The Indian art world has a vast foundation and heritage in terms of natural expression of sensuality, lust and sex. Till date, there is a constant quest to creatively highlight the various faces inherent in nature through fine arts such as theatre, cinema and literature. Various flavors of flavor are also preferred for fun. However, in the midst of all these processes, sometimes there are cases of groundnut inside the rice. The latest example of this is the statement of Raj Kundra and Shilpa Shetty and actress Shilpa Shetty. Shilpa says, “My husband has made porn films, not pornographic films. So it’s natural to ask questions about the thin lines between erotica, erotica, and pornography. This problem will start from today TV9 Kannada Digital – Entertainment Story new series. It includes senior journalists, writers and art critics who discuss the possibilities of art, its sensitivity and its implications.
Senior Journalist, Writer,N. s. idol of shridhar He has tried to broadly discuss this issue tied up in a larger canvas called cinema.
Not only in Kannada, but in globally renowned director MR Vitthal. He once went to Paris at the invitation of the Gevert company. There the institution arranged to take him to cultural programs in his honor. He sent Mrs. Lodino Kama as a guide for him. He had arranged to see the French ballet ‘Hamlet’ at the Paris Opera. There was a scene in this ballet where the dancers were completely naked. Vitthal got embarrassed seeing this. But it would not have been a matter of embarrassment for his guru Kamadeva and the women sitting there. Vitthal got up and then left without saying anything. The next day Lodino Kama asked ‘Why don’t you like ballet?’ He asked. “The dancing was good, but I couldn’t see the girls getting completely naked like this,” Vitthal said.
This incident happened in 1948. After 17 years, Vithal directed ‘Miss Leelavathi’ in Kannada. This was because of his Paris experience. Leelavati made a big turn when she was the heroine speaking in a shrunken voice, bowing her head and rolling her eyes. Leelavati defends Nora’s stand on the ‘doll house’ when everyone in the class protests. Hunger, sleep, lust etc are challenging the institution of marriage. Vitthal dissolves Lilavati’s rigidity into a tragic heroine, which she has created with her prosperity. But to the extent of Kannada cinema, Leelavati has given rise to a new take on the concept of erotica.
Early Kannada cinema was largely inspired by Parsi theatre. Here the patriarch and the villain live separately. Pre-Marriage Romance is one of the oldest cinema. Considering the erotic scenarios of 1941’s ‘Vasantasena’, the limits of what was known in the film industry at the time are known. This is a time when the traditional housewives have been spoiled by cinema. It was also necessary to impose such boundaries to draw them. But in the sixties, cinema was becoming more aware of the visual media and many technological advances were made. The fact that the scene can be shown effectively is in reference to the much-awaited erotica. Along with the poetic example it is present in Indian culture, the idea also came that the visual media would be a source of inspiration here. Both catharsis and emotion-stimulating intoxication have been the subject of much debate in global cinema. There has been a lot of talk about sexuality, the thin line between pornography and sexuality. Initially, the censor code stated that it was a crime for a man to hug a woman.
In 1967 there was a strong argument that there should have been a kissing scene. If Jayanti insisted that it was ‘necessary and not wrong’, Bharati had categorically stated, “It should not be allowed.” The debate went on till 1992, when Shakti Sawant was the president and kissing was allowed in Indian cinema. According to Censor Code 41(f), this rule states ‘the kiss must create a tender affection in the audience but not arousal’. But how to do it justice? Deep kissing alone can make moody feel tender, but French kissing can provoke long moody audiences. The simple fact is that when such scenes are made, the audience is there to evoke such sympathy. Erotic masses can no longer support public viewing. This is a private porn movie. The extent to which the media has become so pervasive today is possible to see in private. An internet search can bring everything to your door, right? If it calms down then one should see the condition of the participants in such scenes.
Now, the lead heroine has said that her experience is, “I was thirteen years old when I entered the cinema. The first film was a rape scene. No one told me that such a scene would happen. It took less than an hour and a half to shoot. I cried in excitement for him. The on-screen movement was very short this time. The director proudly said, ‘Why did I shoot for so long?
What pornographic media should look like is relevant to the culture and time period concerned. It is a touching sight to see the close-up of Veerkesari’s song ‘Melusire Savigana’. For many years tenderness in Indian cinema was a touching world! Scene from the movie ‘Honeycomb’. On the first night, Nala-Lori awaits the start of their journey with anxious, anxious, anxious excitement. Here is a song from KRC ‘A woman is ashamed with honey,’ she says as she knows her husband. As the conversation progresses, she innocently asks, “What’s the point of fondling flowers?” He is a newcomer in this matter. The visuals are as subtle as the lyrics. Here, both the Sarsa and Virsa models have been created using the shadow-light combination efficiently.
