Film Education


PROJECT CREATIVITY:PART FOUR- SORAB IRANI “Creativity is your Birthright”

PROJECT CREATIVITY: PART FOUR

SORAB IRANI

filmmaker, media project consultant,literary agent

August 24th 2010

Creativity was at first considered only the prerogative of God as only God could create because it was perceived that ‘to create’ meant to create from nothing some thing entirely new, the notion of something miraculous, something in the divine realm. With time this perception changed radically man was also accepted to have the divine power to create, to bring into being something absolutely new from nothing. The proof of this in true if we just look around us, today modern living is indeed miraculous.

How can one be creative. How to create not how to be innovative. No doubt one can be creatively innovative and hence innovation is also creative, but can we be God-like and create something absolutely new from nothing – yes we can.

Therefore essentially creativity is that process that is a quantum leap from the known into the unknown – the reclaiming of the unmanifest or the ability of being able to bring about a result where the unmanifest transforms itself into the manifest.

All great breakthroughs in all fields of human endeavor have this miraculous process at work. The real point of creativity is a sudden leap into the unknown from where something revolutionary and absolutely new is born. This is possible because the source of all creation is pure consciousness and each one of us in our essential state are pure consciousness. Pure consciousness is also pure potentiality; it is the field of all possibility and infinite creativity.

So each and every one of us has what it takes to create, we have the innate ability in just being conscious, alive, to be creative, it is our essential human nature.

Contemplate this, and be creative this very instant, being alive and conscious is all the tools of creativity you will ever need.

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PROJECT CREATIVITY: Part Three: David Lynch’s book – “Catching the Big Fish”
August 22, 2010, 5:08 am
Filed under: Project Creativity

Extract from this book

PROJECT CREATIVITY: Part Three

David Lynch  “Catching the Big Fish”


Desire

Desire for an idea is like bait. When you’re fishing, you have to have patience. You bait your hook, and then you wait. The desire is the bait that pulls those fish in – those ideas.

The beautiful thing is that when you catch one fish that you love, even if it’s a little fish – a fragment of an idea – that fish will draw in other fish , and they’ll hook onto it. Then you’re on your way. Soon there are more and more and more fragments, and the whole thing emerges. But it starts with desire.



PROJECT CREATIVITY: PART TWO – NAVROZE CONTRACTOR

PROJECT CREATIVITY: PART TWO

NAVROZE CONTRACTOR

photographer,cinematographer,author

August 2010

Routine? keep in touch with all the arts/life/nature/friends as much as possible..including always perfecting the art of riding

Some thoughts on creativity.

By Navroze Contractor, August 2010

Basically, creativity is the ability to generate innovative ideas and manifest them from thought into reality. The process involves ‘original’ thinking and the producing it in one form or the other, could be plastic arts, visual arts, performing arts, writing and of course, since we are on that forum, in cinema.

I put ‘original’  in brackets because I feel it is a hugely over used term and I am almost convinced that there is really nothing original. It is said that all forms are in nature. When you learn art, it is said all forms are in the human figure and so it is drawn over and over again for centuries. The starting point then for me is to be humble and not make claims that may insult or tread on the feet’s of earlier masters.

The most creative phase in life is in childhood when nothing has conditioned our minds, we have no history to refer to and everything viewed and heard is NEW. But this stage remain for a very short while as our mind develops and begins to absorb sounds, sights, touch and taste. As soon as this happens the mind collects data that we begin to refer to unconsciously.

To each, some senses grow bigger than the others. As the body motors begin to coordinate, those senses begin to ooze out through them, manifest them to some reality. If a child’s sense of hearing is intense, his vocal abilities grow faster. If the visual senses are awakened earlier it could manifest in the hands being able to draw, emote etc.

It is true that more the child is ‘exposed’ the more creative they will be. If exposed to ‘artistic’ environment there is a greater possibility of focus on that. If a child is exposed to a lot of hardship the creative juices will flow towards innovating ways to making a better life. And, creativity is the search to finally how you solve a problem. And in both cases, it may not be true at all.

Once a field is ‘chosen’  it entirely depends on how much ‘relish’ is within, and how much ‘relish’ a teacher imbibes in us. A curiosity lies within us that need nourishment and it only comes with the ‘relish’ we have for our subject. The more we read, the more we see, the more we hear the fuller our reference library becomes. The information is stored and we process it to enable our work that is ‘knowledge’. The most successful creative people are those who love what they do the most. It could be anything, arts, science, business..whatever.

For me, personally the most creative activity is any performing arts. It is here they are judged on the spot, by a few hundred discerning people. There is no second chance, no time for re edit, re think and re do. All other arts, the artist works where having the time and space to constantly change the work till complete satisfaction, but not to a musician or a dancer.

As my teacher Laszlo Kovacs said very often: ‘When you are ready to take the shot, remember, it becomes history’. This is not there for a performing artist. Their burden starts when the stage lights turn on.

…..



PROJECT CREATIVITY: Part One – Hemant Morparia

PROJECT CREATIVITY

This is my special feature “PROJECT CREATIVITY” in which I will invite special guests to share their thoughts and experiences on the topic.

I too will share my thoughts and experiences in the near future.


