Category Arts & Culture

How do you draw the wonder flower in Mario Bros Wonder?

Dive into the rich history of Indian comic publishers and creators while uncovering the unique storytelling essence that makes comics an all-time favourite among the young and the old.

Our art teacher, after revisiting a few key ideas from her previous presentation on cartoon books, began discussing comic books. Once again, she delivered her presentation using PowerPoint slides. The first slide displayed five images of popular comic characters and asked us to identify them. Without any difficulty, we recognised them as Spider-Man, Batman. Wonder Woman, Iron Man, and the Hulk

Indian characters

We expected that the teacher would quiz us on iconic Indian comic characters as well, and as anticipated, the second slide featured them. The images shown were Suppandi. Chacha Chaudhary, Bahadur, Super Commando Dhruva, and Nagraj However, we had some difficulty identifying them, as they were not as well-known as their Western counterparts. She also listed a few more popular Indian superheroes She continued the quiz on the following slide. focusing on well-known Indian publishers of comic books. Like the first two slides, this one also featured only images:

Amar Chitra Katha, Raj Comics, Diamond Comics, Lotpot, and Graphic India. With the exception of one or two, we were unable to identify them, as we usually did not pay much attention to publishers. However, she emphasised their significance and briefly discussed each of them, with particular reference to Graphic India. This publishing house is now striving to rekindle interest in the genre to match American and Japanese comics and anime.

The next slide featured famous comic creators, and, fortunately, she did not quiz us. Perhaps she knew we wouldn’t be familiar with them. The slide displayed pictures of Anupam Sinha, Pratap Mulick, Chandu, Sukhwant Kalsi, and Anant Pai.

In addition to naming them, she focused on Anant Pai’s contributions. She emphasised the fact that he founded Amar Chitra Katha and informed us of the frequently cited reason for the establishing of ACK. In 1967, while participating in a quiz programme, Pai noticed that contestants answered questions about Greek myths correctly but struggled with Indian mythology. This discovery became a catalyst for him to start the publishing house.

Immortal stories

Anant Pai named his establishment Amar Chitra Katha, signifying the underlying reason for its creation, which means “immortal picture stories”. It drew its protagonists from Indian mythological gods and goddesses as well as historical leaders. From the beginning, it had a significant impact on young minds, acquainting them with indian cultural heritage and ancient history. Approximately 500 titles have been published, and Pai is rightfully credited as the father of Indian comics”.

The teacher then went on to highlight the differences between cartoons and comics. The first point she made was that comics originated in the West, with India primarily emulating them, so the innovation credit essentially goes to the West. Cartoons are standalone artworks mainly created for newspapers and magazines on a regular basis, whereas comics are like storyboards that narrate a story in the form of illustrations in sequence. The images are drawn horizontally to present the story chronologically, and the story can be short or lengthy The distinction she made clarified things for us, as comics are sometimes referred to as cartoon strips, at least in the U.K.

She brought with her a copy of the current issue of Tinkle, a popular weekly magazine, to inspire us. She explained that it has a 42-year history and is now owned by Amar Chitra Katha. An interesting fact about comic magazines is that although the target audience is children, adults also enjoy reading them, as they offer a visual treat and can be quickly consumed. Additionally, she informed us that besides being published in English, Tinkle is simultaneously published in other Indian languages such as Hindi, Malayalam, and Assamese. ACK has also brought out several comics on great people.

Many advantages

Several surveys have shown that reading comics has certain benefits for everyone, regardless of age. Firstly, they are more engaging than other literary genres. Secondly, they enhance reading comprehension skills. Lastly, they foster a love for reading at a time when the reading habit is on the decline.

She concluded with two suggestions: firstly, comic books can be a great motivator, especially for reluctant or struggling readers. So, club members must take it upon themselves to influence those in their circle who belong to that category. Secondly, they could also submit their entries to a comic magazine, and if accepted, they could see their names in print, which can be quite exciting.

