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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Part B: The Film-Essay<br />
Figure 2.1: A<br />
still from Lust<br />
Stories depicting,<br />
from a<br />
low-angle shot,<br />
the silence that<br />
populates a middle-class<br />
house<br />
during a typical<br />
working day.<br />
ries (Kashyap, Akhtar, Banerjee, Johar, 2018). The<br />
film introduces a peculiar relationship (explored<br />
later in this essay) between a maid and a working,<br />
single, bachelor through a series of scenes<br />
that describe a typical work day in their lives. After<br />
a stream of jump cuts, we arrive at a point<br />
that the house is empty (00:38:46:13). The maid<br />
has just left the house; we know of this because<br />
the camera through a low-angle shot of the living<br />
space, shows her put on her shoes and leave<br />
out the front door and there is now silence. This<br />
silence is perhaps characteristic of the upper<br />
middle-class house during a significant part of<br />
the day in a city like <strong>Bombay</strong> that sports a large<br />
employed population. The characters of the story<br />
that Zoya Akhtar recounts are both employed,<br />
and we see signs of prosperity from this low-angle<br />
shot. Furniture made of coconut fibre (or<br />
coir), a carpentered set of dining table and chair<br />
and a living room that sports not only natural<br />
34
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