WORDS ON

WATER (2002)
directed by Sanjay Kak
 CONTENTS
Main Argument/Purpose
Brief Summary
Main Characters
Plot
Rhetorical and Persuasive Strategies
Directing Style
Validity of Argument
Conclusion
Sources
MAIN ARGUMENT/PURPOSE

The main purpose of the documentary is to pay

tribute to the people's joyous defiance and
empower them as they struggle for their rights,
portray their courage and set an example to the
people.
 BRIEF SUMMARY
Words on Water is a moving documentary about the defiance, strength, and
conviction of the people of the valley, who have fought a series of enormous
dams on the river for more than 15 years, exposing the misleading foundation
of India's development politics in the process.
 MAIN CHARACTERS

HEROES VILLAINS
Adivasis, or hill tribes, Ministers, magistrates,
the farmers from the police commissioners,
Nimad plain, sand- the World Bank, CEO’s of
quarriers and multinational
fishermen on the river, corporations
Medha Patkar and
Arundhati Roy
 PLOT

"SHASAN VALO, SUN LK ADVANI - MOKHDI : INTERVIEW OF AN

LO AAJ - HAMARE DEPUTY PRIME GUJARAT(1982) ADIVASI LADY
GAON MEIN MINISTER OF INDIA
HAMAARA RAAJ"

The film starts with In his speech, he 1st of 19 villages to She did not eat
a boatload of sings on benefits be displaced by anything for 18
people who began of building the the dam and it's days and admitted
a journey of dam and silent farmers became to the hospital, still
satyagraha -non about its costs. PAPs. hasn't fully
violent protest. recovered.
 PLOT

WRITER
PROTESTS
ARUNDHATI ROY

Supporters
She is taken away
express their
in a car that
solidarity with the
belongs to thr
resistance, even
private promoters
after getting
of the dam.
beaten up.
 LK ADVANI

A BOAT CARRYING THAT

CARGO OF DEFIANCE
BEGINS AN URGENT
JOURNEY THROUGH THE
NARMADA VALLEY.

PEOPLE PROTESTING WITH

THE BANNERS
RHETORICAL AND PERSUASIVE
STRATEGIES

20 Years Adivasi is an Family

waiting without illiterate so they Community
any land and got our village ancient
livelihood. thumbprints. links broken in
an instant.
 DIRECTING STYLE

LOW ANGLE SHOT EYE LEVEL SHOT

Low angle camera The subject is at eye

shots are a perfect level. The eye line
camera angle to elicit connecting with theirs,
feelings of fear and and it can break down
dread. boundaries.
Lighting - Natural Light was the only source. No other sources of light
were used while filming this in the two years.
Shot lengths - The length of each shot was short and jumped from one
story to the other.
Reaction of Subject - The subjects in the film were a little concious about
the camera around them. They sounded helpless and spoke about the
unfair treatment given to them.
Music - No background music was added

CAMERA CONCIOUSNESS
 VALIDITY OF ARGUMENT

According to me, the argument is justified, as it

involves a large scale abuse of human rights, its
effects on the riverine system will be devastating
and it unfairly punishes the poor and
underprivileged who will be resettled without just
compensation and rehabilitation.
 CONCLUSION

Even though unusual alliances have formed as a

result of the fight, it appeals to our senses and our
primal need to be one with the flow of life that
will eventually transport us to the sea of eternity,
as well as the power of popular movements in
India.
THE WORLD
BEFORE HER(2012)
directed by Nisha Pahuja
MAIN ARGUMENT/PURPOSE

Nisha Pahuja’s film's purpose is to compel the

viewer to register the details of the two different
‘worlds’ available to Indian women and leave the
audience with new questions and unseen answers.
 BRIEF SUMMARY
The film follows the journey of two ladies who live in these apparently different
worlds. As the film progresses, it becomes clear that these two cultures are
more similar than you might think. When the two systems are contrasted to
illustrate their inner workings, the distinctions between regression and
progression begin to blur.
 MAIN CHARACTERS

RUHI SINGH PRACHI TRIVEDI

19-year old contestant A young member
from Jaipur, appears and teacher of the
confident and Hindu nationalist
determined, wants to women’s organisation
win the crown, lead a Durga Vahini
free life
 PLOT

MISS INDIA INTERVIEW OF RUHI AT THE BEAUTY POOJA, THE

CONTEST SINGH PAGEANT BOOT FORMER MISS INDIA
CAMP

The film opens with She had left her Fitness training, Narrates the heart-
a snapshot of the small town in make-up breaking story of
life of Miss India search of consultants, ramp- her father and his
contestants moving opportunities in walk trainers, family rejecting
headlong into the fashion and fashion designers, her at birth
preparation. beauty industry. cosmetic surgeons. because of her sex.
 RHETORICAL AND PERSUASIVE
STRATEGIES

PRACHI TRIVEDI(24) CHINMAYEE (MEMBER OF PRACHI’S FATHER

DURGA VAHINI CAMP)

Tells the viewer of She tells the Used physical

her long viewers that she punishments to
involvement in the takes great pride discipline his
movement, voicing in not having any daughter, wants
her hatred for ”weak Muslim friends her to get married
figures like Gandhi” and have a family
 DIRECTING STYLE

KNEE LEVEL SHOT EYE LEVEL SHOT

This angle is The subject is at eye

emphasizing the level. The eye line
character’s superiority connecting with theirs,
as it is paired with a and it can break down
low angle. boundaries.
Lighting - Natural light and the lights in the beauty camp.
Shot lengths - The length of each shot was short.
Reaction of Subject - The subjects appeared confident but were naive
which was reflected. Some of them also became emotional and
expressed themselves whole-heartedly.
Music - No background music was added to capture the natural
environment surrounding the subjects.

EMOTIONAL
While these ‘two worlds’ seem disconnected at first, the documentary’s
juxtaposition of them draws unnerving and interesting parallels. Example : Prachi
and Pooja's story.

The young girls get dressed in white outfits with saffron sashes, ready to participate
in a public parade of their training. They joke that the sashes make them feel like
beauty pageant contestants.
VALIDITY OF ARGUMENT

The argument is relevant at a time when the

country is witnessing the rise of both these
contrasting movements almost simultaneously, i.e.
the fight to stick to tradition and the move to
embrace modernisation.
 CONCLUSION

Towards the end, the women are caught in

systems designed by men, which is an excuse to
mould them in a way that benefits patriarchy.
Ultimately, these women can be truly empowered
only when they actually have the freedom of
choice and not just an illusion of it.
 https://feminisminindia.com/2016/10
/14/review-the-world-before-her/

https://montrealserai.com/_archives/
SOURCES 2003_Volume_16/16_2/Article_9.htm

https://www.cultureunplugged.com/
documentary/watch-
online/festival/play/5947/Words-on-
Water