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Bhagonwali: a visual/auditory medium (update p. 9)

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Aginaya69

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Aginaya69

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Posted: 18 July 2011 at 7:22pm | IP Logged
The story of Bhagonwali comes to all of us in the form of a television show;  hence, it is a visual and auditory medium.  This being the case, trying to understand the story comes not only in following the plot -- the actions of the characters, the dialogue, the events -- but also in paying attention to the visual and auditory details that are presented.  The set design, the perspective of the camera, the background music, the sound effects, and many others present certain aspects of the story that cannot be expressed through plot alone. 

JP's thread entitled "The Door:  What is kept in and What is locked out" is a very good example of this (http://www.india-forums.com/forum_posts.asp?TID=1731813).  Thus far, the thread looks at how a very simple structure, the door, becomes a symbol for so many things.  To further understand my point, please click on the above link to follow the discussion.

Another good point that JP once made was about the camera work done in the june 7 episode of the show.  The part I'm referring to is when Guddu and Amma meet by the river to discuss about Runjhun's kundali (spelling unsure).  

http://www.india-forums.com/forum_posts.asp?TID=1701470
start at 17:51

If my memory serves me correctly, I believe that JP pointed out that the manner in which the camera was used in this scene -- wide camera angles, quick shifts between Guddu and Amma -- seems to suggest that the role of protector is shifting from Amma to Guddu.  This analysis came before Guddu professed his love for Runjhun, and long before Guddu and Runjhun leave PN.  So many episodes after this scene, we see that the analysis holds true, and that we see that now, both Guddu and Amma are acting as Runjhun's protector, with Guddu being the primary protector now that he and Runjhun are living on their own. 

It is with this attention to and analysis of the visual and auditory aspects of the story that I started this particular thread.  I feel that we can all look at the production aspect of the show and discuss it, and perhaps we can discuss character motivations and even predict possible future events and tracks. 

Or even if we just want to express our admiration and appreciation for a beautiful scene that was presented to us, or a beautiful piece of music that we just heard in the show.  Runjhun's saris, Guddu's shirts (and how many times he's changed them).  Sometimes, these things don't have to have meaning in the story.  They are just beautiful for what they are. 

NOTE:  predictions concerning future events and tracks may or may not happen despite careful analysis of the production aspect of Bhagonwali.  the script of the show changes depending on what everyone involved with the show thinks would bring higher TRP's.

I would just like to keep track of the topics discussed so far.  I'm just listing down who started the topic, and from what page. 

page 1
simran_singh_24:  vehicular movements
etna:  PN looking like a prison
azuria:  blackout in Gunjhun's area and in PN

page 2
jpalagrawal:  difference in height between the 2 leads; runjhun's scarf around guddu's neck
aginaya:  reference to bangles as discussed by wafah in "cuts and bruises"


Edited by Aginaya69 - 20 August 2011 at 1:51am

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Aginaya69

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Aginaya69

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Posts: 315

Posted: 18 July 2011 at 7:55pm | IP Logged
Since I started this particular thread, I would like to make a comparative analysis of the set designs of the PN residence versus the current resident of Guddu and Runjhun, and how these two residences reflect on the character of Runjhun.

From the beginning of the show, we see that the setting has mostly been in Uttar Pradesh, particulary Kannauj, specifically Ittarwali Gali, more specifially Pandey Niwas.  With the exception of the few trips that Runjhun took to Kanpur, her world revolves in and around PN.  If Runjhun were a fish, Ittarwali Gali would be her aquarium.  This is where she is most at home.  Notice that Ittarwali Gali is a self-sufficient place.  Runjhun has to only walk a few blocks, or take the rickshaw for a few blocks, and she is where she needs to be.  Of course production wise, this is economical.  But we can see that what is economical for the production aspect of the story also becomes essential in character development. 

Notice how PN is structured.  It is a fair size house for a business-oriented family.  It is a household in which three sons take on different businesses -- sari, rickshaw, perfume, ( i don't really know what Kalsanwali's business is), law;  so, in itself PN is also self-sufficient.  This is Runjhun's world.  Her understanding of herself and the role she is given in her life is defined by this particular world.

Then, Runjhun is taken away from this world that she knows, and she is brought by Guddu to a place alien to her.  Not only is the place alien to her, but the basic look of her new address versus PN and Ittarwali Gali are different.  The surrounding area of Runjhun's new address is more densely populated compared to the surrounding area of PN.  But notice also that the entrance of the house is very narrow.  Compared to the very spacious PN, Runjhun's new residence is cramped .

