NCERT Solutions For Class 12 English Kailedoscope Non-Fiction Ch-3 Film making summary

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Film making summary: Ingmar Bergman in this essay on Film Making reveals all the pros and cons of film making business. 

He says that he was interested in film making since his childhood. He tries to tell the truth about the human condition, the truth as he sees it. 

He opines that art loses its basic creative drive-the moment, it is separated from worship. 

He states that individual has become today the highest form and the greatest bane of artistic creation. The smallest wound or pain of the ego is examined under a microscope as if it were of eternal importance.


NCERT Solutions For Class 12 English Kailedoscope Non-Fiction Ch-3 Film making summary


Class12th 
Chapter03
Chapter TypeNon-Fiction
Chapter NameFilm making
AuthorIngmar Bergman (1918)
BoardCBSE
Book NCERT
SubjectEnglish Elective  (Kaleidoscope)
Medium English
Study MaterialsVery important question to answer
Download PDFCLICK HERE- Film making summary PDF

film-making summary


It’s an introduction part of Ingmar Bergman’s Four Screen Plays. He discusses here how he views the art of film-making. 

He remembers the days when he used to bask in the sunshine through the gigantic windows. He describes the reflection on sunlight across the picture of Venice hung there. 

NCERT Solutions For Class 12 English Kailedoscope Non Fiction Ch 3 Film making summary

He lived in a vicarage hence, understood the religion at his early age. He got from his grandmother, a film projector with its chimney and lamp. He tells it as the first conjuring set.

As the film in itself is based on fiction, he now understands it a deceit and its influence on spectators merely as evoking their sentiments. 

He tells a hazy but agreeable event unrelated to any particular situation and its stirring is accompanied by vibrations and rhythms which are very special and unique to each film. 

The definite form of theme seems to have enough strength to be made into a film. 

Next step is that of transformation of rhythms, moods, atmosphere, tensions, sequences, tones and scene into words and sentences so as to make from them, an understandable screen play. Then there comes the number or turn of the sensitive substance i.e. dialogue.

The Rhythm of a film-To record the inner structure of a film, a notation to put on paper all the shades and tones of producer’s vision is necessary. 

It often takes a tremendous effort to remember how I originally saw and thought out this or that consequence or what was the relation between the scene of four weeks ago and that of today. 

The author tells that script is a very imperfect technical basis for a film. The written word is read by a conscious act of the will in alliance with the intellect. 

In the process of motion picture making, will and intellect are put aside and it is imagination that takes their place.

Film and Written literature-

(i) Irrational dimension of a literary work is untranslatable into visual terms and it destroys irrational dimension of the film. Writing of the script is a difficult period in which ideas are ligically proved. 

(ii) Team work is necessary while shooting starts because sometimes disputes are arisen. The division of tasks among all fellows joined for shooting need very clear assignment. It is wrong to interpret one’s own work to others. It’s because all people have right to understand a film.

(ii) To generate public attraction in the film is the most essential to take care.

(iv) The film director should peruse the script and shooting manner adopted for a number of films, released earlier. It is done as per public attraction they have created.

Significant Persons-He says that he has learnt a great deal from the world created by his parent for him to revolt against. 

He tells that being sensitive boy, he was given extra care by his parent. Disciplined family taught him efficiency, punctuality and a sense of financial responsibility. 

His professional guide was Torstem Hammaren. The next teacher was Alf Sjoberg who had directed Torment, the film. 

Lorens Marmstedt had taught him film making from scratch. Another person was Herbert Grevenius who taught him how to write the script. The man who taught him sense of responsibility was Carl Anders Dymling, the producer.

The tight rope of film making-If any film goes flop, the film maker has to pay for producer, the bank director or the theatre owners. There are a number of risks involved with film making business-says he. 

He counts them as failure,. criticism and public indifference to the film. A good film maker takes religious emotion only at his intellectual level. He does not take them at his emotional level. 

It’s relationship of mind to intuition – says the essayist or both the film maker and the author. Psychology of the personality by Eiono Kaila tells that man lives strictly according to his needs. Indeed, the needs of the man divert their life.

