Papers by Emdadul Hoque Topu
The first Blade Runner released in 1982 which is directed by Ridley Schott and thirty-five years ... more The first Blade Runner released in 1982 which is directed by Ridley Schott and thirty-five years the second Blade Runner film has been released in 2017 which is directed by Denis Villeneuve. In this extended periods of time the wold film industry has been evaluated in a significant amount by the science and technology. The most significant change is the transformation the analog technology into computer-generated digital technology. Which allows the filmmakers to achieve any visual story they want to tell their audiences. Beside cinematography, projection, editing or production design technology, Visual effects artists became very necessary and essential part of filmmaking. The evolution of visual effects artists in the film industry can be shown by analyzing the visual effects technologies of two Blade Runner films. Though it is science fiction the basic concept of the making this film was to showdown how the capitalistic system would end and the passage from human to post-human capitalism? For visual effect, the tendency was to create the futuristic environment. How the environment will collapse after all these capitalistic development. One building will build more massive than another and the competition will force them to make gigantic monuments. In overall to give a message to human civilization that the future will be like this if we do not change our system. So the aesthetics of creating visual effects may be a help to understand why these two films are created like this and how vital this visual effects for making this high graphical films.
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A procession initially began in 1989, only as an attempt to bring people together to welcome a ne... more A procession initially began in 1989, only as an attempt to bring people together to welcome a new year with happiness has now become an intangible cultural heritage. ‘Mongol Shobhajatra’ is a creative innovation that engages all people into welcoming the new year through the celebration of Bangladeshi folk art. A joyous march in the first morning of a new Bengali year with massive artifacts and colorful masks to fight against all sinister forces and entering into a year with new hope and good fortune has become an unbroken tradition. The skills and knowledge being handed down to students year after year, the Faculty of Fine Art is determined to carry it on from generation to generation.”
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Why do we need cinema media in Bangladesh? Where people are living in the era of social media net... more Why do we need cinema media in Bangladesh? Where people are living in the era of social media networks, internet, torrents, and online movie platforms. The practice of watching a film in cinema halls is not anymore for people living in Bangladesh. Not for urban people or those who live in rural areas. The number of the cinema hall is getting smaller day by day. Now in Dhaka city, the capital of the county, there are only two cinema hall complexes, (Bashundhara city super mall, cineplex, and Jamuna Future park Blockbuster cinema complex) for twenty-five million people live in the city. Importantly these two cinema halls are part of the city’s biggest shopping complex, so there is always a question of the category of films and the viewers. Along with these modern cinema halls, Dhaka city still has some old cinema halls, like Balaka, Rajmoni, Jonaki, etc. There is a huge class difference between these two types of cinema halls in the city, where the scenario in a rural area or small cities around the county (mufassil areas) are even worst. Watching the cinema is not a necessity part of people’s life. Only a few numbers of cinema halls left around the country, and they are waiting to get vanish along with the flow of new media technology. But still the investors, producers, film actor actress or even the audience they are not from a different generation, I mean always the 90s age is here, and in Bangladesh cinema history the 90s period is the best cinematic era. People were crazy about cinema all around the country, and in newspapers, film magazines, fans activities cinema was the hot topic to publish or discuss. So how this cinema industry came into this tragic conclusion at the beginning of the twenty-first century? To find that answer we have to go back to the film industry, the practice of film making, government policies, the film society activities, and overall condition of the country. The cinema audience will come at last, because it is an actual matter of fact that there was never a growth conscious audience for film in Bangladesh. From the independence period, the political situation is so unstable that till now no authority could able to manage to build a practice of film watching or making. Here in this paper, I want to focus on “Cut-Piece” period in Bangladesh film industry, the reasons behind it will try to analysis this erotic exhibition with film and cultural theories, along with that try to bring out the importance of regional film doing practice and most importantly the film society activity in Bangladesh.
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In Mughal miniature painting style in late 16th and early 17th centuries has influenced by Europe... more In Mughal miniature painting style in late 16th and early 17th centuries has influenced by European prints and Printed books beyond Europe by the Jesuits, diplomats, and merchants, as well as the expansion of global networks. And Mughal emperor Akbar and his son, Jahangir gave these printed materials the most ardent welcome. Besides, as a Sunni Muslims of Turko-Mongol origin at the beginning of the Mughal empire, the adopted Persian as their official language of administration and commissioned luxury illustrated manuscripts of classical Persian texts. The reason behind, Mughal book workshop and library produced drawing and paintings copied from and inspired by European prints, were not only for establishing the building the relationship between the bloodline of Akbar the great, Taimur or Jesus but also to present the philosophical and aesthetical differences between Mughals and Europe. Mughal albums are mainly a collection of Asian and Persian style drawing, paintings and calligraphy, and in a later period, it introduces the realistic essence of European engravings with it.
