The Binaries of Audio-Visual Violence: Depiction of Violence from The Angles Of Urban And Rural Screenings.
Keywords:daily life, audience, Bornila Chatterjee, The Hungry, violence, .etc
The particular shades of daily life, which, perhaps we fail to acknowledge either due to ignorance, or we are made to ignore by subtle institutions, art takes them up in a different canvas, where we play the role of the audience, receiving them, criticising them or acknowledging them, sometimes directly or with a willing suspicion of disbelief. Violence might not find a place in our daily application, however, it never failed to attract a positive audience reception in the artistic canvas, be it film or painting. The Hungry by Bornila Chatterjee, opens in a setting which is dwelt upon by a group of posh, polished and corporate personalities who intend towards a wedding, which too is backed up by a tertiary relationship, not to bring out the emotional side of the human psyche, rather to lubricate business runs of two families which share a common company. According to a Ted talk by Eddy Von Mueller on ‘the technology and the new aesthetics of violence’, that is where we can compile the whole of the aesthetics of violence that Anurag Kashyap grips perfectly and dexterously. In contrast to the raw nature of GoW, Bornila Chatterjee’s ‘The Hungry’ is a beautiful representation of refined violence or we can say it sums up both the polished and rustic nature of the violence. It is a perfect example of urban violence performed by the Bourgeois, having a veil and who masquerades as a ‘civilized’ being in the society in contrast to GoW’s ‘devil-may-care’ characters.
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