Acoustic and Soundscape Ecological Study through Hollywood Movies

                                         Nature is the mother figure of all living and non living creatures. We live within nature and nature moulds us. It also acts as the ever ending source of inspiration and the canvas of nature is filled with different shades. Nature has the astonishing ability to evoke emotions and becomes the initiator or the trigger to all humanly feelings. Here comes the importance of two major specialisations in the study of ecology.

       I.            Acoustic Ecology

    II.            Soundscape Ecology

  The evolution of these two branches of ecological studies started in late 1960s with R.Murray Schafer and his team at Simon Fraser University (Canada) as a part of the World Soundscape Project. The first study produced by WSP was titled ‘The Vancouver Soundscape’. An important outcome of the evolution of acoustic ecology is ‘Soundscape Composition’.

  Acoustic ecology is a discipline studying the relationship between living beings and their environment mediated through sound. On the other hand Soundscape ecology is the study of sound within a landscape and its effect on organisms. These sounds can be generated by Organism (bio phony), Physical environment (geo phony) and humans (anthrophony). The major reason behind initiating a study of acoustic and soundscape ecology is to understand the impact of nature and its attributes over human being, especially the emotions. It draws a parallel between nature and emotions. The study bought out some enduring facts related to the nourishment of cognitive abilities through nature and its sound. The developmental stages of sense to sound sound to visual and the extreme peak of finding sense of art in nature was the initial result of the explorations in the study.

   Thus the paper concentrates on how nature had influenced humans and evoked their emotions through four famous Hollywood movies. Chosen from different periods, these four movies had beautifully captured nature and its attributes.

The Sound of Music is a 1965 American musical drama film directed by Robert Wise. It was based on the memoir The Story of the Trapp Family Singers by Maria von Trapp. The film is about a young Austrian woman studying to become a nun in Salzburg in 1983 who is sent to the villa of a retired naval officer and widower to be governess to his seven children. After bringing love and music into their lives through kindness and patience, she marries the officer and together with the children, find a way to survive the loss of their homeland through courage and faith.

Even though not sound, the role played by nature in uniting the broken relationship of Von Trapp family and the sense of realisation given to the nun in making her understand the real destiny is supreme. Maria the nun was a free spirited girl struggling to control her emotions. She was aspiring to become a nun and joined the convent. But Maria found it difficult to ignore the blooming nature in front of her which was forcing her to break free. The mountains waited for her songs and the trees called her out to join them. She was in a paradoxical situation calling herself a sinner as she was not able to totally surrender herself to the lord almighty. The mother supreme understands her situation her sends her to a mission where she can find out her real destiny. The Von Trapp family was broken without life and love. The children were attention seeking and their father was cold hearted. Maria tries to merge them with nature to let them break the coldness of hatred and ignorance. They never knew that nature is welcoming and lovely. The children found their real happiness in the various attributes of nature. The mountain, rivers, flowers, and trees showed them what life was all about. On the other hand Maria was evoked by nature’s call. She realised this was her destiny. Her feeling for the captain grew stronger and she decided that she could never leave that family. Nature had decided her destiny. She was meant to be a part of Von Trapp family making them understand that life without nature is cold and grey. Life of Maria began with the mountains and the movie ends with the same mountains providing shelter to the Von Trapp family in order to fight against the Nazi capture. Nature never leaves us. It is we who ignore her tender hands.

The second movie Return to the Blue Lagoon is a 1991 American romance and adventure film directed by William A. Graham. The film was marketed with the slogan, “Return to the Romance, Return to the Adventure...” referring to 1980s The Blue Lagoon to which this film is a sequel. The film tells the story of two young children marooned on a tropical island paradise in the south pacific. Their together is blissful but not without the physical and emotional changes, as they grow to maturity and fall in love. Nature plays an important role in teaching them the lessons of life. They were all alone in the remote island but never felt lonely without any human company. The movie beautifully captures the developmental stages of Lilli and Richards and how nature makes them understand their physical and emotional changes. When the kids were at their adulthood, they had to experience bodily changes which were really a cause of anxiety for them. When Lilly awakens one day with her first menstrual period she automatically understands the fact that she had reached the threshold of womanhood. At the same time Richards experiences erection and followed mood swings. Both of them were finding it difficult to share their changes to each other and reduce their tension. But gradually they realise that everything which had happening to them were natural and an indication of their maturity and falls in love. Things changes when a group of travellers arrives at their island and disturbs their natural way of living with their so called civilisation. The movie ends in a positive note where Richard and Lilly decided to lead their life in the island itself without any intervention of civilised people. Lilly gives birth to their son and the nature again takes the role of teaching the next generation.

