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FILM FOR FILMMAKERS - MI4017
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BEING REFERRED TO AS ANIMALS: The Village in the Jungle VS Baddegama
OPPRESSION AMONGST THE SOCIETY
Author (Novel):
The conditions are tough for the villagers to live in as they basically have to put up an animal act to survive. They felt hunger, fear and the need to protect and little thing they have or own which only makes them fight back even if the fight includes a man from a higher position.
For example: Babehami (Ararchchi) didn't like Silindu at all and often times put up a friendly and innocent act to Silindu but actually tried to take over everything Silindu had, for example Hinni Hami being forced to be given up to Fernando, where Babehami was onboard with the plan and to see Silindu's downfall in general.
Director (Film):
The film too, shows the struggles of the villagers' and their daily life and how just one aspect can change their entire fate.
The villagers' despite living through harsh conditions, never gave up and always struggle for what was theirs, even if it sometimes meant fighting like literal animals, cursing at each other and more importantly quarreling like animals just to stay alive.
For example: the villagers often times had disagreements on the littlest of things, such as: resources, land and respect. Due to such circumstances, the characters cursed, fought, inflicted superiority and gradually even resorted to physical violences due to the drastic and harsh circumstances, such as: survival, the villagers’ had to face in their lives.
DISCRIMINATION DUE TO COLONIALISM
Author (Novel):
In the novel, people are frequently regarded as animals by those in power, such as colonial rulers, who regard them as inferior and unequal.
For example: the British and whites lived in the city, such as: Colombo during the time, while the actual locals had to go through all kinds of difficulties inorder to just survive.
Additionally, the author too refers to the characters as fighting like buffalos and many other inhumane words to describe human, only adds to the inferior complex the colonizers have for the locals.
Director (Film):
The film depicts the same cruelty, as well as how the locals treat one another severely. They act this way because they've learnt to regard themselves as less than human, similar to how others, such as the colonizers, treat them.
For example:
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WOMEN: The Village in the Jungle VS Baddegama
PORTRAYAL OF WOMEN
Author (Novel):
Women in the novel are often times portrayed as oppressive and helpless.
For example: Punchi Manika, who suffers from Babun being in prison and just her cruel living conditions in general, while Hinni Hami suffers from an obsessed Fernando, which shows from the misuse of power inorder to purse an unwilling Hinni Hami and eventually leads to Hinni Hami dying.
Director (Film):
While the film shows that the females have more of the depth of emotions, portraying them as stronger and more capable, despite the difficulties that come along their way.
For example: Punchi Manika is the closest example to being emotionally strong. She dealt with many hardships from marriage, society and most importantly Babun’s arrest and Silindu’s mentality. She alone had to bear with her dad after Hinni Hami’s departure. Through all her struggles, she remained strong or atleast tried to for the sake of herself.
CULTURAL BACKGROUND OF WOMEN
Author (Novel):
The village life is shown through a colonial outsider’s perspective in the novel, written by a British author, where the women are victims and are only portrayed for traditional roles such as: cooking, cleaning, baring children and so forth, within a male-dominated community.
For example: Punchi Manika before the marriage worked in the jungle, such as helped her father in hunting and did some errands that the men of the jungle did, however after her marriage to Babun, she had to completely take over the traditional women role and take care of her husband and bare his children.
Director (Film):
The film, directed by a Sri Lankan filmmaker, shows the same portrayal but with more depth. It shows that the women and their roles are complex and also highlights their strengths and struggles throughout the film. The cultural setting remains the same as the novel but with more of a local life understanding and justification.
For example: Karlinahami, despite being Silindu’s sister and not his wife, did a lot for the family although she wasn’t shown her deserved appreciation for it. She practically raised Silindu’s children when he didn’t care for them and when he did turn to gradually care, she still looked after them until they were at an age that didn’t need looking after them. She quietly managed through the household’s hardships and just accepted whatever came infront of her, especially her brother Silindu’s mental detachment from reality most times.
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ACTIVITY: IDENTIFYING SOUNDS
We were asked to identify any and every sounds that was audible from two videos that were shown to us
youtube
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youtube
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FOLEY AND SOUND DESIGN WORKSHOP
We were introduced to different kinds of sounds a scene can have. For example: dialogues, music, ambiance and foley.
Then we were given tips as to what makes a sound design of a high standard.
Sound is 51% of what makes a film, a film.
Diegetic and Non-Diegetic Sound
Diegetic sound is any sound that comes naturally from the world of the video.
For example: it is what a character could hear in their own ears, or referred to as ‘actual sounds.’
Non-diegetic sound is any type of sound that does not specifically exist within the world of the film itself.
For example: what a character cannot hear in the scene, but the audience can as it designed for a more cinematic effect.
Sound Sphere Model
I think: memories, daydreams, mental rehearsal or notes for oneself, internal music
I am: heartbeat,breathing,digestive sounds, flatulence, mouth sounds (chewing,coughing,sneezing, etc.) scratching, clapping, speaking
I touch: footsteps, manipulating tools, utensils, food, contact sports, typing
I see: mouths moving with speech, television, cars passing by, boiling teapot, bat hitting baseball
I know: people talking outside vision, radio music, crickets, birds, wind
I don’t know: sounds that we cannot identify, eg. a „hum" (of air condition, truck, wind) synthesized sounds ...
