Media WatchVolume 4 Number 3 ISSN 0976 0911 September 2013

EDITORIAL

SONY JALARAJAN RAJ

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ARTICLES

269 A FULYA SEN

Critical Media Literacy in Media Education: A Debate on the Contribution toDemocracy

278 ANURADHA MISHRA GAUR

Media Education in India and United Kingdom: A Comparative Study

285 NIDHI SHENDURNlKAR TERE & ARCHANA CHANUVAI NARAHARI

Exploring Interdisciplinarity in Indian Media Education and Research: An Analysis

300 VEMULAKONDA SAl SRINIVAS

De-Westernizing Media and Communication Education in India

315 ROHINI S. KUMAR

Small Screen in the Indian Subcontinent: A Study on Five Decades of Doordarshan

332 SUSAN R MASSEY

Text to Memory: A Study on Comprehension and Oral Reading Fluency

348 HAMID ABDOLLAHYAN & NILOOFAR HOOMAN

Resistive Reading ofAnti-Islam Movies by EducatedArnerican Audience: An Analysis

364 JONGSUNG KIM

Relationship between Facebook Usage and Self-Efficacy among Collegiate Athletes

375 BARRY NNAANE

Public Perception and Role ofMass Media in Fight against Corruption in Nigeria

391 NITHIN KALORTH

Identification and Analysis ofImages in Anjathey

© Media Watch 4 (3) 391-400, 2013

ISSN 0976-0911 e-ISSN 2249-8818

Identification and Analysis of Images in Anjathey

NITHIN KALORTHMahatma Gandhi University, India

The Tamil cinema has undergone a cycle ofchangesfrom storytelling to productiontechnology and marketing strategies. This article finds out the film language andgrammar ofmovie Anjathey directed by Mysskin. 36 images/shots were selectedfrom the movie and they have been analyzed on the basis offilm language, narrativeaspects ofthe story cinematography, sound, and editing. Attempts have been madeto understand the use ofvisual language and grammar to express the story by theuse ofmise-en-scene.

Keywords: Tamil cinema, new wave cinema, image analysis, film language, film narrative

Storytelling is a familiar and ubiquitous part ofeveryday life; a form of communication andshared experience since antiquity (Roussou, 2001). Most of the movies are based on realevents or it often can be related to the events which have reference to reality. Stories arestructured in different ways. The way of storytelling and sequencing is planned in a waythat it suggests what the story means to the outer world. Most narratives are structured asopening and an ending style. In between these two stages there are often a contradiction,mystery, or conflict to be resolved. The use offibn language ofshowing these contradictions,mystery or any narrative elements lies with the director ofthe film. It is the visual elementsthat process and support narrative with respect of any other film fundamentals.

The importance of frames in the film language is essential to understand beforegoing to analyze the images. Framing decides where an image should begin and end. Wilson(2011) notes the frame as vital to the meaning of an image as composition. Wilson adds thatwhole variety of camera angles which can be selected to frame a shot and often what is leftout is as important as what is included and deduce the meaning of the relationship betweenthe camera and subject. Separating an subject contained by the frame can make them seembeside the point and lonely. Likewise there is much other conduct to deliver film language.The film language should incorporate with the narrative structure offilm for extracting anactual story to the audience. Lacey (2000) describes that story as narrative in chronologicalorder, the abstract order of events as they follow each other. The unusality of frames seeksmuch attention to understand.

