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evidencefile · 3 years

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@prinita.thevarajah on @southasia.art, 11/11/2019 to 11/19/2019

“Hello, Prinita @prinita.thevarajah here. This week I’ll be sharing my thoughts about Eelam cultural identity formation through Tamil cinema (Kollywood) and the Eelam diaspora.

Eelam Tamils are native to Sri Lanka and constitute the largest diasporic Tamil community outside of India. Not all diasporic Tamils share a collective sense of Tamil identity, though Kollywood has been crucial in marking and maintaining one’s Tamil identity in the diaspora, especially where Tamil communities often hold minority status. As an Eelam kid in Australia, I often looked towards Kollywood to shape my understanding of what it meant to be Tamil. The child of Eelam refugees who fled Sri Lanka in the 80s as war between the government and Liberation Tigers of Tamil Eelam (LTTE) erupted, ongoing violence carried out against Eelam Tamils halted our community's capacity in developing a 'popular culture’ of it’s own. To be an Eelam Tamil is to be part of a community whose territorial, cultural and ethno-linguistic identity have been so heavily discriminated against to the point of genocide. The trauma of war seeped into our identity formation, and our fragmented diaspora while incredibly resilient, had not one single cultural representation to rely on. So, despite a lack of representation, Kollywood became the pillar that Tamilness sat upon. And while the articulation of Dravidian identity and Tamil nationalism is profound in Kollywood, the struggles of Eelam Tamils fit well within the profound self proclamations of Tamil language, culture and tradition propagated by Kollywood, but solidarity failed to materialize on the screens.

This week I want to explore representations of Eelamness in Kollywood, highlight artists in the diaspora contributing to an Eelam cultural renaissance and ask - what does it mean to re-imagine Eelam popular culture and how can we reclaim our Eelmaness by de-centering Indian ideals of Tamilness?

Despite yearning for a Eelam identity that is whole, I cannot discount the profound impact Kollywood has had on molding me into a proud Tamil. As a child in Sydney, my Appa contributed to Inbathamil Oli (Sweet Sound of Tamil) - a 24 hour Tamil radio station.

He would take me along to spend overnight shifts at the station, and I would listen on fondly to his musings over the air. The theme song for the station was Mettu Podu from the film 1994 Tamil film, Duet. 20 years on, the song still sticks with me as an anthem for the strength, resilience and beauty of the Tamil community.

ஆண் : தங்கமே தமிழுக்கில்லை தட்டுப்பாடு ஒரு சரக்கிருக்குது முறுக்கிருக்குது மெட்டுப் போடு Tamil will never be lacking & I will make music to proclaim it! எத்தனை சபைகள் கண்டோம் எத்தனை எத்தனை பகையும் கண்டோம் அத்தனையும் சூடங்காட்டிச் சுட்டுப் போடு We have seen many fights We have been through many wars Forget them all and be free of them! மெட்டுப் போடு மெட்டுப் போடு என் தாய் கொடுத்த தமிழுக்கில்லை தட்டுப்பாடு Make music, make sound With the tongue of Tamil my mother gave me Tamil will never be lacking

MATERIALIZED AS TRAUMATIZED// Today I want to focus on the representation of Eelam Tamils in Kollywood as one that is flattened without nuance: a people in constant agony and despair, solidifying us in our state of trauma. It is certainly necessary to provide an understanding of the ramifications of genocide for Eelam Tamils. Where historically, our struggle has been erased: the denial of genocide and failure by the international community to intervene or hold the Sri Lankan state accountable for war crimes, the depiction of the plight of Eelam people in Kollywood is assumed to be informative. But I ask, why all trauma and no strength? If Kollywood could make room for us as broken people, why not also portray our vigor and irepressibility? How do we see ourselves as Eelam people when the only representation of us in popular culture is a community that is defeated?

Historically, Kollywood has been uninterested in Tamil diasporic subjects. It's preoccupation has been in the entrenched ideas of Tamil culture, tradition, modernity and ethno-linguistic nationalism. The praxis of Tamil cinema is guided by the everyday practices of Tamil lives in Tamil Nadu and fails to incorporate the question of identity that the diaspora grapples with. Consider that the political struggle of Eelam Tamils heralded a new phase of militant Tamil nationalism, created a society that reformers and poets of Tamil Nadu could only imagine, and waged a war for liberation that was of epic proportions in both triumph and tragedy. It is a grievance that a culture industry in the ‘heart of Tamil civilization’ did not give adequate artistic due in its mainstream medium to an achievement that is claimed by many a Tamil nationalist to have been the ‘height of Tamil civilization’

It’s clear that diasporic Tamil identities are shored up as an anomaly to normative Tamil cinematic identity. Looking closer at the 2000 film Thenali shows the vexed and complex relationship between the Eelam Tamils and those from Tamil Nadu.