The third movie A beautiful Mind is a 2001 American biographical drama film based on the life of John Nash, a Nobel Laureate in Economics. The film was directed by Ron Howard and it was also inspired by a bestselling, Pulitzer Prize nominated 1998 book of the same name by Sylvia Nazar.  The movie deals with the life of John Nash collaborated with the disease Schizophrenia. Nash had a feeling that people don’t like him much and he consciously avoided all kinds social contacts where felt to be ignored and insulted. So his mind created some imaginary people with whom he can be comfortable. He was falling from the reality and we see how tactically nature calls him back to life. His wife Alicia was the one who stood with him in all his sufferings and we see that she herself was nature. She used the attributes of nature to make him understand what reality was. Whenever he slipped away from reality, she bought him back with the help of nature. Nature proved that something extraordinary is always possible when you really believe in what you do.

The last movie Life of Pi is a 2012 American adventure drama film based on Yann Martel’s 2001 novel of the same name. The story line revolves around an Indian man named Piscine Molitor Pi Patel living in Canada and telling a novelist about his life story and how at 16 he survived a shipwreck in which his family dies and is stranded in Pacific Ocean on a lifeboat with a Bengal tiger named Richard Parker. In the beginning of the movie we see a raged nature. Richard Parker is a personified form of nature. But later it is visible that caring for Richard Parker is keeping him alive. The movie beautifully reveals the secrets of nature showing a floating island of edible plants, supporting mangrove jungle, fresh water pools and a large population of meerkats. Pi forgot the loss of his family at least for some time when he was with the tiger. He calls the tiger with its name Richard that again proves the relationship between man and animal. Once we are away from the civilisation, we gradually follow the course of nature and live with its tune. Pi breaks down not when he lost his family but when Richard Parker went into the jungle without acknowledging him. Sometimes our human qualities fall futile in front the naturalistic emotions. We become feeble and child like when we receive no attention from nature and its elements. At the end, it’s all about nature having her dominant hands upon our actions.

 From all these four movies, the supremacy of ecology over the lives of characters is visible. Nature does have the ability to evoke our emotions and guide us in the right path. Human beings cannot live in isolation. We are largely influenced by the environment in which we live. Nature is indeed unpredictable. We should be accepting the demands of environment and adjust our lifestyle according to that. 

Thanks to Neha Soman, India

ECOFEMINISM – A TIME IMMEMORIAL INDIAN CONCEPT

Indian society has always been a patriarchal one. Beginning from the age of Vedas and Upanishads, women were considered inferior to men. It isn’t that the old ones depict women of that stature, but their retellings too do the same. Here is one example:

“Gods do; Goddesses are. Gods are active; Goddesses are passive. Goddesses may be knowledge, wealth and power but it is Gods who are knowledgeable, wealthy and powerful. Thus the male form of divinity represents the subject. The female form represents the object.”²

(Page No.:31)

In this case, though the author tries to bring out the idea that men and women are complementary to each other, it actually seems to be like women supplement men, and do not complement.

            Similarly, in many retellings of the Mahabharata and the Ramayana, women are portrayed to be acquired and used by men just like the way men do to land. A few of the instances include:

            In a few of the Mahabharata retellings, there is a scene where Lord Agni requests Arjun to put a forest to flames, an act which was opposed by Lord Indra. Out of his respect for Lord Agni, Arjun burns the entire forest. Here, men seem to destroy their environment at their own whims and fancies. Similarly, the city of Indraprastha was said to be built by the Pandavas only after killing the wildlife that was living at the khandav forest. This, again, proves how men have taken nature and the ecosystem for granted in destroying and exploiting them.

