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Naseeruddin Shah (born July 20, 1950 in Barabanki, Uttar Pradesh, India), is an Indian cinema and theatre actor who has garnered critical acclaim and multiple prestigious prizes for his delicate and subtle portrayals.
Shah studied at the National School of Drama and rose to prominence as a representative of the New Indian cinema, or parallel cinema, movement that flourished in the 1970s and was characterised by more realistic visuals and issue-driven filmmaking. He first gained prominence with Shyam Benegal’s Nishaant (1975), Manthan (1976), and Bhumika: The Role (1976), and then slowly established himself as a recognised star-actor. He became synonymous with New Indian cinema through his distinctively intuitive performances in Sai Paranjape’s Sparsh (1980), Saeed Mirza’s Albert Pinto ko gussa kyoon aata hai (1980), Govind Nihalani’s Aakrosh (1980), Mrinal Sen’s Khandhar (1984), Ketan Mehta’s Mirch masala (1987), and Girish Kasaravalli’s Mane (19 (1991). Shah excelled at subtlety, even in supporting roles in commercial Hindi films, most notably in Subhash Ghai’s 1986 film Karma, in which he faced famous Hindi film actor Dilip Kumar. His tremendous comedy talent was showcased in films such as Mehta’s Bhavni bhavai (1980), Kundan Shah’s Jaane bhi do yaaron (1983), and Benegal’s Mandi (1983).
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Among his numerous accolades were three Filmfare best actor nominations for his roles in Aakrosh, Chakra (1981), and Masoom (1982). (1983). At the 1984 Venice Film Festival, he won the Volpi Cup for Goutam Ghose’s Paar (1984). Shah received the Padma Shri (1987) and Padma Bhushan (2003), two of India’s highest civilian honours, for his services to Indian cinema. And Then One Day, his autobiography, was published in 2014.
Film, alternatively referred to as motion picture or film, is a series of still photos on film that are projected in fast succession onto a screen using light. This creates the illusion of true, smooth, and continuous movement due to the optical phenomena known as persistence of perception.
Film is an incredibly efficient medium for expressing drama and, more importantly, for evoking emotion. Motion picture art is incredibly complicated, needing contributions from practically every other art form as well as a plethora of technical abilities (for example, in sound recording, photography, and optics). This new art form emerged at the end of the nineteenth century and quickly became one of the most popular and important media of the twentieth century and beyond.
As a business venture, film swiftly established itself as possibly the first really mass form of entertainment, presenting fictional narratives to vast audiences in theatres. Without sacrificing its broad appeal, the medium evolved into a vehicle for artistic expression in fields including as acting, directing, scripting, cinematography, costume and set design, and music.
Throughout its brief existence, the art of motion pictures has frequently suffered seemingly fundamental transformations, such as those brought about by the advent of sound. It exists now in a variety of styles and formats, ranging from the documentary recorded by a single person using a handheld camera to the multimillion-dollar epic employing hundreds of performers and technicians.
Numerous aspects come to mind when considering the cinematic experience. For one thing, the illusion of movement is moderately hypnotic, retaining the viewer’s attention and maybe lowering critical resistance. The film image’s accuracy is impressive because it was created via an inhuman, scientific procedure. Additionally, the motion picture conveys a strong sensation of being present; the cinema image is always in the present tense. Additionally, there is the tangible character of film; it looks to depict real people and objects.
Not less significant than any of the preceding are the perfect viewing conditions for a motion picture, in which everything contributes to the film’s dominance of the spectators. They are removed from their normal surroundings, partially isolated from one another, and sitting comfortably in a dark theatre. The darkness directs their focus and precludes them from comparing the image on the screen to nearby items or persons. For a time, spectators inhabit the world depicted in the motion film.
However, the journey into the film’s world is not complete. Occasionally, the audience reacts as though the events on the screen are real—for example, by ducking in front of an onrushing railway in a particular three-dimensional effect. Additionally, such effects are regarded as a pretty poor type of motion picture art. Much more frequently than not, viewers anticipate a film to adhere to certain unwritten rules rather than to reality. While spectators may occasionally anticipate exact realism in terms of costume or setting, they also frequently expect the film to transport them away from reality and require them to use their imagination, a demand made by great works of art in all media.
The perception of reality The majority of films seek to achieve goals by the application of a set of norms, or rules, that audiences implicitly accept and confirm through habitual filmgoing. For example, the employment of brownish lighting, filters, and props has come to symbolise the past in films about early twentieth-century American life (as in The Godfather  and Days of Heaven ).
