Dhoni: The Untold Story (2016) Haseena Parkar (2017) and Manto (2018). The films that we would examine in this context are M.S. My paper, by analysing three Indian biopics of the recent time and by analysing their cinematic language, would try to show that unless a film impartially brings out both the negative and the positive sides of a person's life, it cannot be called a biopic and if the purpose of a biopic is mere aggrandisement of the central character, it becomes a work of fiction without doing justice to the historicity of the genre. While analysing the Indian biopics, one possibly can not overlook the following questions: to what extent it is important to adhere to the reality in order to call a film biopic and whether the representation of the selective reality forfeits the eligibility of calling a film to be a biopic. The thesis thus initiates in practice, moves to biopic history and criticism, reverts to practice with knowledge about research and writing that not only enables me to overcome my screenwriting problem but also leaves behind a set of insights for other screenwriters working with scant biographical evidence.īiopic is a century-old genre and the very first Indian film was biopic named King Harishchandra (1913). I argue that it is through a judicious mix of fictional invention and a diligent study of evidence that a screenwriter can get closer to the historical subject. In writing Biswas’ biopic, I use the microhistorical research method, knowledge about biopic script-drafting processes, and Bhabha’s notion of ‘vernacular cosmopolitanism’ to present Biswas as a non-Western, non-elite 19th century cosmopolitan, thereby constructing a counter- narrative to the dominant discourse of cosmopolitanism as a matter of exclusive Western, elite privilege. Drawing on Rosenstone’s conceptual model for understanding how historical knowledge manifests in fictional narratives, it investigates the nature and function of fictional inventions in biopics and the ways in which screenplays make creative use of evidence. While more information has become available recently, this project examines the creative and critical issues associated with researching this figure, overcoming the problem of scant evidence and positioning him within a presentist context. The early biographies of Biswas, based on limited and unreliable evidence, pose a challenge to the screenwriter in terms of narrative reconstruction of his life as a biopic. The study concludes that biopic, representative of its genre, has specific conventions and the movie Lion (2016) successfully qualifies for biopic as a genre.Īs a creative practice research project, this thesis sets out to write a screenplay about Suresh Biswas (1861-1905), a little-known Bengali adventurer who was a wild-life trainer and circus-performer in Europe and later became a Captain in the Brazilian army. The present study also addresses Stam's (2000) criticism on strict fidelity to discuss medium specificity approach. The analysis of the study reveals that the movie qualifies for Giannetti's (2008) concept of faithful adaptation as well as Wagner's (1975) two modes of adaptation i.e. At the age of five, the unfortunate SarooBrierley got lost in a local train in India which caused him to face many dreadful realities of life in Calcutta before being formally adopted by an Australian couple through an orphanage. The book and the movie depict the incredible life history of SarooBrierley, a five years old child and now a young man who used modern technology "Google Earth" to rediscover himself including his childhood life and hometown in India. The present study sets out to analyses a biopic-Lion (2016) which is adapted from Saroo Brierley's bestselling book "A Long Way Home (2013)".
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