“The forest was still burning around us when my husbands called me to the makeshift canopy that had served as our home since we arrived in Khandav. There weren’t any animals left in the wilderness of Khandav – not since Arjun set the forest on fire.”³

(Page No.:141)

            On the one hand, men have exploited the land; on the other, they have done the women. The first generation of the women characters of the Mahabharata – Amba, Ambika and Ambalika – were acquired by Bheeshma. They weren’t chosen, but were literally acquired and were taken to the Kuru kingdom. Another instance is when Draupadi was supposed to choose all the five Pandavas as her husbands. She was never given a chance to think or a choice to make. She was put in a position where she had to marry all the five, and they were rules laid for her to live – every year she had to live with one husband and she would regain her virginity by the end of every year. She did not even have the liberty to be with the person she liked. This is one of the greatest oppressions a woman had been put into.

            Fate’s biggest punishment to Draupadi was not just she getting married to five husbands, but she being disrobed in the court in front of everyone present there. This has been beautifully illustrated in two retellings:

“Draupadi’s humiliation is witnessed by all the kings of the earth. But none step forward to help her. This dramatic episode draws attention to the tragedy of laws that in their dispassionate execution forget the resson dharma exists in the first place: to enable the weak to thrive.”⁴

(Page No.: 127)

            The next is from a woman’s point of view:

“Their notions of honour, of loyalty toward each other, of reputation were more important to them than my suffering. They would avenge me later, ye, but only when they felt their circumstances would bring them heroic fame. A woman doesn’t think that way. I would have thrown myself forward to save them if it had been in my power that day.”⁵

(Page No.:195)

            These instances prove how women have always been just objects for men than having played the roles of their counterparts. This is the kind of society that has been prevailing from that day till now. Men have never treated women and nature with great respect. Though women are considered to be Goddesses in certain parts of our country, men still continue to regard women and land as sources of fertility. The present day India is the best example to defend this idea. Though we boast off as Indians for living in a safe, secure nation, women cannot still travel alone anywhere, for they might be exploited by men. Unless and until men consider the Mother Nature as their own mother and the sisters of others as their own sisters, India can never be a developed nation – a nation worthy of happy, civilized survival.

            To understand a woman, one must understand nature, and vice-versa. This is explained through the following lines:

“Sharon Doubiago asserts that ‘ecology consciousness is traditional woman consciousnesses. Women have always thought like mountains, to allude to Aldo Leopold’s paradigm for ecological thinking.”⁶

(Page No.: 27)

WORKS CITED:

1.      Garrard, Greg. Ecocriticism. (Page No.: 26) Routledge Publishers. 2011. Print.

2.      Dr.Pattanaik, Devdutt. Myth=Mithya. Penguin Books India. 2006. Print.

3.      Divakaruni, Chitra Banerjee. The Palace of Illusions. Picador Publishers India. 20018. Print.

4.      Dr.Pattanaik, Devdutt. Myth=Mithya. Penguin Books India. 2006. Print.

5.      Divakaruni, Chitra Banerjee. The Palace of Illusions. Picador Publishers India. 20018. Print.

6.      Garrard, Greg. Ecocriticism. Routledge Publishers. 2011. Print.

SSincere thanks to RAGHAVI NARAYAN, India.

Learn lessons from failure

Float like a butterfly, sting like a bee.
 - Mohammad Ali
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The mind is like an iceberg, it floats with one-seventh of its bulk above water.
 - Sigmund Freud
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The only courage that matters is the kind that gets you from one moment to the next.
 - Mignon McLaughlin
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We gain the strength of the temptation we resist.
 - Ralph Waldo Emerson
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Sometimes it’s the smallest decisions that can change your life forever.
 - Keri Russell
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It's not that I’m so smart, it’s just that I stay with problems longer.
 - Albert Einstein
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It's fine to celebrate success, but it is more important to heed the lessons of failure.
 - Bill Gates
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Sometimes by losing a battle you find a new way to win the war.
 - Donald Trump
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Everest 3D Critic's Review

This pulverising tale of real-life tragedy on the mountain never quite hits the heights

If you’re the kind of person who looks at photographs of mountaineers buried up to their waists in snow, fumbling with ropes and carabinas just a slip from certain death, and thinks ‘why bother?’, then Everest is probably not the film for you.

This imposing true-life survival thriller, about the catastrophic blizzard that claimed the lives of eight climbers and guides on the world’s mightiest peak in 1996, is unstinting in its efforts to make you feel as if you’re really there, scrabbling for safety, when disaster blows in on the wind.