Dive into the rich history of Indian comic publishers and creators while uncovering the unique storytelling essence that makes comics an all-time favourite among the young and the old.

Our art teacher, after revisiting a few key ideas from her previous presentation on cartoon books, began discussing comic books. Once again, she delivered her presentation using PowerPoint slides. The first slide displayed five images of popular comic characters and asked us to identify them. Without any difficulty, we recognised them as Spider-Man, Batman. Wonder Woman, Iron Man, and the Hulk

Indian characters

We expected that the teacher would quiz us on iconic Indian comic characters as well, and as anticipated, the second slide featured them. The images shown were Suppandi. Chacha Chaudhary, Bahadur, Super Commando Dhruva, and Nagraj However, we had some difficulty identifying them, as they were not as well-known as their Western counterparts. She also listed a few more popular Indian superheroes She continued the quiz on the following slide. focusing on well-known Indian publishers of comic books. Like the first two slides, this one also featured only images:

Amar Chitra Katha, Raj Comics, Diamond Comics, Lotpot, and Graphic India. With the exception of one or two, we were unable to identify them, as we usually did not pay much attention to publishers. However, she emphasised their significance and briefly discussed each of them, with particular reference to Graphic India. This publishing house is now striving to rekindle interest in the genre to match American and Japanese comics and anime.

The next slide featured famous comic creators, and, fortunately, she did not quiz us. Perhaps she knew we wouldn’t be familiar with them. The slide displayed pictures of Anupam Sinha, Pratap Mulick, Chandu, Sukhwant Kalsi, and Anant Pai.

In addition to naming them, she focused on Anant Pai’s contributions. She emphasised the fact that he founded Amar Chitra Katha and informed us of the frequently cited reason for the establishing of ACK. In 1967, while participating in a quiz programme, Pai noticed that contestants answered questions about Greek myths correctly but struggled with Indian mythology. This discovery became a catalyst for him to start the publishing house.

Immortal stories

Anant Pai named his establishment Amar Chitra Katha, signifying the underlying reason for its creation, which means “immortal picture stories”. It drew its protagonists from Indian mythological gods and goddesses as well as historical leaders. From the beginning, it had a significant impact on young minds, acquainting them with indian cultural heritage and ancient history. Approximately 500 titles have been published, and Pai is rightfully credited as the father of Indian comics”.

The teacher then went on to highlight the differences between cartoons and comics. The first point she made was that comics originated in the West, with India primarily emulating them, so the innovation credit essentially goes to the West. Cartoons are standalone artworks mainly created for newspapers and magazines on a regular basis, whereas comics are like storyboards that narrate a story in the form of illustrations in sequence. The images are drawn horizontally to present the story chronologically, and the story can be short or lengthy The distinction she made clarified things for us, as comics are sometimes referred to as cartoon strips, at least in the U.K.

She brought with her a copy of the current issue of Tinkle, a popular weekly magazine, to inspire us. She explained that it has a 42-year history and is now owned by Amar Chitra Katha. An interesting fact about comic magazines is that although the target audience is children, adults also enjoy reading them, as they offer a visual treat and can be quickly consumed. Additionally, she informed us that besides being published in English, Tinkle is simultaneously published in other Indian languages such as Hindi, Malayalam, and Assamese. ACK has also brought out several comics on great people.

Many advantages

Several surveys have shown that reading comics has certain benefits for everyone, regardless of age. Firstly, they are more engaging than other literary genres. Secondly, they enhance reading comprehension skills. Lastly, they foster a love for reading at a time when the reading habit is on the decline.

She concluded with two suggestions: firstly, comic books can be a great motivator, especially for reluctant or struggling readers. So, club members must take it upon themselves to influence those in their circle who belong to that category. Secondly, they could also submit their entries to a comic magazine, and if accepted, they could see their names in print, which can be quite exciting.