Thenali (Kamal Hassan) is an Eelam man from Jaffna. He is a hyper anxious neurotic used by his psychiatrist to derail the career of Dr Kailash. Thenali falls in love with Dr Kailash’s sister, Janaki. The film follows an enraged Dr Kailash’s attempt to eliminate Thenali despite Thenali’s naive quest to please the Dr. Subtle distinctions portray the disparate identity of Eelam Tamils. From the Dr Kailash questioning why Thenali speaks Tamil differently, to Thenali painted as a miserable jest juggling irrational fears as a result of having his home raided by soldiers, his father attacked and mother raped. The film seeks to other Thenali, the traumatized Eelam man who just can’t seem to get it right. Towards the end of the film Dr Kailaish adopts words from the Jaffna dialect, but immediately corrects himself upon realization. If Thenali is the oppressed Eelam Tamil, Dr Kailash is a metonymy for India, whose help Thenali seeks again and again, refusing to see anything wrong in the doctor or his intentions, elevating him to the position of a divine being.

The political history of Tamil Nadu is riddled with moments when the people of Tamil Nadu and the state have been sympathetic to the cause of the Eelam Tamils, resulting in policies allowing Eelam Tamils to stay as refugees and also in offering us financial aid. Much like the fluctuation between compulsions that drive its foreign policy and the sympathy for Tamils expressed in Tamil Nadu, Dr Kailash declares his predicament that he is unable to disclose the thoughts he harbours. At the point when he thinks he is close to eliminating Thenali, he declares, ‘there is no joy in living as in watching destruction’, a statement that resonates deeply with the oft-repeated criticism of the Government of India and Tamil Nadu’s silence in the wake of the Sri Lankan army action in 2009 that resulted in the deaths of 100 000 Eelam Tamils

The film features the song "Injerungo" (slide 5&6) which supposedly includes Jaffna slang - but ask anyone actually from Eelam and they’ll tell you that Kamal Hassan missed the mark almost completely - Eelam kids, what do y’all think

Kannathil Muthamittaal (2002) is probably Kollywood’s most comprehensive take on the human cost and emotional toll endured by Eelam Tamils, complete with visceral descriptions and images of war torn Sri Lanka. The film tells the story of an Eelam girl, Amudha who is adopted by an Indian Tamil couple, and the family’s journey back to Sri Lanka to reacquaint mother and daughter. Her biological parents abandon Amudha to join the ‘rebel cause’ who we can assume is the LTTE. Rather predictably, considering the labeling of the LTTE as a terrorist organization, there is no overt reference made to the group. The rebels are depicted as armed men who speak Jaffna Tamil and the audience are left to form their own interpretation. Much like Thenali remains silent about the cause of Thenali’s oppression, Kannathil Muthamittaal resists making explicit reference to the cause of conflict or parties involved. Expectedly, the film holds arms traffickers responsible for the plight of Eelam Tamils, as opposed to the Sinhalese government, erasing actual genocidal intent since 1948. After visiting the island and witnessing the helplessness of the Eelam people, Amudha and her family return to Tamil Nadu. The underlying message is that the Indian Tamil is both politically and culturally superior and more empowered than the Eelam Tamil.

A common thread in both Kannathil Muthamittall and Thenali is that in the traumatized portrayal of Eelam subjects, Kollywood domesticates Eelam Tamils for an Indian Tamil public. Eelam Tamils are removed of their political agency and are presented as an object of pity. Rather than demanding concrete political solidarity, an abstract humanitarian sentiment is requested. As if to say, “ooh, look how they suffer. Let’s marry them. Or adopt them. Assimilate them into our safe lives. Let us be their providers.” Charity is the gesture appealed for, but there is always something fundamentally depraving in charity.

Tonight I want to make space to think about what it looks like to reimagine and reconstruct an Eelam Tamil cultural identity, away from Indian Tamil ideals.

