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I have attached a breakdown of the script with camera, lighting and grip notes, along with my own creative opinions. Below, I have also included my questions and potential alterations.

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My name is Amaia Power-Razkin.

I have three years of camera experience, ranging from camera operating and cinematography, to architecture and portrait photography.

As a DoP, I aim to be as experimental as I possibly can. I want to create dramatic and stylised visuals that are memorable to an audience and convey the emotions and atmosphere of our story. This can be achieved through my technical skills and knowledge of lenses, cameras and visuals.

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Sony FS7

Rigid and lightweight

Magnesium frame

Shoulder mount without the use of rigs, therefore it saves money. Easy to switch to handheld and can be used comfortably for long periods of time

α mount lens system

180 fps High frame rates, allows for slow-motion without any loss in bit depth or angle of view

XQD cards are reliable and affordable

Sony 28-135mm E lens

Needed for dolly zoom

Three control rings for optimal manual control

Quiet powered zoom

Constant F4 maximum aperture throughout zoom range

Dust and moisture resistant design, ideal for shooting by the ocean

T3.1 14mm ED AS IF UMC II

T1.5 24mm ED AS IF UMC II

T1.5 35mm AS UMC II

T1.5 50mm AS UMC II

T1.5 85mm AS IF UMC II

Semi-telephoto manual focus cine lens

Change the aperture quietly and smoothly with the uncoupled aperture gear ring

High-strength aluminum

T numbers are marked on both sides of the lens for convenience

Detachable petal-shaped lens hood minimizes flare and ghost by sheltering lens from unnecessary lights

Day hire (inc VAT)

For Sony FS7 & Lenses: £172

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Shot One: 35mm

Shot Two: 28-135mm (dolly zoom)

Shot Three: 35mm

Shot Four: 35mm

Shot Five: 24mm

Shot Six: 50mm

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After reading through the scene script, the key element I have taken away is the idea of family ties.

I have focused on the panic Ginder feels, and the power dynamic between Amrik and his dad. There is a feeling of manipulation, with Ranjit using Amrik's naivety to lure him away.

There is a lot of potential in this script to really communication these feelings and emotions through my creative decisions. I've noted down a variety of shots, some can be static and some dynamic. Each shot reflecting the emotional intensity of the scene and reflecting that upon the audience.

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Dolly Zoom

I have noted on my script breakdown about utilizing a dolly zoom when Ginder realizes Amrik has gone missing

Dolly zooms are commonly used to showcase panic and realization of a character

By using one, it will reflect the sheer panic Ginder is feeling, whilst creating an interesting and dynamic shot, as she finds out her son has gone missing in an unfamiliar city

Handheld

Amongst my notes, I have written about using handheld shots, in a similar fashion to the dolly zoom

This will evoke a feeling of franticness and panic that Ginder feels and reflect this upon the audience

Shot Types

I want to use a wide range of angles in my shots

This will communicate the power dynamic between Amrik and Ranjit, since he is using Amrik's naivety against him

Low angles for Ranjit, almost like a POV shot from Amrik

High angles for Amrik, Ranjit is a powerful figure

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How busy is the pier? Is Ginder having to push through people? Are people looking at her in a funny way as she begins her frantic search?

Is the tide in or out?

How does Amrik react to seeing his father? Is he scared, or maybe curious as Ranjit attempts to lure him away? When he says "It's Daddy." how does he say it?

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Film plays a critical role in showcasing ethnic identities and cultures, undoubtedly exposing them for a wider audience to see. This consequently creates or breaks down racial and cultural stereotypes as a lasting impression due to how influential film is as a form of media.

The history of Indian stereotypes stems from the colonial rule in India. The narrative accounts often described Indians as uncivil and savage. On the other hand, some depict India as a land of luxury and overindulgence, waiting to be explored. These portrayals then reflect upon media, which is consequently received by viewers and thus these stereotypes are born.

In the 2021 Census, 1,864,318 people in England and Wales were recorded as having Indian ethnicity, accounting for 3.1% of the population. In 'Bhaji on the Beach', Chadha's goal is to showcase Indian and British culture. By creating this film, it exposes a wider range of people to Indian culture, creating bridges between them. With the location being Blackpool, it allows people to be familiar with setting whilst also opening up their minds to the culture.

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In the age of digitization, where information (and misinformation) fits in the palm of one's hand, the media and popular culture surrounding it play a vital role in moulding social behaviour. Films, advertisements, songs, books, television, etc. all are both- inspired by, and further inspire the relations in a society.

