The Generic Structure of Pavitra Rishta Film - Movie Review Example

Data analysis project-Multimodal dis analysis Data analysis project-Multimodal dis analysis 0. Introduction Multimodal discourse analysis as Machin (2007) indicates is a paradigm that is used to study different aspects of language such as gestures, sound and even music. This means that film can also be analyzed through the multimodal discourse. Through the multimodal discourse analysis as well, the semiotic resources can be understood as majority of creations result from interactions with semiotic choices that lead to the creation and production of multimodal resources. From multimodal discourse as well, it is possible to make shifts from one context to another, one practice to the next or even stage to stage (Iedema, 2003). This is to mean that the dynamics of resemioticiation are well represented through material and historical dimensions of forms of representation (Maier, 2011). For the case of film, the multimodal structures are influenced by the promotional goals. This is to mean that the link between the narrative of a film and the promotional structures determine the model of analysis of the particular film. This essay will explore the generic structure of Pavitra Rishta film. As Maier (2011) indicates a great percentage of film trailers involve a mixed promotional genre that is exemplified by a distinct generic structure that fulfils a specific purpose through multimodal means. 2.0. Multimodal discourse analysis 2.1. Genre theory This essay shall focus on genre theory as the basis of the study. As seen in the research conducted by Iedema (2003), telefilmic analysis can be done through the use of thematic, psycho-analytical, or semiotic perspective through the help of film theory. Genre theory, according to Garzone & Ilie (2014) involves an analysis of genres that are constructed based on the similarities on the elements that make that genre. From the genre theory, genres are borrowed from the criticism of literary genre. It is through the genre theory that one can differentiate between various genres of film such fiction, documentary, comedy and drama amongst others. The authors continue to indicate that through the genre theory, the setting of the storyline is told, the theme, mood as well as the format of the film in question (Garzone & Ilie, 2014). Through the theory, it is evident that the setting of the film determines its category, as different films in different settings bring out different emotions in the viewers. Through genres, Garzone & Ilie (2014) indicate that there is a possibility that different emotions are constructed through film that will actually lead to different actions. The theory continues to indicate that the recognition of the features of different genres relate to the audiences’ familiarity with the same; thus, determining if the genre’s plot is worth following. In the long run, the genres are expected to elicit emotions in the viewers such as empathy based on the contents of the film. The emotional satisfaction resulting from the genres provides a higher level of anticipation among the viewers. On another view point, Garzone & Ilie (2014) indicate that thanks to the genre theory, genres are structured with a system of rules, patterns, forms and styles that act as the blueprint for the construction of work by the filmmakers. This structure also helps the producers act within some limits so as to derive meanings and satisfaction for their audiences. The genre theory will also be applicable in this setting as through the theory, the film’s semantic elements and codes are well explained as well as the syntactic elements- ideologies and narratives are well brought out. Since genre is constructed through specifics systems and postulations, Garzone & Ilie (2014) indicate that it is possible that the viewer interacts with the films during the entire viewing process. This means that generic principles exist in an endeavor to create contact between the viewers of the film and the producers so as the expectations of the different groups of people can be met. Genre, therefore, is a cognitive collection of sounds, characters, images and expectations of the producers and the audiences in question (Garzone & Ilie, 2014). For the case of film makers, the genre theory explains that genre is a simply a template that the film makers use to produce their films. The genre, according to the theory, allows the distributors target their audience in the course of marketing (Garzone & Ilie, 2014). This is to mean that in the event that the genres become standard, they will exert influence on the course of their production. The genre theory will also apply in this piece of work as through the theory the multiple concerns that exist in film can be bridged (Garzone & Ilie, 2014). It is, therefore, expected that the audience will recognize the efforts of the directors and producers. It is also through the genre theory that the clear identities and orders are recognized by the directors of different genres of film (Garzone & Ilie, 2014). Consequently, it is justified to conclude that the genre theory facilitates communication with the audiences with the use of different mechanism such as music, style, props and even the selection of characters in the film. 2.2. Analysis 2.2.1. The implicit promotional generic elements As Baldry & Thibault (2005), Kress & van Leeuwen (2001) indicate, film trailers are multimodal texts that make meanings in different ways. The authors continue to indicate that films take this approach as they aim at communicating various messages through a unified way (Baldry & Thibault, 2005; Kress & van Leeuwen, 2001). This is to mean that the films are generic structures that involve diverse semiotic forms that function jointly. Maier (2011) indicates that an ideal film must involve the implicit promotional and explicit promotional generic elements. For the implicit promotional stage, it is expected