Reflexpressions

 Reading Visual Texts

            As a visual medium, a movie is a complex and powerful form of visual text that communicates narratives, emotions, and ideas through moving images, sounds, and other audio-visual elements. A well-written screenplay involves storytelling techniques, character development, and dialogue, making it a unique literary art form that has its conventions and styles. Reading the visual texts on the silver screen by applying literary theories enables one to understand its storytelling and artistic components. The relationship between film and literature is fascinating and dynamic, marked by a rich history of adaptation and mutual influence. Filmmakers often draw inspiration from well-known literary pieces to bring stories to a new audience in a visual medium. Many films are adaptations of literary works. For instance, adaptations of classic novels like Pride and Prejudice, The Great Gatsby, or To Kill a Mockingbird. When a movie adaptation gains widespread acclaim, it often boosts interest in the source material and encourages viewers to explore more classic literary works. This phenomenon is sometimes referred to as the "movie tie-in" effect. A movie tie-in edition is an edition of the book from which the movie was made with a movie-related cover.

           On the flip side, literature can be influenced by cinematic techniques. Some contemporary writers (eg. Shalman Rushdie’s Midnight’s Children) incorporate visual storytelling elements, pacing, and cinematic techniques into their novels, blurring the lines between the two mediums. Some stories exist in both literary and cinematic forms simultaneously, often as part of a larger transmedia narrative. For example, franchises like "Harry Potter" and "The Lord of the Rings" have novels, films, and other media forms that contribute to a cohesive storytelling experience. Film and Literature is a dynamic exchange that enriches both art forms. It provides audiences with diverse ways to engage with narratives and allows for the exploration of stories through different creative lenses.

            Interpreting the written words visually leads to exploring social, cultural, communal and commercial aspects of the source. Applying literary theoretical frameworks to the creation and analysis of films allows filmmakers to engage with deeper layers of meaning, social commentary, and thematic exploration in their work. Literary theories serve as conceptual tools to shape narrative structures, character development, themes, and visual storytelling. Also, scholars and critics deepen their understanding of the complexities within films and gain insights into how films engage with cultural, social, and psychological aspects of human experience.

Structuralism and Narratology: "Vikram Vedha"

Structuralism often analyses narratives through binary oppositions, contrasting pairs that create meaning. In "Vikram Vedha," the central conflict between the characters Vikram and Vedha represents a binary opposition—law vs. crime, order vs. chaos. The non-linear narrative, proairetic codes (plot twists) and symbolic richness (chessboard, police-thief), mythical reference (Vikramaditya-Vetala folklore type of narrative), the representative characters not as individuals but as Representatives (good and evil, justice and morality) and the unresolved closure make the film conducive to structuralist interpretation, revealing the intricate layers of storytelling within the crime thriller.

Semiotics: “Veyil” (2006)

The use of signs, symbols, songs, dialects and visual elements such as camera angle, colour, natural environment, costumes, gestures, cultural rituals and so on conveys the setting, tone, theme, emotions and characters within the film narrative. These visual items enhance viewers’ understanding of the plot and explore the nuances of storytelling.

Mythological Criticism: “Ravanan” (2010)

It retells the story of the epic Ramayana in modernised version from the perspectives of the archetypal character Ravanan, representing the under privileged community.

Reader-Response Theory: “Pizza” (2012)

The open-ended narrative of the movie encourages viewers to become co-creators of narrative's meaning and have diverse interpretations of the character's fate. Hence the meaning is not solely determined by the author (or filmmaker) but is actively constructed by the reader (or viewer).

Psychoanalytic Theory: “Mahaan” (2023)

It explores the subconscious desires, fears, and internal conflicts portrayed in the protagonist's actions and relationships. His wife and son are the metaphorical representation of super-ego, the moralising part of his psyche. His friends denote his Id or his instinctual desires. The story revolves around his ego’s (the organised realistic agent) struggles to mediate between his super-ego and id.

Psychological Criticism: "Ratsasan" (2018)

This psychological thriller explores the mind of a serial killer and the psychological toll on the protagonist, a young aspiring filmmaker turned police officer. The film addresses themes of trauma, obsession, and the impact of past experiences on the human psyche.

Feminist Theory: “Aruvi” (2016)

The film narrative defies the societal taboos and patriarchal norms through the representation of women, gender roles, and feminist themes.

Postcolonial Theory: "Aayirathil Oruvan" (2010)

The film involves the discovery and retrieval of ancient artefacts, reflecting themes of cultural heritage. The representation of cultural identities, cultural hybridity, historical narratives, subaltern voices, and power dynamics and the use of techniques like magic realism, fantasy, and new historicism in the film explores how colonial or postcolonial themes are portrayed.  The journey through each trap becomes a visual metaphor for the characters' internal and external challenges. As a critique of imperialism, the war and its drastic consequences represent colonisation and its repercussions. As in all postcolonial works, it glorifies the past, looks at the present through the past and instils hope by reviving the indigenous culture.  

Deconstruction: " Tamizh Padam" (2010)

"Tamizh Padam" is a spoof film that parodies the conventions, clichés, and stereotypes commonly found in Tamil cinema. The film humorously deconstructs the formulaic elements of Tamil films, including over-the-top action sequences, dramatic dialogues, and stereotypical characters. At the same time, the film pays homage to numerous Tamil films, seamlessly incorporating those references into its narrative.

Cultural Studies: "Kabali" (2016)

The film reflects, challenges, and shapes cultural values, ideologies, and norms and finally creates impact on the audience and society. Since the meaning is created in social structures with adherence to class, ethnicity, gender, race, ideology, nationality, etc.

Marxist Criticism: "Kaala" (2018)

The film challenges prevailing economic ideologies, class structures, power dynamics, and social inequalities and tries to address the socio-economic issues.

Subaltern Theory: “Jai Bhim” (2021)

The film addresses the enduring legacies of social discrimination and the social injustice inflicted on politically and economically marginalised communities.

Post Modernism: “Jigarthanda Double X” (2023)

       The narrator of the film acknowledges the fictional nature of the story and deconstructs the process of filmmaking and storytelling itself. The film within the film, "Double X," adds another layer of narrative complexity including intersecting storylines. The protagonist within "Double X" challenges the conventional hero's journey and questions the established narratives. The characters within "Double X" become aware of the filmmaker's intentions, and the film plays with audience expectations. This aligns with the postmodern storytelling technique of blurring the lines between reality and fiction. The film's self-awareness (acknowledging itself as a cinema), genre subversion (from romance to darker crime), intertextuality (references to other films), metanarrative (a story within a story) and playful engagement with storytelling conventions contribute to its postmodern aesthetics.

Ecocriticism: “Kadaisi Vivasayi” (2022)

             Ecocriticism examines the representation of nature, the environment, and ecological themes. This film is a commentary on hybrid seeds, pesticides, industrial animal feed, and other high-input practices destroying sustenance farmers. It addresses how the recent lifestyle has made an impact on the human-nature relationship.

Queer Theory: “Kaathal - The Core” (2023)

It is an academic framework that critically analyzes concepts related to sexuality and gender. The movie educates the audience about the possibility of having different sexual orientations.

Readers of Literature visualise and explore the themes, setting, action, and characters’ emotions whereas visual storytelling in films presents director’s vision.  Each medium offers a unique and valuable way for creators to connect with audiences and explore the complexities of the human experience. Applying literary theories for reading the visual language of cinema gives a deeper understanding of the meaning and appreciation for the artistic creation of the filmmakers.