July 6 2011 episode
http://www.india-forums.com/forum_posts.asp?TID=1723527
12:20 onwards

It is interesting to take note of how this change in residence, and how the difference in the set-up of the house and it's surrounding area reflects a change in Runjhun's way of thinking.  We see Runjhun being very uneasy, and sometimes even being very suspicious of motives (specially motives of Amma and Guddu).  Even if the suspicion is brought about by Mittho, the change in residence and setting also added to the uneasiness and the suspicious behavior.  Runjhun has been displaced, and with this displacement comes uncertainty regarding how her world works.  Amma is not there anymore, and even if Guddu loves her, Guddu is still a mystery to her.  She still does not know many things about Guddu, in the same way that she does not know her new place.  Now, being put in a smaller place with a man whom she does not really know would unnerve any new bride. 

This is all for now.  I hope that some, if not many, of you would jump into this kind of discussion.  You need not follow up with the set design of the residences.  You may have other aspects of the production in mind.


Edited by Aginaya69 - 19 July 2011 at 1:26pm

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simran_singh_24

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simran_singh_24

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Posted: 18 July 2011 at 10:50pm | IP Logged
Aginay

Thanks for opening up this nice thread.

It's a great way to appreciate all the behind the scenes hard work that goes in to make a daily
soap.These people get left behind often and it is nice to let them know we appreciate.

I'm technically challenged to comment fairly, but I recognise quality work when I see one.

I like the way how they  show at least two locations and some vehicular movement in most episodes.
Either it is the women on rickshaw or Guddu on bike, these movements give an impression of the story moving forward even when the plot is going in circle or standing still.LOL Very cleverThumbs Up

One thing I like about this show is their attention to details.

Liked their little touch of RJ's Mom's photo and those walls with film posters and business ads.

Will be a pleasure to read more informed comments.


Edited by simran_singh_24 - 19 July 2011 at 12:18am

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Posted: 19 July 2011 at 9:06am | IP Logged
Nice idea here for a thread. I will start thinking and post. Agin, you are the expert. Your videos actually demonstrate that you really have a sophisticated eye for the details and nuances of lighting, setting, shots etc

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Aginaya69

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Aginaya69

Joined: 05 April 2011

Posts: 315

Posted: 19 July 2011 at 10:39am | IP Logged
Originally posted by simran_singh_24


It's a great way to appreciate all the behind the scenes hard work that goes in to make a daily
soap.These people get left behind often and it is nice to let them know we appreciate.

I like the way how they  show at least two locations and some vehicular movement in most episodes.

Either it is the women on rickshaw or Guddu on bike, these movements give an impression of the story moving forward even when the plot is going in circle or standing still.LOL Very cleverThumbs Up


@simran @bold.  you said it.  i think it's high time we show appreciation for the people who are behind the scenes.  and they really do a good job at it, considering they shoot very close to the day they air the show.  if the actors work long hours doing the shoot, we can only imagine how many more hours the editors give just to give us a show.

regarding your comment about movement.  we see that a lot in the show, don't we.  not just vehicular movements, but also people movement.  i'm watching the first week episodes of bhagonwali now, and i'm doing it at a leisurely pace so that i can enjoy the details of the scenes.  now that i'm looking at it coming from the episodes when runjhun has moved with guddu to her new address, we probably can understand why runjhun's thoughts are preoccupied with suspicions lately (i believe that she has put that to rest in today's episode, july 19).

the scenes in PN always show us a very busy household.  so many people working, and runjhun always keeping herself busy multi-tasking.  compare that to what she has to do in her new household.  she has lessened her workload by a hundred fold, due to the size of the house, and due to the fact that she only has to attend to guddu and herself now.  that means runjhun has more idle time now, something that she is not used to.  and what happens when a person has too much idle time... the mind wanders.  it is interesting to note that in PN, it was guddu whose mind we often see wandering.  in the new address, guddu is the more confidents one, while it is runjhun who keeps thinking a lot.

also, simran, your post about kannauj is also a good study of setting playing an important role to the story of the show. 

http://www.india-forums.com/forum_posts.asp?TID=1733237

@JP... will be waiting for your thoughts. 

actually, right now, i'm trying to look for the thread that discussed the saris of runjhun, and how the saris reflected on the guddu-runjhun relationship.  i kept looking at the yellow sari of runjhun today.


Edited by Aginaya69 - 19 July 2011 at 10:42am

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simran_singh_24

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simran_singh_24

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Posted: 19 July 2011 at 11:19am | IP Logged
Originally posted by Aginaya69

Originally posted by simran_singh_24


It's a great way to appreciate all the behind the scenes hard work that goes in to make a daily
soap.These people get left behind often and it is nice to let them know we appreciate.

