Changes between Initial Version and Version 1 of Mani R. Kaul

Jun 23, 2012, 2:07:22 PM (10 years ago)



  • Mani R. Kaul

    v1 v1  
     1'''Kaul, Mani R. (b. 1942)''' 
     4Director born in Jodhpur, Rajasthan. Graduate 
     5from University of Jaipur (1963) and from the 
     6FTII (1966) where he was taught by Ghatak. 
     7Nephew of Mahesh Kaul. Often acted in Film 
     8Institute student films in the mid-60s, and 
     9appeared as actor in Basu Chatterjee’s Sara 
     10Akash (1969). Received Jawaharlal Nehru 
     11Fellowship (1974-6). Part of the YUKT 
     12Collective that made Ghashiram Kotwal. 
     13Prominent cultural activist and organiser, often 
     14making common cause with Shahani in efforts 
     15to extend the range of Indian film cultures, and 
     16significant teacher of a new generation of FTII 
     17graduates, some of whom became key 
     18members of his film unit. First film, Uski Roti, 
     19is a cinematic exploration of narrative space 
     20and volume, defining much of New Indian 
     21Cinema’s formal vocabulary. Since Satah Se 
     22Uthata Admi, based on Hindi poet G.M. 
     23Muktibodh, made features on e.g. Dhrupad 
     24music and on terracotta artisans, emphasising 
     25improvised reconstruction of available material. 
     26Edits his colour films first in b&w, having 
     27printed every single take. Later work strongly 
     28influenced by his study of Dhrupad music with 
     29Ustad Zia Mohiyuddin Dagar and of 
     30Anandvardhan’s Dhwanyaloka, a 9th C. 
     31Sanskrit text on aesthetics exploring states of 
     32conscious perception while positing language 
     33as possessing a specific, suggestive dimension 
     34beyond its denotative or metaphoric faculties. 
     35Developing aspects of classical music theories, 
     36particularly the Sangeet Samay Saar (14th C.), 
     37Kaul emphasises the value of what is absent - 
     38the varjit, the forbidden - as perennially in 
     39‘argument’ (vivadi) with what is narratively 
     40present. The evanescent moment of creation is 
     41posed at the point where human action 
     42simultaneously registers what exists and in the 
     43process, produces something unprecedented. 
     44His elaborate theory of contemporary aesthetic 
     45practice, ‘Seen From Nowhere’, was presented 
     46in the cultural historian Kapila Vatsyayan’s 
     47seminar Inner Space, Outer Space (Indira 
     48Gandhi National Centre For Art) and published 
     49in the book Concepts of Space: Ancient and 
     50Modern. Among various non-Indian sources, 
     51has drawn from haiku poetry, the nouveau 
     52roman, mannerist painting, Bresson and Ozu. 
     53Recent return to fiction cinema draws mainly 
     54from Dostoevsky (Nazar, Idiot). Refused to 
     55sign the documentary Historical Sketch of 
     56Indian Women during the Emergency when its 
     57producers, Films Division, required him to 
     58change the last shot and the commentary. 
     61'''FILMOGRAPHY:''' 1967: Yatrik (Sh); 6.40 p.m. 
     62(Sh); Homage to the Teacher (Sh); 1968: Forms 
     63and Design (Doc); 1969: Uski Roti; 1970: 
     64During and after Air Raid (Doc); 1971: Ashad 
     65Ka Ek Din; 1973: Duvidha; 1974: The 
     66Nomad Puppeteers (Doc); 1975: Historical 
     67Sketch of Indian Women (Doc; uncredited); 
     681976: Chitrakathi (Doc); Ghashiram 
     69Kotwal; 1979: Arrival (Doc); 1980: Satah Se 
     70Uthata Admi; 1981: Desert of a Thousand 
     71Lines (Sh); 1982: Dhrupad; 1984: Mati 
     72Manas; 1988: Before My Eyes (Doc); 1989: 
     73Siddheshwari; Nazar; 1991: Idiot; 
     741994:The Cloud Door (Sh).