Explorations in Cinema through Classical Indian Theories: New Interpretations of Meaning, Aesthetics, and Art

Preface
Contents
List of Figures
List of Boxes
Chapter 1 Introduction
	References
Chapter 2 Film Theories and Cinema: Limitations of Disembodied Vision in the Existing Film Discourse
	2.1  Limitation of Film Theories: The Disembodied Vision
		2.1.1  Classical Film Theory
		2.1.2  Contemporary Film Theory
		2.1.3  Cognitive Film Theory
	2.2  Limitation of Film Histories
	2.3  Rediscovering Film Sensations in Early Cinema: Applying Embodied Vision to Cinema
	References
Chapter 3 Vedic Cosmology and the Notion of Correlative Opposites: An Indian Paradigm of Thought and Its Influence on Artworks
	3.1  Constructing an Indian Paradigm of Thought: Formation of Classical Indian Schools in the Age of the Systems
	3.2  Three Major Ontological and Epistemic Schools during the Age of the Systems
		3.2.1  “Atomic” Theories of Nyāya-Vaiśeṣika and Mīmāṃsā: “Intentional Consciousness” as the Instrument of Knowledge
		3.2.2  “Substantialist” Theories of Sāṃkhya-Yoga, Advaita Vedānta, and Kashmir Śaivism: “Pure Consciousness” as the Instrument of Knowledge
		3.2.3  Non-Vedic Theory of Buddhism: “Streams of Consciousness” as the Instrument of Knowledge
	3.3  Influence of Vedic Cosmology on Indian Arts
		3.3.1  Vedic Motifs and the Formation of Narrative Principles in Indian Arts: Construction of Space, Time, Character, and Event
		3.3.2  Vedic Motifs and Compositional Principles in Indian Arts: Significance of Straight Line, Curve, Circle and Center and “Idealization”
	References
Chapter 4 Nyāya Theory of Perception or Pratyakṣa: Classical Indian Theories of “Meaning” and Their Relation to Cinema
	4.1  What Is “Perception” in the Nyāya Theory?
	4.2  Nyāya-Vaiśeṣika Ontology of Perception: Notions of “The Self,” “The Body,” “Space,” and “Time”
	4.3  Nyāya Epistemology: Distinguishing Features of Nyāya Theory of Perception
		4.3.1  Narrative Integration of Perceptual Elements into a Causal Whole
			4.3.1.1 “Mode of Appearance” in “Simple” and “Complex” Perception
			4.3.1.2 “Mode of Presentation” as “Embodied Sense” in Perception
			4.3.1.3 “Analytical Meaning” as Indirect Knowledge in Perception
			4.3.1.4 Production of an “Affective State” in Perception
		4.3.2  Nyāya Theory of Direct Perception of an “Absence”
		4.3.3  Nyāya Notion of “Visual Synesthesia”
			4.3.3.1 “Haptic Visuality” and Nyāya Notion of “Visual Synesthesia”
			4.3.3.2 “Haptic Visuality” and “Point of View Shot” in Cinema: A Nyāya Analysis
	4.4  Arising of Indirect Knowledge in Nyāya Theory of Perception
	4.5  Applying Nyāya Theory of Perception to Read Audio-Visual Images
		4.5.1  Reading Images of “Madhuri and Books”
		4.5.2  Reading the Practice of “Continuity” in Cinema
		4.5.3  Reading the Practice of “Montage” in Cinema
	4.6  Comparing Nyāya Theory of Signification with Lacanian Signification: Determination of Film Genres
	References
Chapter 5 Bharata’s Theory of Aesthetic Pleasure or Rasa: Classical Indian Theories of “Aesthetics” and Their Relation to Cinema
	5.1  Pre-conditions for Experiencing “Aesthetic Pleasure” or Rasa by the Audiences: Solving the “Paradox of Junk Fiction”
		5.1.1  “Generalization of Audience Experience”: Notion of “Ownerless Emotions”
		5.1.2  Audiences’ “Willing Identification with the Fictional Mode of an Artwork”: Notion of “Willing Suspension of Disbelief”
	5.2  Evocation of an Abiding “Affective State” Among the Audiences and Their “Levels of Identification” with an Artwork
		5.2.1  Evocation of an Abiding “State of Affect” Among the Audiences
		5.2.2  Levels of Audience “Identification” with an Artwork
			5.2.2.1 Preliminary Identification with the Perceptual-Cognitive Mode of an Artwork: Notion of “Mental Attention”
			5.2.2.2 Sympathetic Identification with the Narrative Mode of an Artwork: The Notion of “Narrative Universals”
			5.2.2.3 Sympathetic Identification with the Action Mode of an Artwork: Notion of “Action Universals”
			5.2.2.4 The Final Level: Empathic Identification with the Focus of an Artwork
	5.3  Bharata’s Theory of Extended Action: “Plot Structure” of a Play
		5.3.1  Five “Main Parts” or “Junctions” (Sandhis) of a Narrative Plot
		5.3.2  “Psychological State” (Avasthās) of the Protagonists in the Narrative
		5.3.3  “Forms of Action” (Arthaprakṛtis) in a Narrative
	5.4  Classification of “Aesthetic Pleasure” or Rasa
		5.4.1  Aesthetic Relish (Bhoga)
		5.4.2  Aesthetic Saturation (Rasa-Viśrānti)
		5.4.3  Aesthetic Immersion or Ecstasy (Samāveśa, Āveśa)
	5.5  Abhinavagupta’s “List of Obstacles” to “Aesthetic Pleasure” or Rasa
	5.6  Subjective–Objective Alteration in Indian Thought and Its Application to Artworks
	References
Chapter 6 Ānandavardhana’s Theory of Suggestion or Dhvani: Indian Theories of “Art” and Their Relation to Cinema
	6.1  “Art” as “Embellishment”: Guṇa-Rīti-Aucitya School (Alaṁkāra Śāstra)
		6.1.1  “Embellishment” of Elements Constituting an Artwork: “Figures of Speech,” “Style,” and “Appropriate Measure”
		6.1.2  “Embellishment” of the Modes of Expression in an Artwork: “Realism” and “Formalism” in Alaṁkāra School
			6.1.2.1 Mode of Natural Utterance (Svabhāvokti)
			6.1.2.2 Mode of Oblique Utterance (Vakrokti)
	6.2  “Art” as “Suggestion”: Ānandavardhana’s Dhvani School (Dhvani Śāstra)
		6.2.1  Dhvani as “Suggestion”
		6.2.2  When Dhvani as “Suggestion” Becomes “Art”
			6.2.2.1 Mode of Realistic Suggestion (Vastudhvani): Negotiating Socio-Cultural Repression
			6.2.2.2 Mode of Formal Suggestion (Alaṁkāradhvani): Negotiating Trauma and Existential Conditions
			6.2.2.3 Mode of Direct Suggestion (Rasadhvani): Negotiating the Loss of Archetypal Experiences
	6.3  Final Frontier of “Art”: Experiencing Man’s Inner Harmony with Nature
	References
Chapter 7 Conclusion
	References
Bibliography
Index