Picture Credit: Google

How dubbing changed the world of cinema?

Many of us watch foreign and other language movies or series in our own regional language and get the same feel as the original. These movies involve an intricate process called dubbing. Let us find out.

Dubbing is a post-production process of adding sound and dialogues into a media. It also involves replacing the original voice track with a synchronised translation in another language. Unlike voiceovers, dubbing is much more nuanced and complex. It is mostly done for movies and TV series, while it is also needed for animation movies, video games and music at times.

Dubbing helps in reaching a wider audience. It is categorised into three types namely lipsynced dubbing, time-synced dubbing and non-synced dubbing.

Origin of dubbing

With the invention of photograph (a device used to record sound), cinema began transitioning from the silent era to sound. Warner Bros. of Hollywood were pioneers who made new sound movies, called Vitaphone movies. These movies had a recording of an orchestra along with some sound effects that were synchronised perfectly with the moving images. Slowly ‘talkies’ were made, where movies incorporated dialogues as actors started talking to one another.

In 1930, a musical talkie by name ‘Applause’ was made by Rouben Mamoulian that first used dubbing. The director experimented the sound mixing by interlocking 35 mm audio tracks and began the dubbing practice. Eventually, more and more films started to record actors’ dialogue after shooting scenes, then synchronising the sound to the scene. When actor Louise Brooks refused to reshoot their silent scenes in the movie The Canary Murder Case’, the hiring of voice actors began.

Subs Vs Dubs

The debate on subtitles versus dubbing is still on. While there are people who don’t like subtitles due to their pace and complexity, dubbing is preferred as it adds more emotion. But the catch is that, the results of dubbing has to be natural and organic. If the audio is poorly mixed or if any actors’ accent is incomprehensible, subtitles come in handy. They can also be used by those with hearing difficulties.

 Varied perspectives

Though dubbing allows for a deeper understanding and connection to the storyline, it is a time consuming and critical process for filmmakers. Some filmmakers have moved to sync sound which involves reconting the is sound while on the set to make the film more realistic This helped in reducing the post production cost and efforts. But filmmakers continued to rely on dubbing as it enhances the audio quality.

Picture Credit: Google

 

What is metafiction?

 

Metafiction is a literary style that invites readers to step into a world where the lines between reality and fiction blur. In this self-conscious narrative approach, the narrator and characters are keenly aware of their existence within a work of fiction. As a result, metafiction often departs from traditional storytelling conventions, offering a unique reading experience that prompts introspection about the nature of storytelling itself.

CHARACTERISTICS OF METAFICTION:

Breaking the fourth wall

Metafiction boldly shatters the fourth wall that typically separates the creator of a story from its audience. This literary technique involves direct interactions with the reader, with the narrator or characters openly acknowledging their role in a fictional world. This blurring of boundaries invites readers to question the authenticity of the narrative and their own position within it.

Self-reflexive

A hallmark of metafiction is its self-reflexivity. Authors employ this technique to draw attention away from the storyline and toward the very process of storytelling. By doing so, they encourage readers to contemplate the construction of the text itself. This self-awareness can manifest in various ways, from characters questioning the nature of their existence to authors commenting on their creative process within the narrative.

Examples

• The Canterbury Tales (1387) by Geoffrey Chaucer is an early example of metafiction, using interconnected stories to parody conventional fiction elements. He addresses the audience directly, adding a metafictional layer to the narrative.

• Don Quixote (1605) by Miguel de Cervantes explores the relationship between fiction and reality as the protagonist, Don Quixote, embarks on a quest influenced by his reading. The book invites readers to reflect on the impact of stories on our lives.

Metafiction also appears in children’s literature. Here are a few examples:

The Stinky Cheese Man and Other Fairly Stupid Tales (1992) by Jon Scieszka and illustrated by Lane Smith: This picture book playfully twists classic fairy tales, with characters interacting and the narrator intervening for humour and self-awareness.

