Changes between Initial Version and Version 1 of Mati Manas


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Timestamp:
Jul 16, 2012, 5:57:24 PM (9 years ago)
Author:
Trupti
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  • Mati Manas

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     1'''Mati Manas''' 
     2 
     3 
     4aka Mind of Clay aka Terracotta 
     51984 92’ col Hindi 
     6d/p/co-s Mani Kaul pc Infrakino Film Prod. 
     7co-sc Kamal Swaroop c Venu 
     8m T.R. Mahalingam 
     9lp Anita Kanwar, Robin Das, Ashok Sharma 
     10 
     11 
     12Episodic film about the ancient Indian tradition 
     13of terracotta sculpture and pottery and the 
     14several legends associated with this tradition. 
     15The artefacts involved include some of the 
     16oldest items of Indian civilisation (from the 
     17Indus Valley, 2500BC) and have been, together 
     18with the legends associated with terracotta 
     19techniques, central to historical research into 
     20e.g. the origins of patriarchy, the shift from 
     21pastoral to agrarian systems, etc. The film 
     22enacts a series of such legends. The first is of 
     23the Sariya Mata or cat mother whose kittens 
     24remained safe in the interior of the baked pot, 
     25a legend associated with Harappan 
     26archaeological sites which had human 
     27skeletons buried in womb-like pots. The 
     28second legend revolves around the Kala-Gora 
     29(Black-White) icon produced in the village of 
     30Molella, Rajasthan, and features the witch 
     31Gangli who transforms Gora into a bull by day, 
     32making him work in her oil-press, until finally 
     33Kala beheads Gangli. The film connects this 
     34tale with the Mesopotamian legend of 
     35Gilgamesh and Enkidu. The third, and bestknown, 
     36legend features Parashuram who 
     37beheads his own mother Renuka with his axe. 
     38Interwoven with these tales are stories narrated 
     39by the potters themselves and fictional 
     40sequences featuring three contemporary 
     41historians who recall the legends while looking 
     42at the terracotta artefacts, often through the 
     43eyepiece of a camera or from behind glass 
     44panes in a museum. Shot throughout Central, 
     45South and Eastern India, the film deliberately 
     46suppresses its variety of locations to achieve 
     47the idea of an integrated civilisation endowed 
     48with a sense of immortality through cultural 
     49(pro)creativity. At the same time, the technocultural 
     50process of film-making is presented as 
     51an extension of similar craft traditions. 
     52 
     53[[Film]]