Correspondence to: NithinKalorth, Research Scholar, School of Social Sciences, MahatmaGandhi University, Pularikunnu, Kottayam-686 041, Kerala, India. E-mail:nithinkalorth@gmail.com.Allrights reserved withMedia Watch. Forpennission and reprint,please mail to:mediawatchjournal@gmail.com

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The Tamil film Anjathey had a parallel script approach which made a path breakingtrend in Tamil cinema. The composition offrames, selection ofshots and its counter meaningin narration of Anjathey were explained splendidly by director Mysskin. This paperinvestigated thirty-six selected images from the to establish the uniqueness ofvarious filmlanguages. While analyzing Anjathey, it is significant to look at new emerging generation ofTamil cinema. Tamil cinemas are popular in its aesthetic and cultural values from the earlyyears ofIndian fihn making. Fihn critics ofmainstream and online media noted the arrival ofa new wave in Tamil and gave siguificance to the directors. Young Tamil directors aredefying tried-and-tested formulas offilm making to tell stories the way they need to be told.And what's more, they're making money at the box office too. Serious Tamil movie enthusiastsare touting this trend as the re-emergence of'good cinema', and the directors as the rightfulheirs of legendary filmmakers like Balu Mahendra, K Balachander, Mahendran andBharatiraja. As one put it, there have been efforts to make good movies in the recent past,but not so many of them simultaneously (Mohan, 2009). The Tamil new wave cinema is alsocharacterized by style, personal financing, a minimum song soundtrack (with songs in thebackground rather than lip synched and danced to a shorter running time, no parallel comedytrack the comedy arises instead from within the plot) and themes that are sharply observed,tough-minded explorations of rural life and life on the mean streets. The characters here arerooted in family, culture and tradition but are forced to break with everything because oftheir personal choices - usually love or ambition. It is difficult to pinpoint the exact momentwhen this fihn revolution in contemporary Tamil cinema started, but can two fihns as possiblyhaving inspired and kick started this new wave: Autograph and Kaadhal. Both films wereartistically made, entertaining, and - most crucially - huge box office hits. It must havestartled the Kodambakkam industry to see two intimate love stories with no stars winningsuch a huge audience (Pradeep, 2009).

Sebastian (2008) observes that the siguificance ofnew wave is not only visible inTamil cinema alone. Their influence is being felt through the rest ofIndian cinema, signallingto filmmakers that our formulaic movies can be reinvented. Already paralleling the Tamilrevolution is a new kind of Hindi movies, evidenced by the multiplex movie. Except theirthemes are urban, looking at sex, adultery, relationships, work pressure, crime and everythingelse that contemporary living throws up. IfTamil movies depend too much on a rustic milieu,Hindi movies lean too much on the urban. Both cinemas need to cross over (PradeepSebastian, 2008). Examples are Radhika MMS, Love Sex and Dokha, Dev D, Rock star,Ishkiya, Deily Belli etc..

Anjathey is also such a kind movie which has multiple genres. It has family drama,social context and romance and that story is complex to narrate (Sivkumar, 2008). aremostly oflow budget. The technical perfection is very high and the adaptation offilm makingstyle from word cinema is used in Tamil. These also help to change offilm language. Use ofbody languages, natural observable fact as cue for fihn meaning delivery is used. The examplescan see in following text which came in Anjathey. Love and violence are the major backgroundofall Tamil movies for a long run oftime. It can visible in new wave too. But the divergenceis in the treatment and style adopted here from former.

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In this paper, the author has identified the images which are useful to study the stylewhich used by director Mysskin. The film deals about the behaviours and attitudes ofcharacters in various phases oflife. To illustrate resemblance and disparity of events shots

Mysskin and Anj atheyThe movie Anjathey released after Mysskin directing his first venture Chitram

Pesudathi. The post Anjathey made Mysskin more mature. The film techniques used in thisfilm are discussed by many critics in a positive way. The film stars Narain, Ajmal, Prassana,Vijayalakshmi, M S Bhaskar, Livingston, Pandirajan in lead roles. The fihn also gifted actorNarain a new stand in Kollywood. Mass media and critics described his performance as achallenging one. The Moviebuzz at sify.com described as Narain's acid test (Moviebuzz,2008) and eventually he succeeds the test.

