In the film world both the mainstream and offbeat filmmakers are driven by the motivation of
film-making in order to fulfil their objectives of anesthetization of the imagery
representation of manifold aspects of the realities of the world and try to fulfil and
gratify almost totally the aesthetic needs of the spectators. But the probability of their
successes in these pursuits is not encouraging. It is because there is serious lack of
well-organized study and investigation to understand and know the principal controlling
factors which manipulate the aesthetic needs of the spectators with reference to a
particular kind of text. Sometimes their biased assessment and estimation induce them to
think that the spectators' aesthetic needs would be gratified if they inject overdose of
dramatic, melodramatic and fantasy elements into the text and the technology of the film.
Their biased assessment was based on the argument that there are several instances of
commercial successes in the film world by projecting such unrealities and fantasies on the
screen. The idea prompts them to act accordingly but their blunt and blind act of the idea
prompts them to act accordingly but their blunt and blind act of imitation results most
often in eventual failure and frustration. In addition to their own failure they would also
be held responsible for the aesthetic and cultural crises of the film industry.
The psychophysical model based on MAUT attempts to pay heed to this area and
captures within itself all the essential dimensions, sources and ingredients wherefrom
aesthetics of the Narrative film emerges and would be helpful to hunt out the troublesome
and problem-some spot responsible for aesthetic crises and would suggest suitable remedial
measures to get over the problems. The model assumes that aesthetics of the whole system
depends on the aesthetics of the component subsystems. Each of the subsystems may further be
partitioned into further smaller component subsystems and so on. The optimization process of
the aesthetics of the whole system can be carried out by optimizing the component
subsystems. Continuing the partitioning process in this manner we finally arrive at some
indivisible basic units which demonstrate, display and reveal some indivisible basic units
which demonstrate, display and reveal some characteristics, property and attributes which
bear relationships the aesthetic motivation or the objective of the whole system.
After having the readers' feedback and response to the first volume, the second
volume has been prepared in such a manner as to meet the need and the requirement of all the
students, readers, technicians and the directors, film critics and research workers and
general viewers and other interested readers and have attempted to encompass all the areas
of film studies as exhaustively as possible.
The second volume has started with the chapter on Statistics, Truth, Beauty and
Filmic reality and has discussed how strategy based on statistical methods has distinct
advantage over other strategies like Narrative strategy Telos etc. in exploring and in
extracting Truth of a system.
The eleventh chapter has discussed how the filmic variables or the aesthetic
variables of the film are constructed and how they are measured.
Twelfth chapter briefly describes how the project work can be carried out and also
the same has briefly been outlined. The detailed project work and report will shortly be
I am grateful to Professor S.P. Mukherjee, ex-professor of statistics of Calcutta
University and to Mr. Dhiman Dasgupta, an eminent author, film critic and script writer for
their help and guidance to carry on the research work on the subject and also to Professor
Gopalan Mullick, professor of Saint Xavier's college, Kolkata, for his inspiring help.
I am grateful to Mr. Sandip Ray, eminent film director for providing me and giving
me the permission to include the pictures of film 'Charulata' in the book.
I am grateful to Mr. Sabir Mitra of psychometric department ISI, Professor Anup
Majumdar of S.Q.C. department I.S.I. and Professor Bikash Sinha Math-Stat division I.S.I.
for their help, guidance and inspiration in the research work. I am also grateful to Mr.
Subir Chakraborty, my brother-in-law and computer consultant for his help in different
manners and particularly in computer matters.
I am also grateful to my dear wife Mrs. Mira Chakraborty for her help, inspiration,
patience and tolerance during the progress of my work.
Even hundred years after the birth of the motion picture, film presents such a challenge to
mankind as to how to optimize the use of its technological capability so that it can convey
adequate information, juxtapose images and words ingenuously, provide startling and
contrastive mixtures of sight and sound, and thereby create analytic structures consisting
of both the visual and aural elements for revealing the truth behind the realities of the
society and finally generate intellectual, emotional and aesthetic experience of the imagery
representation of that truth. Though this new media functions within the conventions and
limitations of written history yet it opens up new possibilities for representing and
highlighting realities and truth of the society in new form. And thereby it has succeeded
enough to seize the power of aesthetic communication of the imagery representation of the
realities and the truth of the society from the grab of the literary media.
