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Title:
Volume 13 - Issue 3
Date:
1960
Table of contents:
- p. 2-3: Anand, Mulk Raj, Short Films of India [Editorial] | In order to intensify the use of films as a medium of instruction for the people, Marg feels the need to heighten the consciousness of our intelligentsia about the achievements of the short or documentary films of India. The medium, as well as the many approaches of film-makers, have added new dimensions to the appreciation of the arts, socio-political issues, and the deeper issues of human life. The articles in this special issue of Marg show that the producers of documentaries are aware of the country's problems; however, there is a need to express human realities more than individual glory or commercialism.
- p. 4-8: Bhavnani, Mohan, The Background of the Short Film in India and Future of Documentary | After 30 years of evolution since the coining of the term by John Grierson in 1926, documentary films now represent a medium for social analysis. The early Indian short films of the 1930s were not produced with the object of national propaganda, and it was only the Information Films of India, a Government organization set up by the British in 1941, that promoted film-making and its role as a powerful medium. The Films Division of the Government of India, with this writer as its Chief Producer, produced about 250 documentaries between 1948 and 1955 on social issues, industry and handicrafts, civic sense, and hygiene. Sometimes, in order to override the problems of making documentaries, the producer compromises by glamorizing the films, which goes against the idea of the pure documentary. India today needs inspirational films with emphasis on the individual's role in nation-building. The government should also ensure that these films are shown in theatres, and that more short films are made by curtailing the length of the feature films. India also needs to take advantage of the 16mm equipment, which further enhances the scope of the medium.
- p. 9-13: Jag Mohan, Panorama of the Private Sector of Indian Short Film Industry | The writer, associated with the private sector of the Indian short film industry between 1940-60, scans the landmark achievements of the sector from circa 1900 onwards.
- p. 14-15: Garga, B.D., Problems: A Critical Survey | Documentary films have been successful in India primarily through the efforts of the Films Division. However, prior to its inception, the history of documentaries in India is barren, mainly because of the dominance of feature films in theatres and indifference of commercial film producers towards short films. The Film Advisory Board (later Information Films of India), set up by the government in 1940, produced some short films of merit, but it closed down at the end of World War II. The early films of the Films Division set up in 1947 were scrappy and conventional, and lacked documentary sense. Apart from its work under Jean Bhownagry and Ezra Mir, the bulk of the Films Division's work lacks dynamism, either in technique or treatment.
- p. 16-18: Sethna, Homi, The Problem Facing the Independent Documentary Producer in India To-day | The article analyses the problematic conditions under which independent documentary producers work, and suggests solutions. The major problem is inadequate sponsorship -- both governmental and non-governmental. The situation can be improved if the Films Division contracts out at least 60 to 70 films a year to independent producers, and encourages the production of educational films by different ministries; if the Ministry of Information and Broadcasting earmarks a sum to cover the cost of at least 25 to 30 films annually; and if the "short film" is recognized as an integral part of film exhibition. The other major poblem, besides sponsorship, is the distribution and exhibition of documentaries and short films.
- p. 19: Rao, Bhaskar, Is there an Indian Documentary? | Indian documentaries need to evolve a presentation style of their own by utilizing the language of imagery -- symbolism, pictorial similies, and other figures of speech; spontaneous humour to provide the essential diversion from dry factual details; and subjects of human interest.
- p. 20-26: Seton, Marie, Pursuit for Reality: The Development of Documentary Films | The documentary film, an outcome of World War I and the experiments in film after the war, matured and expanded in the period following World War II. In the 1920s, there were two lines of development: the "Romantic tradition" (as called by Paul Rotha, critic and film-maker), in which the work of the Irish-American Robert Flaherty predominates through his depiction of man's struggle against nature ("Nanook of the North", on the daily life of an Eskimo family; "Moana"; "Tabu"), and the newsreel tradition which stemmed from Dziga Vertov's experiments in Russia and was later expressed by Albert Cavalcanti in France and Walther Ruttman in Germany through their films on city life in Paris and Berlin respectively. The Russian film-makers basically concentrated on educational and propagandist themes. The advent of sound coincided with the foundation of systematic documentary production in England, as in John Grierson's "Drifters". Between 1930-60, a vast number of documentaries were made, stemming from the British pioneer work. Today, there are two major trends in documentaries: the use of reality in a factual manner, and the more imaginative films.
- p. 27-41: The Tradition of Great Documentaries -- Indian Images | A Portfolio of scenes from Indian documentaries on culture, village life, personalities, nature, and civic sense.
- p. 42-43: Zils, Paul, The Documentary Film in India and Europe | The documentary film was created in England in the early 1920s, and it later spread to other European countries. Several versions developed: the films in France tend towards experimentation, while those in Germany stick to the rigid form established during the classical film era of the early 1930s. The documentary films are not self-supportive, and the movement survives because of governmental support and incentives, and this is most evident in Germany. Indian documentaries evolved from the British school, and are more "human" than the German, and more tangible and down-to-earth than the French films. Their production and distribution are controlled by government agencies, and this has its disadvantages: it eliminates competition, a key factor for advancement and quality. However, since their entry in film festivals in 1950, Indian documentary films have come to the notice of European audiences and film experts.