It is also given praise to Mysskin which made mass media to compare with worldcinema directors like Kurosowa. The website Kollywoodtoday.com described him as AkiraKurosawa ofKodambakkam. Rinku Gupta ofTimes ofIndia mentioned him as a Samurai.(Gupta, 2008). Director Mysskin is kuown for his aggressive approach of screen writingand reason of his aggression was due to the milieu of society and attitudes of film field inTamil Nadu. In an interview with Gupta, Mysskin tells that

"I am very happy today. After Chithiram 5, I wrote the script of

Nandalala6 but found no takers. In sheer anger, I wrote Anjaathe in 37 days.Anjathey crafted me and prepared me for Nandalala. I discovered my visualside. Ibelieves every film should be a battle. Every director should feel he is aSamurai, in a battle oflife and death. There is no looking back. He has to givehis best" (Gupta, 2008).The genre of Anjathey is not a conventional action thriller. It has a main plot on

friendship, crime and family drama. This is the main reason of the film which made anoutstanding. Anjathey was a commercial success for which Mysskin received greatcompliment for his clutch over his expertise. The meaning of the title Anjathey is Do notfear and it signifies corning of age genre too.

Holquist (1986) states that context plays an important role in shaping genres (p234).The context ofAnjathey is laid in parallel. It is about the growth and decline offriendshipand activities offemale trafficking and reaction ofbody ofcops towards it. When both storylines meet up the conflict ofAnjathey starts.

The protagonist Sathya (a rowdy turned to the police) is handled by Narain whileAjmalArneer gets into shoes ofKirubha (fail to get selections in police and become drunken).The main contrast can see from these two characters. Actress Vijayalakshmi handles therole ofUttara, sister ofKiruba who admires and loves Sathyavan aka Sathya even when heleads his life in dark shades. M S Bhaskar and Livingston are senior artists in Tamil filmindustry who does characters of the fathers of both Sathya and Kripa Shankar aka Kriparespectively. Prassana and Pandirajan are main antagonists in film making role ofDaya andLoganathan aka Logu who are indulged in female trafficking and former is expelled frompara- military for raping daughter ofhis senior officer. It is to be noted that both actors areknown for their comic and romantic acting in earlier films. The other characters ofthe filmare many from drama and unpopular in the main stream. The notable performance from

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Bomb Ramesh as Kuruvi friend of Sathya and Kripa is well executed. In real, he was astunt master who lost his hand during a bomb blast scene ofa fibn shoot. The characters arevery realistic and it apts the narration.

The plot of the Anjathey has twist and turns and film consists of narrative form .Narrative can be defined as "a chain of events in cause-effect relationships occurring intime and space" (Bordwell & Thomson, 1997). Agood narrative allows for the suspensionofdisbelief, presents believable characters that we can relate to or hate and provides engagingstorylines. Chatman, in his book "Story and Discourse" (1978), explains what are thenecessary components of narrative. Chatman offers story and the way the story iscommunicated as two elements ofnarration (1978).

Anjathey is fibn about two friends who separates tum of events. Sathya and Kirubabought up at police colony neighbourhood. The story offibn revolved around their friendshipand how circumstances make people to do their virtue. Film review website sify.com highlyreccomonds Anjathey by noting it as urnnissable, sparkling, fresh and innovative film fromMysskin (2008).

The images selected here for analysis are chosen on the basis of the languageexpressed which are subjective and for showing contrasting events in the fibn. The filmmaking intension and narrating complexity of Mysskin in Anjathey can be understood byanalysing the images. The images of study are given after the bibliography for reference.

Images to study the style of Film languageThere are various elements that combine to make a fibn which are cinematography,

sound, mise-en-scene, and editing. The films tell stories in moving images, they are visualtexts with their own set of rules and conventions that we have learned to read. Everythingthat we see in a film has been chosen to construct a story with a particular meaning withwhich we will interact. Cinematography includes framing of the shot and the angle of thecamera. Every aspect ofcinematography holds particular connotations and these connotationsmake meanings for audiences and are important in the way a film tells a story. Mise-en­scene gives an idea what is in the scene and shot. It includes movements, actions andgestures, facial expressions, costume, properties, location and color. Sound can be of adialogue, music, sound effects and these sounds can be on screen or off screen.

