Theory of Indian Cinema

Abstract

Abstract

Theodore Adorno in his Aesthetic Theory defines art as: “The concept of art is located in a historically challenging constellation of elements; it refuses definition”. Raymond Williams, the eminent cultural historian, cites “art” as one of the “keywords” - one that must be understood in order to comprehend the inter-relationships between culture and society. Cinema has already proved itself an art. However, as montage was developed in Russia in particular socio-political scenario and Italian neo-realism developed during the anarchic social condition, similarly Indian cinema has been developed in particular socio-political context. Though Indian cinema is identified with the films of Satyajit Ray, Mrinal Sen, Adoor Gopalkrishnan etc. but in India they are categorised as art film and almost marginalised. Popular cinema, which is marked with melodrama, musical extravaganza and fancy dominates. It succeeded because it entertains a middle-class audience, which is the most powerful class of the country. There is another variation too, which is known as middle-cinema, which is the predecessor of post-independence cinema. This paper will try to theorise these three variations of films.