Cathedral-Building-Film maker, tells his intentions with the films in ambivalance. For public, it is an effort to tell the truth about the human condition, the truth as he sees it while it is skilled management of intellectuals, money. 

man-power, intuition, enterprises etc. When the essayist gives reply to his “me living” not “man alive”. he describes these inputs as master builders, artists, laboureres, clowns, noblemen, priests and burglers. These all people satisfy with keeping themselves anonymous. He understands loss of art when it is separated from worship. 

Presently, art lives its strerile life, generating and degenerating itself. He finally says that the individuals stare into each other’s eyes and yet deny the existence of each-other. 

We walk in circles so limited by our anxieties that we can no longer distinguish between true and false, between the gangster’s when and the purest ideal.

Interview with Umberto Eco-Mukund Padmanabhan-This learned person has written literary fictions, academic texts, essays, children’s books, news papers’ articles on wide ranging subjects/topics. 

This professor at Bologna University in Italy, had ideas like a complex cerebral story that became true, and conspirators were caught. These were ideas on semiotics. 

His “The Name Of The Rose” sold more than ten million copies. During fourteenth century. Italian abbey was set on scientific discourse into a detective yarn. He was, in the line of the world’s foremost intellectuals with more than 30 honorary doctorates and a string of literary and academic awards.


film-making summary In hindi


यह निबंध इंग्मर वर्गमेन का Four Screen Plays का प्रस्तावना है । फिल्म बनाने की कला के बारे में निबंधकार अपना विचार व्यक्त करता है। 

वह उन दिनों की याद करता है जब वह बहुत बड़ी खिड़की से आती हुई धूप तापा करता था वहाँ वेनिस शहर की लटकी हुई तस्वीर के पार धूप में प्रतिबिम्ब का वह वर्णन करता है। 

वह एक पादरी के क्वार्टर में रहता था इसलिए बचपन में ही उसने धर्म को समझा था । नानी से उसे चिमनी और लैम्प सहित एक फिल्म प्रोजेक्टर मिला था। वह इसे पहला जादूई सेट मानता है ।

जैसा कि फिल्म स्वयं कल्पना पर आधारित होती है, वह अब इसे एक धोखा समझता है और इसके प्रभाव को दर्शकों की भावनाओं को उभाड़ने वाला मानता है। 

वह किसी खास परिस्थिति से असम्बद्ध एक अस्पष्ट किन्तु मान्य घटना के बारे में बताता है और उसके आवेश को उन कंपनों और लयों द्वारा अपना लिया जाता है जो प्रत्येक फिल्म के लिए बहुत खास होते हैं। 

निश्चित उद्देश्य पर फिल्म बनाये जाने की पर्याप्त शक्ति मालूम पड़ती है। फिल्म बनाने के लिए कोई निश्चित उद्देश्य का होना आवश्यक है । 

पद पर के समझने योग्य फिल्म निर्माण के लिए अगला कदम है-लयों, मूड, वातावरण, कसाव, क्रम, स्वरों और दृश्यों का शब्दों और वाक्यों में रूपांतरण । उसके बाद भावुक तत्वों (यानि संभावण-वार्तालाप) की बारी आती है 1

फिल्म का लय-फिल्म की कहानी लिखने के लिए प्रोड्यूसर (प्रस्तुतकर्ता) की दृष्टि से सुरो और छवि को कागज पर लिख लेना आवश्यक है । 

लेखक कहता है कि मैंने प्रारंभ में किस प्रकार के परिणाम को देखा और सोचा, चार सप्ताह पहले और आज के दृश्य में क्या अन्तर था, इन सब को याद करने में बहुत प्रयत्न करना पड़ता है । 

वह कहता है कि पांडुलिपि किसी फिल्म का बहुत ही दोषपूर्ण तकनीकी आधार है । लिखित शब्द का बुद्धि और इच्छा के अनुरूप सजग रहकर नियम द्वारा पढ़ा जाता है । गतिमान फिल्म बनाने की प्रक्रिया में इच्छा और बुद्धि को अलग कर दिया जाता है और उनका स्थान कल्पना ले लेती है ।