An accurate portrayal of the political, social and existential condition of the Eelam Tamils is yet to be found in Kollywood. And as Eelam Tamils, we reject being labeled as Sri Lankan as to do so means aligning with the very state that attempted to erase our existence. What does this then mean for our capacity to develop as a people within the island? The North-East of Sri Lanka, the Tamil homeland, is one of the most heavily-militarized regions in the world. Currently, according to the Adayalaam Centre for Policy Research, in the Mullaitivu District - where the last phase of armed conflict was fought - at least 60 000 Sri Lankan army troops are stationed. That’s 25% of the 243 000 military personnel of the whole country. Our people in Eelam are under constant surveillance and control, the military's presence in Eelam facilitates displacement and land grabbing that consequently destabilizes and disrupts the day to day activities of our community. Survival becomes the goal with the preservation and development of culture an understandable after thought.

Considering the impossibility of any free Eelam Tamil cinema developing under the Sri Lankan state, we turn to the diaspora. This year marks the 10th anniversary of the genocide against Eelam people, and as we move into the new decade, it's vital to reflect and consider deeply the history we pave forward as a community. How are we creating stories for ourselves away from the narrow narrative that has been bolstered by Kollywood? How are we reclaiming the identities that the state of Sri Lanka tries to squash daily? At what point do we move away from memorializing genocide to depicting our resilience and expansiveness?

In the pursuit of an Eelam identity that is total, fragmented identities of caste, kinship, class, and region are devalued, uniting diasporic Tamils and strengthening our affinity to ūr. I want to spend the next few days exploring what it looks like to embrace our Eelamness fully as a diasporic people. I believe that in doing the work to understand and articulate ourselves wholly, we as diaspora Eelam Tamils begin to heal the trauma that has trickled down through our bloodlines. Our narrative has a destiny that is full of autonomy, solidarity and collaboration.

HIGHLY EXPLOSIVE/READY/RAW

I begin my imagination on the embodiment of diasporic Eelamness by exploring the legacy of Mathangi/Maya Arulpragasm, M.I.A. Not to revere or glorify, instead to honor and applaud her immense strides to give us visibility while fully embracing the multifaceted and radical notion of being an Eelam Tamil. Maya remains one of the only widely known representations of our community, from our community. That she is as revolutionary, innovative & resilient as she is is a reflection of the immense talent, ingenuity and pure force of Eelam people. Through her art, she amplifies the placelessness and the cultural and political contradictions that come with being an Eelam Tamil in a hyper-globalized world. The fact that she is so often dismissed, ridiculed and as of late ‘cancelled’, is clarification of her power in undermining and challenging unequal systems of control. From flipping off the Super Bowl to being banned from Sri Lanka, Maya is an unapologetic weapon of freedom.

Maya is a DIY artist guided by her trajectory from refugee to icon. Her strength in bringing bits and pieces together: beats, words, images, ideas - to create something new while centering her narrative as an Eelam woman, epitomizes the journey of an Eelam Tamil. Against a culture that glamorizes reality & equates beauty to consumption, Maya provokes a discussion about how the minority live, closing the distance between here and everywhere else. To be a diasporic Eelam Tamil means to be gaslighted by an entire nation, and yet moving uncompromisingly forward in being deeply inspired in our current contexts to bring change, revolutionize & decolonize. And while M.I.A. cannot go back home, we can.

Sunshowers came out when I was 9 years old. One Saturday morning, I crawled out of bed to watch music videos and inhale cereal and suddenly become entranced when Maya appeared, the hypnotic jungle beats blowing my mind. Up until then, the most representation I had as an Eelam kid was my reflection on a blank TV screen.

Reflecting on the music video now and it's images of brown women organizing, I draw parallels to the ideals and aims of the Women's Front of the LTTE. While it is not productive to linger on what could've been, I do believe that a radical imagination will set us free - and perhaps, this was Maya's intention, to provoke profound fantasies to revive the legacy of our ancestors.The aims of the Women’s Front were to: secure the right of self-determination of Tamil Eelam, to abolish oppressive caste discrimination and feudal customs such as the dowry system; and to eliminate all discrimination, secure social, political, and economic equality.

At the end of verse 1, Maya chants 'like PLO, I don't surrendo', making reference to the Palestinian Liberation Organization, emphasizing the interconnectedness of struggles throughout the world and the need to collaborate with and show solidarity with groups of people who experience similar discrimination under colonization. How can transnational, decolonial solidarity allow evolution to our identity as Eelam people? What does it mean to maintain the radical, non-violent goals Eelam within the diaspora?

