Bitty Ruminations 95 – Naturalism vs. Realism

by bollywoodbubbles
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In an earlier thread on Bitty Ruminations, Tamil Thanos asked: @BR, question from your Mani Ratnam podcast. Finally, you state that he is a naturalistic filmmaker, not a realistic filmmaker. Could you elaborate? Are naturalism and realism incompatible? If it’s a battle scene, wouldn’t it make more sense to film it like GOT’s Battle of Busters?

now, (from web): Realism was an art movement that broadly embraced the world around us. truth Instead of dressing up certain subjects with more vibrant colors or other elements that are more aesthetically pleasing, it’s really about what’s going on.

So this is not about any particular director.took KaraPa Ranjit deliberately dresses the hero in black and the villain in white to make a symbolic point. So he’s saying something with the cinematic tools (colors) at his disposal. And he presents stories with real-life echoes in an “unrealistic” way.So in “real life” the character might just be wearing multi-colored clothes Lungi Or something like that.

So this deviation from “real life”, this manipulation (using cinematographers, actors, editors, production designers, sound engineers) can be done in many different ways. It can be melodramatic (think how Visu used dialogue). Or, in the case of Mani Ratnam (and other directors), it could be ‘naturalistic’. I mean, even if it’s exaggerated, he’s trying to be natural.

take this passage Aida Ejtu/Yuvafrom conversation Book:

BR: You use a specific color coding for your characters (in the environment). Lalan/Imba is red, Michaels is green, and Arjunz is blue.

MR: This was an opportunity to make a three-in-one movie. There were three stories, all part of the same theme. The three stories could be treated with different shades depending on where they originated and what they were made of. One was dressed in brown and red. Basically someone on the lower end of the social spectrum with some degree of built-in violence. Ajay’s and Suriya’s footprints are green because they represent hope. Someone who looks to the future and seeks ways to lead us into it. He’s the one in blue who thinks he’s cool, laid-back, relaxed, unaffected today. That’s what we tried to express.

In fact for a while I was even thinking of calling the movie traffic lightThere were three different colors, so that was the working title we had. There was a subtle difference in how to shoot and how to cut. Different types of lenses, different types of editing patterns were used. The way Abhishek and Madhavan’s scenes were filmed was handheld and jerky. These scene cut methods are in the same axis. It’s getting closer and closer. We get a glimpse of him, but we haven’t yet. It’s kind of elusive. It’s like a concentric frame that goes deeper and deeper inside. It is a cut that is not bound by common sense. On the other hand, for Ajay and Suriya, the scene is more or less smooth and has a long flow. Shots are longer and there are no jerky cuts. The Vivek and Siddharth part is really modern. The shooting method is a bit psychedelic, with fast frames and these flares coming in. There were many that were a little more kinetic than the other segments. It wasn’t classic. Rarely do I choose a subject that gives me a structure that allows me to experiment with three different styles and fuse them together.

end of passage

Now, there’s nothing that says a violent man’s home/decor/clothes should be in shades of red. Editing choices are similar.

So he takes a ‘real’ situation and exaggerates/emphasizes it, but the results (especially acting, dialogue delivery) are as ‘natural’ and as close to reality as possible. real Not really real.

Below is an example of realism and naturalism (as I define it), with two actors in both scenes.

In the Ludria movie (Aval Apeitan), the cameras are still, no cutaways, no music. And most interestingly, there’s also no over-the-shoulder shot (usually used to show the presence of the other while one is speaking).

Now, contrast this with the awesome boat scene in . PS-1Even with the enhancements (shot/reverse shot edit pattern, over-the-shoulder shots, color and prop drama) the scene plays so well… real…even though I know it’s not “realistic”.

(Again, this is not to say one style is better, I just wanted to talk about two styles.)

(I couldn’t find another link to this scene, but I hope you can click the link to watch it on YouTube.)

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