फिल्म और लिखित साहित्य- 

(i) साहित्यिक रचना के अविवेकपूर्ण अंशों का दृश्य पदों में अनुवाद नहीं किया जा सकता है और वह फिल्म के विवेकपूर्ण भागों को नष्ट कर देता है पांडुलिपि लिखना कठिन समय होता है जिसमें विचारों को तर्कपूर्ण ढंग से प्रभावित किया जाता। है । अपारम्परिक विकास यानि लेखक की प्रवृति की जनता द्वारा प्रशंसा की जाती है ।

(ii) जब शूटिंग शुरू होती है तब दलगत कार्य आवश्यक है क्योंकि कभी-कभी विवाद खड़े हो जाते हैं । शूटिंग में शामिल सभी लोगों के कार्य वितरण में बहुत स्पष्ट दायित्व की जरूरत होती है । अपने कार्य से दूसरों को बाधित करना गलत है । ऐसा इसलिए कि सभी लोगों को फिल्म को समझने का अधिकार होता है। है ।

(iii) फिल्म के प्रति जनता में आकर्षण पैदा करने का ध्यान रखना सर्वाधिक अनिवार्य है ।

(iv) फिल्म-निर्देशक को पहले रिलीज हुए अनेक फिल्मों के शूटिंग के तरीकों और छवि को ध्यानपूर्वक पढ़ना चाहिए ।

महत्वपूर्ण व्यक्ति-लेखक कहता है कि उसके पिता ने उसके लिए जो स्थिति पैदा की थी उस स्थिति का विरोध करने की बहुत जानकारी प्राप्त की है। वह कहता है कि भावुक होने के कारण उस पर पिता द्वारा अतिरिक्त ध्यान दिया जाता था । 

अनुशासित परिवार ने उसे कुशलता समय-पालन और आर्थिक उत्तरदायित्व का अर्थ सिखाया। टॉर्सेन हैमरेन उसके पेशाजन्य मार्गदर्शक थे। दूसरे शिक्षक आल्फ रजोवर्ग थे जिन्होंने ‘टार्मेण्ट’ फिल्म का निर्देशन किया था । 

लॅरिन्स मार्मसेट ने उसे खरोच से फिल्म बनाना सिखाया। एक दूसरे व्यक्ति हर्बर्ट ग्रेविनियस ये जिन्होंने उसे लिपि लिखना सिखाया । जिन्होंने उसे उत्तरदायित्व की भावना का ज्ञान दिया, वे थे प्रस्तुतकर्ता एण्डर्स डिमलिंग ।

फिल्म निर्माण की कठिनाइयाँ-यदि कोई फिल्म नहीं चलती है तब भी फिल्म निर्माता को प्रस्तुतकर्ता, बैंक निदेशक या थियेटर के मालिकों को भुगतान करना पड़ता है । लेखक कहता है कि फिल्म-निर्माण व्यवसाय से जुड़े बहुत से खतरे हैं । 

वह इन्हें असफलता, आलोचना और फिल्म के प्रति जनता की उदासीनता मानता है। एक अच्छा फिल्म निर्माता धार्मिक भावना को केवल अपने बौद्धिक स्तर पर ही ग्रहण करता है । यह मस्तिष्क का अन्तर्ज्ञान का संबंध है ।

ऐसा विचार निबंधकार या फिल्म निर्माता तथा लेखक दोनों का है। इऑनो कैला की पुस्तक U व्यक्तित्व का मनोविज्ञान बताती है कि मनुष्य पूरी तरह अपनी जरूरतों के अनुसार रहता है “विशाल भवन निर्माण-फिल्म निर्माता (लेखक) फिल्म के प्रति अपने उद्देश्य को अस्पष्ट शब्दों में कहता है । 

जनता के लिए यह मानव स्थिति की सच्चाई कढ़ने का एक प्रयत्न है, यह सच्चाई जो वह बुद्धिजीवियों, धन, मानवशक्ति, अन्तर्ज्ञान, साहस आदि को कुशल व्यवस्था के रूप में देखता है । 

