| dc.description.abstract |
Film adaptations of literary works act as a foreground for contested
discussions on evolving parameters to defining and approximating them as
adaptations. Film theorists handy with technological aspects of filmmaking
examine them from specifications of the cinematic art. Literary theorists
take up available treatises from semiotics, psychology or art and dissect a
film from subject-centered approaches. As film adaptations strive for a formal
identity in the wake of multitude of perceptions, this paper looks at the
adaptations in Bollywood from the Hindu concept of rasa. The paper
contends that stages of action, characterization, motivations and above all
the holy gaze of the audience all contribute to the building up of one
prominent sentiment in a performance, the relish of which is experienced as
a blissful state (parmananda) by the spectator |
en_US |