- p. 44-45: Khandpur, K.L., The Technique of Documentary Making in India: Approach to Factual Films | The fundamental principles and requirements for the production of documentary films of different genres are: assimilation of the subject; a personalized approach appealing to the audience's emotions rather than intellect; conceptualizing ideas in terms of images; carefully worked out script, music, and sound effects; keeping commentaries subservient to the visuals; and an optimum length, as required for effective presentation of the subject. In the making of newsreels, advertising films, and films on specific subjects for a non-theatrical audience, some additional principles are to be observed: a newsreel should be an objective record of events; advertising films should have a novel presentation; and non-theatrical films should be made in consonance with the needs and psychology of their specific audience.
- p. 46-48: Berkeley Hill, Sam, The Technique of Documentary Making in India: Whither Commentary? | Delineates the role of the commentary in a documentary film, and sets down the parameters for a good and effective commentary, with examples of different versions.
- p. 49-51: Wood, Evelyn, The Technique of Documentary Making in India: Prototyping Movies | There is need for an organization for the distribution and presentation of films, and a distinction should be made between films made for village and city audiences. The interference by Union Ministry officials must stop, as the Films Division and other movie teams are aware of the principles of producing films for rural audiences. Short films which are informative and instructional must be adapted to regional needs by utilizing the concept of prototyping, which requires each central prototype to be sent to the regional movie-making team, where it is adapted by further editing or additions to suit regional needs. Short films are of various forms, but they must first be made for school children and village adults. The article includes a chart which lists photographic and mechanical components for making and projecting films of all types.
- p. 51-53: Pathy, P.V., The Technique of Documentary Making in India: Research and Script Writing on Short Films | There are many ways of expressing a film through its script. As a guide to the film-maker, the script should contain lucid, vivid, and accurate description of details expected in the film. Accurate details may be collected through a survey of the locations relating to the subject, or through published literature. The needs of a script are specific to the type of short film envisaged: class-room, specialized (scientific, training, and technical), animated, or publicity film.
- p. 54: Shirali, Vishnudas, The Technique of Documentary Making in India: Music in Short Films | Music in short films or documentaries is a new concept, which takes into consideration the music composer or director, who has to create his own standard; a proper planning, based on the script; the subject of music used; the process of composing the music; and the assembling of the picture according to the music.
- p. 55-56: Pillay, P.R.S., The Technique of Documentary Making in India: All This and More -- For the sake of an Urge... | The writer describes certain dramatic incidents in course of his film-making years.
- p. 57: Field, Mary, The Technique of Documentary Making in India: Short Films for Children | The enquiry into the response of children to film programmes, conducted by the Carnegie United Kingdom Trust in 1951, shows that a child's response varies with background, and should not be generalized. The 25 national programmes of the International Centre of Films for Children (to which the Indian National Centre is affiliated) show that short films -- cartoons, puppet films -- are more suited to children under 7 years. A children's film must be clear, logical, and well-made, with the story implicit in the pictures.
- p. 58-59: Dutt, Gopal, The Technique of Documentary Making in India: Production and Use of Classroom Films | The classroom film is a powerful teaching aid, and should be highly specialized and cater to particular groups. Films on certain subjects may be drawn from the stock of classroom films made in other countries. In spite of insufficient facilities, equipment, and trained personnel, a beginning has been made by the National Board for Audio-Visual Education, set up under the Ministry of Education, Government of India. The production of such films involves finalization of subjects by the Films Division, guidance of an expert, preparation of the script with the approval of the Ministry of Education, shooting, and editing of the film.
- p. 60-61: Saraiya, G.H., The Technique of Documentary Making in India: On Animation | The animated technique, used in cartoon and puppet films, is important because of the wide range of ideas -- real or imaginary -- that they can cover. The material for animated films are borrowed from mythology and folklore, or developed within the cartoon units. There are obstacles in the way of making animated films, and more research and experiments are necessary. However, they have a bright future in the field of advertisement and publicity, and also have a place in feature films.
- p. 62-63: Marshall, C.W., The Technique of Documentary Making in India: The Challenge of the 16mm Sound Film | In spite of the importance of and interest in, the sound motion picture film, there is a deplorable shortage of 16mm projectors. Besides, the multiple-language versions of films involve high costs. The widespread use of films depends on the availability of projection equipment, an adequate supply of useful films, and ready availablity of films from a nearby source. To overcome budgetary limitations, the National Film Board of Canada has resorted to extended loan deposits and circulating block deposits.
- p. 64: Krishnamurti, S., The Technique of Documentary Making in India: Problems Peculiar to India for the Distribution of Documentary Films and Newsreels | The playing time available for documentaries and newsreels in theatres can be increased by either making the feature films shorter, or having separate theatres to screen these short films. The Integrated Publicity Programme has been created by the Government of India to educate the semi-urban and rural masses by means of mobile van units screening instructional and educative films. Further enlargement and development of the exhibition field, by government or private enterprise, will attract more talented producers, particularly in the category of classroom and information films.
- p. 65-70: What is a Good Documentary Film ? | Comments by documentary film-makers Ezra Mir, John Grierson, James Beveridge, Akira Ivasaki, John Heyer, Richard Griffiths, Paul Zils, Jean Bhownagary, Herbert Marshall, and Paul Rotha.
- p. 71-74: Jag Mohan, Pyare Shivpuri, A Digest of Distinguished Indian Documentary Films (1946-1960) | Chronological list of the films, detailing the names of the producer and director, a brief synopsis, and distinctions won by each film