Cinema as Intertext in Midnight’s Children Essay -- Essays Papers

Cinema as Inter schoolbook in Midnights Children Saleem in Midnights Children makes an accurate evaluation of India when he states, naught from Bombay should be without a basic lead vocabulary (Rushdie 33). Bollywood, the capital of the exact industry in India, is the macroscopicalst manufacturer of motion pictures in the world. A large percentage of the characterisations are either mythical romances or musicals and often they subsist longer than three hours in length. While watching Indian plastic film would be a painful ordeal for Western audiences, Indians embrace the industry and are very proud of their movie heritage. Indians would argue that it is the distinct differences in Bollywood filmmaking that sets India apart from the Western world. It is the desire to separate themselves from Western culture that makes the Bollywood film industry so successful and accounts for Indias obsession with film. However, while film is a major part of Indian society, cinem a does have its origins in the Western world. Salman Rushdie uses intertextuality to portray how Indian society changes the Western influence of cinema to express Eastern culture and how cinema depicts the narrator Saleem as unreliable. Intertextuality is the transition of deriving meaning from the ways in which texts stand in similarity to each other. This is the theory that all authors imitate styles, themes, and ideas from previous writers and, therefore, no text is entirely real. Thais Morgan asserts in his article The Space of Intertextuality that there are cardinal different levels of intertextuality influence and inspiration. Morgan says, Text A influences text B when the critic can demonstrate that B has borrowed structure(s), theme(s), and/or image(s) from A ... ...ollywood films attend to strengthen motivations of characters and demonstrate the unreliable narration of Saleem. Lastly, the usage of cinematic speech communication sets a tone of both romanc e and disbelief in the terminology of Saleem as he struggles with remembering a traumatic event from the past. In all three examples of cinema as intertext, Rushdie transgresses conventional uses of cinema and crafts naked and unique ways for it to appear in the text. This establishes Midnights Children as an original contemporary work, relinquishing it from any claims of prior influence from previous texts. industrial plant CitedMorgan, Thais. The Space of Intertextuality. Intertextuality and Contemporary American Fiction. Ed. Patrick ODonnell and Robert Con Davis. Baltimore The John Hopkins University Press, 1989. 239-279. Rushdie, Salman. Midnights Children. London Picador, 1982.