For instance, ever since the time of the national struggle, the media has played an important role in the creation of a strong national identity, a process that holds true to this day. This national identity is often merged with that of an individual by displaying the heroism of one's own nationality at the expense of the 'other'. The easiest target of this 'othering', therefore, in Hollywood is often the ethnic minorities in America- the Arabs, Indians, Asians, Africans, etc. The representation of this 'other' is often based on socially misconstrued stereotypes; for instance: African Americans are often depicted as lazy, backward, and poor, and Latinos, specifically women, are often depicted as one-dimensional sexual creatures. Since films have a deep impact on the long-term memory of people, these stereotypes, depicted in a dramatised manner, over time create a lasting impression of the 'other' group (or the outgroup) in direct contrast with the 'ingroup'- making cinema an important language of othering.

Indians in Hollywood have long been the face of this process of othering. Indian representation in mainstream American media, however, has had a journey of its own. The first phase of this representation of Indians in mainstream Western cinema, for example, had a set pattern or a template. In this pattern, the film essentially revolved around an American lead, with Indian characters as either the shabbily written 'sidekick' or worse, the villain, portraying characteristics exactly opposite to those of the 'American hero'. One of the most notable examples of Indian representation in this period was the popular Indiana Jones film, "Indiana Jones and the Temple of Doom," the second in the franchise. This film combined every stereotype ever perpetrated on Indians by their colonial masters, as it revolved around the titular characters (an American white man, no less) attempting to save an illiterate Indian village ruled by an illiterate and despotic ruler, as well as their superstitious and outdated religious beliefs (which, unironically, stemmed from their illiteracy). This movie, though banned in India, was still watched by millions abroad, who now, when asked about India, immediately think of the Kali cult depicted in the film, with human sacrifices, blood, death, and destruction. They also go back to the infamous dinner scene in the film, where the foolish Indian King offers the Americans 'delicacies' such as snakes and monkey brain soup ( also referenced by Angela in the 'Diwali' episode of "The Office" when she talks about Indians saying "but they eat monkey brains!"). This portrayal of Indians as people different from Americans created a schema, attributing behaviours and character traits, defined as their 'Indianness'. Every Indian character in a Hollywood movie of this time, therefore, would be a one-dimensional, shallow character, only defined by his/her Indianness. For instance, the Indian character Apu in "The Simpsons" was "a convenience store owner, an immigrant with an unnecessarily broad accent who is unaccustomed to American propriety and customs."

With time, however, Indians found more space and representation in mainstream American media. This second phase of Indian representation in Hollywood started with the popular show "The Big Bang Theory", wherein Raj Koothrappali became the first character to have a proper role and arc in primetime television. Raj, however, in a way was not very deviant from the portrayal of Apu- the only difference being his portrayal as an intelligent science nerd as opposed to an illiterate unskilled convenience store owner. The broad accent of the character, however, continued; now added to it was a hint of feminine traits and behaviours (based on the stereotype that Indian men were not 'manly enough' as compared to Americans). Despite the fact that the show was mostly comedic, the majority of the jokes were directed at him (and his Indian behaviour) rather than by him (Felicelli 2012). Another Indian sitcom character in the comedic genre was when Mindy Kaling played Kelly Kapoor in "The Office." This was a notable difference since female characters were even further and fewer in the already underrepresented Indian group. Not only that, the Office had an entire episode centred around the Hindu festival of Diwali as a background to Kaling's character, making it a layered character with an actual cultural link to her roots for a change. Cecelia Parekh from 'New Girl' would be the third bearer of the sitcom genre, a nuanced character who is also shown to be outspoken, conventionally pretty, and a successful model (breaking away from the awkward nerd category reserved for Indians). Importantly, she had her own storylines in the show rather than simply being a sidekick to the titular white lead (not to mention, she had a big, fat, typical Indian wedding, complete with Bollywood songs in the background music!)

Changes in television were seen alongside changes in movies. After the initial imagery used by the Indiana Jones movie, Hollywood transitioned to more subtle, diverse characters whose primary identity was not their nationality (or, in this case, otherness). This was seen in the franchise of "Harold and Kumar" movies centring around not a white male, but an Indian and a Korean (both minorities, in a sense.) Their characters, however, were shown to be just like every other guy in America, instead of 'others' who don't fit in due to their inherent Indianness. Kumar Patel was a stoner, albeit a smart doctor in the movies, and he gets the girl in the climax-all qualities that Indian characters were apparently incapable of prior to the same. The comedy saw a role reversal in the position of an Indian character from being on the receiving end of the jokes to being the one actually cracking them. However, Hollywood and the representation of India were being questioned again in this third stage, with movies such as "Slumdog Millionaire" gaining critical and popular acclaim. With the success of this movie, set in the famous/infamous streets and slums of Mumbai, came the critique of Americans trying to 'glorify poverty and portray it in an aesthetic sense'. This portrayal also reflected the American bias of depicting India as either extremely opulent or extremely backward. This bias lasted until the advent of OTT-web platforms and social media, which completely altered cinema and the viewer experience.

