Read about, maybe watch and discuss 2 major connections between crime, gang membership and social learning theory.
stare at Paroma taking miniscule bites into a chili in utmost curiosity as if it was a strange personal act where we as audience see a close up of it from the directors angle. The shot is as though Rahul looks at this act through his camera lens. And interesting thing to note is that this lunch scene has no background score weaved into it. The lunch scene starts with the cooing of the cuckoo birds and there is a dead silence which builds up the moment. Women tend to frame themselves and get a grip on what is generally the acceptable norm by the society and in this case a patriarchal one. The male gaze tends to specify the degree of importance a woman has in the society by means of provoking a female to take more interest in her own self. The camera angles as well as the camera movements used by the cinematographer takes the audience to a new world. When a female character takes up a central part of the screen the camera never prowls at a woman. But when she is performing an action the camera always has a tendency to creep around her body voyeuristically. This all adds up to turning a woman into a spectacle. For example, In Chandni bar directed by Madhur Bhandarkar whose fixation for every movie is ‘real’ has many scenes set up in a dance bar where women are scanned top to bottom by the men in the bar. The natural contours of the body are made distorted by unnatural ways of dressing to emphasize certain body proportions and for this very reason they are shot from a low angle or a high angle to reveal cleavage. The men in Indian cinema either projected as ‘romantic heroes’ or the ‘bad guy’ are indubitably majestic on screen space unlike our female characters that always tend to lead a surrendered life even on screen. As Vrinda Mathur (2009: 66) says, ‘The male characters of Indian cinema, i.e. the heroes(those knights in shining armour) and the villains (those over-energetic sharks) move around the space of the movie like players in a deadly choreographed game of chess – with the women characters as sacrificial pawns.’ It is quite apparent from the beginning that Rahul the photographer has a particular interest in capturing beauty. One can stand by this point from the way he captures Goddess Kali on the day of the religious function which is the opening scene of the film. By this one can confirm that he has interest in aesthetically appealing subjects. Many of his subjects seem to be centered on female oriented issues. We can justify this fact by encompassing his interest to capture the “Indian house wife”. He proposes to pay peculiar attention to Paroma from the beginning stating that she is a very beautiful traditional Indian woman. As the film grips along, his fascination turns to personal from being a professional admirer of her beauty. In reciprocation to that we see Paroma indulging and getting a sense of sexual undercurrent and falling for the same. She tries to halt the modeling sessions but due to mere persistence from the family she does so to accommodate the guest in every possible way. As the modeling sessions go on she is made to realize her radiance and elegance by Rahul’s gaze. Although she seems hesitant and apprehensive like for instance she covers her saree over her ankle in the first modeling session. But eventually she tends to react amicably to Rahul’s desires. Rahul makes her realize her value and teaches her to see the world from a different perspective. This is symbolic>GET ANSWER