Every individual has an assortment of movies, books or songs he can fall back upon for amusement on finding the available options insipid. Here is an attempt to conjecture the common thrall commanded by cinema and the creative pursuits by using as premise some of my preferred movies.
Science-Fiction - from the Star Wars, through the X-Men, to the alleged 'master piece' Avatar - begins with an invention, or a discovery, which redefines the World. A view in perfect agreement with the motive power behind all scientific quests. The story proceeds with an elucidation of the consequences, whose hue depends on the director, and thus enters the fantastic element. An element outlandish due to its origins in an obscure event in a remote culture, or, in the knowledge of an esoteric sect; if eccentric claims are to be honored, the inspiration might be the 'lofty' ideal which illuminated the 'high' mind. The fantasy, of course, is festooned with futuristic weapons, gadgets and commutation and communication capabilities. To keep the voyage interesting, the director does interpose his argot with the easily perceptible juggling of probity and pragmatism. The end, as a rule, is one of triumph - a victory of something quintessentially human - like morality - amidst the artefacts impregnated by the imagination.
Other movies like Rocky, The Cinderella Man and The Pursuit of Happyness tend to the men in the mire. Although the narratives rely on some aspects of the contemporary, or of the recent past, they do carry the fragrance of the fabulous. The scent may arise in the epiphany that drives the masses against the oppressor, or, the enlightenment that deleterious delusions were one's only enemy. The trinkets, in this case, are equally subtle and acquire the form of genius, will, unity, leadership and tenacity. The epilogue, again, is the triumph of man.
Romance and its kindred genre of Romantic-Comedy betray a more explicit plot. The venerated emotion of love is used as the unending canvas to imprint the unusual as travesty or tragedy, mostly followed by triumph. Indian cinema endeavors to take one beyond even the proverbial cloud nine by augmenting the fantastic with flamboyant song and dance. The exaltation, though, is usually reserved for love itself, perhaps, owing to its status as something cherishedly human.
In summation, the creative could be posited as the gracious hosts who escort us down the familiar thoruoghfares and into their dreamy dominions - their creations resting on the creation. If such be the case, can creativity ever claim to be cut-off from reality? On the contrary, if prolific proclivity were to imply the impersonal, any creative enterprise would be the fiefdom of the initiated, wouldn't it?
Science-Fiction - from the Star Wars, through the X-Men, to the alleged 'master piece' Avatar - begins with an invention, or a discovery, which redefines the World. A view in perfect agreement with the motive power behind all scientific quests. The story proceeds with an elucidation of the consequences, whose hue depends on the director, and thus enters the fantastic element. An element outlandish due to its origins in an obscure event in a remote culture, or, in the knowledge of an esoteric sect; if eccentric claims are to be honored, the inspiration might be the 'lofty' ideal which illuminated the 'high' mind. The fantasy, of course, is festooned with futuristic weapons, gadgets and commutation and communication capabilities. To keep the voyage interesting, the director does interpose his argot with the easily perceptible juggling of probity and pragmatism. The end, as a rule, is one of triumph - a victory of something quintessentially human - like morality - amidst the artefacts impregnated by the imagination.
Other movies like Rocky, The Cinderella Man and The Pursuit of Happyness tend to the men in the mire. Although the narratives rely on some aspects of the contemporary, or of the recent past, they do carry the fragrance of the fabulous. The scent may arise in the epiphany that drives the masses against the oppressor, or, the enlightenment that deleterious delusions were one's only enemy. The trinkets, in this case, are equally subtle and acquire the form of genius, will, unity, leadership and tenacity. The epilogue, again, is the triumph of man.
Romance and its kindred genre of Romantic-Comedy betray a more explicit plot. The venerated emotion of love is used as the unending canvas to imprint the unusual as travesty or tragedy, mostly followed by triumph. Indian cinema endeavors to take one beyond even the proverbial cloud nine by augmenting the fantastic with flamboyant song and dance. The exaltation, though, is usually reserved for love itself, perhaps, owing to its status as something cherishedly human.
In summation, the creative could be posited as the gracious hosts who escort us down the familiar thoruoghfares and into their dreamy dominions - their creations resting on the creation. If such be the case, can creativity ever claim to be cut-off from reality? On the contrary, if prolific proclivity were to imply the impersonal, any creative enterprise would be the fiefdom of the initiated, wouldn't it?
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