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Wednesday, March 2, 2011

Proposal 9: "A Fistful of Water" by MEENAKSHI SHEDDE


In drought-prone rural Kutch district in western India, illiterate women’s collectives have studied local geology and cleared out traditional tanks, becoming self-reliant in water production. Now they are actually independent of government water supply. The wealthiest, most educated Indians in modern cities cannot manage this. The film looks at the inspiring example of the feisty, tattooed grandmother Hansabai Buddha, a local heroine of this movement.




Synopsis:

Kutch district in Gujarat state, western India, near the Indo-Pakistan border, is so drought-prone, that water was once even costlier than milk! With just 13 days of rainfall a year, women had to walk five kilometers to fetch drinking water. Now a collective of illiterate rural women has cocked a snook at government water supply by studying the local geology, reviving traditional baodis/water tanks and independently generating year-round water. They were organized by two NGOs, the Kutch Mahila Vikas Sanghatana and Sahjeevan, with support from the state government and other partners. They use internet and mobile phones, map the area, study its geology and build percolation tanks, borewells and farm bunds. Now they just flick a solar pump switch on to get water. Hansbai, an illiterate Rabari grandmother who galvanized Karamta village, is a popular local heroine who travels widely on “water tours” to different villages to inspire other women.

This women’s collective is radically redrawing the social map of India in many ways: it challenges men’s power hierarchy by having cattle grazing women share the same platform as senior government officials on water committees. It also unites members of different castes and religions like Ahirs and Muslims that traditionally never mixed. And it brings conservative Muslim women to the forefront by investing them with a crucial, public role. Whereas in Mumbai, the modern commercial capital of India, even the richest and most powerful would find it hard to survive a day without government water supply, unless they’re part of the Bisleri mineral water bottle culture.





Bio Note:

I have been a film journalist for two decades and consultant for several international film festivals like Berlin, Venice and Cannes for many years now, selecting and representing Indian cinema. 

*Directed a short film, Looking for Amitabh, 5 mins, 2003, in which Bollywood superstar Amitabh Bachchan’s blind fans evoke him through various senses, except vision—hearing, smell, touch, instinct. The film was shown at 10 film festivals worldwide, including Pusan (Korea), Commonwealth Film Festival (UK).
*Line-produced five feature-length, international documentaries shot in India incl:
-- Comrades in Dreams directed by Uli Gaulke, Germany, 90m, produced by Arte.
--Women Behind the Camera directed by Alexis Krasilovsky, USA, 90 mins, 2007.
* Wrote for ‘Women Managing Water: Inspiring Stories from South Asia’ CD Volume, SaciWaters, 2010: Kutch women pioneers
* Consultant for the World Bank’s Water and Sanitation Program-South Asia, 2008-09.
* Am on the board of Point of View (POV), a non-profit that promotes the viewpoints of women through popular media (www.pointofview.org). 



TREATMENT (Please refer to the presentation below with the relevant visuals)

In South Mumbai--a megalopolis of 16million population--Nandini, the well-heeled wife of the CEO of a multinational company, complains about one day’s water cut during municipal pipe repairs. She has stocked her house and garage with hundreds of Bisleri mineral water bottles that costs Rs 20/bottle. On the rare day there is no water supply, the rich order private water tankers that bring well water to the high-rises in the megalopolis. Nandini drops her son at an international baccalaureat school and goes to play cards at the Bombay Gymkhana, British built genteel club to ease her woes, and where her daughter splashes at the club swimming pool. The water Nandini would use up just I     n the flick of the water flush—let alone in that swimming pool--would mean drinking water for a rural Indian family for a whole week. But for all her wealth, education, status and mega-city savoire faire, Nandini is completely vulnerable when it comes to water, and would struggle to survive even a day without government water supply.

Meanwhile, deep in the heart of Kutch district in Gujarat, in the desert near the Indo-Pakistan border where ‘vanchdos’—enormous dust spirals--teeter on the horizon, are hundreds of illiterate women who have become self-reliant and independent of government water supply. They have actually had a lawyer write to the government stating that they do not want its water supply, fearing that bills will follow! We meet Hansbai Buddha, a feisty, tattooed, illiterate cattle-grazing Rabari grandmother who galvanized Karamta village in Abdasa taluka, Kutch district, to become self-reliant in water. Hansbai recalls how once, no one wanted to marry into this drought-hit village. Now, the village is drought-proof. We follow the village women and youth who were trained in local geology and hydrology by the Kutch Mahila Vikas Sanghatana (KMVS) and Sahjeevan, two NGOs, supported by the state government and other partners. Following the training, the village water committee revived a traditional baodi/tank, built a borewell, percolation dam and cattle trough. With much less water than those in cities, they truly celebrate life! The radical women’s collective is shaking the old order in many ways. It challenges men’s power hierarchy by having cattle-grazing women share the same platform as senior government officials on water management committees. It unites members of different castes and religions like Ahirs and Muslims, that traditionally never mixed. And it puts conservative rural Muslim women at the forefront by giving them a crucial, public role.

