Media Watch

Volume 4 EDITORIAL
SONY JALARAJAN RAJ

Number 3

ISSN 0976 0911

September 2013

Crowd to the cloud lessons ofteaching and learning media, Coursera.orgto Poynter.org innovations in media education, Universalization ofmedia education a reality now! ARTICLES
269 A FULYA SEN

Critical Media Literacy in Media Education: A Debate on the Contribution to Democracy

278 ANURADHA MISHRA GAUR

Media Education in India and United Kingdom: A Comparative Study

285 NIDHI SHENDURNlKAR TERE & ARCHANA CHANUVAI NARAHARI

Exploring Interdisciplinarity in Indian Media Education and Research: An Analysis

300 VEMULAKONDA SAl SRINIVAS

De-Westernizing Media and Communication Education in India

315 ROHINI S. KUMAR

Small Screen in the Indian Subcontinent: A Study on Five Decades of Doordarshan

332 SUSAN R MASSEY

Text to Memory: A Study on Comprehension and Oral Reading Fluency

348 HAMID ABDOLLAHYAN & NILOOFAR HOOMAN

Resistive Reading ofAnti-Islam Movies by Educated Arnerican Audience: An Analysis

364 JONGSUNG KIM

Relationship between Facebook Usage and Self-Efficacy among Collegiate Athletes

375 BARRY NNAANE

Public Perception and Role ofMass Media in Fight against Corruption in Nigeria
391 NITHIN KALORTH

Identification and Analysis ofImages in Anjathey

 Media Watch 4 (3) 391-400, 2013 ISSN 0976-0911 e-ISSN 2249-8818

Identification and Analysis of Images in Anjathey

NITHIN KALORTH
Mahatma Gandhi University, India The Tamil cinema has undergone a cycle ofchangesfrom storytelling to production technology and marketing strategies. This article finds out the film language and grammar ofmovie Anjathey directed by Mysskin. 36 images/shots were selected from the movie and they have been analyzed on the basis offilm language, narrative aspects ofthe story cinematography, sound, and editing. Attempts have been made to understand the use ofvisual language and grammar to express the story by the use ofmise-en-scene.

Keywords: Tamil cinema, new wave cinema, image analysis, film language, film narrative Storytelling is a familiar and ubiquitous part of everyday life; a form of communication and shared experience since antiquity (Roussou, 2001). Most of the movies are based on real events or it often can be related to the events which have reference to reality. Stories are structured in different ways. The way of storytelling and sequencing is planned in a way that it suggests what the story means to the outer world. Most narratives are structured as opening and an ending style. In between these two stages there are often a contradiction, mystery, or conflict to be resolved. The use offibn language ofshowing these contradictions, mystery or any narrative elements lies with the director ofthe film. It is the visual elements that process and support narrative with respect of any other film fundamentals. The importance of frames in the film language is essential to understand before going to analyze the images. Framing decides where an image should begin and end. Wilson (2011) notes the frame as vital to the meaning of an image as composition. Wilson adds that whole variety of camera angles which can be selected to frame a shot and often what is left out is as important as what is included and deduce the meaning of the relationship between the camera and subject. Separating an subject contained by the frame can make them seem beside the point and lonely. Likewise there is much other conduct to deliver film language. The film language should incorporate with the narrative structure of film for extracting an actual story to the audience. Lacey (2000) describes that story as narrative in chronological order, the abstract order of events as they follow each other. The unusality of frames seeks much attention to understand. Correspondence to: NithinKalorth, Research Scholar, School of Social Sciences, Mahatma Gandhi University, Pularikunnu, Kottayam-686 041, Kerala, India. E-mail: nithinkalorth@gmail.com.Allrights reserved with Media Watch. Forpennission and reprint, please mail to:mediawatchjournal@gmail.com