• We Are in a Book! (2010) by Mo Willems: Part of the Elephant & Piggie series, this book features characters realising they’re in a book, engaging in a humorous, metafictional conversation that introduces young readers to interactive storytelling.

Through humour, wordplay, and interactive elements, such books make reading an engaging and thought-provoking experience.

Picture Credit : Google

What do Carnatic music and Jazz possibly have in common?

Carnatic music is among the world’s most widely and deferentially revered forms of Classical music; Jazz rose from the depths of folksy angst with the rebellious explosiveness that only liberal music could express and emancipate. Yet, they have many core similarities. 

 Ragas and modes

Carnatic music is a predominantly raga-based form of music. The raga is the overarching mood or melodic dialect underpinning every composition or performative piece. Every piece is set in a specific raga, defined as a set or sequence of notes and constructed by a latticework of idiosyncratic melodic patterns orbiting a defined Key.

Jazz plays fast and loose with the tonality of its pieces. Its pieces are also woven around melodic scales or modes. While it is rife with Key changes, Modal interchanges, and modulation, Jazz distinctly recognises the essentiality of scalar modes, and plays around with them rather than stick to the sacred script. Borrowed chords are returned with interest.

MODES AND EQUIVALENTS

Dorian Mode – Kharaharapriya (Herbie Hancock’s ‘Maiden Voyage’; Tyagaraja’s ‘Rama Nee Samanamevaru’)

Natural Minor (Aeolian Mode) – Natabhairavi Dave Brubeck Quarter’s Take Five’;

Muthuswami Dikshitars ‘Sreeneelotpalanayike’)

Melodic Minor – Gowrimanohari (Joseph Kosma’s ‘Autumn Leaves’; Tyagaraja’s ‘Guruleka’)

lonian mode Shankarabharanam (Muthuswami Dikshitars ‘Sri Dakshinamurthe’; The Beatles’ ‘Let It Be’)

 Melodic and rhythmic complexity polyrhythms and polymeters

Rhythm is a crucial aspect of both the art forms, and not just in a casual way aimed to make the audience tap their feet along. There are many mathematical and arithmetic calculations that go into the composition and performance. Polyrhythms and polymeters are used intensively to spice up the experience of playing and listening.

The use of polymeter, a technique where beat cycles of different number of pulses are played over the same tempo and changes in the meter are introduced in the middle of a song, more than just once, is not so common in Carnatic music except perhaps in the Ragam Tanam Pallavi, a format that explores plaintive melodic patterns, coupled with onomatopoeic syllables, and lyricism. Polyrhythms, wherein different beat cycles and time signatures are played or rendered over one another at different tempos to achieve interesting syncopations and syllabic emphasis, greet you at every concert and ensemble session.

Fundament of canon and comprehensive study of standard compositions

Both forms have a rich tapestry of standard songs and canonical compositions that are rendered faithfully and studied in depth. In fact, Carnatic music ragas are supposed to be abstract musical entities but modern-day musicians often derive them from their formulations in songs and the way in which great pastmasters have rendered them. Not all 72 Melakarta ragas have the same representation in song form. Jazz standards form the basic repertoire of any jazz musician. Popular tunes from the 19th and 20th Centuries, their treatment over time has vested them with the gamut of jazz techniques and influences from adjacent genres such as the Blues, Ragtime, Swing, West African Music, and showtunes written for Broadway musicals.

Improvisation with methodical patterns

Ad-libbing, riffing, coming up with chordal and harmonic shifts and melodic lines on the spot, spontaneously dovetailing into polymetric rhythm structures all these are as basic as they are challenging for a jazz performer. Tunes are overlaid with alternative groupings of notes and pulses to enhance intelligibility and intrigue. Manodharma, scatting Besides the copybook renditions, the Carnatic music kritis rendered in a concert are appended with pockets of improvisation – the vocalist, melodic accompanists, and percussionists each get to eke out variances and build on on the main tune, generate complex filigrees and ornamentations, independently creating permutations of notes and pulses, all the while gelling together to keep the composition’s integrity intact.

