Absolutely, Seema Mustafa. In many of the television programmes, we find
that human beings are reduced to a shot or a byte. The interviewer does not
notice the despair to communicate in the eyes of of the person who is being
interviewed. It is here that the mainstream media ceases to be a true
representation of people.

On Thu, May 30, 2019 at 8:43 AM Seema Mustafa <[email protected]>
wrote:

> Agree totally. In journalism we have always relied on the eyes . All of us
> in the field for years have realised and perhaps intuitively know that once
> the person makes eye contact he or she will talk. Also our profession
> depends entirely on people’s willingness to communicate and often with
> victims of violence I have felt we are therapists in that we give them an
> ear, listen and also represent some kind of assurance that their voices
> will be heard beyond their immediate surroundings.
> Unfortunately with quick byte journalism this age old relationship between
> the common person and the journalist is being fractured.
>
>
> On 30-May-2019, at 7:33 AM, KP Sasi <[email protected]> wrote:
>
> I have interviewed much more than a couple of 1000 people with camera and
> without camera. Most of those who have been interviewed by me are either
> leaders of people's movements, activists, organic intellectuals who do
> certain degree of intellectual work on a specific social issue or those who
> are affected by a social issue. Majority in this crowd belonged to group
> known as survivors of destruction or human rights violations. I usually
> maintain my eye contact with all those with whom I interact with, since
> eyes can communicate how genuine the person is committed to his or her
> words. Guru Dutt once stated that eighty per cent of acting in cinema is
> through eyes. He tried it well in Pyaasa and Kagaz ke Phool. The eyes of
> his characters communicated a lot. If you look at some of the classic
> Iranian films, you will find great art on entirely covered woman's body
> exposing only the eyes.You need not even express through lips. Some
> progressive and secular people may find it intolerable to watch a fully
> covered woman's body. And they conveniently dare not ask these women what
> they wish to wear and why. However, if Guru Dutt is right in real life,
> sometimes I have wondered whether my judgement of people to understand
> their eyes as a mark of genuine and sincere expression or just `acting'. I
> have personally been asked this question on many occasions: `Did you
> prepare them for your interviews?' It's funny. There is a deep need for
> those who face extreme social problems and those who are involved with
> people's movements and struggles to communicate. All you have to do is to
> lend a pair of compassionate eyes to listen along with a compassionate lens
> of a video camera. They will not speak to the camera. Because they don't
> care. They speak to your compassionate eyes. Broadly speaking, I would say
> that this is the difference between real socially relevant documentary
> cinema and feature films. The eyes of those whom we interview are genuinely
> troubled and the subjects are not acting. Quite often it becomes an
> outburst or flow for the need to communicate to somebody about their
> problems. I also take a glance at the environment as well as the person
> with whom I interview from top to bottom. While the exchange of minds are
> on ideas and experiences, the visual movements are more on the hands. Some
> speak without hand movements. Some speak with limited hand movements. But
> for many people, the hand movements are visual interpretations of their
> words. Sometimes, you may even wonder whether the words are coming out from
> the mouth or from the hands. The strength of the hand movements make the
> audience watch the hands of the subject of the frame more than the lips
> which produce the words. Often, hands enact as a choreographic dance for
> their words. One day, I will write about the dancing hands from my
> experiences of shooting documentary films.
>
>

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