When man comes home after day’s work, he needs some sort of entertainment and relaxation. Cinema has proved a wonderful and forceful means of entertainment and amusement. A young man of today can go without food but not without a film. The cinema is the cheapest and the most popular form of amusement. Laborers can afford to miss their evening meal, not their evening show.
Students prefer films to reading books. Thus, cinema exercises a very powerful effect on society.
Cinema is a universal teacher. It educates the people in different branches of learning. Our film producers have made very purposeful films to collect public opinion against some of the social evils as dowry system, the labour exploitation. It can teach us natural history, geography, botany, chemistry etc. Documentary films lead us to a street in New York are to a park of Tokyo.
These films increase our knowledge, broaden our outlook. Social pictures throw light on social evils as untouchability, casteism, unemployment and the curse of widowhood, etc. These films ripen our eyes and create in us an urge for improvement.
Cinema has a great commercial value also. It is itself a great industry, Lacs of men and women are directly or indirectly employed in this industry. It is a good and easy means of advertisement. Things and articles can be shown in practical use through the films.
Most of the modern Indian movies ignore higher ideals. It is wrong to say that the public wants vulgarity. Too much cinema going is injurious to eyesight, health and purse. Bad films leave a very vitiating effect on the minds of youth. They give rise to different kinds of crimes. The vulgar obscene pictures should not be allowed to be exhibited. They cause morality in society.
The films which make the people gamblers, dacoits, etc. should totally be banned. The traders of film industry should not be ill owed to profit by showing sensual scenes and physical demonstration of love. These films effect the moral character of young boys and girls badly.
Cinema, on the whole, is a powerful means of recreation as well as of education. It is not itself bad. The film producers should select good stories classical mythology, historical subjects and Indian literary master-pieces. Documentary films on scientific, historical and literary subjects should be shown to students. The producers are misusing cinema for making huge profits.
It should be moral duty of producers to produce noble and inspiring films. The Government should take care of this. If cinema industry produces noble and inspiring films, the cinema would be a true friend, philosopher and guide of the masses.
Natural joy notwithstanding, some of spring’s best gifts will be unwrapped indoors when a new crop of short films blossoms at Aspen Shortsfest, which begins its 23rd edition on April 8 and continues through April 13, offering programming from 35 countries.
Each year, Shortsfest provides a compelling reason to sing the praises of an often-neglected cinema species -- films that never break the 40-minute mark, the Academy of Motion Picture Arts and Sciences limit on what qualifies as a short.
If you’re looking for an overall gist for this year’s festival, try this: 2014 is the year the world comes to Aspen -- not to ski, but to open doors to different cultures.
“We felt it was important to showcase the ‘internationalness’ of the films we were sent,’’ the festival’s co-director, Laura Thielen, says.
Shortsfest has a proud legacy as a place to discover important new talent.
Jason Reitman (“Up in the Air”), Alexander Payne (“Nebraska”), Sarah Polley (“Stories We Tell”), Nicole Holofcener (“Enough Said”) and Jean-Marc Vallee (“Dallas Buyers Club”) all brought short films to Aspen in the early stages of their careers.
But Shortsfest is more than a futures exchange for promising auteurs.
It’s an event that underscores the artistic legitimacy of short-form filmmaking. Although other Colorado festivals such as The Starz Denver Film Festival and The Telluride Film Festival feature shorts, Aspen’s focus is keener.
Here are five reasons short films should be on your radar -- with examples from this year’s Shortsfest program.
1. Shorts tend to put a premium on invention.
The word “short” is key. No film in this year’s Shortsfest exceeds 27 minutes and the shortest is only three minutes long. That means filmmakers must quickly and creatively capture the audience’s attention.
In “Over the Moon,” New Zealand director James Cunningham scores an immediate bullseye with a pointedly funny look at a comic book heroine who tries to thwart America’s first moon landing.
In seven minutes, Cunningham creates a faux lunar environment, spoofs B-movies and makes a pointed statement about America’s fascination with machismo.
2. Like a shot of good whiskey, great shorts are concentrated and carefully distilled.
How many times have you seen a one-joke movie that went on for more than two hours? In short films, tunnel vision can work to a filmmaker’s advantage.
“Pony Place,” a 10-minute comedy from the Netherlands, shows what happens when grandma gets hooked on video games. Plenty of mordant humor and not a moment of wasted screen time -- and, yes, only one central joke.
3. Shorts prove that it’s possible to reduce complicated issues to essentials.
In the 12-minute film “The Long Drum,” director Eve Symington explores the conflict between tradition and modernity in a rural Vietnamese village. She finds the emotional core in an issue that could fill a tome-sized NGO report.
4. When shorts hit emotionally, they hit hard. Why? Because they can be more personal than other forms of filmmaking.
No film I’ve seen this year affected me more than Polish director Tomasz Sliwinski’s “Our Curse.” The 27-minute film shows Sliwinski and his wife coping with their baby boy, who has Congenital Central Hypoventilation Syndrome, a rare disease.
No disease-of-the-week weepy, “Our Curse” takes a revealing and honest look at the joys and fears of two parents dealing with an illness that might claim their new son.
5. Some of the world’s best animators work in the short form.
If titles mean anything, Irish director Paul O’Muris’ six-minute animated fantasy -- “The Ledge End of Phil (from accounting)” -- seems a good bet.
And who knows? Maybe Hungarian animator Peter Caz’s 16-minute “Rabbit and Deer,” a story about two friends whose relationship faces a challenge, will be one of this year’s breakthroughs.
I could go on, but the subject demands brevity.
So remember, short films are a vibrant part of film culture: It’s a major mistake to sell them short.
Robert Denerstein reviewed movies for The Rocky Mountain New for 27 years and still writes about movies at www.denersteinunleashed.com.