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Television, video, digital new media and new technologies of sound and colour have ushered in maj... more Television, video, digital new media and new technologies of sound and colour have ushered in major shifts in what is traditionally recognised as the "cinematic experience". Several scholars have responded to these technological changes in different ways. Reflect on the writings of the following to stage a discussion about cinema's aesthetic transformations and its future within a powerful media context. Let's try to define how does the "cinematic experience" has been produced from the beginning of cinema history and what are the main difference between old and new? Well, in past production design, performance, recording the video, adding sound, post productions all these jobs need to be maintained to produce the cinematic effect with moving images which we call now cinema apparatus. And today all of these section of works are there, but with the change to time, the old technologies are replaced by new technologies. The uttermost technological breakthrough is shifting from celluloid camera to digital image processor based camera technology. Where the post-production, more specifically the visual effect can be added, the artisans can change the subjects of the recorded data, after recording the sequence. Leaving behind the celluloid-based recording system, the new computerized digital recording system makes a lot of impossible things possible for the motion picture industry. After new computer-based technology, most of these analog cinematography based visual effects, for example, Forced Perspective, Matte, Matte Painting, Persistence of vision, Rear Projection, Shuftan process, split screen techniques are transcended into digital technologies. The computer-based digital technology works with numerical representation, modularity, automation, variability, and transcoding (according to Lev Manovich). And computer-based processing system makes possible to create more accurate, larger and realistic visual effects.
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Aesthetics is a branch of philosophy which deals with the beauty, the ugly, the sublime, the comi... more Aesthetics is a branch of philosophy which deals with the beauty, the ugly, the sublime, the comic, etc. and on the other hand technology is a branch of knowledge which deals with the creation and use of technical means and their interrelation with life, society, and the environment, drawing upon such subjects as industrial arts, engineering, applied science and pure science. It is difficult to define the words aesthetic and technology, wherein twenty-first century the post-modernist contemporary era, these two sectors are playing a vital role to change the meaning of their definitions with the new inventions, methods, and necessities. In which the work of art has been influenced by these new inventions of methods and techniques to produce a more complicated visual experience and output. If we try to figure out what would be the future of our cultural industry and how it would behave in this utopian condition? Where art is controlling peoples lifestyle, dreams, emotions, and the overall psychological world. If we focus on the effects of technology, we will be able to identify that in every decade or sooner the technology and the medium of communicating with the spectators are changing. Form the beginning of the 19th century there are museums, theatre halls, then cinema halls, television channels came forward and took their place, and now along with all of these old media platforms, new media platforms also come forward with the interactive communicative
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The history of the Bengal Famine in 1943 is manmade. Since it is manmade, understanding and analy... more The history of the Bengal Famine in 1943 is manmade. Since it is manmade, understanding and analyzing this phenomenon in detail is possible. The occurrence of the Bengal famine has been explained according to its socio-political reality and economic rationale. Yet, when we look into a considerable amount of literature available on hunger, one is not able to accurately identify the presence of a political or ethical subject though there is enough possible evidence of these historical subjects. This lack of recognizing this catastrophic historical event in adequate terms leads Paul Greenough and Amartya Sen to holistically represent this event according to economic, juridical and political elements. Yet, one might say that the figure of the destitute is the only one which canTo give this historical event any proper ethical consideration. This is what led some people around India, particularly in West Bengal, to start a movement encompassing all artistic mediums such as cinema, theatre, painting, and literature. This expanse of mediums became necessary in a sense. As Bijan Bhattacharya recalled in one of his interviews, his pen was by itself not powerful enough to describe the calamity, but when he came to depict it on canvas or through lyrics, a dramatic form became necessary, leaings him to write the text and perform it. This is how he created one of the most successful plays about Bengal Famine, Nabanna. Nabanna was written in 1944 and produced for the stage by IPTA at Shri-Rangam Auditorium. The modes of its theatrical representation transgressed the narrative boundaries of all existing theatre productions at the time. Samik Bandopadhyay writes in his forward to this production “everywhere there was a new outlook.” Following his comments, one infers that to reproduce this historical event with proper analytical depth, such that its audience could experience the gravity of this human-made famine, a new form of dramatic form needed to be developed. Even though this new dramatic form includes many elements – stage design, performance styles, music direction, etc. – I would like to focus only the new visual grammar developed for the purpose of this paper.