that a film discloses information on the characters, situation, events and relationships (Maier, 2011). The prologue stage opens the film trailer and explains the events that trigger the development of the story. In the prologue stage of Pavitra Rishta (2009) the viewer gets a foretaste of what the film is about. At the onset, the life a middle class family is seen and their struggles to get their eldest daughter married off to a man of a wealthy and educated boy. This stage is set with the windows of the Archana’s house opening and curtains drawn aside to signify the dawn of a new day (Pavitra Rishta, 2009). The family members are seen through the prologue and their roles in the family are well drawn. The rhythm at the onset creates a cool atmosphere that the family enjoys and the bond that the family members share. Through the prologue as well, the viewers are persuaded to keep on watching the film despite the voiceover only taking a limited time at the onset. The viewer is also set on the expectations of the characters as the prologue creates an atmosphere that slowly brings out the expected plot development. Secondly, the implicit promotional stage requires that the films have the orientation phase that entails contextualization (Maier, 2011). The setting and the relationships between various characters in the film are covered in this stage in such a way that it becomes effortless to comprehend the film (Maier, 2011). In the case of Pavitra Rishta (2009), the film uses voiceovers that disclose the name of the main character, Archana, who is less educated and her daily chores involve her running her household’s chores. Her two sisters, Varsha and Vaishali are drawn in this phase, as well as the eldest brother, Vinod who is married to a selfish wicked woman, Manjusha. Archana’s mother is also explained in this phase, and his lovely husband, Manohar who also shares the sentiment of getting their eldest daughter Archana married. The film also comprises of the complication stage that involves the actions that disrupt the lives of the main characters (Maier, 2011). This stage involves a violation of the expectations of the viewers, who are set to follow up the film to find out the end. In Pavitra Rishta (2009), the complication stage is accompanied by a series of events that leads to Archana not getting married to her suitor. The film shot display how Archana was set up, and was to later be found in a brothel by his husband to be, Manav; thus, the marriage alliance is broken with the allegations that she is a wicked woman. The viewers can easily sympathize with Archana, with the voiceover triggering curiosity among the viewers. Through this stage as well, the meeting of the main characters is made possible. Most importantly, Archana meets up with Manav, who is her husband to be in rare circumstances (Pavitra Rishta, 2009). First they meet on the streets and become friends, and later Manav saves her from getting caught by the police in the brothel saga by hiding her and taking her home safely. The evaluation phase is yet another of the telecinematic discourse of the implicit promotional phase presented by Maier (2011). This phase as the author indicates is one that involves provision of clarifications and interpretations of previous events in a film (Maier, 2011). In Pavitra Rishta (2009), this stage is explained through voiceovers that highlight the characteristics of the various characters and events that shape their being. Here the main characters have their characters analyzed. Manuv analyses the character of Achina and realizes that she is a good person despite the allegations made on her. While Satish declines marrying her, Manav sees the good side of Archana and is sympathetic that her marriage is cancelled (Pavitra Rishta, 2009). 2.2.2. The explicit promotional generic elements As Maier (2011) indicates, in films, the explicit promotional elements of a film involve the promotional identification phase which involves revealing the directors, the film company and the actors. In Pavitra Rishta (2009), it is evident from the film that Balaji Telefilms presents the hit Pavitra Rishta. The naming of this company helps the viewer understand previous works of the company and what contents are expected from the company’s label. The second of the explicit promotional generic elements involves the promotional recapitulation phase that provides novel orientation information that allows evaluate the information in the film (Maier, 2011). In Pavitra Rishta (2009), a high level of generalization is achieved through a non-deigetic voiceover that explains Balaji Telefilms presents two hearts that face challenges in the course of finding love but succeed in the long run. The viewers are given an opportunity to understand the nature of Manav and Archana and how their lives are meant for each other. Manav can be described as a humble person whose happiness results from the success of other people. Archana is of the same nature as well and is only happy when other people are happy (Pavitra Rishta, 2009). She also helps the ones that hurt her the most and is not worried if she loses everything for other people. This, as Maier (2011) postulates, reduces the diegetic and non-diegetic reality of the film. The next stage is the promotional interpretation stage that gives the viewers a promotional explanation of the implication of the film on their reality (Maier, 2011). Through this phase, the reality of the viewers and that of the film makers is brought together in a way that will ensure the viewers understand what the film makers aimed at portraying to their viewers. In Pavitra Rishta (2009), the words that shape the film are a clear indication of what the film is focused on portraying. The two main characters have their share of misfortunes, but still they contemplate on life will favor them. Manav is slowly mesmerized by the good of Archana and even wonders if his good would match that of Archana. This