Dwelling In (On) Bombay Cinema
Dwelling In (On) Bombay Cinema is an experimental research into the domestic condition of Bombay through a reading of Bombay cinema. It composes of an audio-visual product and the following textual documentation of the investigation methodology. These two entities are intended to be archived together digitally and physically. This work is part of the final assignment (trabajo fin de máster) of the masters programme in architectural communication or MAca (Máster Universitario en Comunicación Arquitectónica ) in the Superior Technical School of Architecture of Madrid (Escuela Técnica Superior de Arquitectura de Madrid) under the Technical University of Madrid (Universidad Politécnica de Madrid). The following document is to accompanied by the digital essay-film available through the following link: https://youtu.be/OO8dxD5Ypos The investigation is authored by Akshid Rajendran. And tutored by Atxu Amann y Alcocer and Samuel Fuentes. January 2019.
Dwelling In (On) Bombay Cinema is an experimental research into the domestic condition of Bombay through a reading of Bombay cinema. It composes of an audio-visual product and the following textual documentation of the investigation methodology. These two entities are intended to be archived together digitally and physically. This work is part of the final assignment (trabajo fin de máster) of the masters programme in architectural communication or MAca (Máster Universitario en Comunicación Arquitectónica ) in the Superior Technical School of Architecture of Madrid (Escuela Técnica Superior de
Arquitectura de Madrid) under the Technical University of Madrid (Universidad Politécnica de Madrid).
The following document is to accompanied by the digital essay-film
available through the following link: https://youtu.be/OO8dxD5Ypos
The investigation is authored by Akshid Rajendran.
And tutored by Atxu Amann y Alcocer and Samuel Fuentes.
January 2019.
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List of Figures<br />
Figure 1.1: An aerial view that depicts the asymmetry of housing in <strong>Bombay</strong>.<br />
Source: businessinsider. (2018, October 2). Drone photos of Mumbai reveal the<br />
places where extreme poverty meets extreme wealth. Retrieved January 14, 2019,<br />
from https://www.businessinsider.es/aerial-drone-photos-mumbai-extreme-wealthslums-2018-9<br />
Figure 1.2: An archetypical street in the slums of <strong>Bombay</strong>. Source: https://www.<br />
flickr.com/photos/urbzoo/29001316384/<br />
Figure1.3: A still from ‘Vertical City’ (Kishore, 2010) depicting the dystopia of slum<br />
rehabilitation architecture and obsolete buildings. https://www.d-word.com/images/film_images/04.jpg?1304577183<br />
Figure 1.4: A still from the viral song, “Mere Gully Mein” performed by DIVINE<br />
and Naezy, rappers from the “streets” of Dharavi and proponents of <strong>Bombay</strong>’s hiphop<br />
culture. Source: https://www.youtube.com/watch?v=1bK5dzwhu-I<br />
Figure 1.5: A chart showing the chronological organisation of <strong>Bombay</strong> <strong>Cinema</strong><br />
from the 1950s to the 2000s (Wright, 2017, p. 22)<br />
Figure 1.6: Diagram depicting the seven parameters idetified, classified into environmental,<br />
social and economic parameters and their corresponding observations enlisted.<br />
Figure 2.1: A still from Lust Stories depicting, from a low-angle shot, the silence that<br />
populates a middle-class house during a typical working day.<br />
Figure 2.2: A scene from Salaam <strong>Bombay</strong>! depicting the amalgamated nature of the<br />
footpath<br />
Figure 2.3: A scene from Salaam <strong>Bombay</strong>! showing a young girl who is asked to<br />
wait outside her house as her mother, an escort, is teasing a client<br />
Figure 2.4: Khabi Khushi Khabie Gham... used spatial vastness to reinforce ideas of<br />
social and familial hierarchy. Source: Khabi Khushi Khabie Gham...<br />
Figure 2.5: Rohan Raichand (Hrithik Roshan) struts down a street in London with<br />
a dozen women assisting him in forgetting the urban chaos in <strong>Bombay</strong>, but remembering<br />
the colours of the <strong>In</strong>dian flag. Source: Kabhi Khushi Kabhie Gham...<br />
Figure 2.6: Vicky’s father storms towards him as he dances, cross-dressed, his family<br />
watching him amused and unsuspecting. Source: <strong>Bombay</strong> Talkies.<br />
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