जब निबन्धकार ‘मेरा जीना न कि जीवित मनुष्य’ का उत्तर देता है, तो वह यंत्र द्वारा प्राप्त इन शक्तियों का श्रेष्ठ निर्माता, कलाकार, मजदूरी, विदूषक, नेक आदमी, पुजारी तथा नागरिक जिसे संसद भंगने का अधिकार हो के रूप में वर्णन करता है । 

ये सभी लोग अपने आपको गुमनाम रखकर संतुष्ट रहते हैं । जब कला को पूजा से अलग कर दिया जाता है, तब उसकी हानि को लेखक समझता है । 

आज कला अपने को उत्पन्न या नष्ट करते हुए निष्फल जीवन जी रही है । निबन्धकार अन्ततः कहता है कि व्यक्ति एक दूसरे की आँखों को घूरते हैं, फिर भी वे एक-दूसरे के अस्तित्व से इनकार करते हैं । 

हम अपनी चिन्ताओं के इतने सीमित दायरे में विचरण करते हैं कि हम सच और झूठ में, ठगों के समूह और उसके एक सदस्य में भिन्नता नहीं कर सकते अम्बर्टो एको-मुकुन्द पदनामण से साक्षात्कार इस विद्वान व्यक्ति ने साहित्यिक कहानियाँ विद्यालयीय पाठ्यपुस्तक, निबंध, बाल-पुस्तक, जीवंत विषयों पर समाचार पत्रों के लेख लिखे हैं। 

इटली में बोलोग्ना विश्वविद्यालय के इस प्रोफेसर के पास जटिल जासूसी कहानी जैसे विचार थे जो सच हुए और षड्यंत्रकारी पकड़े गये । ये विचार निदान देने वाले थे। उनकी The Name of The Rose’ की एक करोड़ से अधिक प्रतियाँ बिक गयीं । 

चौदहवीं शताब्दी में इटली के इस महामानव को जासूसी ताने-बाने में वैज्ञानिक सम्भाषण में लगाया गया। वे विश्व के सर्वश्रेष्ठ बुद्धिजीवियों की पंक्ति में थे जिन्होंने बीस से भी अधिक डॉक्टरेट की उपाधि और साहित्यिक तथा विद्यालयीय पुरस्कारों की लर लगा दी ।


WORD MEANINGS


Rugged = ऊबड़-खाबड़ Buckling rail over terrain = धीरे-धीरे चलना,

Uppsala = स्वीडन में एक नगर, Waltz = नाचना, Cesticulated = अंग चालन, Vicarage = पुरोहिताश्रम, Devil was an early acquiantance = वासनाओं/ तृष्णाओं का प्राधान्य, Flowered wall of the nursery = बाल मनोवृत्ति, 

Rickety machine = क्षणभंगुर खेल का सामान, Mystifying and fascinating = आल्हाद एवं खुशी, Indignant = क्रोधी, Imposter = ढोंगी, पाखंडी, Yawn with boredom = थककर जंभाई लेना, 

A chance remark = मस्तिष्क में अचानक किसी विचार का आना और चिंतन प्रक्रिया का लंबा चलना, Abounding in fertile association and images मनोरंजन करने वाले विषयों पर = चिन्तन एवं मंथन, 

Primitive nucleus stories = प्रयासों के मूल स्वरूप में लयबद्धता कंपन, Tremulations = कंपन, नाद और लय, Embryonic = अविकसित, आरंभिक अवस्था, Technical knack = संक्रम दक्षता, Rhythm and tempo = स्वर एवं शैली, Squeeze : तत्वों का निष्कर्षण/उद्धृत करना, Recreation and stimulation = नवीनता 

CLASS 12 NCERT SOLUTION IN ENGLISHCLASS12 NCERT SOLUTION IN HINDI
Historyइतिहास
Geography भूगोल
Political science राजनीति विज्ञान
English SubjectResult
Hindi SubjectHistory answer keys

filmmaking questions and answers


Q. 1. What childhood memories does the author recollect that had a bearing on his later involvement with film making? 

Ans. The author recollects the following childhood memories which he thinks, assisted him in large in his film making business or profession

(1) He was born during the period feudalism spread all over the European continent. 

(ii) His father was a priest and settled inside a cathedral where political debates were arranged time to time and the common people were made fool by framing coercive and punitive laws.