stage persuades the viewers in a way that they have no alternative, but to admire the sincerity and love of the main characters. In fact, one would even argue that the main characters do not belong to the earth we live in. evidently, the viewers will gain much from this film. From the interpretation part, Maier (2011) directs us to the promotional recommendation phase that is directed at advising the viewers. Despite Maier (2011) indicating that this phase is optional and that not all films have the same, in Pavitra Rishta (2009), this phase is constantly explained by Manav’s father who constantly sees to explain to her wife that being a bad person will do no good, and that it is her role as Archana’s mother in law to embrace the kindness virtue. The viewers on the other hand constantly have a touch on the goodness of Archana, and how it has changed the lives of many people. It is possible that many viewers will identify themselves with the main characters, Archana and Manav. This aspect explains that the film is not only meant for entertainment, but also informs and advises the audience. Last is the promotional information aspect that involves non-diegetic information on the release dates of the film, the internet address amongst others (Maier, 2011). Unluckily, the same is not present for Pavitra Rishta. 3.0. Discussion of Pavitra Rishta’s analysis The multimodal analysis of Pavitra Rishta, has explained how information is structured and disclosed in the film. It is also evident from the analysis that the types of information selected to be aired to the viewers have been determined by the multimodal analysis. The functions of the choices selected by the filmmakers are evident from the onset of the film to the close. Through the analysis, it is worth justifying the verity that the story presented in the film is not only represented in the film, but also reinvented in a way that attracts the viewers. The interdependence between the semiotic modes has created a way that the film achieved its communicative role. In chapter 8 of Paltridge’s (2012) Discourse Analysis, discourse analysis must reflect social and political issues. Pavitra Rishta is of an Indian descent and though the film uses the English language, the characters continually follow the doctrines of the Indian culture. Throughout the film, the Indian culture is maintained through the mode of dressing, cultural events, and the festivals that the characters take part in, in the course of the film. This film acts as an opening to the culture of the Indians. The discourse of the film; thus, creates an aura of how Indian culture is rich in values and the virtues of humanity. Paltridge (2012) also asserts that through discourse power relations are not only discussed, but also performed. From the conversations in Pavitra Rishta, the weaker characters especially the soft spoken characters are outdone by the vibrant ones particularly in cases of false allegations. The softer ones such as Archana is condemned severally by her mother-in-law, and their conversations are at most times over when her mother-in-law starts speaking. These kinds of analysis explain how power is portrayed and performed through discourse. The third principle of discourse as Paltridge (2012) indicates, must involve reflecting and replicating social relations. This principle means that discourse establishes and maintains social relations. Pavitra Rishta shows the representation of Archana as working woman as a supervisor in a company, and a daughter who runs all the affairs in the family and still retain all the relations in the public and private spheres. In the Indian culture, women are mostly expected to remain in the private sphere, but Archana in the film, presents a different view. The use of language that explains Archana’s roles reflects the societal views and relations and how the society has continually constructed gender stereotypes and inequalities that have undermined women over the years. Fourthly, discourse analysis works on the principle that ideologies are replicated and produced in the use of discourse (Paltridge, 2012). It is through discourse that the society is constructed and represented through power relations on gender, class and customs. In Pavitra Rishta, girls from poor backgrounds have hindered their marriages at various instances. Various girls that were married from poor families were always condemned by their mother-in- laws for having not brought enough jewelry to their homes. This explains the discourse of difference that exists and justified the claims of characters who wanted to dominate other characters. From these principles and analysis, it is evident that critical discourse analysis explains more than what is beyond what a genre explains (Paltridge, 2012). Through the critical discourse analysis of the film, Pavitra Rishta, a deeper insight on the film can be understood. The relationship between the discourse and the connotations in the society can clearly be understood as well as an interpretation and explanation of the relationship between the main characters in the film. The multimodal discourse analysis has also made it possible to explore the themes in the film and even derive deeper meaning from the already presented information in the film. The cultural, social as well as the political ideologies that trigger the plot of the film can be understood. All these aspects in the film help in the reconstruction of various views on the Indian culture. Perceptions on the Indian culture have also been cleared as the Indians too have values and virtues that direct their lives. Despite the film being promotional, the film imposed ideas on its viewers regarding the Indian culture. The context of the film is framed in a way that allows the audience understand the motive of the film, since the events are presented as reality, and the chances of uncertainty are limited in the film. The film is also framed in a way that will allow the