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The word Bhakti came from the Sanskrit word "भक्ति" which means loyalty, surrender, faithfulness,... more The word Bhakti came from the Sanskrit word "भक्ति" which means loyalty, surrender, faithfulness, love, devotion, and worship. And the word Bhakta implies food or an offering made in a sacrifice. The theory may be rooted in the primitive practices of life sacrifices (for animals and human both context). Those who offered themselves to bhakta (eater/deity) as a sacrifice is a Bhakta. And the idea of sacrificial rituals introduced to the human in the primitive stage of the civilization and still now it has been practicing in almost everywhere around the society. In the religious context, the word Bhakti stands for the devotion to the personal god or spiritual ideas. In bhakti, the person has to sacrifice him/her self to get close to the god without any expectation. That is why Baul poet said that 'He is unaware of knowledge, beggars of love." Besides "Always remember you in the whole heart and mind" might be the principles of Bhakti. A bhakta became a devotee who surrendered himself to God and lived a life of detachment and renunciation full absorbed in the contemplation of God.
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"A River Called Titas" is based on the autobiographical novel by Advaita Malla Barman. The Writer... more "A River Called Titas" is based on the autobiographical novel by Advaita Malla Barman. The Writer himself came from fisherman family. Locally these fisherman community is known as "Malo." As a result, the struggle life of these fishermen community had been observed and felt by Barman from a realistic perspective. His novel was published in 1956, and in 1936 another novel called "Padma Nadir Majhi" (Boatman of the River Padma) by Manik Bandopadhyay was published: both of them are about the ethnic-social group who live in the river bank. In between "Boatman of the River Padma" and "A River Called Titas," there was no book on these ethnic-social group, the Malo community. Though Manik observes this community as an outsider, he tried to build the biosphere of this endangered society. In contrast, Barman's origins as a Malo, helped him to observe, realize the struggle of this lower caste community, which leads him to write about them thoroughly. And when this novel was publishedin1956, the writer was passed away, and after two decades, Ritwik Kumar Ghatak captures the river called Titas on celluloid. As media film and literature has enormous differences and Ritwik has to break down the novel into too few different parts to bring out the central gesture of the story and build a unique form of narration. Following this, for better analysis of "A River Called Titas," I have planned to separate this whole cinema into four significant episodes. Reasons are many, but I concentrate on how Ritwik tried to create the Verfremdungseffekt1 or the alienation effect. His engaging editing style and the narrative style is more episodic, and it strongly follows Bertolt Brecht's epic theatre2 than dramatic theatre. So the cinema mainly structured from four points of view, with the first part focused on its historical development. The beginning title sequence tires to develop a narrative, visual structure of the village, its villagers and the Titas river, introducing the main characters from the villagers, young Basanti, Basanti's mother, Kishore, Subol, Ramprashad, and RajarJhi. 1. Means distancing effect which is a technique that used in theater and cinema to prevents the audience from losing itself completely in the plot or characters. 2. Epic theatre is divided by based on a structure, staging, design, music, acting, and characters of a production. Where dramatic theatre has a plot or story, and it implicates spectators in actions and down into the plot; allow its audience to have emotions and where feelings are more preserved; suspense about the outcome of the story and one scene exists for another; linear development of the sequences and thought determines to exist, on the contrary, epic theatre does not follow these characteristics. Epic theatre is performed with narration which is remind the aidance that they are watching a presentation of a story. The characters in epic theatre sometimes break the sequence by commenting upon their character as an actor and sometimes speaking to the stage direction. It turns the spectator into observer but awakens his capacity for action and demands decisions from the event. This is a more episodic and disconnected montage of scenes, and each scene exists for itself. An additional piece of written information might present onstage like as a placard, multimedia or a powerpoint slideshow can be used for alienation effect. It also breaks the imaginary wall between the actors and audience and they become the active audience of the theatrical experience as they are kept thinking all the time of not turning off. This term is also known as breaking the fourth wall.
