Titlebook: Documentary Films in India; Critical Aesthetics Aparna Sharma Book 2015 Palgrave Macmillan, a division of Macmillan Publishers Limited 201

APO

https://doi.org/10.1057/9780230390744ated themselves. . follows these inmates’ life stories and their experiences at the shelter. This is not done in a conventional voiceover-led, expository style of documentary. The film is shot principally from within the shelter and, using the principles of observational cinema, MacDougall follows the everyday goings-on here.

MUMP

https://doi.org/10.1057/9780230390744the inmates’ interpersonal relations and their overall experiences at this institution. In its wide-ranging scope, . resembles . and, like that film, it offers a critical take on the institution, revealing profound inadequacies — material and discursive — that characterize the Prayas Home’s approach to rehabilitation.

拔出

大氣層

灌輸

Gandhi’s Childrenthe inmates’ interpersonal relations and their overall experiences at this institution. In its wide-ranging scope, . resembles . and, like that film, it offers a critical take on the institution, revealing profound inadequacies — material and discursive — that characterize the Prayas Home’s approach to rehabilitation.

Arbitrary

Epilogueumentaries studied in this book are stand-alone interventions in that they are not accompaniments that serve broader political agendas such as awareness creation, as much activist documentary tends to be.

BINGE

Passagege in analogue and digital formats may differ, but light remains a key ingredient of the cinematic experience. Desire Machine Collective’s (DMC) next film, . (2006, 7 mins 22 seconds) is a cinematic contemplation on light.

改變

Scale of Groups and Communitiese indiscriminate and vehement march of rainforest wilderness. Measured camera work follows traces of absent human figures, the labourers whose labours had once animated this site. Through this, the film projects the abandoned power plant as embodying deep senses of loss and pathos.

intellect

Diuretic

Residuee indiscriminate and vehement march of rainforest wilderness. Measured camera work follows traces of absent human figures, the labourers whose labours had once animated this site. Through this, the film projects the abandoned power plant as embodying deep senses of loss and pathos.