• Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

Mira Nair describes 'Monsoon Wedding' as

Extracts from this document...

Introduction

Thursday 2nd July 2004 Mira Nair describes 'Monsoon Wedding' as "a Bollywood movie made on my own terms." With close reference to the opening section, analyse the techniques Nair used to achieve this aim. Mira Nair directed the 2000 film 'Monsoon Wedding' with the intention of making it a Bollywood film on her own terms. Through watching the film, it becomes evident that this was mixing traditional ideals of Indian Bollywood together with the modern elements of the West, such as those depicted in particular in Hollywood films, the Western equivalent of the Bollywood film industry although on not so large a scale. Nair spent the latter part of her further education in the United States of America, attending Harvard University, where her more modern ethics, compared to the conventional Indian principles she was brought up with, were developed and thus came to influence her works. She achieves her aim through the use of cinematic techniques, one of which is music, also effectively using diegetic and non - diegetic sound; non - diegetic predominantly to symbolise the traditional Bollywood theme and diegetic to symbolise the modern Hollywood theme. The opening credits immediately indicate to those expecting a Bollywood film, or a more orthodox Indian film, that this was something completely different. ...read more.

Middle

of Aditi and her prospective husband about the colour of her skin, by her grandmother, a quintessentially Indian woman - it is referred to as beautiful because she is very fair. Skin colour, or the shade of it, had deep roots in the classification and therefore worth of people within India, a problem that to many extents still exists today. The ancient Hindu caste system, established over 5,000 years ago, originally classified people into groups. They included businessmen, farmers, military men and so on, and each group was on a symbolic ladder of society; at the top end were the Brahmans, the priests who were regarded as God's people, and the richest of all the groups. At the other end were the Untouchables; those who were regarded as the filth of society whose occupations were to be the most lowly servants, cleaning up after the rest of the groups and live in slums, or shanty towns. The Brahmans and the other higher groups also had the fairest skin, whereas the Untouchables had the darkest shade of brown. It was another factor that separated people; the fairer the skin colour, the better. By focussing on this issue, Nair is criticising a deeply embedded trait of Indian society. ...read more.

Conclusion

Where most Bollywood films, principally musicals, would have maybe six or more main song and dance sequences, Nair has chosen to have just the one; and even more noticeably, on location. This retains just enough interest from Bollywood viewers to keep them satisfied and at the same time showing Western audience a more loyal depiction of a Bollywood film. Therefore, although remaining true to a certain extent to the Bollywood tradition on song and dance, Nair confines it in order to maintain the fluidity of the plot, which is normally fragmented by the interruptions of song and dance, lending a sense of unreality. I believe Mira Nair successfully achieved her aim to make a Bollywood film on her own terms. As a director, she effectively combined the techniques of sound, editing, costume, colour and location to produce a fairly unique Bollywood film. Her message of the continuing modernisation of India, and her criticisms of both the societies she illustrates in the film comes across clearly, as do the more controversial points she brings up that Bollywood, as a film industry, does not typically address. Its appeal and effectiveness can be measured by the huge range of global audiences it has attracted, both Western and Eastern, which indicates that she accomplished her goal of making a realistic movie, breaking the traditional Bollywood mould. ...read more.

The above preview is unformatted text

This student written piece of work is one of many that can be found in our AS and A Level Music section.

Found what you're looking for?

  • Start learning 29% faster today
  • 150,000+ documents available
  • Just £6.99 a month

Not the one? Search for your essay title...
  • Join over 1.2 million students every month
  • Accelerate your learning by 29%
  • Unlimited access from just £6.99 per month

See related essaysSee related essays

Related AS and A Level Music essays

  1. The Lion King - Media techniques such as camera angles, music and lighting are ...

    angle then widens out and moves upwards to a plateau at the very top. Music begins with a droning nature as if something tragic is going to happen and there on top of the plains are thousands of buffalo grazing peacefully.

  2. In Muriel's Wedding identity is represented by numerous film techniques. The dominant ones being ...

    However, as the bride screams "who would want to marry YOU, Muriel" and force her to throw it again, another close shot of her face shows her as downcast and unhappy. The close shots bring us to pity her as we see her being hurt and humiliated by the very ones who should love her.

  1. Reading about a sequence of scenes from 'Signs'

    We hear the music as the banging gets louder illustrating danger is near. However Graham is heavily lightened unlike Merrill who is in Low Key lighting, also the shots have become distorted. The next 3 scenes are also in low-key lighting to create shadows.

  2. "Shrek" messages within the film.

    My understanding of change has been influentially shaped by all 4 texts, as each separate text reveals the number of ways change is raised, encountered, constant and inevitable. The 4 texts have also enhanced my understanding of change in the sense that it revolves around the past, present and future,

  1. Account for some of the ways in which Bollywood popular culture has been used ...

    Additionally with the momentum of Baz Luhrmann's Bollywood-inspired musical Moulin Rouge, and the stage production of Bombay Dreams (by A R Rahman and Sir Andrew Lloyd Webber) it seems entirely evident that the Bollywood aesthetic of song, dance and extravagance is on the brink of becoming wholly mainstream.

  2. Film Response of Muriel's Wedding

    What sets this film apart from some of the other Australian movies is that it depicts the true nature of mateship, where the bond between Muriel and Rhonda can be broken, but can also be reformed. In the final scene, Muriel and Ronda are reunited from their previous dispute and took a taxi away from Porpoise Spit.

  1. Alfred Hitchcock has been called 'the Master of Suspense', considering 'psycho' state how effectively ...

    The music is very loud and quick at this point. The audience's heart rate is automatically increased and they are more exited/uncertain. You then again hear him being stabbed but don't actually see it. As Arbogast falls down the stairs, the camera is above him, and he then falls to

  2. Compare And Contrast The Opening Scene In 'Raiders Of The Lost Ark' And 'Tomorrow ...

    The camera has a point of view shot from Indiana looking around at all the natives that surround him, with their arrows pointing towards him. This makes you feel included. Indiana has been defeated and Belok takes the Idol from him.

  • Over 160,000 pieces
    of student written work
  • Annotated by
    experienced teachers
  • Ideas and feedback to
    improve your own work