The issue, published on Labour Day, features the cinema of the working class in the western world, a review of the early films of Kieslowski, discussions of contemporary auteurism and a lengthy discourse on cinematography by Govind Nihalani. Editorial in pink, content also in side-scroll.
An incomplete overview of the evolution of the ‘working class’ cinema across the western world and what it means in a changing, globalized world where outsourcing is fast becoming the norm.
/ Gautam Valluri
The Role of the Cinematographer, Part I: LightingGovind Nihalani gives us an insight into the three different kinds of images in cinema and on the ‘visual personality’ of a film. This part of the comprehensive talk deals with ‘Lighting’ for cinema and why he doesn’t prefer half-lit faces. / Govind Nihalani and Celluloid Chapter
The Role of the Cinematographer, Part 2: CompositionThe second part of the lengthy talk on cinematography, where Nihalani explains ‘composition’ in cinema and uses his own film Rukmavatiki Haveli as an illustration of the idea. / Govind Nihalani and Celluloid Chapter
Death of the Auteur: The Vanishing Tradition of European Arthouse Cinema in Summer Hours and The Father of My ChildrenWhat happened to the great cinema of Bergman and Antonioni? Where has it disappeared? / Ankan Kazi
The Documentarist from Łódź, Part IThe first part in a two-part study of the documentary career of director Kryzstof Kieslowski / Anuj Malhotra
Our Films, Their FilmsBook Review: Our Films, Their Films / Gautam Valluri
Capsule ReviewsCapsule Reviews: Latest releases, festival titles / Gautam Valluri, Anuj Malhotra and Ankan Kazi