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Identification and Analysis ofhnages: N Kalorth The Tamil film Anjathey had a parallel script approach which made a path breaking trend in Tamil cinema. The composition offrames, selection of shots and its counter meaning in narration of Anjathey were explained splendidly by director Mysskin. This paper investigated thirty-six selected images from the to establish the uniqueness of various film languages. While analyzing Anjathey, it is significant to look at new emerging generation of Tamil cinema. Tamil cinemas are popular in its aesthetic and cultural values from the early years ofIndian fihn making. Fihn critics ofmainstream and online media noted the arrival of a new wave in Tamil and gave siguificance to the directors. Young Tamil directors are defying tried-and-tested formulas offilm making to tell stories the way they need to be told. And what's more, they're making money at the box office too. Serious Tamil movie enthusiasts are touting this trend as the re-emergence of' good cinema', and the directors as the rightful heirs of legendary filmmakers like Balu Mahendra, K Balachander, Mahendran and Bharatiraja. As one put it, there have been efforts to make good movies in the recent past, but not so many of them simultaneously (Mohan, 2009). The Tamil new wave cinema is also characterized by style, personal financing, a minimum song soundtrack (with songs in the background rather than lip synched and danced to a shorter running time, no parallel comedy track the comedy arises instead from within the plot) and themes that are sharply observed, tough-minded explorations of rural life and life on the mean streets. The characters here are rooted in family, culture and tradition but are forced to break with everything because of their personal choices - usually love or ambition. It is difficult to pinpoint the exact moment when this fihn revolution in contemporary Tamil cinema started, but can two fihns as possibly having inspired and kick started this new wave: Autograph and Kaadhal. Both films were artistically made, entertaining, and - most crucially - huge box office hits. It must have startled the Kodambakkam industry to see two intimate love stories with no stars winning such a huge audience (Pradeep, 2009). Sebastian (2008) observes that the siguificance of new wave is not only visible in Tamil cinema alone. Their influence is being felt through the rest ofIndian cinema, signalling to filmmakers that our formulaic movies can be reinvented. Already paralleling the Tamil revolution is a new kind of Hindi movies, evidenced by the multiplex movie. Except their themes are urban, looking at sex, adultery, relationships, work pressure, crime and everything else that contemporary living throws up. If Tamil movies depend too much on a rustic milieu, Hindi movies lean too much on the urban. Both cinemas need to cross over (Pradeep Sebastian, 2008). Examples are Radhika MMS, Love Sex and Dokha, Dev D, Rock star, Ishkiya, Deily Belli etc.. Anjathey is also such a kind movie which has multiple genres. It has family drama, social context and romance and that story is complex to narrate (Sivkumar, 2008). are mostly oflow budget. The technical perfection is very high and the adaptation offilm making style from word cinema is used in Tamil. These also help to change offilm language. Use of body languages, natural observable fact as cue for fihn meaning delivery is used. The examples can see in following text which came in Anjathey. Love and violence are the major background of all Tamil movies for a long run oftime. It can visible in new wave too. But the divergence is in the treatment and style adopted here from former.

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In this paper, the author has identified the images which are useful to study the style which used by director Mysskin. The film deals about the behaviours and attitudes of characters in various phases oflife. To illustrate resemblance and disparity of events shots Mysskin and Anj athey The movie Anjathey released after Mysskin directing his first venture Chitram Pesudathi. The post Anjathey made Mysskin more mature. The film techniques used in this film are discussed by many critics in a positive way. The film stars Narain, Ajmal, Prassana, Vijayalakshmi, M S Bhaskar, Livingston, Pandirajan in lead roles. The fihn also gifted actor Narain a new stand in Kollywood. Mass media and critics described his performance as a challenging one. The Moviebuzz at sify.com described as Narain's acid test (Moviebuzz, 2008) and eventually he succeeds the test. It is also given praise to Mysskin which made mass media to compare with world cinema directors like Kurosowa. The website Kollywoodtoday.com described him as Akira Kurosawa ofKodambakkam. Rinku Gupta of Times ofIndia mentioned him as a Samurai. (Gupta, 2008). Director Mysskin is kuown for his aggressive approach of screen writing and reason of his aggression was due to the milieu of society and attitudes of film field in Tamil Nadu. In an interview with Gupta, Mysskin tells that "I am very happy today. After Chithiram 5, I wrote the script of Nandalala6 but found no takers. In sheer anger, I wrote Anjaathe in 37 days. Anjathey crafted me and prepared me for Nandalala. I discovered my visual side. Ibelieves every film should be a battle. Every director should feel he is a Samurai, in a battle oflife and death. There is no looking back. He has to give his best" (Gupta, 2008). The genre of Anjathey is not a conventional action thriller. It has a main plot on friendship, crime and family drama. This is the main reason of the film which made an outstanding. Anjathey was a commercial success for which Mysskin received great compliment for his clutch over his expertise. The meaning of the title Anjathey is Do not fear and it signifies corning of age genre too. Holquist (1986) states that context plays an important role in shaping genres (p234). The context ofAnjathey is laid in parallel. It is about the growth and decline offriendship and activities offemale trafficking and reaction ofbody of cops towards it. When both story lines meet up the conflict of Anjathey starts. The protagonist Sathya (a rowdy turned to the police) is handled by Narain while AjmalArneer gets into shoes ofKirubha (fail to get selections in police and become drunken). The main contrast can see from these two characters. Actress Vijayalakshmi handles the role ofUttara, sister of Kiruba who admires and loves Sathyavan aka Sathya even when he leads his life in dark shades. M S Bhaskar and Livingston are senior artists in Tamil film industry who does characters of the fathers of both Sathya and Kripa Shankar aka Kripa respectively. Prassana and Pandirajan are main antagonists in film making role ofDaya and Loganathan aka Logu who are indulged in female trafficking and former is expelled from para- military for raping daughter of his senior officer. It is to be noted that both actors are known for their comic and romantic acting in earlier films. The other characters ofthe film are many from drama and unpopular in the main stream. The notable performance from 393