But it’s also because the film seems strangely incurious about what actually drives its characters to haul themselves up to the roof of the world, lungs aching and toes blackening, just for a chance to be there, breathe thin air, and see the view of views.

Much like the mountain itself, the story of Everest is presented as a brute, uncircumnavigable fact. Numerous characters make their way up the rock, each with their own lightly sketched motivation and colour-coded jacket. Like the disaster movies of old, it’s an ensemble film. The closest it has to a main character is Rob Hall (Jason Clarke), whose tour company 

Adventure Consultants started running commercial expeditions up the mountain in the early Nineties. 

By the time the film begins, Everest is a serious tourist hotspot, and the heavier foot traffic is slowing the ascent and increasing wear and tear on the equipment. In one hair-raising early sequence, a ladder across a gorge shakes loose, leaving Beck Weathers (Josh Brolin), a garrulous Texan, clinging on for dear life.

The director, Baltasar Kormakúr, stages the scene with a swooping, swirling camera and use of 3D that makes the screen yawn like an open pit: it reminds you of Alfonso Cuarón’s Gravity, though oddly it’s one of only a handful of sequences in the film that could be described as spectacle.

Everest should have been a great landscape film – the mountain looks by turns like a silty ocean floor and the sulphurous crust of an alien planet – but Kormákur’s camera is frustratingly reluctant to linger on any particular view of it for long, preferring to hunker down with the cast as they inch up the rock. Perhaps that’s why Everest lacks the vital sense of you-are-there terror mustered by films like Danny Boyle’s 127 Hours (which was co-written by one of Everest’s co-writers, Simon Beaufoy): it never quite gives you a vivid enough sense of where "there" is. 

Instead, the film’s main point of contact with its audience is the eminently sensible Rob – as the script is at pains to point out, his job isn’t to take people up the mountain, it’s to bring them down again – and Clarke does a fine job of making pragmatism and dependability into compelling movie-hero traits. (The swaggering is mostly left to Jake Gyllenhaal, resplendent in yak beard and man bun, as rival tour operator Scott Fischer.) 

Both the Sherpas and female characters are conspicuously less well-rounded. Emily Watson puts in a strong shift as Base Camp’s mother hen, but as Rob’s anxiously pregnant wife back home in New Zealand, Keira Knightley spends 95 percent of her screen time ashen-facedly whispering into a cordless phone, and as Brolin’s equally sidelined spouse, Robin Wright almost hits the full 100.

Over the last ten years, Kormákur has successfully moved between smaller projects in his native Iceland and larger, Hollywood productions like Contraband and 2 Guns, and though you sense he’s on the edge of some kind of breakthrough, Everest isn’t quite it.

“Because it’s there” works as a mountaineering philosophy – and it’s repeatedly quoted in the film – but cinema can’t settle for that. We have to be there too. For all its frozen grandeur, Everest’s chill never quite makes the leap from the screen into your bones.

Thanks to Telegraph.co.uk

MARTIAN 3D - Critic`s Review

Like all the variants of "Robinson Crusoe"—including "Cast Away" and, of course, "Robinson Crusoe on Mars"—this film is about a man, Matt Damon's Mark Watney, who summons all of his ingenuity and courage to endure a seemingly impossible situation, then must deal with loneliness on top of it all. If you've ever seen a film, you know going in that things are going to turn out fine for Mark—that no studio is going to pay for a special effects driven epic about a smart, likable castaway who dies in the last five minutes. You also know that, despite the Lone Man Against Nature plot line, there's a reason why the filmmakers cast Oscar nominee Jessica Chastain as the captain of the mission that's forced to abort its exploration of the planet's surface and leave Mark for dead—and it wasn't so that she could turn tail and head for Earth with her crew in the first ten minutes and never return. You also know that, despite the heated discussions back on earth of how risky, time consuming and expensive a rescue mission would be, NASA will still have to stage one, and that any objections (mainly by Jeff Daniels' character, the agency's director) will be waved off in the name of doing what's right. Since what will happen is never in question, all that remains is "how."

