However, since film requires capitat, such tactics have proved mostty ineffective. Capital sitences all rebellions. in the history on Matayabm cinema, onty one fi Lin has defied capital. It wa.s John A braham s 'Amma Ariya,an'. a film created with moneycoltected from peopte, under the aegis of a movement called 'Odesai This film also underwent censorship, earned a good certificate. and won the embrace of a speciat avvard. This means that. in this movie. John Abraham did not require to exhi bit truths that would amaze or ruffte the ruting establishment. Since cinema needs to pby out within the ambit of 'compromised freedom', it needs to practice certain sitences; it is these sitences that have ch iseted it into the art of forgetfulness. The sitver screen, N.ijnich turns money into a stage that can even se tt the sout to make a living, creates an arena to celebrate acentury of Great Sitence. ln this context, cinerna's future is not fillect with hope itwitldrown peopte in its visuat deluge The chattenge that a century of cinema raises before public

The interests of the capitalare subjugating everything else Loo king at contemporary cinema, it is obvious that this cinema is using its forgetfutriess as a vwapon against the public. It's ntved a tong distance away from history, heritage, culture and memory. ln fact. it is manufacturing a collective amnesia in a commercial basis. Such amnesia provides excettent manure for the tust for power to flourish
This is not a phenomenon that happened onefine mo ming. The very growthof Indian cinema had happened during a period of intrusion, even as censorship viras inflicted upon it. Its very existence has been under deference to censorship. it has rarety fought against the establishment, though some tone voices have managed to sneak themsetves across the barrier.
The generat mission of the saver screen is not to go deep into the world vve tive in. mine out its core and show us: it is to make us feetcompetted to forget.
Its craft isn't about rnernory_. it's about making one Lose one's sense of reatity.
Cinema is atways under a state of emergency - an emergency imposed by povcer and money. Even though each fitm has its ovvn potitics, Indian cinema's preoccupation with being apotitical displays its ovvn stavery to the system. This is the reason why a fiLmrnaker Like Krzysztof Zanussi has been saying that censorship is the biggest obstacte, si nce the dawn of Soviet cinema The old Commun ist order and the nevv capitatist one have the tech no Logy to potish and shapecinema at the very content Media suchas poeby, novet and nevvs journatism have deveto ped the tactics to circumvent such interventions

Have You Seen The Arana?'
'If an arana bites, death is immediate, goes the proverb. In the old Kerala, in the time of (OVVijayan's) 'Khasakkinte Ithihasam', the arana thus filled the images of dinosaurs in children's minds. Where is that arana today? With the question Have You Seen the Arana', Sunanda Bhat, a woman director from Karnataka, had participated in the Last Goa International Film Festival. This documentary unveils the horrendous face of the Malaya's changing life through the changes that our Wayanad has seen in the agriculture, landscape and weather in the last 25 years. The new generation has neither seen the arana, nor has it heard of it
'Have You Seen The Arana?' leads one to shocking realization that a society that has destroyed natural farming through the excessive use of chemical fertilizers, is actually killing its own biological body. ft's not a Malayali who has produced, funded and directed this film by toiling through five years of battling various odds. During this period, not even a single Malayalam film has been able to portray the scalding truths that Sunanda Bhat from Karnataka has made. So, wKlt are we talking about? It is here that Arana' becomes the representative of an unseen truth It's not only the arana that goes missing. Our cinema has not realized that a hundred living beings have perished It does not represent women, who constitute half of our society. It does not even understand what a Dalit's life means.

he Silences of the Century I By Premchand
Engrusii T ran slab:xi of a n a rt cle that appea r€<.1 :n lne Ntalhrubhurru on 03rd Nlay 2013
Politics tells us that India is shining in the world map. In that shining, Kerala is boiling. Perhaps, the state is going to witness the lowest water levels, the greatest darkness and the most scorching heat. However, even as it tries to hold its head up in pride for having completed a hundred years, has our cinema depicted the land that we live in, in any form, on the silver screen? Which land does it try to sketch for us? Whose India? Whose Kerala?
It's true, we have a lot to be eloquent about when it comes to heritage. Many streams that speak many languages, originating with Dadasaheb Phalke: Satyajit Ray, Ritwick Ghatak, Guru Dutt, Mrinal Sen, Shyam Bengal, Adoor Gopalakrishnan, Girish Kasaravalli, Rituparna Ghosh.. they are countless. According to the rational awareness and interests of the historians, the number of deities in this list rruy increase or decrease. However, there are a million people in our land who make a livelihood through cinema. Rs. 50,000 crores have been deposited in cinema. There are over ten thousand movie halls, and 15 million viewers every week. The countless crores of rupees that flow in unhindered even while discussing losses amounting to crores make cinema a magical world It's a world where the financial figures can only be guessed. It has stars that earn nothing as well as those who earn a hundred crores. Cinema makes every viewer dizzy with claims that tower above ticket sales figures. Here, history rests under the feet of money. Because cinema is unlike any other art form. It's an art that is possible only with money.