These platforms allowed more creative liberty and hence the coming up of shows with diverse storylines, characters and the backgrounds they were set in. Mindy Kaling shined once again as the poster girl of Indian representation in Hollywood, only this time as the Indian director of the teen drama 'Never Have I Ever' centering around Devi Vishwakumar, an Indian immigrant teen in an American high school. Devi's character was deep and at the same time shallow, making mistakes that every high school teenager would (breaking the mould of the typical Asian ideal child). "Bridgerton " also took its creative liberties by having an Indian family in the lead as Kathani and Edwina Sharma, a novelty in period drama set in Regency era (which was almost always, by the norm, headed by white actors). All of this culminated in an increasing demand for Indian-South Asian or actual brown-skinned actors to play these roles instead of the initial trend of blackfacing white actors. This rising demand and space for diversity has not only led to Indian actor Priyanka Chopra being a global star, but it has also given opportunities to the likes of Irrfan Khan, Deepika Padukone, and Alia Bhatt, not to mention the posterboy of Indians in Hollywood- Dev Patel. This has led to a cultural intermingling in Hollywood, with more representation, to an extent, meaning better representation.

India, as portrayed in Hollywood cinema, has come a long way, from the idea of using the Indian character as a contrasting 'other' to portraying it as just another character, separate from its nationality. This journey of Indian characters from 'them' to 'our' has been a masterclass in how cultural changes affect mainstream media, and vice versa.

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Othering in Cinema: Looking at Representation of India and Indianness in Hollywood - Dhara

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The author has tried to provide a detailed analysis of the often stereotyped representation of Indians in mainstream American media and the manner in which this representation itself has undergone a series of changes, drawing various examples from films of the early 80s to today's Hollywood series streaming on popular OTT platforms.

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It is shockingly obvious that this movie was created by people who were clueless about the culture they were attempting to depict.

The main characters are served live snakes and animal brains straight from the skulls. Later on, the leader of the cult goes on to commit a ritual human sacrifice by ripping out a man's heart for the Hindu god of death.

As stated above, these harmful stereotypes are aired to a wide audience for entertainment, and do more harm than good. It maintains the idea of the 'savage' image and depicts Indian culture in an incredibly harmful and racist way.

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We need to talk about Indiana Jones and the Temple of Doom...

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I loved Steven Spielberg's adventure film growing up, but its offensive Indian stereotypes make it hard to watch today.

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In 'Bhaji on the Beach', food is a recurring motif throughout. Even in the title, 'bhaji' refers to a popular snack food in Indian cuisine, being a fried fritter of vegetables (most commonly onion).

Food is a key element of Indian culture and family. It is what brings people together and creates deep bonds between its members. It strengthens ties and forms connections.

In the movie, food is shown in several scenes, being served and enjoyed by the families. It is often served when big life decisions are being made, the kitchen table acting as a key element and almost a character in the story. It represents family in the movie and the coming together of friends.

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Exploring Indian culture through Cuisine

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Exploring Indian culture through Cuisine

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Exploring Indian culture through cuisine

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Blackpool is a seaside town in North West England, home to it's Pleasure Beach; an amusement park filled with old-school features. Blackpool Tower is also a well known landmark, hosting a circus and many other activities for tourists. It is so quintessentially British and channels everything about British culture and society.

It is the perfect location for 'Bhaji on the Beach' to be situated, channeling British society and allowing Chadha to really explore the collision of cultures in her movie.

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Chadha's goal for 'Bhaji on the Beach' was to integrate Indian culture into Britain and help blur the lines between the divide. The film focuses on white peoples' attitude towards people of Indian descent.

In one of the first scenes of the movie, two of the main characters are stopped at a petrol station on their way to Blackpool. They are approached by two white men, suggesting that they spend time together. It becomes clear that these men only see the two Indian women as an 'exotic experience'. As this interaction progresses, it becomes more and more agressive. The men begin to throw cups at the van as the women drive off.

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'Bhaji on the Beach' is a 1993 comedy written and directed by Gurinder Chadha. The story follows a group of women of Indian descent and their trip to a beach resort in Blackpool.

