Months ago, while watching what was in effect a docu-hagiography about a prominent literary icon in Malayalam and wondering about its structure, I was enlightened by a little voice that piped up from a few rows behind. “Nyoosh” (news), it said. On screen, the literary icon appeared and began to talk. A few minutes later, the little voice trilled again, “Parshyam” (commercial). And lo! The icon dissolved, followed by what looked exactly like a commercial, a sequence of visual tricks, visual hallelujah to the wisdom of the revered sage. The little voice thus revealed to me that the structural rhythm of the docu-hagiography was effective precisely through its prayer-like repetitiveness; it also alerted me to the fact that it was extraordinarily similar that to the visual strategy of television (Truth-dream-Truth-dream…), which again is perhaps vital to its sway over viewers. Continue reading Chitrasutram: Post-modern Cinema? →