(iii) He saw his father abusing and misusing his authority as a priest under the feudal system or three orders system (viz. priest, nobility and common people including serfs and slaves). 

(iv) As his father was busy with deceptive ruling of public in Sweden, his grandmother remained his only care-taker. 

(v) He could understand very early the procedure of funerals, marriages, baptism, preaching and framing and issuing sermons or decrees.

(vi) He could obtain a magic lantern containing film on Red Riding Hood, the wolf and several other. He was just ten years old when he could obtain a rattling film projector. 

Q. 2. What connection does the author draw between film making and conjuring?

Ans. He says that cinematography is based on deception of the human eye therefore, it is analoguous to conjuring. As the conjurer does clever tricks such as making things seem to appear or disappear, as if by magic; a film maker has to sit through twenty seven minutes of complete darkness if a running time of film is that of one hour. 

It’s a deceit and the author is caught in a guilty conscious, because the film does nothing but takes advantage of certain human weakness that finds cathersis in a show of fallacy and deceit.

Q.3. What is the nature of the first impressions that form the basis for a film? 

Ans. The first impressions are to make audience laugh, scream with fright (through fighting scene), smile, believe in fairy stories, become indignant, feel shocked, charmed, deeply moved or yawn with boredom. 

Thus, the first impressions concot a bit of conversation or a chance remark or a hazy but agreeable event unrelated to any particular situation.

Q. 4. Which art form is film-making closest to ? What is the reason for the similarity?

Ans. It’s conjuring art form that is closest to film making. The author states that entire plot is envisioned like pleasant dreams. It’s imagination but full of fertile associations and images. 

He says it a brightly coloured thread sticking out of the dark sack of the unconscious. A complete film emerges when this thread is wound up. It is deception of human eye mostly alike the conjuring business. Therefore, everything here is based on imagination.

Q. 5. Quite often a film made out of a book is not very successful. Discuss. 

Ans. There is a difference between film and literature. It’s because story contains a wide network of human feelings and worldly assumptions, which untranslatable into visual terms. 

Inspite of a cute attention, irrationality peeps into one or other places and the film so made is flopped. Literary sense is tranformed into film terms which requires complicated adjustments and even then, certain lapses are occurred.

Q. 6. What according to Bergman, is the relationship between a film maker and his audience? 

Ans. Relationship between a film maker and his audience: It is stated as follows- (1) The film-maker has to keep in mind, the choices, interest of his audience. 

(ii) He has to bear mutely with the sheer criticism of critics and reviewers. They have every right to find faults and defects in the film because they are part of audience. 

(iii) The film maker understands that a film is made to create reaction from the audience. It is reaction or response from audience that makes the film a valuable asset or value generating device.

Q. 2. What do you understand of the complexity of the little invisible steps that go into the making of a good film?

Ans. Film-making depends on the expertise in imagination of any event, episode, a story or even a bit of conservation. It should perfectly match with the people pulse at a particular point of time or a specific period. 

Any interesting event of current point of time blend with scene of romance, fright, humour thrill and mystery always runs good for show before the audience. 

The author says it can be a few bars of music or a shaft of light across the street. These pieces of imagination appear in the mind of the film maker much alike a dream and these are vanished shortly.

Q. 3. What are some of the risks that film-making involves? 

Ans. These have been particularly addressed as the tightrope of film making. These comprise pay off a bulk amount to the producer and the ank director or the theatre owner in case, the film is flopped down. 

It’s a situation in which the public refers to go see that film. Second risk is that the time, money, talent, initiative and creative ability put at stake while film making is destroyed if ultimately the film meets to a flop. 

The film maker has to hear with sheer criticism and public indifference at each step of film making. 

Q. 4. What misgivings does Bergman have about the contemporary film industry?

Ans. The author says that film industry is going through impase because of loss of team spirit, unity and cooperation among the people involved in film making. 

They do not want to share with the risks and their demand is sky rocketting. Individualism and separatism have thrust roots deep in film-making industry. 

Artistic creation has given back seat while as per author, art loses its basic creativity the moment, it is separated from worship. It has served an umbilical cord and now lives its own sterile life, generating and degenerating itself. In former days, the artist remained unknown and his work was to the glory of god. 