The brownish tint associated with these films is a visual code designed to evoke memories of a bygone period when photographs were reproduced in sepia, or brown, tones. The manipulation of actual reality by storytelling codes is much more egregious in its distortion of reality to generate an effect of reality. Audiences are willing to skip large swaths of time in order to reach a story’s major moments. For instance, La battaglia di Algeri (1966; The Battle of Algiers) begins in a torture room, where a captured Algerian rebel has just divulged the whereabouts of his cohorts. That area is attacked in a matter of seconds, and the search-and-destroy mission’s drive compels the audience to believe in the operation’s incredible speed and precision.
Additionally, the audience quickly accepts shots from unattainable points of view provided the shot is supported by other elements of the film. For instance, in The Battle of Algiers, the rebels are seen inside a walled-in hiding area, yet this implausible perspective appears convincing due to the film’s grainy photography, which plays on the spectator’s subliminal association with grainy black-and-white newsreels. The fidelity with which details are reproduced is far less significant than the story’s appeal to an emotional response, an appeal that is based on the inherent features of the motion picture medium. These key features might be classified as those that apply largely to the motion-picture image, those that pertain to motion pictures as a unique medium for works of art, and those that stem from the viewing experience.
In film, the picture, or single shot, is the main unit of expression. The practise of ascribing magical characteristics to images dates all the way back to ancient times. This link is well recorded among numerous primitive peoples, and it is reflected in the name magic lantern, which is used interchangeably with the film projector. Any image extracted from the everyday world and displayed onto a screen looks to be miraculously transmuted to some extent. This mystical nature explains the ecstatic response granted early films such as La Sortie des usines Lumière (1895; “Workers Leaving the Lumière Factory”), which were just photographic records of everyday occurrences in France in the 1890s by the Lumière brothers.
The attributes of intensity, closeness, and ubiquity have been identified as the motion-picture image’s distinguishing characteristics. Its intensity stems from its ability to focus the spectator’s whole attention on whatever fragment of reality is being portrayed. Outside of the theatre, a person’s attention is often scattered throughout the limitless surrounding world, with the exception of periodic times of concentration on anything chosen for closer examination. In the movie, one is pushed to stare at something that was not chosen by the audience but by the filmmaker, for reasons that are not always obvious. This intensity is particularly obvious when the camera is fixed on something for an extended period of time beyond what is reasonable, and spectators gradually become painfully aware of their lack of control over their own attention. Although this approach is not frequently employed, it is extremely effective when applied properly.
The closeness of the film image is due to the camera’s capacity to discern details that the eye cannot. This skill is demonstrated in both long-distance and close-up photos taken with a telephoto lens. For example, towards the beginning of the Japanese film Suna no onna (1964; Woman in the Dunes), a recurring motif is emphasised by scenes of grains of sand that have been magnified numerous times.
The camera’s seeming mobility to roam from location to location or to approach or recede instantly contributes to the camera’s appearance of ubiquity—being everywhere at once. Not to be overlooked in creating this sense of ubiquity is the editing effect, which enables the presentation of innumerable pictures reflecting a lengthy, complicated event in a relatively brief film or sequence, as shown by the opening of The Battle of Algiers. The image’s spatial and temporal authority also lends credence to sequences portraying the past, future, and dreams.
Other equally significant aspects of the cinema image may be highlighted. One of these is its uniqueness. The language of words is amenable to abstraction and generalisation. By themselves, nouns like man or home do not refer to a specific man or house, but to men and houses in general, while more abstract concepts like love or dishonesty have even less clear links with individual entities. On the other hand, motion films depict just certain objects—a specific individual or a specific house. Thus, while a film image is less ambiguous than the language of words, it is also less emotive, less likely to be enhanced by imagination, connection, or remembrance. Despite its uniqueness, the motion-picture image may nevertheless be confusing in the sense that it demonstrates but does not explain. It does not convey meaning on its own, and humans are wired to look for meaning in visuals.
This is why commentaries are seen as critical in elucidating specific meaning in educational videos. On the other hand, a number of evocative documentaries, ranging from Robert Flaherty’s Nanook of the North (1922) to Errol Morris’ Fast, Cheap, and Out of Control (1997), eschew commentary, compelling the viewer to focus exclusively on the remarkable and untranslatable specific sights and sounds they collect. The special tenacity of photographed things also explains why montage juxtapositions are so effective—the spectator is compelled to discover the meaning of a particular sequence of images.
Another aspect of the cinema image that distinguishes it is its neutrality. People’s perceptions of the world are highly influenced by their emotions and interests. A plumber repairing pipes at a museum may be blind to the masterpieces surrounding him or her, whereas an enraged individual may hear an insult intended for someone else.
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