Wynona Barua
Words | Sketches | Photographs | About
EXTRACTS FROM WORKS PAST
SHAKESPEARE &
... The sheer repetition in this sentence alone creates, on the level of language as well on a meta level, so much light that its brightness is blinding; that is, the tautological, abundant usage of the word obscures its meaning from our comprehension, such that it means almost nothing at all ...
more
(literary analysis)
TRUFFAUT &
... Two Adèles, two selves – Adèle’s identity is not only dependent on external perception, but such an enslavement to the mirror results in the fragmentation of her identity. It is almost as if it is comprised of a series of glass shards cobbled together like in a Cubist painting, where each shard is a fragment of herself as it is reflected in another’s eyes, but not her true self. ...
more
(film analysis)
CAMPION &
...He then gets up and takes his shirt off so that he is completely naked, then proceeds to dust off the piano with the same essence of the scene in which Phil polishes Bronco’s saddle or plays with his scarf. In the absence of the object of their yearning, these characters attempt to fulfill their yearning in any way that they can, and the closest they are able to come is through the tactile experiences they create by imbuing material things with the spirit of the person they long for...
more
(director analysis)
... The sheer repetition in this sentence alone creates, on the level of language as well on a meta level, so much light that its brightness is blinding; that is, the tautological, abundant usage of the word obscures its meaning from our comprehension, such that it means almost nothing at all ...
more
(literary analysis)
... Two Adèles, two selves – Adèle’s identity is not only dependent on external perception, but such an enslavement to the mirror results in the fragmentation of her identity. It is almost as if it is comprised of a series of glass shards cobbled together like in a Cubist painting, where each shard is a fragment of herself as it is reflected in another’s eyes, but not her true self. ...
more
(film analysis)
...He then gets up and takes his shirt off so that he is completely naked, then proceeds to dust off the piano with the same essence of the scene in which Phil polishes Bronco’s saddle or plays with his scarf. In the absence of the object of their yearning, these characters attempt to fulfill their yearning in any way that they can, and the closest they are able to come is through the tactile experiences they create by imbuing material things with the spirit of the person they long for...
more
(director analysis)
LA CAVA &
A ‘forgotten man’ – it takes the forgetting of the phrase itself from the cultural zeitgeist to make the sadness and strangeness of the term apparent. It became a household term upon FDR’s use of the term in 1932 to promote his New Deal: “These unhappy times call for the building of plans that rest upon the forgotten [...] [plans] that put their faith once more in the forgotten man at the bottom of the economic pyramid.” And, in fact, the forgotten man physically entered the household four years later, in Gregory La Cava’s 1936 film, My Man Godfrey ..DEVI &
... Whether or not it was God’s will that this was the case, this line highlights how the whole represented by the family unit is broken into fragments, almost like individual limbs, which Aulchand then pulls off in order to construct the material whole that is his house. Compounded by the tangible absence of two of her children, Giribala’s decision to leave Aulchand represents ...
more
(literary analysis)
... Whether or not it was God’s will that this was the case, this line highlights how the whole represented by the family unit is broken into fragments, almost like individual limbs, which Aulchand then pulls off in order to construct the material whole that is his house. Compounded by the tangible absence of two of her children, Giribala’s decision to leave Aulchand represents ...
more
(literary analysis)
KINCAID
...Using her handkerchief, Mariah restricts Lucy’s very ability to see – a visual castration of the colonial subject. That she takes Lucy’s hand after doing so serves as a larger metaphor for the colonial power’s stripping of the subject’s sight in order to facilitate their infantilization, placing them in a position where they must be led by another, that is, the paternal colonial power whose innocent goal – reflected by Mariah’s own well-meaning innocence – is to civilize. ...
more
(literary analysis)
...Using her handkerchief, Mariah restricts Lucy’s very ability to see – a visual castration of the colonial subject. That she takes Lucy’s hand after doing so serves as a larger metaphor for the colonial power’s stripping of the subject’s sight in order to facilitate their infantilization, placing them in a position where they must be led by another, that is, the paternal colonial power whose innocent goal – reflected by Mariah’s own well-meaning innocence – is to civilize. ...
more
(literary analysis)