Tul Rodríguez


In the modern society, the patriarchal organization has led to the denomination of women being constructed in relation to the position of men. In various fields of art and society since Renaissance, the man has been categorized as ‘the Subject’, the dominant figure and everyone else other than the man in the position of ‘the Other’. Cinema being an ideological reproduction of the society, has been a perpetrator of these different oppressive forms towards gender. La Pianiste (Michael Haneke, 2001) offers an alternate view of the female character in the fiction film through its portrayal of the protagonist, Erika Kohut. Especially in the genre of melodrama, major film studios tend to abide by conventions that propagate the issues regarding gender and the representation of women as ‘the Other’. In this respect, La Pianiste explores new perspectives of gender representation, challenging the conventions of melodrama. Through the analysis of the film, in which, the female character takes control as ‘the Subject’ instead of being portrayed as ‘the Other’, this research paper aims to provide observations that can offer an outlook in alternatives female representation and its impact genres and forms of the audio-visual media.

Sushant Bhat


The novella Devdas(1917) by Saratchandra Chattopadhyay has been adapted over twenty times for the screen, in over seven Indian languages. To add context, the impact of Chattopadhyay’s Devdas on the Indian masses can be compared to the impact of Shakespeare’s work across the world. Every decade since 1928, saw a new, significant adaptation of Devdas for the Indian audience, making the story and characters refresh their relevance in the nation’s collective conscience. Each filmmaker, in their adaptation, tried to capture their respective society and generation. Devdas’ story, in essence, is a love triangle between the hero Devdas, who is young, wealthy, brash and impulsive, and the two women – Parvati, a young, caring, charming, and beautiful(‘the woman of the house’) and Chandramukhi, a courtesan, slightly older than the two, but attractive and has a heart of gold(‘the other woman’). There have been several studies over the years about Devdas, both literary and film, however, the two women in Devdas have not been studied in great detail.

This dissertation, therefore, focuses on the gender roles in the portrayal of Parvati and Chandramukhi(the two female protagonists in the love triangle of Devdas) in the film adaptations - Devdas(2002) by S.L Bhansali and Dev.D (2009) by A. Kashyap. This paper shall specify and analyse the modifications in narrative, dialogues and milieu in the two adaptations as the changes made to the original text reflects the film’s interpretation of the story and its characters. Therefore, aiding in the identification and comparison of gender roles and male gaze in the portrayal of the two films adapted from the same source. Furthermore, by examining the use of costume, sound design, production design, soundtrack and visual dramaturgy in the portrayal of Parvati and Chandramukhi, the paper explains the intertextuality and discourse present. Through these methods, this research concludes that - in Bhansali’s conservative adaptation, the two women serve as unidimensional objects of desire – merely serving their narrative role; Whereas, Kashyap’s contemporary adaptation challenges the pre-existing narrative to empower the female character, reflecting the change in society and generation.

Samvaran Prethu Rai


This thesis deals with understanding the meaning potential behind the linguistic properties of sound and its design using the concept of relevance to understand the design layout of sound. This thesis is also an attempt to understand how different categories of sound and its design like ambience, dialogues, sound effects and music function as a linguistic unit. In the process, it is an attempt to form a comprehensive use of structure in sound and its design taking the animated film Wall-E (2008) by Pixar in order to showcase the usability of sound in a creative approach. The central idea in using Wall-E is to make a statement showing the communication abilities of sound and its design.

Stela Aguiar Carneiro Ferreira


Laura Mulvey (1975) prominently explores the male gaze in her article Visual Pleasure and Narrative Cinema, criticizing its implications in traditional narrative cinema and how the representation of women on-screen is regarded as an object-of-desire. By analysing Céline Sciamma’s Portrait of a Lady on Fire (2019), the absence of male subjects allows for a deeper interpretation on female subjectivity and gaze. Considering the Matrix, a psychoanalytic theory conceived by Bracha L. Ettinger, which encompasses concepts beyond Freudian perspective on femininity, is it possible to investigate another type of gaze in Portrait of a Lady on Fire? In times such as our own, can these definitions provide an alternative foundation to the cinematic apparatus itself?

Ramaswamy Manogaran Ramprasad


Often, movies made on political commentary in India, have gone through some trouble during its release. Either they are not true to the political statement they make, or they are so true that they end up offending either the right wing or the left wing. This research would be a good understanding material for stories which involves strong political statements and to communicate them using films as an absolute art form.

The undertones of Cinematographer-Director Santosh Sivan’s films are political in nature. Though the subjects of the films are not necessarily political, the prism through which his subjects pass are political. The breakdown by this prism results in interesting lighting, framing and composition in his works. By analysing few of his works, we can identify his visual styles and understand his approach behind him creating these images. ‘The Politics of Santosh Sivan’s films’ analyses the aforementioned process of dispersion.

Kino Eyes

Copyright © 2022 Kinoeyes | KEM The European Movie Masters. All Rights Reserved.