COMPREHENSION


PASSAGE NO. 1

Read the passage carefully and answer the questions that follow-

This little rickety machine was my first conjuring set. And even today I remind myself with childish excitement that I am really a conjurer, since cinematography is based on deception of the human eye.

 I have worked it out that if I see a film which has a running time of one hour, I sit through twenty-seven minutes of complete darkness-the blankness between frames. When I show a film I am guilty of deceit.

 I use an apparatus which is constructed to take advantage of a certain human weakness, an apparatus with which I can sway my audience in a highly emotional manner-make them laugh, scream with fright, smile, believe in fairy stories, become indignant, feel shocked, charmed, deeply moved or perhaps yawn with boredom. 

Thus I am either an impostor or, when the audience is willing to be taken in, a conjurer. I perform conjuring tricks with apparatus so expensive and so wonderful that any entertainer in history would have given anything to have it. 

Questions:

(i) What for the term “conjure” is applied here? 

(ii) How is cinematography based on deception of the human eye? 

(iii) What apparatus does take advantage of a certain human weakness? 

(iv) Why should the film maker think himself as an imposter? 

(v) How is the film maker a conjurer?

Answers: 

(1) It is applied to the rattling film projector which the film maker had used as a toy when he was at his ten years.

(ii) Films show a reel life not the real life hence, it is conjuring and deception or deceit to human senses. 

(iii) It is confusing. Public psychology, moves, traditions are studied and story of a reel life-a deception to human eyes-is exhibited at the screen. 

(iv) The persons engaged in a business that puts its angers on the public luise thereby on their purses; is no doubt an impostury. 

(v) It’s because a conjurer, plays tricks while counting currency or entertaining the people. 


PASSAGE NO. 2

Read the passage carefully and answer the questions that follow- 

These are split second impressions that disappear as quickly as they come, yet leave behind a mood-like pleasant dreams. 

It is a mental state, not an actual story, but one abounding in fertile associations and images, Most of all, it is a brightly coloured thread sticking out of the dark sack of the unconscious. 

If I begin to wind up this thread, and do it carefully, a complete film will emerge. This primitive nucleus strives to achieve definite form, moving in a way that may be lazy and half asleep at first. 

Its stirring is accompanied by vibrations and rhythms which are very special and unique to each film. 

The picture sequences then assume a pattern in accordance with these rhythms, obeying laws born out of and conditioned by my original stimulus. 

Questions:

(i) What are split second impressions?

(ii) What are fertile associations and images? 

(iii) What is coloured thread sticked out of the sack of unconscious?

(iv) What is thread and its winding?

(v) What is primitive nucleus ? 

(vi) What is special and unique to each film?

Answers:

(i) These are a few bars of music unrelated to any particular situation. 

(ii) These are the best ways linking the episodes to the story. Images a set according to the public mood for recreation. 

(iii) Here the film maker tells the difference in reel of movie and that of unconciousness sack within human skull. 

(iv) Thread refers to movie reel while the spool around which the reel winds has been told as reels winding. 

(v) Primitive nucleus is an untrained cognition and recognition of things. 

(vi) These are stirring (tremulation) accompanied by vibrations and rhythms.


PASSAGE NO. 3

Read the passage carefully and answer the questions that follow- 

I have often wished for a kind of notation which would enable me to put on paper all the shades and tones of my vision, to record distinctly the inner structure of a film. 

For when I stand in the artistically devastating atmosphere of the studio, my hands and head full of all the trivial and irritating details that go with motion-picture production, 

it often takes a tremendous effort to remember how I originally saw and thought out this or that sequence, 

or what was the relation between the scene of four weeks ago and that of today. If I could express myself clearly, in explicit symbols, 

then this problem would be almost eliminated and I could work with absolute confidence that whenever I liked I could prove the relationship between the part and the whole and put my finger on the rhythm, the continuity of the film.

Questions:

(i) What is required for recording the inner structure of a film ? 

(ii) Which is required a tremendous effort to remember?

(iii) What does the scene of four weeks ago and that of today refer to? 