I like the way how they  show at least two locations and some vehicular movement in most episodes.

Either it is the women on rickshaw or Guddu on bike, these movements give an impression of the story moving forward even when the plot is going in circle or standing still.LOL Very cleverThumbs Up


@simran @bold.  you said it.  i think it's high time we show appreciation for the people who are behind the scenes.  and they really do a good job at it, considering they shoot very close to the day they air the show.  if the actors work long hours doing the shoot, we can only imagine how many more hours the editors give just to give us a show.

regarding your comment about movement.  we see that a lot in the show, don't we.  not just vehicular movements, but also people movement.  i'm watching the first week episodes of bhagonwali now, and i'm doing it at a leisurely pace so that i can enjoy the details of the scenes.  now that i'm looking at it coming from the episodes when runjhun has moved with guddu to her new address, we probably can understand why runjhun's thoughts are preoccupied with suspicions lately (i believe that she has put that to rest in today's episode, july 19).

the scenes in PN always show us a very busy household.  so many people working, and runjhun always keeping herself busy multi-tasking.  compare that to what she has to do in her new household.  she has lessened her workload by a hundred fold, due to the size of the house, and due to the fact that she only has to attend to guddu and herself now.  that means runjhun has more idle time now, something that she is not used to.  and what happens when a person has too much idle time... the mind wanders.  it is interesting to note that in PN, it was guddu whose mind we often see wandering.  in the new address, guddu is the more confidents one, while it is runjhun who keeps thinking a lot.

also, simran, your post about kannauj is also a good study of setting playing an important role to the story of the show. 

http://www.india-forums.com/forum_posts.asp?TID=1733237

@JP... will be waiting for your thoughts. 

actually, right now, i'm trying to look for the thread that discussed the saris of runjhun, and how the saris reflected on the guddu-runjhun relationship.  i kept looking at the yellow sari of runjhun today.

@Ag
Good point baout people's movement too. I also like the fact they use many supporting actors, whether it was in temple,mall, or the mobile store making the setting more real, places buzzing with activity.
Agree with your observation on G&R's new house and she having lot of idle time."Idle mind becoming devil's workshop" eh?
Just wanna add on a lighter note may be it's bad "vatsu" "Fengshui" ? THey need to rearrange stuff.will keep her occupied too.LOL

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Dia_F

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Posted: 19 July 2011 at 3:15pm | IP Logged

 Aginaya, I like the way you mentioned so many visual details and then connected them so that you can emphasize the meaning of the message that BBTA tried to sent us. The BBTA are working really hard on their project because usually soap operas don't complicate themselves with symbols and hiding meanings.

  One symbol that comes to my mind is the Pandey House who looks like a prison (I think that it was mentioned before on this forum): there are big gates at the entry and all of the windows have bars, even the windows from inside have bars. And also Guddu and Runjhun's room looked like a cell: it had many widows, all of them with bars and Mamis were acting like guardians spying on them through those windows.

  Also, when Guddu was fighting with his own feelings and decided to let Runhjun's aunts to treat her really bad (in the last five days of the challenge), we've seen him a couple of times watching trough one of the windows with bars how Runhjun is humiliated and fighting with himself to not take action. To me those scenes meant that he was still locked in the cage of his old habits that represented the old Guddu and the new feelings of love that he has for Runhjun were pushing him to free himself. And he finally did, because he not only released himself, but he also released Runjhun from the prison of greed and hate that is the Pandey House.



Edited by etna - 19 July 2011 at 3:22pm

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azuria

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Posted: 20 July 2011 at 12:17pm | IP Logged
In todays episode I was thinking of this thread.

PN did had light but they shut it off to get money from Bantu and Billo.

I was thinking that Rajju Mitho and Kalsanwali and Vishnu have resources but still wants others to help them out. Like Bantu with the money. They do not use what they have but want that Run jhun  can give without them working and earning their lvelyhood.

At Guddus place we see that the Light went out. A foreshadowing of the darkness engulfing them. They are wise and are afraid of whats coming but have no control on it ( since the power is out in their part of city its not that Guddu had switched off the main switch). Its someone else who is responsible of the darkness in their life. But there we see three people who are standing with eachother in that time of trials. Wheres the Pandeys are still thinking only about ech one of them about themselvs. No unity. Thus the plan fails. That Billo in some manner will help out but I do not know in what way.

Maybee she will be the one who will let Runjhun out of the houseSmile

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