The song “Bare bare chanda” from the movie ‘Nagra Snake’ has the allegory of ‘Sundar Ladki Sharmeel Hai’. Chittiyababu, who was the film’s photographer, wanted to slowly bring the metaphor to life by showing the shy stage. But Aarti has not given such an expression yet. Poonam did not console herself from the shot, you can still watch the song. The camera is in Vishnuvardhana’s pocket when this metaphor is revealed. Some other photographer must have forgotten it. But Chitta Babu was not looking for such a situation. Such an expression was sought by Lakshmi, who was already known as the girl in the song ‘Nanase Huwe’ from the film ‘Na Ninna Nihil’. Chitti Babu was then shooting at 16 aperture. Two reflectors were installed in front. Their goal is to make the expression clear. Lakshmi got annoyed at this situation and she said, ‘Hot air is in one ear and the bertha is out of the other. Reflectors are calling the eye for credit. How can such a shameful status be given?”
But Chitta Babu got such a feeling from the stubborn Lakshmi. But the light was so bright that it made the screen blurry. Chittiyababu was still not disappointed. Ready for another chance. He got such an opportunity in the film ‘Chandana Doll’. Anant Nag’s role in the film was so small that director Dhore-Bhagwan intended to bring songs for him. Anantnag also sings in the song titled ‘Rambha from the Sky’ and gets an opportunity to capture Lakshmi’s expressions. Now Chittiyababu again handed it over to Lakshmi. Now his efforts were not in vain. ‘Pretty girl is shy’. These are all examples of how sexuality was tried on screen in the past.
But there were also experiments with imagery. It got its place through the film ‘Anubhav’. The success of the film gave rise to such distorted films in Kannada. Kashinath gave many such pictures. Ravichandran is the road between Erotica and Erotica. It started with the film ‘Premlok’. He did several experiments on the edge of the image, using heroines in attractive postures. Scenes of milk and honey being poured on the stomach are common. This set another precedent for Kannada cinema. The song “Three Dwarf Horses” from the movie ‘Anjadha Male’ has a longstanding idea of women turning to perversion. Subsequently, all the nuances disappeared, and more emphasis was placed on distortion. Close-ups don’t happen even in romantic situations. Because there is no room for expression. Insatiable thirst can also be seen in the eyes of lovers. All this is a result of the modern attitude that the women have given up as the object of the show.
Another aspect that can be called cinema is the rape scene. Vajramuni, who has worked in many rape scenes, said, ‘Rape scene. The girl had to remove the area where the rock was protruding, the sari had to be draped, the choli to be flushed, and the scene was repeated over and over again for various reasons. The actress must have been in a lot of pain while filming this, gave my back a shot as soon as filming was over. She started crying out loud as if it was some kind of violence. I was crying
Such scenes were not meant to be depicted figuratively, but that was not the case for the filmmakers. For them, it is a one-sided marketing strategy. Senior director Siddalingaiah said, “The footage of the rape should be in the mind of the audience and not as a provocation. Want more villain than Shakuni? But is he screaming at all?
P. Lankesh, who stirred controversy with his film ‘Sex and Meet’, said: ‘Sex position is important in life, but it requires skill, meaning or risk of repulsion.’ The song in the film ‘Anta’ has been shot with love. Jayamala who acted as the heroine. Seeing the nature of the song, he hesitated to act. Choreographer Udupi Jayaram said, “Don’t worry. Even if they did. It specifies the options in the displayed mode.
In Hollywood and many European films, sexual arousal continued until the 1970s. The number of blue films has changed almost dramatically since the 1970s. Adult Theater for Porn Movies Launched By the 1990s, the flood had subsided significantly. Sex is no longer an attractive factor in the cinema of these countries. The market for porn movies has also shrunk significantly. Instead, the market was formed in India. From the very beginning there were sex magazines that the society read and stole. After 2000, as the Internet grew, porn piracy took off and took off. According to both Indian Penal Code 293 and Indian IT Act 67(f), making, distributing and watching pornographic films is an offense, but it still continues. Today globally, India has provided a huge market for porn movies. Its shadow has fallen on Indian cinema and its imitation is also seen in Kannada cinema.
Once upon a time, it was the middle class that gave Kannada cinema a huge audience. Now the nature of the middle class has changed. It is away from Kannada cinema for several reasons. Keep an eye out for the middle class audience as there were sometimes gentle erotic scenes. Now cinema has taken a way of diverting attention from the idea that the middle class is somewhere far away. The Supreme Court itself has asked the government how to stop it. The responsibility of answering this lies with all of us, not just the government.
Read also: ‘My husband is innocent; obscene not made porn’; Shilpa Shetty bats for Raj Kundra