In the film Anjathey also we can see use of film language by effective employ ofthese three elements. There are thirty six images that studied here. The movie name givesmeaning "Do not fear".

Structuralist film theoryA stucturalist film theory which rests its roots in structuralism, which put light over

the idea how the presentation ofcodes and convections provide meaning of the fibn. In hisbook Structural Film Anthology, Peter Gidal (1976) states that the fibn produces certainrelations between segments, between what the camera is aimed at and the way that 'image'is presented. The dialectic ofthe fibn is established in that space oftension between materialistflatness, grain, light, movement, and the supposed reality that is represented. Consequentlya continual attempt to destroy the illusion is necessary. Presenting reality is part of the new

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wave movement. We witnessed it from the French new wave movement which made filmwith real incidents and surroundings. Tamil popular cinema is highly connected with dramatictheme. Most of directors add unreal elements into the cinema.

Opening and concluding imagesThe title and opening credits of the movie are shown in the background of the city

where the film is happening. In these shots the early morning of the city is shown, thus itmeans as starting. It is calm yet gives a mood oftension with the theme music. As the moviegoes on the frames also get tensed and the film end with a clam, green and peaceful farmingfield to signify a new and fresh beginning. After a lot of bloodshed and screen especiallytowards the climax ofmovie audience get a relief ofpeace with that shot. Both the openingand closing shot are extreme wide shot (See Figure 1 and Figure 2).

Character growth of Sathya and KripaThe film's main story line deals with the growth of the main two characters Sathya

(Narain) and Kripa (Ajmal Arneer). The two character's attitudes and image have changedin starting and end of the film. Rest of all other characters in the fibn are constant whilecomparing to Sathya and Kripa.

In Figure 3, we can see a worm's eye view camera angle of Kripa who is doingbody exercise early morning. This shot shows when local rowdies threaten and beat him foroccupying practicing place ofgang head. Kripa's hard work, dedication to his dream and hisattitude for peace is being shown with this image/shot.

On the other hand Sathya heads with gang head and beat him as revenge for harassingKripa. Sathya is outspoken, lazy and a man with no aims in life. He always with his friendsspends most oftime in local bar drinking and making useless fights. The Figure 4 shows theSathya and friends sitting in a bar where Kripa comes to gift him a ring as his birthday gift.

Kripa never visits a bar and everyone becomes surprise when he enters the bar.This image is composed with suggestions of friends and Kripa in medium shot.

Both Sathya and Kripa have humane and moral values in their behavior even thoughtheir life was crossing through the roads of darkness. This figure 5 and figure 6 are examplesfor showing this behavior. In figure 5 during a temple festival Sathya find out Daya tries torape Uthara when she takes her bath. When Sathya arrives Daya escapes from the bathroom.Later Sathya took the dress off Uthara and gives to her. Even he was drunk, he did notintend to harm Uthara's pride. Likewise in the figure 6 which is taken from climax sequence,in which Kripa points gun at Daya who was going to sexually harass one of the two whomthey kidnapped.

The body language is the vital part ofhuman communication. Visual codes ofbodylanguage help in conveying the meaning ofthe message than use ofwords, since the most ofvisual codes are universal. In the Anjathey, the Daya's (Prassana) repeated body languageis shown. He communicates with his hand. When he comes first time on screen his hand isshown (Figure 7). He is looking at watch at every occasion. When he is in trouble he looksat his watch, the perfect example is shown during climax. When is shot by a cop and about

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to die he looks at his watch (Fignre 8). It shows his plans are destroyed. He happens to killhis man when he was about top caught by police.