BIRD FLU

2006/The track draws on the sonics of urumi/gaana that most Eelam kids will recognize. You know the sound cos when you hear it you can’t stop moving: it’s an infectious outbreak/dance break. Maya swims in a sea of folks who look like they could be my Anna or Thangachi - the visuals look like the homeland. It’s the noise of freedom, the resistance of dominant interpretation. Within the sonic dance break of Bird Flu, Maya cultivates themes of militarized warfare and global dispossession spins them into a collective resource for imagining the alternate for Eelam Tamils.

Running with this idea of ‘flu’ and ‘contagion’, with the sound and it’s accompanying visuals, Maya emphasizes the need to spread ideas of alternative utopian possibilities, collectivity, belonging, and pleasure in the midst of & despite devastation by warfare. For me, Bird Flu provides a refreshing moment of criticality—an opportunity to reactivate our political imaginations and reconceptualize eelam community.

SRI LANKA JUST ELECTED A WAR CRIMINAL AS PRESIDENT and I continue my attempt to unravel Eelamness. With the ache in my heart and rage in my chest I ask: how do we move forward?

When Sri Lanka repeatedly assigns power to murderers and thieves, Kollywood tries to cement us as wounded and the rest of the world exclaims ‘oh Sri Lanka! That’s near India right!!???!!?' how are we as a community dealing? Where our experiences of genocide are dismissed transnationally, how do we divert fury and desire for validation of our struggle to healing? How are we to heal when the scab keeps being torn open? What are our responsibilities, as artists, to bring rejuvenation and radical change?

As we grieve for the homeland, I encourage you to think about the privilege that comes with being in the diaspora. Our access to resources expands our capacity to strategize and organize: we cannot limit ourselves. Christopher Kulendran Thomas is an Eelam artist based in London & Berlin. Thomas’s 'New Eelam’ disregards the boundaries of the white cube to project an alternate reality of citizenship and ownership. Provoking the art world itself, Thomas is interested in how his work as an artist can bring structural and social change. New Eelam is presented as a real estate start up of sorts with a housing model grounded in collective international co-ownership: subscribers pay the same amount to access different houses across the world. Working alongside an architect and team of real estate, finance, law and tech folks, Thomas seeks to provoke conversations around property and migration. Our identity as a people is one that is marked by consistent displacement and disruption. We are dispersed but profoundly connected. New Eelam imagines a future that brings autonomy in migration and allows us to maintain the idea of an Eelam the transcends borders. Freedom of movement increases opportunities to collaborate, and our collaboration as a diaspora is essential in the liberation and legacy of Eelam.

When the riots began, My Thatha was the principal at Jaffna College in Killinochi. His school shut down immediately and when I was 6 months, he moved to Sydney and into our home on Burlington Road. Being in a war affected refugee household brings with it a plethora of traumas & my relationship with my grandfather was my safe space. He is an artist - and his idea of child minding was reciting Thirukurral to me as I listened at his feet, entranced: my fingers often swirling in acrylic paints or homemade clay. When I was scared, he would serenade me with sangitham, gamakas cartwheeling from his belly through his chest. Sometimes at night I would tip toe out of the bedroom I shared with my parents and older siblings into Thatha’s room. More often than not, he would be in a state of hypnosis, brushing away at a canvas with images that usually resembled home. Reflecting on this time in my life, I understand that creative expression was Thatha’s device for healing. Not only did his art allow him to reconnect with Eelam, but it also allows him to rewrite and reimagine his narrative.

My attempt to dissect our Eelam Tamil identity has been perplexing yet empowering. As a community heavily persecuted against within the island, distressingly traumatized within the diaspora and yet profoundly capable and irrepressible, I wonder - how can we as a community of diasporic artists begin to shift our narrative? They burnt down the Jaffna library for a reason, they saw our vision and were threatened by it. How can we harness the collective rage we feel productively in a way that not only allows for the liberation of our own people but inspires expansive radical change?

My fellow Eelam people, I challenge you to think large - move away from the commodified and the curated, the white cube and other structures and systems that attempt to contain our ideas. I encourage you to think about art as a a movement for change as opposed to an aesthetic. Organizing is a form of art, protest is a form of art and so is survival. We must use our creativity as an imaginative space that provokes discussion, dialogue and education across struggles. How, through our art, can we make the invisible, visible while listening and working alongside our Eelam community at home?”

