Director Whose Creations He'Ve

CHAPTER 2

REVIEW OF LITERATURE

2.1 INTRODUCTION

According to Watts (1938) Motion pictures have been steadily tending towards more audience. The advent of sound brought increased realism through the auditory sense. The last step colour, with the addition of the chromatic sensations completed the process. Now motion pictures are able to duplicate faithfully all the auditory and visual sensations. This enhanced realism enables us to portray life and nature as it really is, and in this respect, we have made definitive strides forward.

An exaggerated use of colour, allegedly, has a disruptive effect upon perception, distracting the audience's attention from essential elements of the narrative. Colour then was seen to have a controversial relationship with the narrative.

It is important to add the essential amount of color to a narrative. Adding immensely might have adverse effects and maybe perceived as a distraction to the viewer. This brings an unintended conflicting impact to the narrative.

Not solely has the method of color movie photography never been good, however there has been a grave doubt whether or not, though properly developed, it may be applied while not distracting over it additional to movie technique.

Buscombe (1978) The argument has been that it might tire and distract the attention, take attention from acting, and facial expression; blur and confuse the action. in brief it's been felt that it might work against the simplicity and characteristic that motion footage derives from the unnoticeable black and white

2.2 ABOUT COLOR THEORY

Films use light and color to tell a story in a special narrative way, which delivers a strong emotional and intellectual impact on the viewer. Colour makes the viewers feel.

Danielle Feinberg, director of photography at Pixar, says herself as color obsessed She said. Lighting and color are part of the backbone of emotion. She points to the scene in The Incredibles (2004) where Mr. Incredible works at his desk at Insurance the colours are dulled and grey to communicate a sense of depression.

Block (2008), has mentioned that, Color however is the most psychologically misunderstood visual component in digital media

Gegenfurtner (2000) has said that, Visual cues such as brightness shape stereo and color facilitate the distinction of the observer

Yumiba (2012) mentioned that, As we have seen color plays into sensual appeal that affects emotional distance with intrigue of a story. Color can also stimulate the imagination and develop other mental faculties can give pleasure and refreshment to mind and increase the responsiveness of the sense to which it appeals.

Hubris (2012) has said that, In the framing and composition of an image, the balance of visual weight is imperative to an environment’s sense of stability or instability.

Robinson (2011) has mentioned that, The Science of Color Perception, neuroscience and evolutionary biology point toward specific moods and reactions associated with colors.

Robert Boyle (2005) has said, we find revelations that can be of real help to readers who use color to shape emotional responses to concepts, as well as physical environments. We can never again take the world of color for granted.

Sam (2005), has said, The use of color in motion pictures is not just a happy coincidence, but a conscious artistic choice that wafts with concrete meaning through all of the film’s language. Unconscious and primitive in many respects, conscious and sophisticated in many more, the use and choice of color in motion pictures depends on the film- maker’s instinct and intellect the pillars of all great art.

2.3 ABOUT WORKS OF MANI RATNAM

Bhardwaj (2012) has mentioned that, There’s no story. There’s only explanations and explanations remain explanations. People understand these things emotionally, and if something works emotionally it doesn’t have to be mathematically explained.

Ratish (2003) has stated that, If he have to choose a first among equals, it has to be Mani Ratnam, a director whose creations he’ve cherished since 1986.

PTI (2010) has said that, one fine day she was told that Mani Ratnam would like to discuss a role with her and that was it. It was some God send message. she could not believe that Mani Ratnam wanted to work with her. He is an institution in himself and his cinema speaks volumes. She could have just not said no to him and that is how her journey in filmdom began. About the movie Raavanan she said that, Her character Ragini is Mani's perception of this strong willed woman abducted by Veera and the story is about the dynamics between the three characters.

Anita (2000) stating, she admire how he delves into Hindu mythology and creates contemporary renderings of it so that Roja is actually the story of Savitri and Satyavan retold and that the relationship of the brothers in Dhalapathi is in fact drawn from the story of Karna and Arjuna. And she admire how it is that in almost every film he has made, he wrestles with shades