viewers unravel the assumptions and the values that are presented in the film. The screen shots from various towns in the film, Pavitra Rishta creates proximity and connection with the events that shape the main themes in the film. 4.0. Implications for language teaching Multimodal discourse analysis has major impacts on language teaching. As the research conducted by Farías, Obilinovic & Orrego (2007) indicates, in the course of teaching language multimodal teaching must involve incorporation of design that allows for cooperation and coordination of different forms of discourse that allow for accomplishment of the objectives of teaching language. Through the multimodal teaching, that allows for multimodal discourse, Farías, Obilinovic & Orrego (2007) assert that such kind of learning provides learners with channels that will allow them obtain information that increases the chances that the learners will be independent, and will learn efficiently even outside the classroom setting. On another note is that the multimodal teaching calls for reforms in the teaching methodologies in the classroom setting. Multimodal teaching, as Farías, Obilinovic & Orrego (2007) indicate, requires that the teachers embrace teaching methodologies that lay solid foundations for their study of language as well as achieve quality results in the end. Such examples include the teachers embracing multimedia technology in the teaching process (Farías, Obilinovic & Orrego, 2007). For the case of foreign language classrooms, multimodal technology has to be adopted if the teachers have ensured that the learners apply creativity in the learning of the foreign language. Yet another implication of multimodal discourse analysis in the course of language teaching involves the teachers making use of different approaches that will maximize the learning process. Farías, Obilinovic & Orrego (2007) indicate that modern teaching methods cannot be alienated in a multimodal classroom. Among the methods include incorporation of sounds and images amongst others that ensure language learning is maximized. The authors also indicate that such methods will also create a multimedia and network environment that allows for coordination of multimodalities that maximize the effects of language teaching (Farías, Obilinovic & Orrego, 2007). Farías, Obilinovic & Orrego (2007) also argue that through multimodal analysis, language learning and teaching is not the same as the multimedia presentations compensate for the absence of cognitive structures that do not allow for complete development of verbal skills. This means that the multimodal learning has a major implication on the writing, reading as well as speaking and listening abilities of the language learners. In this case, it is advisable to assess which of the multimedia approaches are useful for the different leaning in the different language learning contexts. This is because the audios, linguistic and visual cues adopted may either have a negative or positive impact on the language learners (Farías, Obilinovic & Orrego, 2007). In addition, it is advisable that the teachers offer opportunities that will allow the learners select the most appropriate multimodal approach that will work best for their learning styles and meet their needs as per their capabilities. In the present day language classrooms, it is valid to indicate that print- based learning is slowly being wiped by the different multimodal that exist (Farías, Obilinovic & Orrego, 2007). In the event that the language teachers take advantage of the diverse multimodals that exist, it is expected that the cognitive, social as well as the critical comprehension of the learners is twisted to suit the needs of the language learners (Farías, Obilinovic & Orrego, 2007). The multimodal discourse implication on the learners also focuses on the ability to make the learners cope with novel methods of accessing information. Farías, Obilinovic & Orrego (2007) argue that the multimodal discourse has presented a new approach to visual literacy ion the language learning classrooms. In the event that the learners are faced are faced with diverse ways of accessing information, multimodal discourse helps them deal with different channels of information. This means that multimodal discourse information is indeed beneficial to language learners as it opens various channels that allow for their deeper comprehension of the languages being taught. Multimodality speeds up the learning of a foreign or a second language as opposed to the natural acquisition of concepts being taught in the classroom (Farías, Obilinovic & Orrego, 2007). This is simply because multimodal acts as a boost to the learning of language as well as improves on their natural acquisition of language. References Farías, M., Obilinovic, K. & Orrego, R. (2007). Implications of Multimodal Learning Models for foreign language teaching and learning. Colombian Applied Linguistics Journal, 9, 174-199. Garzone, G. & Ilie, C. (2014). Genres and Genre Theory in Transition: Specialized Discourses Across Media and Modes. NY: Universal-Publishers. Iedema, R. (2001). Analysing film and television: A social semiotic account of Hospital: An Unhealthy Business (pp. 181-204). In T. van Leeuwen and C. Jewitt (eds), The Handbook of Visual Analysis. Los Angeles: Sage. Kapoor, E. & Kapoor, S. (Producer). & Kulkarni, S. & Thakkar, B. (2009). Pavitra Rishta. [Film]. India: Balaji Telefilms. Kress, G. & van Leeuwen T. (2006). Reading Images: The Grammar of Visual Design. Second edition. London: Routledge. Machin, D. (2007). Introduction to Multimodal Analysis. London: Hodder Arnold. Maier, C.D. (2011). Structure and function in the generic staging of film trailers (pp. 141-158). In R. Piazza, F. Rossi and M. Bednarek (eds). Telecinematic Discourse: Approaches to the Language of Films and Television Series. Amsterdam: John Benjamins. Paltridge, B. (2012). Discourse Analysis: An Introduction. NY: A&C Black. Read More