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The movie follows a group of women of Indian descent as they venture on a day out in the quintessentially British seaside town of Blackpool. The trip is organised by 'Simi, whose goal is to bridge a connection between generations.

Each character has their own reasons for being there. Some enjoy the attention from boys, and others want to experience the world beyond working behind their husbands' shop tills. One is caught in a scandalous affair the one is recovering from her broken abusive marriage with her son in tow. This trip is a turning point for each of these women and no one will return the same.

All whilst this is happening, Ginder, the young mother trying to recover after her abusive marriage is being followed by her ex husband. Unbeknownst to her, he is trailing closely behind the group of women, with plans to confront Ginder.

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'Bhaji on the Beach' is directed by Gurinder Chadha, who was born in India and later immigrated to Great Britain. She used this film to showcase Indian Society to a wider audience whilst also criticizing the conflict across cultures.

One of the key ideas behind 'Bhaji on the Beach'; is the fact that it is a 'very British film', as stated by director Chadha herself. On a surface level, Chadha didn't want the film to come across as just another comedy, therefore she decided to tackle the subjects of divorce and mixed relationships; two very taboo things in the Asian community.

She also wanted to blur the lines between the generation gap and sexism within the culture, by tackling it in a 'light-hearted' way whilst still keeping the serious notes in her film.

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The cinematographer of the original 'Bhaji on the Beach' is BAFTA Nominated John Kenway. He is known for 'Our Friends in the North' (1996), 'Murder Rooms: Mysteries of the Real Sherlock Holmes' (2000) and consequently 'Bhaji on the Beach' (1993).

After spending nine years documenting the Cold War on 35mm and making promotional work for NATO, his work remains true to its roots and tells the story how it is, in its rawest form.

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Shot seven: 50mm

Shot eight: 50mm

Shot nine: 50mm

Shot ten: 35mm

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Why is it relevant?

This location is relevant for the beginning of the scene, where Ginder first realises Amrik is missing

Characteristics

The arcades are bright and cartoon-like, reflecting Amrik's innocence and naivety

Inside of the arcade is quite cramped and cluttered, this will help build on Ginder's panic as she begins her frantic search, creating a suffocating and enclosed feeling

Logistical Concerns

Area is not wheelchair friendly

Sound wise, the arcade is incredibly loud and may interfere with any sound equipment

Must be careful with lighting, due to the array of colors from the arcade machines and the flashing lights. This may clash with any lighting we choose to use or be distracting in shot

Epilepsy warning, due to flashing lights

Very cramped, there is not too much space to set up shots

It is a very busy area, especially with children, so legal action regarding the shooting of children must be noted

Public area, must ensure no kit is left unattended due to potential theft

Logistical Benefits

Car parking is readily available and nearby to the arcade, allowing easy access regarding the movement of kit

Food and drinks are readily available nearby

Toilets are nearby

As the arcade is located indoors, kit will be shielded and protected from weather

Flat ground, enables easy use of tracks, tripods and easy equipment set-up

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Games Wharf Arcade Tour - Clarence Pier - Southsea, Portsmouth - June 2019 | kittikoko

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Fairly wide angled shot, okay for an establishing shot

Feels a bit distorted

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Good wide shot, ideal for an establishing shot

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Good, basic mid-shot. Would be ideal for conversations as Ginder asks people if they have seen Amrik

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Ideal for a close-up

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Would work for a close-up, especially to showcase Ginder's panic

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Due to the arcades being indoors, they also have a lack of windows apart from the doors at the entrance

This means the sun will not shine into the building at any point, but if we were to shoot along the side of the building; this is the pattern of the sun in this current season

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Why is it relevant?

This location is ideal for the second scene, where Amrik is underneath the pier looking for his glasses and comes across Ranjit

Characteristics

The underneath of the pier reflects Ranjit's shady character profile using the shadows

It represents a darker side of the movie, it is symbolic in the sense that it is physically underneath the fun activities that occur on the pier

Logistical Concerns

Going underneath the pier has it's risks, e.g. debris falling etc

Wind must be considered, kit could potentially be knocked over

The tide must be planned ahead, due to potentially damaging kit due to the water

Uneven terrain, kit must be sandbagged. Due to this terrain we will be unable to use tracks directly on the ground

This location is outside, so we might take into consideration the elements and weather to ensure kit is safe

Public area, must ensure no kit is left unattended due to potential theft

Logistical Benefits

Car parking is readily available and nearby to the arcade, allowing easy access regarding the movement of kit

Food and drinks are readily available nearby

Toilets are nearby

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Wide shot, ideal for an establishing shot

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Slightly less wide shot, would be perfect to showcase Amrik underneath the pier

