two of us during that particular time when light was just so and in this particular space. We are old friends and digital technology ‘user friendly’. The uniqueness of what we call, “In Search of Rahat” [working title] is specific to this particular film document and non-replicable. There is Cinema in it because it agrees with our honest sense & the definition above. There is too much talk, of course, but you can’t have it all your way…every time.
Aesthetically, films are triadic in nature. There is the ‘Gaze’ of the director, that of Camera and sound, where the film is heading, there is the Gaze (regarde`) of the Actor, and then, there is the ‘gaze’ of the spectator. If there is an interlock between these three, we have a successful film; ‘it works’, as they say. If no, then it doesn’t work while it might still be good cinema-art-practice true to definition. There is no guarantee, after all, that art must ‘work’.
Rahatavalokit
Caca274
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