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Islam had reached to the northern region of India after three hundred-fifty years later nabi Muha... more Islam had reached to the northern region of India after three hundred-fifty years later nabi Muhammad died by Sabuktigin of Ghazni (977-997). He established his dynasty in Afganistan and breached to the southern shore of the Indus River by building the Ghaznavid dynasty in northern India. But Ghaznavids were not able to hold it for long. Seljuks took first western Ghaznavid, and later the Sabuktigin leader Mahmud the son of Ghazni was defeated by Muhammad of Ghur in 1173 and conquered the northwestern territories as far as Delhi. And then Muhammad of Gur’s commander chief Qutb-ud-din Aibak took control of Delhi and became the sultan. Sultan Iltutmitmish succeeded him. In case none of these rulers were ruled this land for a long time. One was replaced by another conquer. Following that, in 1320 Giyas-ud-din Tughluq assumed Firuz Shah also supplanted the power and the Tughluqs and this Turkish sultanate destroyed forever by the Mongols under Taimur leadership. The beginning of the great Mughal Empire in India was by zahir-al-Din Muhammad Babur from the southern part. Babur is a Timur through his father and Chengis khan through his mother. He captured Kabul and began to expand his Afghani empire to the southward. And this time the law of primogeniture succeed perfectly. Humayun succeeded his father, Babur, which is followed by Akbar the Great, his son Jahangir and his son Shah Jahan and lasted until British incursions.
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“Vision and Creation,” the book is all about Acharya Nandalal Bose’s theory of Visual Art. Like I... more “Vision and Creation,” the book is all about Acharya Nandalal Bose’s theory of Visual Art. Like I explained earlier, the book will provide the answers to the young visual artist or scholars about how to practice visual art? What is its purpose? How should we develop our education system based on optical art? Why is this important? Moreover, besides, the theories in the 2nd part of the book, it is all about methods and material of visual art based on an oriental style. The book, includes how to make color, the surface of painting, bruises; also the basics of drawing techniques, applying color on surface, composition, the oriental style of anatomy study and the difference between western style and oriental describing how to create the Ajanta Murals, Jagannath Pat, Tibetan Tanga, Wash Painting, Fresco and painting on silk. His practice achieves all of these techniques and in-depth analysis of those artworks. At, the end of the book, there are some personal letters written by him which will also help the reader to understand his thinking process and how he developed this idea about visual art gradually through time.
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“Simon Schama’s Power of Art” is a BBC documentary series presented and written by art historian ... more “Simon Schama’s Power of Art” is a BBC documentary series presented and written by art historian Simon Schama. The series had eight episodes each explaining eight important artists based on how he or she made visual art a more powerful medium, following the art history timeline, post-renaissance to the contemporary period. The Episodes are: number one, “Caravaggio's David with the Head of Goliath”, number two, “Bernini's Ecstasy of St Theresa”, number three, “Rembrandt's Conspiracy of Claudius Civilis”, number four, “Jacques-Louis David's The Death of Marat”, number five, “Turner's The Slave Ship”, number six, “Vincent van Gogh's Wheat Field with Crows”, number seven, “Picasso's Guernica” and finally number eight, “Mark Rothko's Black on Maroon”. The series was broadcasted in October – November 2006 through the BBC TV channels. Each episode is almost one-hour long, analyzing these artworks and to make a meaningful description of what, how and why these artworks had to be done. Simon has made a very unusual structure for the series. He mainly focused on the most important artwork of these artists, and draw the connection with their other works, life events, psychology, the social and political environment of their area to intrigue the audience since cinema is one of the most communicative art media in this 21st century. Analyzing these paintings and sculptures by using the camera, various types of lens, editing, and voice-over have created new meaning and communication of these masterpieces with the audiences. On the other hand, the making of the episodes is also different from one another. Simon plans to edit and apply visual effect through the sequences of the episodes, so the artist’s style is reflected. The cinematography, art direction, lighting, editing, and music had different styles and techniques for each episode. And besides these, Simon’s main point is what the power of art is. In response, he has selected these essential artworks which were breaking the traditions of creating art in its time, and all the information he describes the artist and his works are connected at the end of each episode to develop more significant meaning about that specific artwork.