In the Muslim-dominated Dador village, Nakhatrana taluka, Kutch, it is very inspiring to see the Muslim women’s collective leading the local drinking water management and getting the men’s full support. When KMVS first went there, the men were scared and told them, ‘Don’t make our women too modern, baad mein phas jayenge’ (or we’ll be trapped). Nonetheless, the women studied the local geology, built a pond, well and dam for recharging the well. Now they get year-round drinking water through a solar pump, as well as water for irrigation--all without government water supply. The men are very pleased, even proud of their wives. The women’s collective includes representatives from the Ahirs, Darbars and Muslim communities and has strengthened the inter-community dialogue. Hansbai goes on “water tours” lecturing and inspiring women in water conservation in scores of villages. She reflects philosophically, “We come into the world alone and go alone. Our Maker will ask, what did you do on Earth?” Her answer is a big, knowing smile of satisfaction. Her favourite cow gives her a big lick—as if agreeing entirely. Meanwhile, city socialite Nandini tosses out one more Bisleri bottle. As the mountain of Bisleri water bottles grows—the sound track, featuring lively folk music and songs on rain and water, reaches a crescendo.


Sample of previous work:



Presentation of the Project:

In Mumbai, India—a city with 16 million population—Nandini Rao, a CEO’s wealthy and highly educated wife, is entirely dependent on the government water supply. The day there’s a water cut, she goes ballistic.





Nandini is rich enough to afford Bisleri bottled mineral water for daily use. The water she would use up in just the flick of the water flush, would mean enough drinking water for a rural Indian family.





Whenever there is a water cut in the city, those who can afford them,scramble desperately to get private water tankers that bring well water to the high-rises in the metropolis.





Meanwhile, Kutch district in Gujarat state, in the desert near the western Indo-Pakistan border, was much worse off. It got just 13 days of rain in a year and was so drought-prone, that water was once costlier than milk!




The men, cattle herders, would migrate in search of fodder, leaving the women to fend for themselves. The women had to walk five kilometers to fetch drinking water daily. Often, men don’t even know from where their women get water: it simply arrives! 



The villagers were reduced to drinking awful, tea-coloured water, if even that was available. At one time, people would refuse to give their daughters in marriage into this district, because of its acute water scarcity.








All that changed with Hansbai Buddha, a feisty 55-year old Rabari grandmother of Karamta village in Abdasa, Kutch district. She heads a women’s water committee that actually turned their drought-prone village into a self-reliant one that gets year-round water, and is actually independent of government water supply!




lThe women were organised and trained by the Kutch Mahila Vikas Sanghatana and Sahjeevan, two NGOs, along with their partners. They started a ‘Water is Ours’ campaign to make thirsty villagers self-reliant in water, rather than rely on government promises.




The women’s collectives studied the local geology, before clearing traditional tanks and digging wells. Each collective also appointed a member on the NGO’s governing board, so cattle-grazing women could now talk to government officials as equals. So the men often got jealous.





Men didn’t like the women getting ahead. When women worked to revive an old
canal, the jealous landowner tried to get a court stay order. So the women worked overnight to finish its construction before the order was passed!





To defuse the situation, the women’s groups start with what men see as “women’s issues,” like eco-friendly stoves and toilets. As they understand ecology better, they move to water source development for the village.





lIn Khari village, women transformed drought relief work into drought proofing work. 45 women built a well by themselves. They were less corrupt and more hard working. Whereas men in the adjacent village only managed a shabby road under the drought relief programme.





Kutch has very diverse ethnic communities, including high caste Hindus, low caste Harijans, and ethnic Muslim communities, each living in their own worlds. The women had no reason to meet, and never went out without a man. But building the village tank galvanised everyone.



In the Muslim-dominated Dador village, in Nakhatrana in Kutch district, it is very inspiring to see conservative Muslim women play public roles in leading water management. The men are very proud of their women’s achievements. 



lThe women in the collectives enthusiastically go on “water tours” to Aurangabad, Ralegan Siddhi, Dungarpur and Udaipur to learn and share experiences that benefit everyone--villagers, agriculture and cattle.




However harsh and unforgiving nature is, with whatever little they have, the women of Kutch know to truly celebrate life! .

Proposal 8: "Behind the Tin Sheets" by Ekta Mittal and Yashaswini, Bangalore

Behind the tin sheets is a film that intersperses diverse fantastical stories of migrant workers set against the backdrop of the landscape of a city under transformation - Bangalore. 
 