During that run also he sees the watch (Fignre 9). The other two instances whereMysskin use the body langnage of Daya flawlessly are when Kripa asks why Sathya beathim during temple festival. He becomes answerless. That time it shows his bare hand (Fignre10). As the film progresses Daya and his gang happens to stay at Kripa's home as a safetymeasure for hiding when police chase them. At this point of time Daya peep into the roomwhere Uthara changes her cloth. Here his sexual urge towards her is shown by his handsrubbing against his knees (Fignre 11). The use ofhand movement is an excellent cue usedby Mysskin throughout the movie to represent evil thoughts and act by Daya.

The growth and decline of friendship between Sathya and Kripa is an importantsubplot in Anjathey. The extreme long shot of Sathya and Kripa when they return homeafter he is released from the police station is shown in a long camera take (Fignre 12).Meanwhile the time Sathya is warned by Kripa that he will shoot Sathya ifhe continued hisevil act but at climax Sathya shoots Kripa as reverse. The contrasting events exhibit crux ofthe film but this might be the most noted. When Sathya is selected for police by influenceand Kripa fail to get selected. That night Sathya enjoys by drinking alcohol and comes towish Kripa. But Kripa is shown here (Fignre 13) as frustrated man and who cry at Sathyafor cheating. Here is the first scene where their friendship is devoted. The other imagewhich shows the worsening in their relation is when Sathya meets Kripa in a local bar.Sathya is shocked by the appearance of Kripa when he was about to beat Sathya (Figure14). The actual aggression of Kripa is shown when his father faint at home. This leadsKripa comes to Sathya and his family and challenge Sathya that he will destroy him at anycost. This time Kripa is shown very powerful by occupying a maximum of space in thescreen (Fignre 15). During the climax scene Kripa realizes Sathya is good and says sorry.The shot how of realization is very emotional. Close up shot of the ring worn as locket onSathya's neck. When seeing this Kripa feels sorry for misunderstanding his friend (Fignre16). Their friendship is rejoined by Kripa's death.

The images which show character change in Sathya are remarkable here. Thereare four images which I have selected here. On the day he joins the duty he is harassed bythe senior cop and he is shown as powerless. While he asks the other policeman where hewas to sit, Sathya is shown out offocus to make him down cast (Fignre 17). The next imageis when he falls down by seeing a man shows his wife head which he cut for killing her(Fignre 18). This image shows how Sathya reacts towards the crime world. Then in thenext image is of long run shots where he tries to save a life of a man who was dying on theroad. He carries death body in bike with the help of old women. This image shows humanityin his (Fignre 19). The scene where he gets charged as police is a twist in the tale. Whenmasked gang arrives at hospital to kill a man, Sathya fights and make run gang away fromhospital. The image where he knifes at gang head is shown in a powerful angle for thedomination of Sathya (Fignre 20).

Daya uses Kripa for wrong deals are another catalytic plot of the film. When isrealized he was misused Kripa get frustrated. This is shown with a help ofa helmet. At firsthe was asked to collect a plastic bag from a man who is standing in the cinema hall. He is

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not aware about what is inside the bag. While he is removing the helmet, his face is shownwith no expressions since he does not know what is inside the bag and why he was told tobe. (Figure 21) Later on, when Kripa understands that girl who kidnapped by Daya was atKripa's home. That time his extreme close up used with helmet is on. And he beats his headfor mistake that happened. (Figure 22 and 23)

When Daya is killed by police his dead body is shown with the bunch of money.This shows money could not help him. This image gives a strong message (Figure 24) oflife. There are many shots in the film which are sometimes confusing audience. But thesedeliberate confusions parts ofthe new wave movies ofTamil industry. Vendrig J. & WorringM (2002) points out that movie is the result ofan artistic process sometimes causing confusionon purpose, the necessity for human judgement will always remain to some extent (p. 494).

With the help of character analysis, I came with a character graph map of Sathyaand Kripa with changes in their behavior. The good, bad phase in their behavior and time ofthe reality realization oftheir mistake or reality is noted with the narrative structure. Afterdeath of Kripa some montage is shown with end credit titles which justify the Sathyagooddeeds again.