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Art Heritage presents “In the Shadow of the Pyramid,” an exhibition at Shridharani Gallery, Trive... more Art Heritage presents “In the Shadow of the Pyramid,” an exhibition at Shridharani Gallery, Triveni Kala Sangam, New Delhi, that reflects the Egyptian photographer Laura El-Tantawy’s intensely personal nine-years journey of entrenched reportage surrounding the events of the ‘January 25 Revolution’ at Tahrir Square in Cairo. The title of this exhibition I assume has a more intense meaning referring to the reality
of today’s Egypt which is covered in the shadow of the Pyramids Laura El Tantawy portrays this other side through her photography. Moreover, it would be inadequate to introduce Laura El-Tantawy only as a photographer; she is also a historian, an original annalist of Egyptians. She began this journey of a photo story in 2005 and
continued her work through the restless protests of 2011, which forced president(former) Hosni Mubarak to abdicate from his position, after being in power for thirty years. “In the Shadow of the Pyramids” has been curated and designed
jointly by Laura El-Tantawy and Rahaab Allana. It has been conceptualized as an audio-visual installation with three large video screens, framed photographs, a photo catalog, short video documentation, and audio tracks. This photographic
installation has been designed in a way that when spectators walk through the entire gallery space, it allows them to engage with the concept physically and psychologically. This is what challenges the traditional practice of evaluating
the curation of visual art exhibitions. It allows the viewer to enter and move around the space and interact with its elements; it offers the viewer a very different experience from a traditional exhibition in which viewers usually see from a single reference point. An installation like El-Tantawy’s may engage several of the viewer’s senses including
sound, text, and as well as vision. The curator of Art heritage, Rahaab Allana’s text depicts how Tantway’s camera pursues to capture the live moment in all integrity of the protest. ‘In the Shadow of the pyramid” opening in August, a month that India marks its 70th years of Independence, arouses a query in our collective conscience, what ultimately is genuine and have we achieved the desired freedom we fought for?
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Drafts by Emdadul Hoque Topu
Emdadul Hoque Topu
“Blade Runner 2049” movie is a sequel to the movie released in 1982 “Blade Runner 2019”. The movi... more “Blade Runner 2049” movie is a sequel to the movie released in 1982 “Blade Runner 2019”. The movie is released on October 07 2017. The main plot of this movie continues backing the first one. This is a neo-noir genre science fiction film which presents the conflicts between human and replicants by raising the question to its viewers who are more human?
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Papers by Emdadul Hoque Topu
of today’s Egypt which is covered in the shadow of the Pyramids Laura El Tantawy portrays this other side through her photography. Moreover, it would be inadequate to introduce Laura El-Tantawy only as a photographer; she is also a historian, an original annalist of Egyptians. She began this journey of a photo story in 2005 and
continued her work through the restless protests of 2011, which forced president(former) Hosni Mubarak to abdicate from his position, after being in power for thirty years. “In the Shadow of the Pyramids” has been curated and designed
jointly by Laura El-Tantawy and Rahaab Allana. It has been conceptualized as an audio-visual installation with three large video screens, framed photographs, a photo catalog, short video documentation, and audio tracks. This photographic
installation has been designed in a way that when spectators walk through the entire gallery space, it allows them to engage with the concept physically and psychologically. This is what challenges the traditional practice of evaluating
the curation of visual art exhibitions. It allows the viewer to enter and move around the space and interact with its elements; it offers the viewer a very different experience from a traditional exhibition in which viewers usually see from a single reference point. An installation like El-Tantawy’s may engage several of the viewer’s senses including
sound, text, and as well as vision. The curator of Art heritage, Rahaab Allana’s text depicts how Tantway’s camera pursues to capture the live moment in all integrity of the protest. ‘In the Shadow of the pyramid” opening in August, a month that India marks its 70th years of Independence, arouses a query in our collective conscience, what ultimately is genuine and have we achieved the desired freedom we fought for?
Drafts by Emdadul Hoque Topu
of today’s Egypt which is covered in the shadow of the Pyramids Laura El Tantawy portrays this other side through her photography. Moreover, it would be inadequate to introduce Laura El-Tantawy only as a photographer; she is also a historian, an original annalist of Egyptians. She began this journey of a photo story in 2005 and
continued her work through the restless protests of 2011, which forced president(former) Hosni Mubarak to abdicate from his position, after being in power for thirty years. “In the Shadow of the Pyramids” has been curated and designed
jointly by Laura El-Tantawy and Rahaab Allana. It has been conceptualized as an audio-visual installation with three large video screens, framed photographs, a photo catalog, short video documentation, and audio tracks. This photographic
installation has been designed in a way that when spectators walk through the entire gallery space, it allows them to engage with the concept physically and psychologically. This is what challenges the traditional practice of evaluating
the curation of visual art exhibitions. It allows the viewer to enter and move around the space and interact with its elements; it offers the viewer a very different experience from a traditional exhibition in which viewers usually see from a single reference point. An installation like El-Tantawy’s may engage several of the viewer’s senses including
sound, text, and as well as vision. The curator of Art heritage, Rahaab Allana’s text depicts how Tantway’s camera pursues to capture the live moment in all integrity of the protest. ‘In the Shadow of the pyramid” opening in August, a month that India marks its 70th years of Independence, arouses a query in our collective conscience, what ultimately is genuine and have we achieved the desired freedom we fought for?