Fortunately, the hows are cleverly envisioned by Scott and screenwriter Drew Goddard (who adapted Andy Weir's source novel, and also penned "The Cabin in the Woods" and many episodes of ABC's castaway drama "Lost"). The film pays thoughtful attention to basic questions like, "What do you do if the face plate of your helmet cracks?" and "How do you create a food supply on a planet that can't sustain plant life?" The short answers to those questions are, respectively, "apply duct tape" and "grow potatoes in a makeshift greenhouse fertilized with the solid waste left behind by the rest of the crew." Throughout the course of this long but never dull film, Mark makes for an affable and centered lead character—a wisecracking botanist who talks constantly to himself (and by extension the audience) in video diary entries, and sees each new crisis as a problem solving exercise, provided he can get his fear and despair under control long enough to think straight, which of course he does.

I'm making it sound as though "The Martian" is predictable. It is, but that doesn't hurt its effectiveness. The most fascinating thing about the film is how it leans into predictability rather than make a show of fighting it. In the process, comes up with a tone that I don't believe anyone has summoned in this genre, certainly not at this budget level. Of all the stories you've seen about astronauts coping with the aftermath of disaster—including "Mission to Mars" and the visually superior and more aggressively melodramatic "Gravity," which is more of a self-help parable with  religious overtones—"The Martian" is the most relaxed and funny, and maybe the warmest. Strangely like "Alien," Scott's breakthrough 1979 thriller, and maybe his follow-up "Blade Runner" as well, "The Martian" makes the future look at once spectacular and mundane. For all its splendors, the world that enfolds the characters is simply reality: the time and space in which they happen to be living. 

At times it seems as if the movie's greatest artistic inspiration is not any particular previous film or novel, but the second act of "2001: A Space Odyssey," which features endearing images of Dr. Heywood Floyd anxiously reading the instructions on a zero gravity toilet, and sleeping on a Pan Am flight to an orbital space station like a businessman taking the red eye from Los Angeles to New York. Much of the film's soundtrack consists, hilariously, of disco, the only music available to Mark (via his captain's abandoned laptop). The juxtapositions of Scott's panoramic red-brown landscapes, Damon's grimy, stubbly face, and 1970s dance floor classics like "Turn the Beat Around," "Hot Stuff" and "Rock the Boat" are sublime. They make Mark's predicament seem like an elevated version of a tedious but necessary task, like tiling a roof or repainting a garage. Hard work always seems to go faster when you put some tunes on.

"The Martian" occasionally plays like an unscripted TV show about a man stranded on another planet. There's a touch of "How to" in the way Scott and Goddard tell the story. As Mark talks to himself, he walks us through his processes, showing how, for instance, he re-liquefies dried-out waste and mixes it into arid Martian soil, then inserts halved potatoes into crop furrows and waits for a sprig of green to appear. Cost-benefit analysis constantly comes into play, as when Mark drives several hundred kilometers in a rover to dig up tech left over from another Mars mission, and has to decide whether to turn off the heat in the cockpit to save power during the long journey (he decides against it, because even though the heater eats up juice, he can't function if his nether regions are frozen). 

Chiwetel Ejiofor's Dr. Vincent Kapoor, the head of NASA’s Mars missions, wants to bring Mark home out of a sense of honor and obligation. All of the other characters—including Chastain's Capt. Melissa Lewis, Daniels' Teddy Sanders, and Teddy's morally indignant right hand man, Mitch Henderson (played by Sean Bean, the ideal actor to play a man of conscience)—are basically on the same page. It's not a question of whether everyone wants to do the crowd-pleasing and heroic thing, but whether it's possible. It takes a while just to get a radio message to Mars and back, and you can't just send a spacecraft there like you'd overnight-mail a birthday gift. The mission has to be prepared for, and paid for. That can take months or years. At one point the NASA people discuss whether to skip safety inspections on an unmanned flight in order to make a particular calendar window. 

The NASA technicians, scientists and managers race against the clock, working through equations on wiper boards and worrying about money and fuel and safety issues, but for the most part they talk to each other without hysteria.  They say impulsive things, and then have to apologize. They crack jokes. Some of the exchanges verge on workplace comedy. Much of Scott's reputation rests on his ability to conceive and execute elegant images, often in service of grim stories, so it's easy to forget how good he is at camaraderie and banter (see "Thelma and Louise" and "Matchstick Men," among others). "The Martian" fuses these sides of his talent better than any film he's directed. At its best, it has the serene assurance of a Howard Hawks buddy adventure in which no predicament is so dire that it can't still feature a bit of light humor. 