Identification and Analysis ofhnages: N Kalorth Bomb Ramesh as Kuruvi friend of Sathya and Kripa is well executed. In real, he was a stunt master who lost his hand during a bomb blast scene of a fibn shoot. The characters are very realistic and it apts the narration. The plot of the Anjathey has twist and turns and film consists of narrative form . Narrative can be defined as "a chain of events in cause-effect relationships occurring in time and space" (Bordwell & Thomson, 1997). Agood narrative allows for the suspension of disbelief, presents believable characters that we can relate to or hate and provides engaging storylines. Chatman, in his book "Story and Discourse" (1978), explains what are the necessary components of narrative. Chatman offers story and the way the story is communicated as two elements of narration (1978). Anjathey is fibn about two friends who separates tum of events. Sathya and Kiruba bought up at police colony neighbourhood. The story offibn revolved around their friendship and how circumstances make people to do their virtue. Film review website sify.com highly reccomonds Anjathey by noting it as urnnissable, sparkling, fresh and innovative film from Mysskin (2008). The images selected here for analysis are chosen on the basis of the language expressed which are subjective and for showing contrasting events in the fibn. The film making intension and narrating complexity of Mysskin in Anjathey can be understood by analysing the images. The images of study are given after the bibliography for reference. Images to study the style of Film language There are various elements that combine to make a fibn which are cinematography, sound, mise-en-scene, and editing. The films tell stories in moving images, they are visual texts with their own set of rules and conventions that we have learned to read. Everything that we see in a film has been chosen to construct a story with a particular meaning with which we will interact. Cinematography includes framing of the shot and the angle of the camera. Every aspect ofcinematography holds particular connotations and these connotations make meanings for audiences and are important in the way a film tells a story. Mise-enscene gives an idea what is in the scene and shot. It includes movements, actions and gestures, facial expressions, costume, properties, location and color. Sound can be of a dialogue, music, sound effects and these sounds can be on screen or off screen. In the film Anjathey also we can see use of film language by effective employ of these three elements. There are thirty six images that studied here. The movie name gives
meaning "Do not fear".

Structuralist film theory A stucturalist film theory which rests its roots in structuralism, which put light over the idea how the presentation of codes and convections provide meaning of the fibn. In his book Structural Film Anthology, Peter Gidal (1976) states that the fibn produces certain relations between segments, between what the camera is aimed at and the way that 'image' is presented. The dialectic ofthe fibn is established in that space oftension between materialist flatness, grain, light, movement, and the supposed reality that is represented. Consequently a continual attempt to destroy the illusion is necessary. Presenting reality is part of the new 394