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Very useful all-round shot, useful to establish but to also showcase the characters

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Good for close-ups, conversation between Amrik and Ranjit

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Portrait close-up, evoking emotion in the characters during the conversation

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As this location is outside and unblocked by buildings, the sun will play a big part of the shot

It must be kept in mind, the sun reflecting off the ocean and causing over-exposure

To maximize the sun's location, it would be best to shoot during a more overcast day at midday

The scene takes place during the middle part of the movie, therefore the sun would not be setting or rising. A more overcast look would better reflect the atmosphere of the scene itself and evoke a sinister feeling

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Regarding the camera motivation, I want to incorporate some of the style of the original cinematographer John Kenway. His work remains true to its roots and tells the story how it is, in its rawest form.

A lot of Bollywood cinematography involves very intimate shots to really emphasize the emotions of the characters. There is also a lot of camera movement, creating dynamic shots to tell the story and showcase perspective.

For my work, I want to shoot partly handheld. For example, I have included tracking shots to set up both scenes; one of Ginder and one of Amrik. These will be shot from behind, the first one following Ginder as she traverses through the arcade. She has not yet realized that her son is missing, this shot will be steady and collected

Once she rounds the corner her greatest fear comes to life, a dolly zoom would be ideal.This helps emphasize the realization and the sheer terror she feels as her entire world collapses around her. Her son is missing and I really want her emotion to reflect the shot. She then turns to her left, with the camera tracking her, the camera will be purposefully unsteady to reflect her sudden panic and frantic nature as she begins to ask the people in the arcade if they have seen him.

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For the second scene, it will start with the same shot and framing as the opening scene of Ginder. It will be a tracking shot from behind of Amrik. Since Amrik is so young, this shot will be from his level. This will make the underneath of the pier look even bigger from his perspective; much like when you are young and the scale of everything is much bigger and full of childhood wonder.

Following this shot will be a mid/long shot from the side, also tracking Amrik as he walks further under the pier. This will showcase the scale of the pier, and emphasize how small and young Amrik is compared to the world around him.

There will then be an over the shoulder shot of Ranjit observing Amrik from behind a pillar of the pier. This will create tension and an unsettling atmosphere, as it almost appears to be from Ranjit's POV as he watches from afar, unbeknownst to Amrik.

Next, the shot changes to over Amrik's shoulder as he turns and discovers Ranjit. This will be a high angled shot, tilted upwards as Ranjit towers over Amrik. This evokes a power dynamic, with Amrik looking up at Ranjit. The angle makes him look more unsettling as he appears how Amrik perceives him. The next few shots of their conversation will follow this same idea, with the over the shoulder of Ranjit being a low angle. This emphasizes Amrik's innocence and naivety to the entire situation as his Dad attempts to take him back.

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A dolly zoom is a shot where you dolly towards or away from the subject whilst manually zooming the opposite direction. This creates an effect that shrinks or extends the background whilst bringing the subject forward. The lens used must have an adjustable focal length, aka a zoom lens.

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For my lighting, I want to use little to no artificial lighting. The story of 'Bhaji on the Beach' is raw and emotional, and I believe this will be best told with as much natural lighting as possible.

For example, the arcade is full of flashing lights and colors. It can be very overstimulating and distracting but I believe that by having these wild flashing lights, it will best reflect Ginder's panic in the first scene and communicate how disorienting it must be in that situation. Regarding the second scene, by utilizing the sun position and potentially using artificial lights, I want to create as much shadow as possible. By doing this, it will create a tense atmosphere. Ranjit's face will be obscured by shadow, casting him in a negative light, physically and metaphorically.

For my color design, I want to go down the route of vivid and cartoon-like colors, to really reflect Indian culture. This will be incorporated through mise-en-scene and setting. The settings will reflect the emotions in the scene. Therefore I want to really build on the colorful aspect of the arcade but also use that to create a very overstimulating and stressful atmosphere for Ginder through the use of flashing game lights and cramped space.

