A Quote by Prosenjit Chatterjee
For me, 'Shanghai' is beyond language. For me, it's good cinema. The language is incidental.
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The Urdu or Hindustani language we use isn't popular in theatre these days. It was a language that was being used in cinema from the 1950s until the '80s. It is a very communicative language.
It was a revelation for me, in a practical sense, that you could write in an African language and still reach an audience beyond that language through the art of translation.
It is quite an illusion to imagine that one adjusts to reality essentially without the use of language and that language is merely an incidental means of solving specific problems of communication or reflection.
All the academy will tell you that the language that is familiar to you is not appropriate. and that's not to say that there shouldn't be a standard, but when I come to school with my friends' language, my grandmother's language, the language in my mouth - you're going to tell me that's improper?
There is a language beyond human language, an elemental language, one that arises from the land itself.
We believe we can also show that words do not have exactly the same psychic "weight" depending on whether they belong to the language of reverie or to the language of daylight life-to rested language or language under surveillance-to the language of natural poetry or to the language hammered out by authoritarian prosodies.
The earliest language was body language and, since this language is the language of questions, if we limit the questions, and if we only pay attention to or place values on spoken or written language, then we are ruling out a large area of human language.
Because it's my first language, all the literature that I've read and all the things that I've been inspired by that have been written in Welsh have moved me beyond anything that I've experienced in any other language.
The politics of language and the politics of writing really got to me. I've heard this phrase more than once now: this idea of the poetry wars, or the idea that people within the space of writing are at odds with one another or manipulating language to further one's political stance, manipulating language in ways that really felt dirty to me. All of these things worked their way into and through language for me.
Being a slow reader would normally be a deficiency; I found a way to make it an asset. I began to sound words and see all those qualities - in a way it made words more precious to me. Since so much of what happens in the world between human beings has to do with the inconsideration of language, with the imprecision of language, with language leaving our mouths unmediated, one thing which was sensuous and visceral led to, in the use of language, a moral gesture. It was about trying to use language to both exemplify and articulate what good is.
The language of prose is very different than the language of cinema, so the movie has to successfully translate what was in the book.
I try to connect to human emotion. I'm always looking for something primal, something really base that is beyond language, that people understand beyond language.
Everyone knows ladies love Cajuns. It's in our blood and our language is the language of romance." "Your language is the language of bullshit. You're just a couple of good ole boys with pretty faces. Women just ought to know better.
Dare I speak ,to oppressed and opressor in the same voice? Dare I speak to you in a language that will move beyond the boundaries of domination- a language, that will not bind you, fence you in, or hold you? Language is also a place of struggle. The oppressed struggle in language to recover ourselves, to reconcile, to reunite, to renew. Our words are not without meaning, they are an action, a resistance. Language is also a place of struggle.
I don't hate language. I have my own language, but I also enjoy the English language. Obviously, you don't read a lot of literature and not care about language.
For me, cinema's like a language - everyone has their own form of it.
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