What is Audio - Tools and Techniques:
Audio is sound that is within the acoustic range of human hearing. It is the audible portion on the spectrum of sound frequencies, distinct from inaudible sounds heard by certain animals or used in science and medicine.
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THE VILLAGE IN THE JUNGLE BY LEONARD WOOLF SUMMARIZED
Chapter 1:
Introduction of the village, in detail.
Baddegama, the village, consisted of a few scattered houses, that were built on materials that merely supported the house, except Babehami, the village headman, had a house that had a roof built by tiles.
The villagers belonged to the goiya caste, the caste of cultivators. Their work was to cultivate rice but that was only done once in every ten years due to rice requiring plenty of water to support the growth of it.
Due to living being such a difficult task for the villagers, they had to burn down a jungle each year for mere survival.
A man resided in Baddegama named Silindu, with his wife Dingihami. They were part of one of the ten families that made up the village. These families were interconnected in one way or another.
Silindu, was the cousin of Babehami’s (the headman’s) wife. Babehami was made the headman of the village as he was the only one in village who could write his own name.
Babehami was a small man and was also called Punchi Arachchi, as years ago when he was a young man, he had gone on a pilgrimage to vihare at Medamahanuwara.
He had fallen ill there and stay back a month or two at the priests’ pansala, when the priest taught him his letters and Babehami learnt enough to know how to write his name.
Silindu was a cultivator like the others and was also called tikkak pissu (slightly mad) by the villagers. He was known to be the laziest man of the village. His actual work was known to be a hunter, where he would hunt and prey on animals sneakily.
Silindu was a light sleeper. When he wasnt in the jungle he would squat all day at his hut and people wouldn’t know if was asleep or awake.
He also feared the jungle, he was laughed at about it but never bothered to deny or confirm the suspicions. In the midst of his fear, in a strange way, he also loved the jungle.
Punchi Manike and Hinnihami: Silindu’s daughters
Silindu beat his wife up and hit her breasts when he visited her right after birth and was informed that he was given twin daughters instead of sons
Dingihami died two days after giving birth
Karlina Hami: Silindu’s sister
Her husband died of fever two months back and a month later she bore a child which lived for two weeks.
Karlina Hami brought the two twin sisters up after Dingihami’s death.
Her hut was abandoned with they were two due to heavy rains
he adjusted to her life and took care of the twins as her own.
he loved working and was drowned in it.
she was great at telling stories were people of the village would gather at silindu’s house to hear them
she would read poems and stories to the kids
silindu ignored his kids existence until they were three years old
One day when when Punchi Menika crawled upto him, he acknowledged the child and went on about narrating a tale.
From there on, his two kids would always go to him to listen to his tales, despite not understanding them, until they were old enough to understand the hardships of the village.
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FEEDBACK SESSION: PROGRESS
Continue with the progress so far, such as: extensive research and getting done watching the film and the reading novel.
Maybe have the historical aspect of the comparative analysis in a video presentation.
Add in pictures, images, quotes or example that would suit points and research during presentation.
Keep the research up with the extra books on colonialism, but do not overpower it with information that it makes comparative analysis stand out less.
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CHARACTER ARCS
A character arc in a work of fiction is the change or growth that a character experiences over the course of the story. This can be a physical, emotional, or psychological change, and it often leads to your character becoming a different person by the end of the story.
A character arc usually follows three steps:
The character is introduced with some flaw or weakness.
The character is challenged in some way, and this challenge forces them to grow and change.
The character returns to his starting point but is now stronger and wiser thanks to the experience he has undergone.
Types of Character Arcs:
Moral Ascending Arc (or Positive Arc): Your character learns a lesson and becomes a better person.
Moral Descending Arc (or Negative Arc): Your character gives into their weaknesses or desires and becomes a worse person.
Transformational Arc: Your character transforms in a major external way, typically by gaining remarkable skills, power, or status.
Flat Arc: Your character doesn’t really change at all. This arc is usually reserved for side characters or for protagonists in specific genres like action-adventure or mystery. Think James Bond or Miss Marple.
Steps of plotting character arcs:
What does my lead character want or need, and why?
What or who is keeping him from what he wants or needs?
What personal flaws and weaknesses emerge during his ordeal, and how do they keep him from his goals?
What inner struggles keep him from achieving his ultimate goal?
What will he do to accomplish his goals?
What heroic qualities emerge during the finale?
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THE VILLAGE IN THE JUNGLE VS BADDEGAMA: AUTHOR VS DIRECTOR
ETHNIC CONTEXT:
Author (Novel):
Leonard Woolf was a British writer who lived in Ceylon during the colonial period.
His narrative portrays an outside perspective and not an in-depth dive into the environment of the colonized past.
His writing reflects a colonial perspective of Ceylon at the time and has more focus on the economic factors and the social conditions.