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‘Video’ - ‘Output Setting’ - HDMI Target Device: Monitor

‘User’ - ‘Base Setting’ - Shooting Mode: Cine EI

Colour Space: S-Gamut3.Cine/Slog3

Scan Mode: Normal

‘Codec’ - XACV-I

‘Monitor LUT’ (Look-up table - colour design for the camera)

SDI1 & Internal Rec: No LUT when filming Cine EI - we want completely ungraded footage to go in there

‘Media’ - ‘Clip’ - Details of shots

MAKE SURE MEDIA IS FORMATTED

Shutter speed 1/50 25fps

‘User’ - ‘Base Setting’ - Imager Scan Mode: Normal

In order to get longer on the lens - 2k Center will crop your image (trick to turn 135mm into 250mm)

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Canvas Pop Reflector

Redirects light that is already there

Good for creating fill light or minimizing shadow

Easy to store, takes up minimal space

Lightweight and easy to carry

Set up is quick and simple

Waterproof

Two reflective surfaces

Day hire (inc VAT)

£12

LISHUAI 2 LED Bi-Color Lights

Quick and easy light setups

Fully adjustable kelvin and dimmer options

Flicker free, good when shooting high-frame content

Can be powered by mains or v-lock, suitable for shooting if there are no mains nearby

Day hire (inc VAT)

1 x 2ft Panel: £65
2 x 2ft Panels: £120

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Easyrig Vario 5 Standard Gimbal Vest Standard

Unisex

Fits all cameras

Adjustable line tension

Steady hand held shots while relieving strain on your back, neck and shoulders. Redistributed to the hips allowing you to shoot hand held in comfort for hours

Day hire (inc VAT)

£100

Hire Hague Tracking Dolly

Two sets of locating holes for the tripod legs, tripod can be used in high and low positions

Eight radial ball bearing wheels which set the track width to the correct positions as the dolly moves

Requires a flat surface, would be ideal for the dolly zoom in the arcade as the floor is flat

Own leveling system to prevent rocking

Day hire (inc VAT)

£37.20

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Metabones Lens Adapter & Case

Required to mount prime lenses onto Sony FS7

Interfaces between lens and camera

Day hire (inc VAT)

N/A (included with camera kit)

CamRade Wetsuit Rain Cover & Case

Form-fitted

Tailor-made of water-resistant near silent fabric

Protection against bad weather conditions

Easy and quick to apply and remove

Day hire (inc VAT)

N/A (included with camera kit)

Vinten Pro 5 Tripod

PH5 pan & tilt head

Made from aluminium

Adjustable leg locks and floor spreader

Standard leveling bubble

Day hire (inc VAT)

N/A (included with camera kit)

IDX Battery Charger

Essential in order to charge camera batteries and light batteries

Needs to be plugged into mains

Day hire (inc VAT)

N/A (included with camera kit)

Arri 7g Sandbag

For use with lighting stands (C-stands)

Allows extra protection from lights knocking over, whether that be from people tripping or weather conditions

Day hire (inc VAT)

£4

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Since the original movie was made and set in the 90s, I have gone down the route of 90s Indian Fashion. The colors are bright and bold, reflecting the culture whilst also remaining true to the time.

Especially nowadays, when 80s and 90s fashion is all the rage with teenagers and young adults. Utilizing this style in the film will help appeal to this target audience and also allow the movie to be more relatable to the young people in Britain of Indian descent.

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Use of grand visuals with wide, sweeping landscapes juxtaposed with close-ups

A lot of camera movement to tell a dynamic story and showcase perspective

Lighting reflects the emotion of the scene and characters

Vibrant color schemes and distinct color pallets

Angled shots to amplify tension

Shallow depth's of field to isolate emotion

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The Indian movie industry, often affectionately known as Bollywood, has undergone a mesmerizing evolution over the decades. From the golden age of classic storytelling to the modern era of cutting-edge visual techniques, the role of cinematography in Bollywood has played a pivotal part in shaping the way stories are told on the silver screen. In this blog, we'll delve into the captivating transition of cinematography trends in the Indian Movie industry, exploring how visual storytelling techniques, camera work, lighting, color theory, and various other concepts have been masterfully applied to create iconic cinematic experiences.

Cinematography is the language through which Bollywood narratives come alive. It's not just about capturing images; it's about evoking emotions, building tension, and conveying subtext. As Bollywood evolved from its early days, cinematography grew from a functional aspect to a powerful storytelling tool. Directors like Raj Kapoor, known for his Movies like "Mera Naam Joker" (1970), understood that the camera lens was a bridge connecting the audience with the characters' inner worlds.

The essence of Bollywood lies in its ability to tell stories visually, transcending language barriers. This ability was showcased brilliantly in Mehboob Khan's "Mother India" (1957), where the sweeping landscapes of rural India and close-up shots conveyed the struggles and triumphs of the protagonist. This trend has continued, with Moviemakers like Sanjay Leela Bhansali, who masterfully uses opulent sets and grand visuals to enhance his narratives in Movies like "Devdas" (2002) and "Padmaavat" (2018).

