I think there are certain codes for reception attached with each particular
Channel/ Newspaper. A news appearing in" Crime " or "Fire" if printed in
deshabhimani will be received differently. An advertisement in Vanitha, if
given in "Crime" will be enjoyed differently.
A porn story if published in Bhashaposhini, will be read differently.
So, whether pornography or Kairali's reporting of Night Vigil, our attention
should be more on its reception side than production side I suppose. We
couold intervene and change the codes through which it is received.
I don't think Deshabhimani or kairali will dare airing/ publishing such (
manipulated) stuff
if there are no takers for it.
Let us provoke ourselves about the way we recieve it.. ( see for instance
that
our many sympathysers took the visuls along with the version in which it is
enveloped on on screen as the 'fact'.)
On Thu, Apr 10, 2008 at 2:33 PM, aryakrishnan ramakrishnan <
[EMAIL PROTECTED]> wrote:
>
> On Thu, Apr 10, 2008 at 11:21 AM, Anil Tharayath Varghese
> <[EMAIL PROTECTED]> wrote:
> >
> > Dear friends
> >
> > whenever i have been reading the reports on night vigil especially by
> > Kairali Im always reminded of this quote (forgot who wrote it) "the
> > camera is the penis" in this whole episode of the reporting process.
> > Ive always felt that Kairali and Cpi(m) assumes this luxury of
> > watching or taking films of the support groups in the logic of taking
> > up a pornographic movie where all the actors inside the frames are to
> > be "sex workers" and I find the crew (irrespective of wo/ men) feels
> > some sort of a masturbation effect. I very feel strongly that this
> > "yukthi"/ logic simply comes out that these saamskaarika extras are
> > supporting a Dalit struggle. This reductionist logic is very much to
> > be scrutinised in my opinion.
>
> Getting pleasure while shooting the movie, whether masturbatory or
> other, cannot be prevented. Getting pleasure while writing, reading,
> doing activism also cannot be prevented. Do we need to scrutinise and
> decide what feeling people get when they engage in activism, shooting
> films, writing mails like this, praying or even breast feeding. Why
> are we always against pleasure? I remeber Tom Of Finland, one of the
> prominent artists of the century writing 'I dont consider drawings
> which does not give me an erection as art'.
>
> I think the problem of CPI(M), and the Samskarika nayika nayakar in
> Kerala is that they deny pleasure. They are against pleasure.
>
> Let us not compare pornography to this. Pornography can be of high
> quality, without labor exploitation, and can be done in a very decent
> way. And the actors in pornography are not necessarily sex workers,
> they are actors. But what Sakshi and Kairali does is a one sided
> thing, they donot seek permission or consent. Also the product,
> whether it gives pleasure to the men in kairali channel, is at the
> coast of other people's privacy. Let us not equate this to
> pornography. This is media terrorism. Pornography deserved better
> analysis and understanding.
>
> >
> > Agree to the positions by ranju, dileep and sanjeev
> >
> >
> >
> >
> >
> > On Apr 9, 9:07 pm, "ranju radha" <[EMAIL PROTECTED]> wrote:
> > > break the hegemony of novels(classic) that looks/portray only the
> wanted
> > > 'Heroes/heroines"
> > > make our own novels by constructing our own "Heroes/heroines" (may be
> > > unwanted for those classic lovers)
> > > let "sakshis" clamour "morality" morality"
> > > let their own "morality" question the call for "morality"
> > >
> > > let them talk/live in those "classic" times
> > > it s de dawn of new novels (novel experiences)
> > > let us feel it
> > > let us be part of it
> > >
> > > chodikkanum parayanum alulla veedukalil ninnum purathu varanulla
> > > samayamanith
> > > saskhikal adachitta veetukalil ninnum purathu kadakkuka
> > > aa veedukalil ninnulla adhikarathinte ashanipatamettanu nandigramum
> > > muthangayum chengarayum nilavilikkunnathu
> > >
> > > it s de worst TV progrm i ve ever seen/
> > > nammal malayalikalude kshama sammathikkanam
> > > ninakkonnum chodikkanum parayanum arumille ennu sakshiyodaru
> chodikkum?
