Wednesday, May 12, 2010

11|5|10 About the documentary film Tales from the Margins

The sight of a cluster of barbed wires made me think that they had violent implications, as did the sight of a water covered vehicle window passing by partly lit nighttime neighbourhoods. Great compositions: the frame in which the focused on foreground is a loop of thread, and the frame in whose background a blue rectangle of cloth stands out. Tears did not come in my eyes when looking at and listening to the father of the disappeared (and probably killed by the Indian Army) boy sing a Manipuri [displayed in English AaBbCc.. form by subtitles] song, but they should/could have. The fact that the boy's father began to sing the song only after he became aware of his own presence in the camera's displayer, which happened when the camera operator flipped the displayer over in his {the father's} direction, is worth knowing.


  1. To an extent, yes. As far as I know it's generally not too good an idea to rely overtly on paranthesis to express paranthetical thought. Further, I'm not quite sure when this third, and last, form of paranthesis is to be used- or whether, for that matter, it means anything at all in literary jargons.

  2. I think all three forms of paranthesis used here by me demarcate three forms of information. The first paranthesis is demarcating additional information about the disappeared boy, and thus also trying to communicate that he disappeared in the clutches of the Indian Army. The second paranthesis is demarcating information about the medium used to translate the song sung by the disappeared boy's father. And the third paranthesis is demarcating repetition of the fact that the word "his" indicates the father being referred to.