Bollywood has gracefully adapted various cinematic camera movements to enhance storytelling. From the classic long takes in Guru Dutt's "Pyaasa" (1957) that intensify emotional moments to the dynamic tracking shots in Rakeysh Omprakash Mehra's "Rang De Basanti" (2006), camera movements create an immersive experience for the audience. These movements not only provide a different perspective but also guide the viewer's attention within the frame, enriching the narrative.

The interplay of light and shadow in Bollywood cinematography contributes to the overall mood and tone of a Movie. From the chiaroscuro lighting in Bimal Roy's "Bandini" (1963) to the use of natural light in Movies like "Lagaan" (2001) directed by Ashutosh Gowariker, lighting techniques have been tailored to the specific needs of each story. This attention to lighting detail amplifies the emotional impact of scenes and characters.

Colors have been a consistent motif in Bollywood cinema. Directors like Subhash Ghai have utilized vibrant color schemes to evoke specific emotions. A prime example is the use of the color red in "Taal" (1999) to symbolize passion and intensity. Similarly, in "Bajirao Mastani" (2015), director Sanjay Leela Bhansali employed a distinct color palette to differentiate the emotional arcs of characters, highlighting the power of color theory in storytelling.

Camera angles serve as the eyes of the audience, guiding them to perceive the world of the characters. In "Sholay" (1975), director Ramesh Sippy used low angles to emphasize the dominance of the antagonist, Gabbar Singh. This technique added depth to the characters and intensified the narrative tension. Camera angles in Bollywood have progressed to include unconventional perspectives that challenge traditional norms, as seen in Anurag Kashyap's "Gangs of Wasseypur" (2012).

Manipulating depth of field is a powerful technique that influences what the audience focuses on within a frame. In "Kaminey" (2009), Vishal Bhardwaj's use of shallow depth of field isolated the characters from their surroundings, creating an intimate connection with their emotions. This technique immerses the audience in the characters' experiences, fostering a stronger emotional engagement.

The composition of a scene, including framing and arrangement of elements, contributes to the visual aesthetics of Bollywood Movies. Directors like Yash Chopra, known for his romantic classics, employed the rule of thirds to create visually pleasing compositions. This is evident in "Kabhi Kabhie" (1976), where the carefully composed shots accentuated the tender moments between characters.

Bollywood has consistently embraced innovative cinematic techniques. From Mani Ratnam's experimental use of split-screen in "Dil Se.." (1998) to the seamless blending of CGI and live-action sequences in "Koi... Mil Gaya" (2003) directed by Rakesh Roshan, these techniques push the boundaries of visual storytelling and contribute to the ever-evolving cinematic landscape.

The Indian movie industry's journey through different eras of cinematography is a testament to its creative spirit and adaptability. From the classics of the past to the contemporary blockbusters, Bollywood continues to weave captivating tales through the lens of cinematography, employing these techniques to engage, inspire, and entertain audiences worldwide. As we revel in the magic of Bollywood cinema, let's not just watch but also appreciate the artistry that goes into every frame, every movement, and every burst of color that brings these stories to life.

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From Raj Kapoor to Sanjay Leela Bhansali: Cinematography's Role in Bollywood Storytelling

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The Indian movie industry, often affectionately known as Bollywood, has undergone a mesmerizing evolution over the decades. From the golden age of classic storytelling to the modern era of cutting-edge visual techniques, the role of cinematography in Bollywood has played a pivotal part in shaping the way stories are told on the silver screen.

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Use of reds and greens (complimentary colors on the color wheel) to create a visually striking and appealing shot

Frame is split into two halves, with the water and greenery

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Use of complementary colors (red and green)

Centrally framed subjects to create a visually appealing and aesthetically pleasing shot

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Frame is split into three parts

Blue car contrasts the sand and sky, giving the shot a very dynamic feel

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Sanjay Leela Bhansali uses a combination of hue, saturation and brightness to help bring his story and characters to life. The almost gives his settings the same emotions as the characters in frame, acting as an extension of them.

In his film 'Black' (2005), he uses the contrast of bright and dark to reflect the fact that the main character struggles with a hearing and visual impairment. By doing this, it places the audience in the shoes of the main character and helps create sympathy for her.

In 'Devdas' (2002), there is a recurring motif of the colour red. This represents class divide and marriage with red being the colour of lust and love. The settings in this film also tell a great part of the story. The houses range from grand and wealthy, all the way to small and cramped.

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How Sanjay Leela Bhansali uses Colour and Setting | Nutshell | Ft. Andre Borges

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Bollywood's cinematography on a new high

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Bollywood's cinematography on a new high

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In Anand Gandhi's 'Ship of Theseus' (2013), there is a singular shot of a worm. In the shot, someone almost steps on it until a monk saves the worm from it's precarious situation and places it on a plant.