> > >
> >
> > > On 4/9/08, Dileep Raj <[EMAIL PROTECTED]> wrote:
> > >
> > >
> > >
> > > > Art Samaram and Popular Samaram
> > >
> > > > As in films, so in activism. " It is the form that is God all else,
> > > > including even the most arrogant, can only be His instrument.S/he
> who breaks
> > > > these laws will end up as an "art" film maker , forever banished
> from the
> > > > community of popular films. " (D R Nagaraj, " The Comic Collapse of
> > > > Authority")
> > >
> > > > He says, transgression is an essential component of popular cinema.
> To
> > > > quote him again,
> > > > "Songs and dance are the logical expression of a different notion
> of
> > > > morality: They are the ultimate expression of transgression".
> > >
> > > > Sanjeev, that's a brilliant coinage.. We are not Samskarika
> Nayakanmar but
> > > > Samskarika extras. We are no more playing second fiddle to 'art"
> heroes. {
> > > > Niankkonnum Veettil Chodikkanum Parayanum AArumille? question
> repeated
> > > > inSakshi as in that film!!.. Illedo...
> > > > njangal chorus pani nirthi!! nayakanmarkku vedi ozhiyanum
> bhavamilla..
> > > > Swantham script, swantham production...}
> > >
> > > > Can we joke at this time?
> > >
> > > > To rely one last time on Nagaraj,
> > >
> > > > "The comic vision is also employed to laugh at the self righteous
> belief
> > > > in the correctness of one's ideas."
> > >
> > > > Let us commence a discussion on the emergence of new genres in
> Politics?
> > > > Sunil P Elayidanmar Novelinte aavirbhavatheppatti ippozhum
> parayunnu!!
> > > > varoo ee theruvukalile novel forms of life nad novel life styles
> kanooo...
> > >
> >
> >
> > > > On Wed, Apr 9, 2008 at 7:04 PM, S sanjeev <[EMAIL PROTECTED]>
> wrote:
> > >
> > > > > Some of us have been running to full houses in CPI (M)
> television
> > > > > network's
> > > > > "saakshi" for the past six weeks.
> > >
> > > > > This, avid media watchers would definitely agree, is a feat not
> even
> > > > > K.karunakaran or M.M Hassan could achieve.
> > >
> > > > > Does this signify the emergence of "extra" actors ? (If so it
> might
> > > > > invert
> > > > > the fashionable proposition put forward by - again, some of us
> - "any
> > > > > publicity is good publicity".)
> > >
> > > > > Of course the "extras" are totally disappointed with the roles
> > > > > assigned to
> > > > > them.
> > >
> > > > > I'm sure, had the producers asked, none of us would have
> accepted
> > > > > those
> > > > > stale and stereotypical roles - anarchist, Maoist, smoking
> woman, sex
> > > > > freedom fighter...
> > >
> > > > > Anyway, it is evident that this film was "made" as part of a
> grand
> > > > > project to topple something that is neither film, nor reality
> television,
> > > > > but a poignant
> > > > > subversion called "chengara"- an amazing insurrection of little
> selves
> > > > > that
> > > > > refuses to accept or tolerate hegemonic scripts, producers and
> > > > > directors.
> > >
> > > > > They don't give a damn about such representations, obviously.
> > >
> > > > > But does that mean the "extra" actors should quit performing?
> > >
> > > > > Does that mean the "extra" actors should stop looking for better
> > > > > scripts and
> > > > > roles?
> > >
> > > > > ------------------------------
> > > > > Yahoo! for Good helps you make a difference
> > >
> > > > > <
> http://us.rd.yahoo.com/mailuk/taglines/isp/control/*http://us.rd.yaho...>
> > >
> > > > --
> >
> >
> > > > Dileep R I thuravoor
> > >
> >
>
> >
>
--
Dileep R I thuravoor
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