Director (Film):
Lester James Pieris was a Sri Lankan filmmaker that directed Baddgama.
He brought a local perspective to the film, by showing the viewers the customs and culture of Lanka and more importantly delved deep into the hardships the locals, villagers and the society in general faced during the period of colonization.
FORM AND NARRATIVE APPROACH:
Author (Novel):
Leonard Woolf’s novel published in 1913, is a work of details and descriptions.
Through his writing, he writes elaborative inner thoughts of the characters from the book, while also giving context of the political era of Ceylon and specifically of the village, at the period.
Director (Film):
Lester James Peiris’ film adaptation released in 1980, is a work of visuals and art.
Through his direction, he shows through dialogues, performances and visuals to convey the story, while also shortening unimportant elements for cinema.
THEMES AND MESSAGES:
Author (Novel):
Leonard Woolf’s novel is an evaluation between the power dynamics of the colonizers and the colonized, while also exploring social and economic pressure of the villagers amidst the colonial and also the local control of the village.
The mood of the novel is straight-forward, where the novel’s main is to disclose the tragedic realities of power and how it can influence individuals.
Director (Film):
Lester James Pieris highlights and delves deeper into the emotions of the characters from the original text, with a focus on the relationships they have in context to the village and the novel as a whole, while also keeping the colonial context throughout the adaptation.
While not so masterfully explored in the novel, the film captures the essence and cultural aspects of the villagers and their lifes, that helps add meaning and most importantly making it interesting for cinematic effect.
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LESTER JAMES PIERIS
Lester James Peries was a key figure in Sri Lankan cinema, often considered its founding father. Born in 1919 in Dehiwala, he initially worked as a journalist and short story writer before turning to filmmaking.
His first feature film, Rekava (1956), marked a departure from the popular commercial films of the time, introducing a more realistic portrayal of rural life in Sri Lanka.
Peries focused on telling authentic stories that reflected the social realities of his country. His films were known for their simplicity and emotional depth, often highlighting the everyday lives and struggles of ordinary people.
Some of his most acclaimed films include Gamperaliya (1963), Nidhanaya (1970), and Golu Hadawatha (1968).
Throughout his career, Peries earned recognition both in Sri Lanka and abroad, winning several prestigious awards. Despite international success, he remained dedicated to creating films that spoke to Sri Lankan audiences, often working closely with his wife, Sumitra Peries, who was also a filmmaker.
Lester James Peries passed away in 2018 at the age of 99. His contributions to cinema have left a lasting impact on Sri Lankan culture, and his films continue to be celebrated for their artistic and cultural significance.
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EXTENDED HELPFUL RESEARCH
After Stage 1 Presentations, our lecturer and guest judge asked us to maybe look into more authors that may help with our comparative analysis
I asked the group to choose one of each options and had asked do some research on them.
I picked the topic ‘Orientalism’ and got some research done on it.
Edward W. Said's Orientalism explores how the West (Occident) has historically viewed and represented the East (Orient), including regions like the Middle East and Asia.
Said argues that Orientalism has created a biased and hierarchical relationship, portraying the Orient as exotic and inferior, which has justified Western dominance and intervention.
This concept continues to influence how the West perceives and interacts with these regions.
Chapter 1:
In Chapter 1 of Orientalism, Edward Said introduces the concept of Orientalism, where he defines that the West used to dominate and control the East.
He argues that Orientalism creates a low view of Eastern societies as strange, regressive, and secondary, and by justifying the Wests’ colonial rule.
Said examines how historical individuals, like Cromer and Balfour, relied on this idea to validate their power over Eastern countries.
By the influence of the Western ideologies and regulations toward the East, the chapter sets up an analysis of how Orientalism developed from the 18th to 20th centuries.
Chapter 2:
In Chapter 2 of Orientalism, Edward Said explores how the idea of Orientalism turned into a field of study in the West.
He examines how writers and scholars played a role to a study of the East, reinforcing stereotypes and idealizing Eastern cultures.
Said discusses how this study was twisted with colonial control, as Western scholars often portrayed the East as invariable and still, needing the West to intervene.
The justification and shaping of the West being the dominant side over the East, and how the chapter translates how Orientalism became an philosophical tool that highlighted it.
Chapter 3:
In Chapter 3 of Orientalism, Edward Said discusses how Orientalism became a common feature of Western power play and culture in the 19th and 20th centuries.
The examination of how Orientalist ideas influenced not only studies, but also culture and literature, creating a general view of the East as inferior.
Said argues that these portrayed reinforced Western colonization and justified continued power over societies of the East.
The chapter also explores the existence of Orientalism even as colonialism began to fall, continuing to shape Western mentality toward the East.
LINKS:
https://theconversation.com/orientalism-edward-saids-groundbreaking-book-explained-197429
https://sites.evergreen.edu/politicalshakespeares/wp-content/uploads/sites/33/2014/12/Said_full.pdf
https://www.penguin.com.au/books/orientalism-9780141187426
https://www.middleeasteye.net/opinion/orientalism-edward-said-seminal-book-matters-still-why
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