The characterizations start out feeling a bit vague and flat, but deepen through the accumulation of little details. Even supporting players who show up for a scene or two have a life force, such as Donald Glover's Rich Purnell, a brilliant but eccentric young scientist who lives so deep inside his own head that he doesn't know the NASA director's name. One of the best scenes finds Kapoor and communications expert Mindy Park (Mackenzie Davis) interpreting the inflection of Mark's typed response to a radical scheme to rescue him: "Are you f-----g kidding me?" Kapoor hopes that Mark meant to indicate excitement at NASA's audacity, but deep down he knows that's probably not it. 

The film's ecstatic peak is its most counter-intuitive sequence, a music montage near the climax that interrupts the flow of the rescue action to show the astronauts on Mark's old spaceship contacting their loved ones via satellite video: a husband shows his wife a record album that he bought for her birthday, and a father delights his kids by floating through the spaceship's interior in zero gravity, swallowing water globules like a porpoise going after minnows. Billions gather to watch the the rescue on live TV at the end, but nowhere else do we get the impression that all other drama has ceased while humanity frets over Mark's fate. For Mark it's life or death, but we infer that there are long stretches when the public has forgotten that he's stranded. The most significant recurring images in the film are closeups of sprigs sprouting from the potatoes that Mark buried in his greenhouse. Life goes on no matter what.

Thanks to www.rogerebert.com

WE CAN'T WIN, BUT WE CAN CONTROL IT.

     Nature is essential for the world and it is a boon to the universe. Nature is kind in its manner. It does not expect anything in return. In this mechanical, modernised world, it becomes violent because of our attitude and behaviour. Humans are selfish and are ready to destroy the Gos's boon for the sake of money. This symbolises that the world has become materialized. There are many media to establish the importance of nature. Movies are playing vital role in that. They capure greenish things by the hands of human and release. There are some other movies which explore the other side of nature. It acts as well as plays villain role in movies.

     We are living in a materialized world. In this modernised world, people have become selfish. They do not care about other things. As people have become selfish, nature has become selfish, too.

     Here, I have mathematical calculation to illustrate the relationship betweem humans and nature. The selfishness of humans is diretly proportional to the selfishness of nature. Generally in movies, any happy situation is depicted through nature-related things. The movie 'Sound of music' is the best example. In literature, nature is used to portray or symbolise romantic things, or is used to give pleasure for human feelings. Nature represents human emotions.

     In a few movies, nature is employed as one of the characters. One example is the tamil movie Peranmai. In this movie, the other characters use natural resources to protect themselves. There is also another side of nature which we can't tolerate. One good example is the English movie Apocalypto. In this movie, hidden dangerous things from forest are depicted. They are using nature as one of the tools to kill enemies by using traps, waterfall, etc.

     We should be aware of the dangerous form of nature in this materialized world. We are talking about global warming and other such nature-related issues only by word of mouth and are not putting them into reality. Nowadays, natural calamities have become very frequent. So , it is that we disturb nature and nature does the same to us in reciprocation.

      If the same condition prevails, there will be no proper future for both nature and homo sapiens. We are trying to overcome nature, but the reality is that nature is overcoming us. This is clearly depicted in the movie 'The Day After Tomorrow'. In the movie, when a natural calamity was predicted by the protagonist, the idea was suppressed by others. A few days later, when the predicted thing starts to happen, people realize the upper hand of nature over humans.

   

 Another instance is the English movie 'Anaconda' in the movie, a group of poeople will go im search of a flower that has the power to give a long life to humans. During their search, they encountered snakes and were put to death by anaconda. Here, greed is the reason for their decline.

     The English movie 'Predators' is one in which a group of people go hunting predators, but the predators prevent themselves from being hunted by camouflaging themselves in a forest. Here, humans rely on machines,but predators rely on nature.

    In all the above-mentioned movies, one can find that nature has always been overpowering humans. Of course, the winner of this war is nature. In the early period, we maintained a friendly relationship with nature. Now, we started have a big gap. If we maintain a good relationship with nature, we can bridge the gap between us. Otherwise, they will start war and gain victory. Of course, we are not the enemies of nature. It depends on how we encourage it.

WE CAN'T WIN NATURE; WE CAN CONTROL IT.