A movie is not only the source of entertainment and the means of fantasy fulfillment
to the spectators but it is also an institution wherefrom the spectators can delineate
knowledge of the facts and the realities of the natural and the physical environments and
also of the mundane, social and the psychological life of the people of the society and
thereby they get enlightened with the knowledge and wisdom of the hidden truth underlying
those facts and the realities. But the latter objective would not be fulfilled
satisfactorily if the movie-makers and the spectators direct and concentrate their attention
for analyzing those facts ad realities only through intuitive judgment. Rather it is also,
perhaps, judicious and obligatory for them to continue to search, develop and devise
analytical and ligatory for them to continue to search, develop and devise analytical and
scientific instruments, method and technology of communication research for analyzing those
facts and realities and then apply them in the process of imagery discourse of the text and
technology of film in order to get enlightened with their true identity and maximize their
With this end in view, the two volumes of the book 'Statistical Approach to the
Aesthetic Communication of a Narrative film' which are the outcome of my long and arduous
study and research under the guidance and inspiration of Prof S.P. Mukherjee (Ex-professor
of Statistics of Calcutta University), Dhiman Dasgupta (Eminent writer and Film Critic) and
Gopalan Mallick (Lecturer, Film Studies, St. Xavier's College) are published. They are
principally meant to develop and devise strategic statistical model of psychophysical
planning based on the multi-attribute utility theory in order to determine, measure and
optimize the aesthetic potential of a Narrative film. Like the first volume, in this volume
also we have attempted to pull from the storehouse of film theories different recognized
strategies of aesthetic communication like the ideological strategies, Narrative strategies,
Semiotic strategies and Technological strategies and have tried to describe their vital
conceptual and technological aspects and also have also shed light on their relative merits
and demerits for aesthetic communication of Narrative film. The first volume has touched
upon them very briefly and in a condensed manner but in this volume we have attempted to
make elaborate treatment about those strategies emphasizing their relevance and validity for
aesthetic communication and also as seeker and explorer of Truth from the disordered
accumulation and scatter of realities of the social environment and have also pointed out
how the aforesaid psychophysical model based on MAUT and statistical techniques would
provide additional opportunities and open new areas for aesthetic communication and research
of a Narrative film.
In order to fulfill the above objective, the first chapter has initiated the matter
with the concept how Truth is defined in the culture of making and how it can be related to
the concepts of fact, knowledge, realiaties, discourse and narrative and beauty and how the
rhetorical strategies like Narrative strategy, Semiotic strategy, Cognitive strategy and
Statistical technique attempt to unveil the Truth and maximize Aesthetic communication. The
second chapter has focused how time, space and movement play their individual and joint role
for that purpose. In the third chapter we have tried to expand elaborately the conceptual
and technical aspect of Narrative strategy and thereafter have passed on to the fourth
chapter to illuminate the different aspects and the concept-Aesthetics and Aesthetic
In the fifth, sixth, eighth chapter we have discussed briefly the history of
aesthetic revolution of the world film, critical review of different aesthetic strategies
and the System concept, Utility concept and the Statistical concept in relation to film. In
the seventh, ninth, tenth chapter we have discussed the different aspects of
Characterization process, Imsign, attributes and the ideas different kinds of codes and
different techniques of codification.
In the eleventh and the twelfth chapter we have dealt with construction and the
measurement of the psychophysical variables of film and how the model is built up with the
use of those variables and how the model can be fitted with the live data and how the
parameters of the model are estimated and interpreted.
Back of the Book
After evaluation of the readers' feedback and response to the Vol.-1 of the book
'Statistical approach to the aesthetic communication of a Narrative film', first published
by Bitarka in September, 2005, I have become interested to publish the second volume of the
book. But as per requirement of the interested readers the author has incorporated in the
book some the already established topics regarding the concepts, theories and strategies of
aesthetic communication of film in a more detailed, objective and comprehensive and
exhaustive manner and in order to advance and emphasise his argument in favour of
psychophysical model of aesthetic communication for better and more effective aesthetic
communication, the author has included the concept regarding the relevant part of the model
at the end of each of the chapters.
Mr. Chakraborty is a an enthusiastic and well-trained reader and research student of
film, sociology and statistics and has been engaged in research work for solving the problem
of more effective and optimum aesthetic communication for a pretty long time under the
well-directed guidance of Prof. S.P. Mukherjee, ex-professor writer, critic and script
writer in the film world and professor Anup Majumder of I.S.I. Kolkata and has included the
concepts of the application of statistics in film more elaborately in the volume In
chapter-12 he has briefly discussed his research project work but as the detailed research
project work and report is studded with more advanced technical and statistical matters, it
is beyond the scope of general readers and so it is being published shortly in a separate
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