By Rajathi Salma, Kim Longinotto
During this publication the Indian poet Salma and filmmaker Kim Longinotto come jointly to painting Salma’s remarkable existence and the demanding situations of taking pictures it in a documentary film.
When Salma, a tender Muslim lady turning out to be up in a South Indian village, was once thirteen years outdated, her family members close her away for 8 years, forbidding her to check and forcing her into marriage. After her marriage ceremony her husband insisted she remain interior. Salma used to be not able to enterprise open air for almost and a part a long time. in the course of that point, phrases grew to become her salvation. She all started covertly composing poems on scraps of paper, and, via an complicated approach, smuggled them to the surface world.
The poems, a lot of that are incorporated right here, describe the hardships Salma and numerous ladies like her undergo of their secluded lives. ultimately they reached a neighborhood writer who revealed them. opposed to all odds, and in an instantaneous problem to the stultifying traditions of her village, Salma has long gone directly to develop into a well known Tamil poet and influential human rights activist.
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Extra resources for Salma: Filming a Poet in Her Village
Sample text
2. 3. 4. 5. 6. Graphic conflict Conflict between planes Conflict between volumes Spatial conflict Conflict in lighting. , etc. : Here they are characterised by their principal feature, by their dominant. It is obvious that they occur mainly as complexes, grouped together. B. The graphic case. It applies also to all other cases. The extent to which the conflict concept extends in the treatment of film form is illustrated by the following further examples: 7. Conflict between matter and shot (achieved by spatial distortion using camera angle).
The bull standing. It twitches and falls. Close-up. Convulsions of the hind legs. A hoof kicks into the blood. Rifles. Semi-close-up. People get up. Wounded. Imploring hands raised towards the camera. Butcher with blood-stained rope approaches the camera. Hands. The butcher approaches, etc. This principle was subsequently also used by Pudovkin in The End of St Petersburg (1927) when he intercut shots of stock exchange and battlefield. And, in The Mother (1926), the ice breaking and the workers’ demonstration.
Here they are characterised by their principal feature, by their dominant. It is obvious that they occur mainly as complexes, grouped together. B. The graphic case. It applies also to all other cases. The extent to which the conflict concept extends in the treatment of film form is illustrated by the following further examples: 7. Conflict between matter and shot (achieved by spatial distortion using camera angle). 8. Conflict between matter and its spatiality (achieved by optical distortion using the lens).