Picture Credit : Google

Who are anti-heroes?

Anti-heroes are those characters in a story who do not neatly fit the hero or villain template. They are not the typical heroes we cheer for, nor are they the clear-cut bad guys. Instead, they are a blend of both, and that’s what makes them intriguing. They are complex, like real people with strengths and flaws. They might have noble intentions, but their methods can be questionable. Unlike the villains who just want to create chaos, anti-heroes have a unique charm due to their shades of grey.

In literary classics, Heathcliff from English novelist Emily Brontë’s Wuthering Heights epitomises the anti-hero. His all-consuming rage, jealousy, passionate love, and tortured soul blur the lines between right and wrong. Likewise, Jay Gatsby in American novelist F. Scott Fitzgerald’s The Great Gatsby strives for the American Dream, yet his questionable dealings and obsession undermine his noble pursuits. Children’s literature too embraces anti-heroes. Consider the Grinch in American writer Dr. Seuss’ How the Grinch Stole Christmas! His journey from bitter isolation to redemption showcases his complexity. Even Severus Snape from British writer J.K. Rowling’s Harry Potter series, with his abrasive exterior and concealed motivations, is a prime example. Anti-heroes bring out the complexity of human nature in stories. They challenge the common pattern of good versus evil. While villains embody darkness and challenge the hero, anti-heroes show us both sides of the coin. Their journey is one of self-discovery, and they help us as readers reflect on the fact that people are not one-dimensional. Instead, they carry a mix of both good and bad traits.

Picture Credit : Google

What is kitchen sink drama?

In the annals of world cinema history, certain movements have left an indelible mark but one often overlooked gem is the British Kitchen Sink Realism. commonly referred to as “Kitchen Sink Drama.” This unique cinematic revolution placed a spotlight on deep. relatable characters and the complexities of everyday life. adding a profound layer to the drama genre. The roots of Kitchen Sink Realism can be traced back to an expressive painting by John Bratby featuring an ordinary kitchen sink. This artistic departure from Bratby’s usual subjects, which depicted the struggles of working-class individuals. piqued the interest of critics. The term “Kitchen Sink School was coined by critic David Sylvester to describe a group of artists who depicted scenes of domestic life with a social realist flair. As the influence of this style extended beyond the realm of painting into film and television, it evolved into a distinctive genre.

Portraying everyday struggles

The aftermath of World War II (1939-1945) left countless individuals facing harsh realities. Rationing persisted until 1952, and the destruction caused by wartime bombing raids resulted in a severe housing shortage Even as the 1950s brought about gradual improvements, life remained a challenging journey for many working-class people. This adversity was the catalyst for the Kitchen Sink Drama movement, a genre that focused on social realism and portrayed the domestic lives of ordinary people. These narratives explored issues like divorce, turbulent relationships, economic inequality, and homelessness. The settings were often cramped apartments and tiny houses. At the heart of this movement, protagonists often embodied the archetype of “angry young men.” individuals disenchanted with modern society and serving as the voice of the era This term also extended to authors and playwrights of the time who shared these themes in their works.

Examples

Central to the Kitchen Sink Realism movement was a commitment to depicting the everyday struggles often overlooked by traditional art. These works stood in stark contrast to the polished narratives of upper-class lifestyles that were prevalent in mainstream cinema. Notable literary examples include John Osbome’s Look Back in Anger, which was later adapted into a film, and Arnold Wesker’s trilogy of plays featuring titles such as Chicken Soup with Barley. Roots, and I’m Talking About Jerusalem.

In the intricate tapestry of world cinema, the British Kitchen Sink Realism movement stands as a testament to the power of film in portraying the complex fabric of human existence.

Picture Credit : Google