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wave movement. We witnessed it from the French new wave movement which made film with real incidents and surroundings. Tamil popular cinema is highly connected with dramatic theme. Most of directors add unreal elements into the cinema. Opening and concluding images The title and opening credits of the movie are shown in the background of the city where the film is happening. In these shots the early morning of the city is shown, thus it means as starting. It is calm yet gives a mood oftension with the theme music. As the movie goes on the frames also get tensed and the film end with a clam, green and peaceful farming field to signify a new and fresh beginning. After a lot of bloodshed and screen especially towards the climax ofmovie audience get a relief ofpeace with that shot. Both the opening and closing shot are extreme wide shot (See Figure 1 and Figure 2). Character growth of Sathya and Kripa The film's main story line deals with the growth of the main two characters Sathya (Narain) and Kripa (Ajmal Arneer). The two character's attitudes and image have changed in starting and end of the film. Rest of all other characters in the fibn are constant while comparing to Sathya and Kripa. In Figure 3, we can see a worm's eye view camera angle of Kripa who is doing body exercise early morning. This shot shows when local rowdies threaten and beat him for occupying practicing place of gang head. Kripa's hard work, dedication to his dream and his attitude for peace is being shown with this image/shot. On the other hand Sathya heads with gang head and beat him as revenge for harassing Kripa. Sathya is outspoken, lazy and a man with no aims in life. He always with his friends spends most oftime in local bar drinking and making useless fights. The Figure 4 shows the Sathya and friends sitting in a bar where Kripa comes to gift him a ring as his birthday gift. Kripa never visits a bar and everyone becomes surprise when he enters the bar. This image is composed with suggestions of friends and Kripa in medium shot. Both Sathya and Kripa have humane and moral values in their behavior even though their life was crossing through the roads of darkness. This figure 5 and figure 6 are examples for showing this behavior. In figure 5 during a temple festival Sathya find out Daya tries to rape Uthara when she takes her bath. When Sathya arrives Daya escapes from the bathroom. Later Sathya took the dress off Uthara and gives to her. Even he was drunk, he did not intend to harm Uthara's pride. Likewise in the figure 6 which is taken from climax sequence, in which Kripa points gun at Daya who was going to sexually harass one of the two whom they kidnapped. The body language is the vital part ofhuman communication. Visual codes of body language help in conveying the meaning ofthe message than use ofwords, since the most of visual codes are universal. In the Anjathey, the Daya's (Prassana) repeated body language is shown. He communicates with his hand. When he comes first time on screen his hand is shown (Figure 7). He is looking at watch at every occasion. When he is in trouble he looks at his watch, the perfect example is shown during climax. When is shot by a cop and about

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Identification and Analysis ofhnages: N Kalorth to die he looks at his watch (Fignre 8). It shows his plans are destroyed. He happens to kill his man when he was about top caught by police. During that run also he sees the watch (Fignre 9). The other two instances where Mysskin use the body langnage of Daya flawlessly are when Kripa asks why Sathya beat him during temple festival. He becomes answerless. That time it shows his bare hand (Fignre 10). As the film progresses Daya and his gang happens to stay at Kripa's home as a safety measure for hiding when police chase them. At this point of time Daya peep into the room where Uthara changes her cloth. Here his sexual urge towards her is shown by his hands rubbing against his knees (Fignre 11). The use of hand movement is an excellent cue used by Mysskin throughout the movie to represent evil thoughts and act by Daya. The growth and decline of friendship between Sathya and Kripa is an important subplot in Anjathey. The extreme long shot of Sathya and Kripa when they return home after he is released from the police station is shown in a long camera take (Fignre 12). Meanwhile the time Sathya is warned by Kripa that he will shoot Sathya ifhe continued his evil act but at climax Sathya shoots Kripa as reverse. The contrasting events exhibit crux of the film but this might be the most noted. When Sathya is selected for police by influence and Kripa fail to get selected. That night Sathya enjoys by drinking alcohol and comes to wish Kripa. But Kripa is shown here (Fignre 13) as frustrated man and who cry at Sathya for cheating. Here is the first scene where their friendship is devoted. The other image which shows the worsening in their relation is when Sathya meets Kripa in a local bar. Sathya is shocked by the appearance of Kripa when he was about to beat Sathya (Figure 14). The actual aggression of Kripa is shown when his father faint at home. This leads Kripa comes to Sathya and his family and challenge Sathya that he will destroy him at any cost. This time Kripa is shown very powerful by occupying a maximum of space in the screen (Fignre 15). During the climax scene Kripa realizes Sathya is good and says sorry. The shot how of realization is very emotional. Close up shot of the ring worn as locket on Sathya's neck. When seeing this Kripa feels sorry for misunderstanding his friend (Fignre 16). Their friendship is rejoined by Kripa's death. The images which show character change in Sathya are remarkable here. There are four images which I have selected here. On the day he joins the duty he is harassed by the senior cop and he is shown as powerless. While he asks the other policeman where he was to sit, Sathya is shown out offocus to make him down cast (Fignre 17). The next image is when he falls down by seeing a man shows his wife head which he cut for killing her (Fignre 18). This image shows how Sathya reacts towards the crime world. Then in the next image is of long run shots where he tries to save a life of a man who was dying on the road. He carries death body in bike with the help of old women. This image shows humanity in his (Fignre 19). The scene where he gets charged as police is a twist in the tale. When masked gang arrives at hospital to kill a man, Sathya fights and make run gang away from hospital. The image where he knifes at gang head is shown in a powerful angle for the domination of Sathya (Fignre 20). Daya uses Kripa for wrong deals are another catalytic plot of the film. When is realized he was misused Kripa get frustrated. This is shown with a help of a helmet. At first he was asked to collect a plastic bag from a man who is standing in the cinema hall. He is 396