Original posts available here, here, here, here, here, here, here, here, here, and here. Wanted to repost this from @southasia.art on Instagram because of how informative it was.

#tamil #tamil film #sri lanka #kollywood #m.i.a.

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awadalmurisi · 4 years

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Language is Political

As I was exploring a flea market in Kuala Lumpur, I found myself hearing conversations in English. Given the setting, such an encounter would have not left me slightly disturbed if it was not for the fact that the conversations were exchanged between the Malays, who you would normally expect to speak in their own mother tongue. There I was, being reminded once again that there seems to be a cultural shift among some urban Malays in terms of their language of choice. A reminder because I have witnessed some of my family members exclusively speaking to their children in English. I myself sometimes use English when I speak to my Malay friends, normally out of habit, but mostly in the presence of our non-Malay friends. However, to remove myself from the setting and simply witness Malays speaking to one another in English in Malaysia made me uncomfortable and this essay is an attempt to unpack my unease and concern.

English is taught in Malaysia as a second language so that we would be able to access the world better and to facilitate the world to approach us. While it is commendable that we acknowledge the importance of English as a global language, I cannot help but feel a sense of panic that our openness to the world would eventually lead to us losing ourselves. It would be alarmist to say that Malay is at risk now because there are still schools that use the language as a medium of instruction and the public sector still mostly operates in Malay. However, it would be silly not to pay attention to the apparent cultural shift among urban Malays who now first prioritise English in their daily life, even in settings where they can choose not to, and second to raise their children to only be an English speaker. In other words, English was supposed to help us communicate with the world but many have allowed English to take over our world, one generation at a time. Why would any Malaysian move from being a relatively good bilingual, trilingual or polygot to only be fluent in English? Especially when chances are we would have to sit for an English proficiency test every time we want to study in an English-speaking country, even when we graduated from a renowned university in one of those countries.

To add to the worry, the shift does not stop at English. Many Malay parents are also sending their children to national schools that use Mandarin as their language of instruction, understandably to prepare them for a global economy that is further characterised by the prominence of China. Some jobs in Malaysia already require applicants to be fluent in Mandarin so they are simply ensuring that their children would not find themselves failing to secure employment due to their insufficient linguistic capabilities. Given that English is the de facto office language for many jobs in the private sector in Malaysia, not being fluent in English is a common cited reason explaining Malaysian graduates' failure to get a job. The problem with emphasising on a dominant global language too much is that we would potentially dismiss many local talents who actually have the skills just for their lack of language skills, especially if those jobs do not actually involve interacting with foreigners.

Even though Malay is the national and official language of Malaysia, its position in the country definitely does not go unchallenged. The language has been a lingua franca in maritime Southeast Asia, which includes Singapore and Indonesia, for hundreds of years but many Malaysians still doubt that it could and should be a language that unifies the country. Some seem to favour English to perform the role of a unifying language on an argument that it is a neutral language. But no language is neutral, language is always political. Besides that, it is common to hear criticisms from the Malaysian public that the country's education system is performing poorly based on the standard of English language education but criticisms based on the standard of Malay language education are rather rare. In other words, there is a bias towards promoting English under the guise of economic development and progress. In fact, some would go to the extent of calling it racism if one argues that all Malaysians should be fluent in Malay. Even though expecting fluency from every Malaysian can be problematic, expecting all Malaysians to at least learn Malay should not be controversial. Even more unfortunate, some would contend Malay is not a useful language to learn because only Malaysians speak the language, which is untrue, and that it is not commercially beneficial. Once again, Malaysians are found trapped prioritising to be global and economic progress before an inherited language that prospered in the land we now call home.

Many intellectual discussions and events that take place in Kuala Lumpur also tend to be conducted in English. Even though I am fully in favour of language diversity and freedom, I sometimes question the rationale of using English for certain events, especially those of nation-building importance. I recall attending a panel discussion at a bookshop discussing the history syllabus taught in Malaysian national schools that was fully carried in English. As I listened to the panellists, I asked myself who the discussion was even for because these schools teach history in Malay, Mandarin and Tamil, but not English. Even when Malay can perform a useful role that many Malaysians keep on denying that it can, it is sidelined.

