Dwelling In (On) Bombay Cinema

Part A: An Extended Prologue
The targeted audience can be tagged loosely into two groups. On
one hand, the resident of Bombay and its cinematic world; one
who has visited the city physically or through any of its films, one
who has formed a mental image of the city. On the other hand, we
have the curious scholar to whom the city-cinema relationship is
of academic interest.
As the observations are reorganised, a linear, parallel multi-linear,
non-linear or circular narrative can be found in order to link up
the observations. Using the same audio-visual tools used in cinema
may not always bring a positive outcome, however since film is
the primary medium being recycled, the potential tools need to be
given enough attention.
Whether the narrative is visual, aural or verbal, we have hypothesized
that Bombay cinema can be studied as a resource to understand
housing in the city and hence the study is inevitably always
a subjective view of the city through cinema, an already subjective
view of the city.
These urban subjectivities cannot be presented as axioms. They
are indeed perspectives from multiple points of view, tied together
by a single point of view. Subjective observations out of a subjective
medium are always haphazard. Hence it is this single point of
view that can guide an audience through the cacophonic assortment
of films that talk about the homes of Bombay.
The following process inevitably requires the researcher to take
up various roles. The researcher needs to be aware of an extremely
large cinematic archive and use specialised knowledge to make
a primary selection. Simultaneously, the same person is required
to assume the role of the producer and organise the necessary
resources, permissions, music and other skills necessary to complete
the task. As the pieces come together, the director is required
verify the script and prepare the tonality of the voice-over while
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