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not aware about what is inside the bag. While he is removing the helmet, his face is shown with no expressions since he does not know what is inside the bag and why he was told to be. (Figure 21) Later on, when Kripa understands that girl who kidnapped by Daya was at Kripa's home. That time his extreme close up used with helmet is on. And he beats his head for mistake that happened. (Figure 22 and 23) When Daya is killed by police his dead body is shown with the bunch of money. This shows money could not help him. This image gives a strong message (Figure 24) of life. There are many shots in the film which are sometimes confusing audience. But these deliberate confusions parts ofthe new wave movies ofTamil industry. Vendrig J. & Worring M (2002) points out that movie is the result ofan artistic process sometimes causing confusion on purpose, the necessity for human j udgement will always remain to some extent (p. 494). With the help of character analysis, I came with a character graph map of Sathya and Kripa with changes in their behavior. The good, bad phase in their behavior and time of the reality realization oftheir mistake or reality is noted with the narrative structure. After death of Kripa some montage is shown with end credit titles which justify the Sathyagood deeds again.

-Sathya
-Kripa

Start

Middle
AlCisTitle

Eod

Future

Table 1: Graph of Kripa and Sathya character change Axis Values: 0-3 (Bad deeds/moral) 3-6 (realization of the reality / mistake) 6-9 (Good deeds/morals) Images to study contrasting events Life is of twist and turns, when Mysskin sketches the scene there are lots of contrasting events happens in the life of Sathya and Kripa. These are shown with visual images. The two images in which first, father of Sathya disgrace and put side by side him with Kripa at commencement ofthe film. For the reason that Sathya is ill treat and Kripa is hard working and a man with a mean. Later on the identical circumstances repeats at Kripa's home where parents of Kripa compare him with Sathya. Both scenes are looking alike and audience is connecting each other with relieving (Figure 25 and 26). There are also many other images that are related to each other for contrasting events. One of such is during test for selection in the police. While officers are interviewing Kripa the shot is high angle to make Kripa less dominates. In that officers are drinking tea and when next shot shows Sathya offered to drink tea before officers since he is recommended by the minister. This is shown satirically in drawing fatal system and governance (Figure 27 and 28) . There are another two images which show Sathya and Kripa at the bar, in first 397

Identification and Analysis ofhnages: N Kalorth Sathya is drunken. Kripa comes to bat to presenting a ring as a birthday gift. While he goes back Sathya goes and get hold ofKripa's hand, the same type of frame construction is used when Sathya meets Kripa at the same bar (Figure 29 and 30). Sathya was good and he had ability to discriminate good and evil even when he was living in dark shades of life. But when Kripa becomes in another phase oflife he was easily influenced and blindly believes people without thinking. These two events are shown in simple two frames. In first Sathya is not giving importance and neglecting Daya when he gives his hand as a mark of friendship. But Kripa accepts Daya and exchange hand shake each other when they meet at the local bar (Figure 31 and 32). During the start of the film, Sathya is arrested by police for a fight in the bar. That time Kripa releases him from police with the help of the father. Later on Kripa is arrested by police for the reason of making mishap ion bar. At this time Sathya is police and he is helpless to release Kripa. The two images in first father of Kripa are advised not to get together with Sathya and the image in which police is taking Kripa to station are similarly framed (Figure 33 and 34). The other two shots which show the relation between main three characters (Sathya, Kripa and Uthara) are when Uthara sees a childhood photo and during Kripa's death. Both shots give an image offriendship which is shared between them (Figure 35 and 36). Conclusion Reviewing the 36 images and drawing an analytical conclusion of character shift, director Mysskin used the power of visual images to deliver film language and to show contrasting events and enhancing frame meaning through the film. The usual style of film making that was used habitually in Tamil film industries were broken down here. The characters were oflife and the full justification for the characters and the story is done by Mysskin through Anjathey. The fihn says there is no one good in the world. All are living with some mistakes done in their life. So the visual images are shown as balancing all characters. To sum up, I would say that Anjathey is defiantly a path breaking film in Tamil industry and it can marked as a perfect example of growing new wave films of Tamil. The movie can be studied in depth for understanding visual grammar and use ofthe same kind of visual treat for contrasting events. It is interesting to study further how Tamil uses other techniques to sustain the trend of new wave. Anjathey opened up a new kind of aggressive style in Tamil industry. The impact of Anjathey and its structure on forthcoming and contemporary cinemas are to be observed. References Bordwell, D. & Thomson, K. (1997). Film Art: An Introduction, McGraw-Hill, New York,. Chatman, S.( 1978). Story and discourse: narrative structure in fiction and film, Ithaca: Cornell University Press. Gupta, R. (2008, May 7). Mysskin is kollywood Samurai. Times ofIndia . Retrieved from h Up:// articles. timesofindia. indiatimes. com/200 8-0 5-07/news-interviews/ 27744184_1_mysskin-tamil-fihn-director-samurai on June 3 2012. Lacey N., (2000). Narrative and Genre: Key Concepts in Media Studies, Macmillan. 398