-Sathya

-Kripa

Start Middle

AlCisTitle

Eod Future

Table 1: Graph of Kripa and Sathya character changeAxis Values: 0-3 (Bad deeds/moral) 3-6 (realization of the reality / mistake) 6-9(Good deeds/morals)

Images to study contrasting eventsLife is of twist and turns, when Mysskin sketches the scene there are lots of

contrasting events happens in the life of Sathya and Kripa. These are shown with visualimages. The two images in which first, father of Sathya disgrace and put side by side himwith Kripa at commencement ofthe film. For the reason that Sathya is ill treat and Kripa ishard working and a man with a mean. Later on the identical circumstances repeats atKripa's home where parents of Kripa compare him with Sathya. Both scenes are lookingalike and audience is connecting each other with relieving (Figure 25 and 26).

There are also many other images that are related to each other for contrastingevents. One ofsuch is during test for selection in the police. While officers are interviewingKripa the shot is high angle to make Kripa less dominates. In that officers are drinking teaand when next shot shows Sathya offered to drink tea before officers since he is recommendedby the minister. This is shown satirically in drawing fatal system and governance (Figure 27and 28) . There are another two images which show Sathya and Kripa at the bar, in first

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Sathya is drunken. Kripa comes to bat to presenting a ring as a birthday gift. While he goesback Sathya goes and get hold ofKripa's hand, the same type offrame construction is usedwhen Sathya meets Kripa at the same bar (Figure 29 and 30).

Sathya was good and he had ability to discriminate good and evil even when he wasliving in dark shades of life. But when Kripa becomes in another phase oflife he was easilyinfluenced and blindly believes people without thinking. These two events are shown insimple two frames. In first Sathya is not giving importance and neglecting Daya when hegives his hand as a mark of friendship. But Kripa accepts Daya and exchange hand shakeeach other when they meet at the local bar (Figure 31 and 32).

During the start of the film, Sathya is arrested by police for a fight in the bar. Thattime Kripa releases him from police with the help of the father. Later on Kripa is arrestedby police for the reason of making mishap ion bar. At this time Sathya is police and he ishelpless to release Kripa. The two images in first father of Kripa are advised not to gettogether with Sathya and the image in which police is taking Kripa to station are similarlyframed (Figure 33 and 34).The other two shots which show the relation between main three characters (Sathya, Kripaand Uthara) are when Uthara sees a childhood photo and during Kripa's death. Both shotsgive an image offriendship which is shared between them (Figure 35 and 36).

ConclusionReviewing the 36 images and drawing an analytical conclusion of character shift,

director Mysskin used the power of visual images to deliver film language and to showcontrasting events and enhancing frame meaning through the film. The usual style of filmmaking that was used habitually in Tamil film industries were broken down here. Thecharacters were oflife and the full justification for the characters and the story is done byMysskin through Anjathey. The fihn says there is no one good in the world. All are livingwith some mistakes done in their life. So the visual images are shown as balancing allcharacters. To sum up, I would say that Anjathey is defiantly a path breaking film in Tamilindustry and it can marked as a perfect example of growing new wave films of Tamil. Themovie can be studied in depth for understanding visual grammar and use ofthe same kind ofvisual treat for contrasting events. It is interesting to study further how Tamil uses othertechniques to sustain the trend ofnew wave. Anjathey opened up a new kind of aggressivestyle in Tamil industry. The impact of Anjathey and its structure on forthcoming andcontemporary cinemas are to be observed.

ReferencesBordwell, D. & Thomson, K. (1997). Film Art: An Introduction, McGraw-Hill, New York,.Chatman, S.( 1978). Story and discourse: narrative structure in fiction and film, Ithaca:

Cornell University Press.Gupta, R. (2008, May 7). Mysskin is kollywood Samurai. Times ofIndia . Retrieved from

hUp:// articles. timesofindia. indiatimes. com/200 8-0 5-07/news-interviews/27744184_1_mysskin-tamil-fihn-director-samurai on June 3 2012.