Perhaps my anxiety of the Malay language losing its place in Malaysia over a slow and long process is rooted in my immigrant heritage. While my paternal grandfather still speaks Arabic fluently when he wants to, I have yet to master the language. My disconnect with what could have been my mother language is a pain that stabs me every time I listen to Arabic songs, feeling the words but not understanding them. And this pain would be even greater witnessing Malay, which my family readily takes as our first language too over the generations as we call this place home, losing its touch like a pen running out of ink. This possible loss would be a great shame to be regretted in the future because this is a country where the language could and by extension should thrive. To think of future Malaysians, especially the Malays, being incompetent in the language and worse dismiss it is heartbreaking. The language is one of the few links that connect us together, to the land and to its past.

As a country, Malaysia is full of contradictions, or rather, it keeps on challenging whatever biases that you have or conclusions that you want to make. The country's older generations and its rural areas remind me why despite the many heartbreaks that it gives me, Malaysia is a love that I keep on holding on to and nurture. In Kuala Lumpur, some Malay shopkeepers speak to me in English even when I start responding to them in Malay but in my hometown in Johor, which is the country's southernmost state, there is no second thought about which language to use to communicate, regardless of our backgrounds. While many friendship groups in urban areas in the country prefer English, I still see older Malaysians communicating with one another in Malay every day. Some would argue that this shift is a natural outcome of Malaysia marching towards being a developed country. But it is a choice, a choice that could have political and economic consequences.

In a discussion with a fellow traveller from Spain when I was in Bangkok, I explained the simplicity of Malay. The verbs in Malay do not change in respect of gender and time, pronouns do not have genders, plurals are formed by duplication, and pronunciations are mostly phonetic, to name a few features of the language. It is an accessible language, even much so after a conscious effort was taken to shift from mostly using the Jawi script, which is a Perso-Arabic script, to the Roman alphabets commonly used today in acknowledgment of the country's multi-racial population. He casually retorted "maybe we should make Malay the international language then" to my explanation. I snickered. My wish is much simpler, I want the language to survive in the presence of bigger languages. I hope for a time when promoting the importance of Malay is not called a racial supremacist act. I long for Malaysia to remain as a multilingual country, with fluent speakers of global languages, but without relegating the national language as a language that is no longer relevant in the contemporary world.

(Written in March 2020)

#essay #malaysia #malay #malay language #language #sociolinguistics #sociology #cultural shift #national language #bilingualism #global language #arabic #english #mandarin #tamil #politics of language

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bollywoodirect · 5 years

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36 Years of Sadma. (08/07/1983)

Sadma is a romantic drama film, written, directed and filmed by Balu Mahendra. It stars Sridevi and Kamal Hassan in the lead roles. Songs by Ilaiyaraaja and Gulzar.

The film tells the story of Nehalata Malhotra (Sridevi), a young woman who regresses to childhood as a result of retrograde amnesia after suffering a head injury in a car crash. Lost, she ends up trapped in a brothel before being rescued by Somu (Haasan), a lonely school teacher who falls in love with her.

The film was a remake of Mahendra's own 1982 Tamil film Moondram Pirai, which also starred Sridevi and Hassan. Sadma was widely acclaimed by critics for its direction, screenplay, music, and performances. Sridevi's performance as an amnesiac woman was widely praised and is considered as one of the finest performances in Indian film history.

Although a commercial failure upon release, Sadma over the years has gained a cultural following and cult status and is considered to be one of the finest Indian movies to be ever made.

At the 31st Filmfare Awards, Sadma received three nominations: Best Actress (Sridevi), Best Actor (Hassan) and Best Story.

#Sadma (1983)#Balu Mahendra #Sridevi #Kamal hassan #Ilaiyaraaja #Gulzar #bollywood #bollywoodirect #bollywood news

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lpc3122 · 5 years

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ryvnchvn · 1 year

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They too have Family|Regard Nurse ft. JeevaSubramaniyan|Ra2 Cinemas #Shorts #yashgupta #ra 2cinemas #Humanity #CUTE #LOVE _ FAILURE #SHADOW _ DRAMA #WHATSAPP #STATUS #WHATSAPP #STATUS #VIDEO #STATUS #VIDEO #VIDEOS #FOR #STATUS #TAMIL #WHATSAPP #STATUS #LOVE #SONG #WHATSAPP #STATUS #BEST #MOTIVATIONAL #VIDEO #LOVE #STATUS #FEEL #LOVE #FEEL #ROMANTIC #EMOTIONAL #CUTEtamil WhatsApp status Tamil WhatsApp status tunes Tamil…

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ajaraj · 1 year

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sugiraj-mga2020mi5016 · 3 years

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reflective essay

REFLECTIVE ESSAY

My portfolio shows extensive experience working with VFX, video editing, logo reveals and digital painting. For example, I did a ten second video clip on the topic of global warming for which I came up with an original concept to experiment with a fire simulation. My freelance work also contains digital painting for clients in which I digitally painted their portraits. For another project, I chose the logo of a famous brand and created a ten second logo reveal video. In my free time I created a landscape and fantasy character for a flexible man, inspired by the character of the Captain in Fantastic 4.