PART ONE

HEMANT MORPARIA cartoonist/sculptor/radiologist

Interviewed on July 22nd 2010

1. WHAT IS YOUR EXPERIENCE WITH CREATIVITY ?

A. Creativity is life itself. and being creative makes one live fully and look forward to each and every day as full of potential

2. HOW DOES THE CREATIVE PROCESS WORK FOR YOU  ?

A. It works from the macro to the micro events in life- all are helped generously by it.

3. ACCORDING TO YOU WHAT IS NECESSARY TO CULTIVATE IT, NURTURE IT  ?

A. courage, openness, innocence and curiosity



THE NEED FOR A CINEMA MAGAZINE

Q. What according to you is the role a cinema magazine plays in society and film culture

A cinema magazine, as always plays the role of a mediator between the film and the audience. It acts as a platform where the film technicians, the academicians and the general audience bring into fore their collective experience and thoughts. Ideally, any art magazine (in the broader sense of the term) should extend the perception of the masses – to ‘educate’ them in a sense to expect beyond the obvious.

Q. Is the role of a magazine in India on the subject of cinema any different than in the rest  of the world

Yes, I do believe so. Primarily in the West you will find that there were different genres of films and yet the divide was not drawn so vividly. In India there had been this tussle of ‘art’ vs ‘commercial’ which all are quite vague ( though you can understand what is being meant by the terms ). This is because there were groups which had their own agenda and interest to satisfy. The analogy can be the way the European art-house directors looked at Hollywood. Problem is life is not of binary opposites. So, any polarization like this is bound to drift away with time.

In Indian context, predominantly, the film magazines had been the bastions of the film societies. The societies always preached the European movies and so vehemently derided Hollywood and the Indian ‘commercial’ movies. In this context I do feel, the contemporary cinema magazine should have an open outlook and judge films or movements by their merit and not by the baggage they carry.

Q. What audience does your magazine cater to and what is its prime focus

Our magazine is semi academic in nature. The primary focus is film students and scholars and those who are thinking seriously about cinema – not just as a medium of entertainment

Q. What is the relevance of a magazine compared to books on the subject

A magazine is a flowing thing, because it has its frequency. So you can divide a subject amongst different issues of the magazine instead of punching everything in one place and making it a bit monotonous. A book can tend to be boring a bit. A magazine, I feel is like a flowing river whereas a book might be a static reservoir.

Q. Would you be in a position to list the 5 best film magazines in the world and highlight their special features and which is your personal favourite.

I would rather comment on the Indian ones that I liked. Cinemaya was there which is no more. Deep Focus is also not regular. Then Chitrabikshyan was there. Movie Montage and Splice. We grew up reading these and understanding about cinema so much from these. Internationally Sight and Sound is extremely uptodate and caters to those who are keen on ‘information’ whereas Jump Cut or Cahiers used to be so focused on being original. Recently, I like Rougue and Senses of Cinema – two very strong e-magazines.

On the Indian contemporary scene, I am amazed by the fast yet slick presentation of Dear cinema. Upperstall is quite uptodate and good. Then there is Wide Screen Journal which is quite offbeat and I like it

Q. Would you like to share with us the birth of your magazine and why and how it came to be born

It all started way back in 2001 on a humid summer evening in Kolkata. It was at the Nandan premises, the hotbed of cinema culture in Kolkata when a group of enthusiasts,mainly students (apart from few like me) came up with the idea of a film society. The ‘Silhouette Film Society’ was born. And as one of the activities of the society we planned to bring out a magazine – an annual one. However, soon the magazine became the society’s prime activity – Silhouette. We had a break of almost 4 years and are getting ready for the Vol VIII of Silhouette to be published in Oct 2010.

This year’s cover is Representation of City in cinema. We are also trying for a retro section on Rabindranath Tagore – his influence on cinema.

Q. What is the member strength of your magazine and what are the challenges you face on the path

We had earlier, but currently we are not having a membership scheme of the magazine. We just sell the magazine to different places – through stalls and push-sales.

The biggest challenge is finance. We have to sell the book at 60-70% of the cost. The nature of the book is such that it generally doesn’t attract advertisers. We are short on human resources as well since everyone is working outside. Our production standard is pretty high – not sure if many endeavours like this which are self-sponsored can match us. The magazine is appreciated nationally and internationally. But we don’t have a steady readership increase or a steady reach to our readers.

We have been requesting every media practitioner to judge our work and if satisfied spread the word – Silhouette should reach everyone interested in good cinema in any part of the world. Currently I feel we have only reached probably 5-10% of our friends. Without this collective co-existence no cinema culture can thrive and sustain.

Q. What is the history of the film magazine before and after Cahiers du Cinema.

” Cahiers is probably the most influential cinema magazine of the world till date. Founded in the early 50’s by Andre Bazin , Eric Rohmer and others, their gain to prominence was only in the early 60s through Truffaut primarily and then Godard and Chabrol. Since these critics were directors themselves with their own agenda of anti-establishment targeted at Hollywood, they used Cahiers as their bandwagon propaganda. That worked and Cahiers shaped up the Auteur Theory.
Probably in the history of cinema magazines and cinema genres and movements, no other magazine was hand-holding with a movement to its success. Cahiers remained influential afterwards as well and there is no doubt that apart from the Nouvelle Vague they had shaped the way film criticism should evolve. Alfred Hitchcock for one was focused in Cahiers before anyone took him seriously as an all time great film maker. I do believe for many years, Cannes and Cahiers also had a similar hand-holding relation in ‘creating’ star film directors. So they became an institution themselves (sic).
But still, I believe Cahiers had played one of the most significant role in cinema culture in the 60s and 70s.”

Silhouette Magazine Website

http://silhouette-mag.wikidot.com/