(iv) What is the solution to the problem of keeping in mind the trivial and

irritating details?

(v) What is putting one’s finger on the rhythm of the film?

Answers:

(i) It’s a notation or smart symbols easy to keep in mind. 

(ii) Its sequence of pictures, the event, the setting of symmetry etc. 

(iii) It refers to the inter-connection and interlinking of events, pictures etc. in a film.

(iv) It’s an attainment to notation or the symbol keeping. 

(v) It’s apt application of mind in the symmetry and sequence of film while in shooting, dialogue dispatch, music, the tone and other likewise associations.


PASSAGE NO. 4

Read the passage carefully and answer the questions that follow- 

While I cannot let myself be concerned with what people think and say about me personally, I believe that reviewers and critics have every right to interpret my films as they like. 

I refuse to interpret my work to others, and I cannot tell the critic what to think; each person has the right 10 understand a film as he sees it-Either he is attracted or repelled. 

A film is made to create reaction. If the audience does not react one way or another, it is an indifferent work and worthless.

Questions: 

(i) Imagine why does the film maker not like to feel pain or insult when people condemn or praise this films?

(ii) Why does he refuse to interpret his work himself? 

(iii) Do you think public criticism, review and comment on part of people will do any good for a film maker?

(iv) Why does the film maker recognise the right of each individual to understand a film as he sees it? 

Answers: 

(i) It’s because his complete focus is on his work as a film maker. Such an individual attains to equanimous state of mind or equipoise. 

(ii) He knows that such an effort may gear his ego up which will result in slow progress and dismal performance in film making business. 

(iii) Yes, film is enjoyed by the public and it is good opportunity for a film maker to go over and contemplate upon the criticism made by the public time-to- time about style, story, theme, actions etc. 

(iv) It’s because in course of asserting right, every individual will thoroughly persue and understand the reality.


SHORT ANSWER TYPE QUESTIONS


Q.1. What does the film maker wants to tell by referring to the scene 

Ans. He wants to tell that management of atmosphere, the location, the season, time, landscapes, temperature, precipitation, costumes, actors, electricians, camera men, script girl, sound crew and a sharp eye on the events that take place suddenly is necessary for film making business.

Q. 2. What is the very beginning of the film? 

Ans. As per the film maker, a film takes birth from a very vague statement or a bit of conversation. 

It is a spark like that activates the gateway of contemplation, muse, trance and meditation especially within people equipped with clairvoyance and ripple like waves are generated in pons side of the posterior-brain. 

Every moment that ripple which he states here “a lazy but aggreeable event”, the mood in which Sm-tis (for instance, Yajnavalkya Smni, Manusmrti etc.) were composed by our learned and clairvoyant sages and revered hermits. 

Fertile and holistic reflexes and involuntary enzymes secreted in restraint disposition i.e., equananimous (para-sthiti). That soul may be certainly of priest who performs rituals viz. 

Q. 3. What is Embryonic substance referred to here?

Ans. It is a mental state, not an actual story but one abounding in fertile associations and images. 

It’s essence and later on acts of writing script, transformation in dialogues, addition of rhythm, stirring thereto etc. are done. 

Q.4. Why does the author think question on his intention with film, a dangerous question?

Ans. As he understands the film business as deception to human eye or conjuring, this question is considered dangerous because if he so explains to the public; 

it would become hard to promote business and earn for survival of the entire family of deceptive gang extended from script writer to cinema hall. 

If someone asks, he says that he is trying to bring out the facts, he assumes as prima facie. 

Thus, he wants to say that an ambivalence even at public enquiry. a film maker has to resort fallacy or deception to tell his intention always, excellent, benevolent and in support of public and their enclosures known as community, tribe, race, family, congregations and conventions etc. These all being spectators to movie. 

Q. 5. How excellent is an ivory of the film maker, one can see in a sentence-“Today the individual has become the highest form and the greatest base of artistic, creation”-Discuss. 

Ans. This sentence snaps a picture of present society in which intolerance, ego ostentations, ephuria, ebriety, arrogance, pseudoism, over-intellectualism, lasciviousness, voracity like viruses have developed the trail of allen psycho somatic allments. 