Lacey N., (2000). Narrative and Genre: Key Concepts in Media Studies, Macmillan.

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Holquist, M (Ed). Bakhtin, M. M. (1986). Speech genres and other late essays. In TheDialogic hnagination: Four Essays. University ofTexas Press. ISBN 9780292782860.

Mohan, G (2009, January 11). The Tamil New wave. Indian Express Retrieved from http:/Iwww.indianexpress.cominews/the-tamil-new-wave/4087220n May 13 2013

Moviebuzz. (2008, Febraury 14). Narain's acid test. sify.com. Retrieved from http://www.sify.comimovies/narain-s-acid-test-news-tamil-kkftVbibiih.html on May 122013.

Moviebuzz. (2008). Anjathey. sify.com. Retrieved from http://www.siry.comlmovies/anjathey­review-tamil-14605383.html on May 122013.

Peter Gidal. (1976). The theory and defmition ofStructural film. in Structural Film Anthology,BFI.

Pradeep. (2009). The New Kollywood. Behind the woods. Retrieved from http://www.behindwoods.comlfeatures/column!index-s II.html on July 6 2012.

Roussou, Maria. (2001). The interplay between Form, Story and History; The Use ofnarrativein cultural and educational virtual reality in Virtual Storytelling Using Virtual RealityTechnologies for Storytelling. Springer Berlin Heidelberg, Berlin. ISBN: 978-3-540­45420-5. DOl: 10.1007/3-540-45420-9 20.

Sebastian, Pradeep. (2008) Beyond Old Kollywood. The Hindu. Retrieved from http://www.hindu.comlmag/2008/01/13/stories/2008011350150500.htrn on July 142012.

Sivakumar. (2008). Anjathey - Review. Passion for Cinema. Retrieved from http://www.passionforcinema.com/anjathey-reviewon6June2012.

Vendrig, J. & Worring, M. (2002) Systematic Evaluation of Logical Story Unit Segmentation.IEEE Transactions on Multimedia, Vol. 4, No.4, pages 492- 499.

Wilson, Karina. (2011) Camera Use. MediaKnowall.com. Retrieved from http://www.mediaknowall.com/camerause.htmlonJuly 13 2013.

Sequence ofFigures and their Captions (1-36)1. Opening title which indicates Anjathey, 2. Shot just after climax and before closing credits, 3.Introduction shot of Kripa, 4. Kripa visits the bar, 5. Sathya giving cloth to Uthara, 6. Kripa pointsgun towards Daya in climax sequence, (7-11) Use ofDaya's hand as cue of body language, 12, Kripawarns Sathya, 13. Kripa after failing the selection, 14. Kripa burst out of aggression, 15. Kripa turnsagainst Sathya out of revenge, 16. Kripa finds out Sathya's love for him after seeing the ring on achain, (17-20) Changes in Sathya, (21-23) Use ofhelmet at points where Kripa understanding situations,24. Death scene of Daya after shootout, (25-26) Reaction from families of Sathya and Kripa, (27-28)Interview of Kripa and Sathya, (29-30) Bar shot repeats with shift in character, (31-32) Rejection!Acceptance of Daya by Sathya and Kripa, (33-34) Jail release shots of Sathya and Kripa, (35-36)Images to show bonding and love with span of timeNote: The figures considered for analysis appeared in Page No. 400

Nithin Kalorth is a Research Scholar at the School of Social Sciences, Mahatma GandhiUniversity, Kottayam-686 041, India. His research interests include South Indian fihn studies,digital photography, social and political documentary, democratization ofvisual media, publicsphere and social media. Apart from his academic ventures, Nithin is actively involved inshort fihn and documentary film making. Email: nithinkalorth@gmail.com.

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