Pankaj Kuamar (the cinematographer) stated that "the story idea, narrative, lighting, setting, technique, camera movement, distance, lens, color, temperature, mood and atmosphere" all come together to create the perfect shot, creating a feeling of dread for the worm in that short scene.

Color pallets, contrasting with experimental shadows and lighting are key to creating visual interest and keeping an audience fixed on the story at hand.

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In Anand Gandhi's ' Ship Of Theseus', one of the gems of 2013, there's a shot in which a tiny worm is trying to wriggle its way through a swarm of footsteps. As the camera focusses on the thumb-sized creature, you almost skip a heartbeat at the moment when someone's foot nearly squashes it, until a monk scoops it up and carefully places it on a plant. Though it's barely a 60-second shot, it was rehearsed several times.

Gandhi recalls, "My Director of Photography (DOP), Pankaj Kumar and I choreographed every move to create the precarious situation for the worm. The story idea, narrative, lighting, setting, technique, camera movement, distance, lens, colour, temperature, mood and atmosphere - all these elements have to come together in order to get the perfect shot." Little surprise then that with this film, Kumar bagged awards for technical brilliance at several fetes like Transilvania International Film Festival, Tokyo International Film Festival and Mumbai Film Festival.
The need for interesting visuals While cinema is primarily a visual medium, the need to back a good story with visuals that stay with the viewer long after he/she has exited the cinema hall, has augmented today. Evidently, the last few years have witnessed Hindi films that were talked about not just for their compelling narrative but for the way the plot and characters were captured on screen. The role of a cinematographer is in focus.
While Vikramaditya Motwane and his DOP, Mahendra Shetty, used a contrasting colour palette and played with shadows to build up the mood in the period drama, Lootera, acclaimed cinematographer Binod Pradhan used a five-camera set-up to make each race look different in Bhaag Milkha Bhaag. Meanwhile, cinematographer Ravi Varman created light in such a manner that it obliviated the difference between sets and real locations in Sanjay Leela Bhansali's magnum opus Goliyon Ki Raasleela Ram-Leela.
Films are catering to the 'look-good-feel-good' Instagram generation that believes in picture-perfect poses. "Every person uses a cellphone camera and watches out for good quality. While the story is the most important aspect of filmmaking, it does not hold any ground if the visuals aren't good. Nowadays, they are used to communicate more than the dialogues in a film," says Ravi Varman, whose camerawork in Barfi! (2012) was well-acclaimed.

Add to it the fact that we are surrounded by Hollywood with its top-notch production quality and you know why producers are investing in highly acclaimed cinematographers just as they would for their directors.
Experimental images The heavy 35mm film cameras have now been replaced with compact digital ones that are cost-effective and easy to manoeuvre. With digital cinematography almost becoming a norm in Bollywood, cinematographers are now more keen to push the envelope. Pradhan, who has shot most of Bhaag Milkha Bhaag and the forthcoming 2 States, with a digital camera, says, "With digital cinematography, the frames have become more real and immersive. People are turning more adventurous because you can see what you've shot on the monitor on the set itself. Moreover, through Digital Intermediate (DI) and colour grading, you can experiment with lighting. I've shot 2 States in a much more glamorous way and used intense colour."

DOP Anil Mehta admits that digital technology served his purpose while shooting for Imtiaz Ali's Highway. "We couldn't recce before the schedule and had to literally shoot from the hip. I've shot most of the film in natural light and digital camera helped, since it had higher sensitivity to light," he says.
The road ahead The future cinema screens are laptops, tablets and mobile phones. Intimate cinematography's appeal will only go up because movies will be made for the digital platform too. Mehta predicts, "Introduction of a new form will be an addition to the theatrical release but it is not likely to exterminate it. But yes, makers have already started tailoring their content according to these platforms. The films will be in a shorter format and the nature of the drama will be tighter and told in a more direct way."
MONEY MATTERS Quite a well-paid lot, a DOP's fee ranges from 3 to 4 lakh up to 1 to 1.5 crore per project. With an increase in production budgets, mainstream producers are spending more money on lighting and equipment. For instance, the Ram-Leela makers spent around 50 lakh only to light up the entire Udaipur palace for a three-day schedule and roughly 4 to 5 crore (enough to make a small-budget film) was the cinematography budget of the film.

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Bollywood's cinematography on a new high | Hindi Movie News - Times of India

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Whether it's the demand of the hip, tech-savvy Gen Y or the filmmakers' need to push the envelope of storytelling, Bollywood is letting its slick cine