Like the author’s magic lantern, there are scene and sometimes, entire film of wolf, the wolf addressed here as Devil without horns but with tail and a gaping red mouth strangely real yet incomprehensible, a picture or wickedness and temptation on the flowered wall of the nursery. 

We can se bouncing wolf up across the flowered wall of the nursery in Nithari case of UP, the urban village of NOIDA flanked by the Capital territory of Delhi. 

Subversive activities are gathering momentum in this gigantic cross of global cultures at the round of globalisation since 1990. 

Q. 6. Why does the film maker adopt an ambivalence while referring to his comments on film making industry? 

Ans. A regular practice and acquaintance with a same work develops the way of thinking in the individual concerned and such long run practices, become habit (culture). 

Habits are formed because of ignorance and in the ack of introspection, review and reminiscence or recollection. The author had of served the ambivalent attitudes in his father, who was a priest in the system, of the three orders or feudalism.

Q.7. How is the novel “The Name Of The Rose” composed by Umberto Eco irrespective of its vigilant eye on theology and medieval history won the public heart?

Ans. It’s scientific and intuitive eye of a commentator in this novel. He in the field of medieval history, plays with ball of metaphysics at the bat of theology. 

It’s his strict surveillance on these two important aspects which had made it so popular as more than 10 million copies were sold. We can see it as all-round development of human personality. 

The medieval history is here like body, metaphysics as intuition and theology as imtellect. 

Detective yarn is the spark of any object or event at the most micro form in all alert and viable para- sympathetics, sympathetic, somatic and psycho-somatic nerves including reflexes through seven plexuses including the giant loop (Kundalini). 

Q. 8. How were the crew members of the film company trying to keep warm in Dalarna ? 

Ans. It’s because Dalarna is a hilly and rugged terrian. It was northern province in Sweden. It was the month of May but mercury had dropped to 30°C and intermittant snowfall was taking place. 

All of them were carrying equipments by turns so as to give race to blood circulation and keep their body somehow warm and tolerant to chilly cold.

Q.9. The little rickety machine was my fist conjuring set. Explain. 

Ans. It was a film projector which he could receive from his parent when he was ten years old. The film maker considers his business as deception to human eyes. 

He therefore, assumes it as defrauding the masses by showing them reel life instead of real life situations.

Q. 10. According to the author, how important is a script to film making? 

Ans. The importance of script for film making are as follows- 

(1) The script is written so skilfully as it should leave behind a mood like pleasant dreams in spectators mind. 

(ii) Script is not an actual story but forms a mental state. The film maker says that it is a brightly coloured thread sticking out of the dark sack of the unconscious.

(iii) The script takes care of rhythms, moods, atmosphere, tensions, sequences, tones and words and sentences. 

(iv) The script is transformed in dialogues. It’s a difficult task-the film maker says. 

(v) Script is prepared in the form of a notation. It bears all the shades and tones of the vision of a writer which he wants to manifest in the film.

(vi) The written word in a general script is read and assimilated by a conscious act of the will, in alliance with intellect.  

(vii) Script is a very imperfect technical basis for a film. 


Faqs


Q. 1. What layers of meaning are found in “The Name Of The Rose”? 

Ans. It is a detective yarn or theme of book discloses the malices hidden in depth within the persons leading in religion: In order to disclose the ailing aspects of religion heads, 

he has first spread a sheet of metaphysics theology and medieval history. When this sheet is duly spread, he would detect the strains and bring out them in an apt manner before the masses.

Q. 2. Why did Eco ask his publisher not to sell the novel rights to Cinema?

Ans. It was because when the script was offered for cinematography and operations were conducted on the same while making it ready for the screen, curtain or deception to human eyes; a number of benevolent portions were pruned out. 

Thus, the novel remained not better than a dead-insect. It looked nice but its body was stinking and viruses communicated to the readers, immature to contemplation but full of exciting nerves.  

Q. 3. How is conjuring similar to film making?

seem to appear or disappear as if any magic. Film making is the similar business in which talent, skill, initiative and creative ability are cut in pieces and rhythms, stirrings and vibrations are filled in the film tube to deceive human eyes. This deception is alike conjuring-says the film maker.



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