In other areas of experimentation, I downloaded a random video and created a motion tracking video. My first attempt was a failure, but I refused to give up, and finally succeeded on my fourth attempt. I created a Mother’s Day poster in which I tried to portray women’s strength and power and the love between mother and son.

I was also inspired by a Ramzan poster I saw on a website and created a Ramzan poster. I experimented with breaking away from the typical use of the color green for Islamic subjects by using blue for the design.

I have also experimented extensively with 3D. I have created several objects including a wine bottle, laptops, a low poly home and shops. I also created a logo using the Tamil letter ‘m’ for a foreign client. They were very impressed with the final product as working with Tamil can be quite challenging.

I created a lyrical video for my song for which I researched about how to create lyrical videos. In my own ideas while I was creating lyrical videos I was firstly confused with that because I had to merge two different ideas into one and I tried my best in first attempt and felt that lyrical texts are to sync the song then I made and this video is also added for my portfolio.

When I began my research for component 1, I took VFX for my research topic. It was a fantastic opportunity to broaden my learning. I focused on the South Indian cinema and advertising sector, as well as on a little bit of Hollywood. I learnt how the VFX industry grew, and gained an understanding of where it is headed in the future.

To study the evolution of the VFX industry, I studied two cinematic eras, and then compared them. The rapid growth of the industry is impressive, and suggests that it will one day come to dominate the way we make films in the future.

For my showreel, I wanted to create real time action to which I could apply my VFX work. Although this was challenging, I really put my heart into it in order to create something that can be a real show-piece to propel me in my career. The line I chose as my starting point and inspiration was ‘The boy has unnatural powers’.

I wrote a story of three scenes based on this in which the boy enters a room. There is a rope hanging over a box in the corner. He takes the rope and begins to twist it. The rope catches fire and begins to burn, opening a portal through which we see a sky and forest. The boy enters this portal, and finally sees a waterfall before him. I faced a number of challenges developing this scene, working with light, rotoscoping, and with my choice of colors. Eventually I had to ignore a few elements in order to complete the work within the short time limit.

As part of my second year work, I also worked on my resume. My instructor suggested that I change a few elements to make it more eye-catching, as well as simpler in design. After that I reworked my resume as he suggested from scratch by listing all the experience I have as a motion graphics artist, beginning with my work on a Tamil movie. I was initially a little confused about what to mention in my experience, but after a few sessions, I was much clearer on how to analyze my past work experience and how to list it chronologically. I was finally able to complete two versions of the resume as well as a cover letter in which I was able to talk about my roles on various free-lancing jobs as well as my coursework. My first resume was points form resume other one was with little bit description about my experience for example I would work as a motion graphics artist and I talk about which kind of work I did and what kind of issue and trouble I faced

Towards the end of the second semester, I had my stage 1 interview session with a person from the industry. It was an amazing learning experience on how to attend an interview and to respond confidently, as well as dress presentably. They asked me three main questions. They asked me why I chose this field as a career. I spent a long time answering this question. The interviewer was very impressed with my portfolio, especially the piece on global warming. She finally asked me how I felt I could contribute to their company, and I enjoyed answering this question in some detail. At the end of it, I felt my confidence really grow, and feel much more prepared to face an interviewer in the future.

Towards the end of this program I had a lot of problems and issues with my pc, which seriously impacted my ability to complete work before the deadline. I also had power supply issues, and unfortunately missed an important feedback session. All of this was hard to resolve due to the lockdown and pandemic issue. However, I was able to find a supplier who was able to fix my PC, and I managed to get back on track to finish my pending work and incorporate feedback on various projects.

Summary of entire studies

This module has helped me to promote myself and my talent as a VFX artist, shown me how to work on a resume, as well as how to present myself in personal statements and letters by researching the goals and values of the company I am interested in and showing that I value their work, and want to be a part of it. This experience gives me a lesson learnt that I have to put into my company and I hope that will work perfectly and in future I will make my company to be famous and put my best efforts in my field.

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