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Holquist, M (Ed). Bakhtin, M. M. (1986). Speech genres and other late essays. In The Dialogic hnagination: Four Essays. University ofTexas Press. ISBN 9780292782860. Mohan, G (2009, January 11). The Tamil New wave. Indian Express Retrieved from http:/ Iwww.indianexpress.cominews/the-tamil-new-wave/4087220n May 13 2013 Moviebuzz. (2008, Febraury 14). Narain's acid test. sify.com. Retrieved from http:// www.sify.comimovies/narain-s-acid-test-news-tamil-kkftVbibiih.html on May 12 2013. Moviebuzz. (2008). Anjathey. sify.com. Retrieved from http://www.siry.comlmovies/anjatheyreview-tamil-14605383.html on May 122013. Peter Gidal. (1976). The theory and defmition of Structural film. in Structural Film Anthology, BFI. Pradeep. (2009). The New Kollywood. Behind the woods. Retrieved from http:// www.behindwoods.comlfeatures/column!index-s II.html on July 6 2012. Roussou, Maria. (2001). The interplay between Form, Story and History; The Use ofnarrative in cultural and educational virtual reality in Virtual Storytelling Using Virtual Reality Technologies for Storytelling. Springer Berlin Heidelberg, Berlin. ISBN: 978-3-54045420-5. DOl: 10.1007/3-540-45420-9 20. Sebastian, Pradeep. (2008) Beyond Old Kollywood. The Hindu. Retrieved from http:// www.hindu.comlmag/2008/01/13/stories/2008011350150500.htrn on July 142012. Sivakumar. (2008). Anjathey - Review. Passion for Cinema. Retrieved from http:// www.passionforcinema.com/anjathey-reviewon6June2012. Vendrig, J. & Worring, M. (2002) Systematic Evaluation of Logical Story Unit Segmentation. IEEE Transactions on Multimedia, Vol. 4, No.4, pages 492- 499. Wilson, Karina. (2011) Camera Use. MediaKnowall.com. Retrieved from http:// www.mediaknowall.com/camerause.htmlonJuly 13 2013.

Sequence of Figures and their Captions (1-36) 1. Opening title which indicates Anjathey, 2. Shot just after climax and before closing credits, 3. Introduction shot of Kripa, 4. Kripa visits the bar, 5. Sathya giving cloth to Uthara, 6. Kripa points gun towards Daya in climax sequence, (7-11) Use ofDaya's hand as cue of body language, 12, Kripa warns Sathya, 13. Kripa after failing the selection, 14. Kripa burst out of aggression, 15. Kripa turns against Sathya out of revenge, 16. Kripa finds out Sathya's love for him after seeing the ring on a chain, (17-20) Changes in Sathya, (21-23) Use ofhelmet at points where Kripa understanding situations, 24. Death scene of Daya after shootout, (25-26) Reaction from families of Sathya and Kripa, (27-28) Interview of Kripa and Sathya, (29-30) Bar shot repeats with shift in character, (31-32) Rejection! Acceptance of Daya by Sathya and Kripa, (33-34) Jail release shots of Sathya and Kripa, (35-36) Images to show bonding and love with span of time Note: The figures considered for analysis appeared in Page No. 400
Nithin Kalorth is a Research Scholar at the School of Social Sciences, Mahatma Gandhi University, Kottayam-686 041, India. His research interests include South Indian fihn studies, digital photography, social and political documentary, democratization ofvisual media, public sphere and social media. Apart from his academic ventures, Nithin is actively involved in short fihn and documentary film making. Email: nithinkalorth@gmail.com. 399

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