In the midst of transition: Bangalore city
It sets out to dispossess and suspend the viewer to a ambiguous realm that presents multiple meanings from the migrating world(s) of the worker – at home in the city, at work on the Metro, in his dailyness - the mundane and the magic - he emerges as the storyteller.The film attempts to blur the line between contrasting binaries of the city such as garden city and hi-tech city, Bangalore and Bengaluru; but instead work with existing contradictions and ambiguities of city and city life. It violates the standard forms of realism and romance, and instead meanders through the disparate metamorphosis of the city. 

Bio
Yashaswini  is an independent film maker based in Bangalore. She assisted in making of the film Nero’s guests, a film about agrarian crisis in India through the eyes of P.Sainath - Rural Affairs Editor of The Hindu Newspaper. She assisted Surabhi Sharma in researching her on-going film Bidesia in Bambai and Labels from a Global city, a film on garment women workers in Bangalore. Her film ‘Mom n Dad’, made as a part of the Diploma project at Social Communications Media, Sophia Polytechnic won the Best documentary award CNBC Documentary Awards and got a special mention at the Signs Film Festival, Trivandrum. She is currently involved in documenting live music concerts in Bangalore.


Ekta co-founded maraa and works there as a researcher, community radio trainer and media practitioner. She presented a multi-media installation with Yashaswini R titled ‘Footloose’ at the Centre for Internet and Society displaying hand drawn maps by migrant workers. She acted in Middle of Somewhere, a semi-fictional autobiographical play on the changing landscape  Bangalore. She is currently working on developing arts projects in the Bangalore's public spaces.
Synopsis                                                         

“When workers try to become writers, philosophers, it means a displacement from their identity as workers. The important thing is 
this displacement or dis-identification."
                                                                                               - Jacques Ranciere

Metro construction in Bangalore
As residents of Bangalore, we feel the need to make sense of the changing landscape of the city we live in, as well as intersections of this urban restructuration with other connected issues like invisibilization of certain sections of society, visible contrasts of class differences and erasure of memories. Stuck between old and new Bangalore, as it struggles to realise the dream of re’form’ing into a hi-tech city, we feel the need to personalize invisible actors to make new meanings of fragments within the city.

As migration increasingly becomes a complex contemporary issue entangled in larger frameworks of poverty reduction, sustainable development, urban studies and so on, we would like to imagine another dimension to this discourse, by pursuing a deeply personal approach in understanding him beyond the construct of a migrant worker. We are trying to move away from ideas that view migrant workers from a rights-based perspective, where his issues become the focus that strive for solutions.

In search of the workers stories, philosophies and fantasies, we wish to blend magical elements of their within the realistic environment that they inhabit. Shakti Mandal, a cook at the labour colony narrates the difference in the dreams he has in the city and in his village in Jharkhand. Surender Meenj, from rural Chhattisgarh narrates his encounters with ghosts in his village and believes that ghosts wander about only in villages and not in cities. Such stories narrated by workers could be fact or fiction and have an underlying tone of uncertainty. Similarly, the city unfolds through its transformation a sense of ambiguity. The film allows this interplay between the workers' story and the city's story, in its current metamorphosis.The idea of the film is to experience the city through the eyes of a migrant worker in a city, to create space for alternative discourse on cities and urban redevelopment.



Treatment
after a hard day's work
“…taking the empirical premise that fiction is to the documentary what a "sculpture" is to a functional object. In both cases viewers have to suspend their coherent reasoning, to put a belief in an object, and thus consider it through a higher level.” - Neil Beloufa, filmmaker

The film will be a fragmented narrative, which will hold magical stories of the workers in its realistic environment.  The treatment for the different elements in the film is as follows:

a.      Workers’ stories - All stories are filmed in traditional documentary style where the worker is in mid close and close up narrating the story shot on PD 170. Since the stories we are seeking are fictional and semi-fictional, we have presented them in a straightforward manner which allows the "real" and the "fantastic" to be accepted in the same stream of thought.

b.     Changing landscape of the city - The stories are woven with the shots of the city under transformation shot on Canon 5D. ‘Namma Metro’ (Our Metro) cuts across the city and looms large over every single Bangalorean and is the best metaphor for this transformation literally and figuratively. Long, wide shots of the city will reflect the gigantic construction work happening in the city that also locates the invisible worker within this space. Static shots of the city are held long to convey the scale of the development and construction in the city. The camera seamlessly observes the locations which once meant something to all Bangaloreans but presently has a different use. The camera unobtrusively digests the new quality of these locations creating a very uncomfortable feeling - of knowing and unknowing to present a sense of stillness. The city scape have been shot in early morning, twilight and night around three main metro sites in Bangalore – Ulsoor, Byappanahalli and Nanda Road.

c.    Workers on construction site – the worker is seen as an acrobat in creating the modern city – silhouettes of the worker meditatively working atop of the pillar against a rising moon and a setting sun and close-ups of the worker digging, welding and climbing. Long, wide shots of his firm feet and swift hands on machinery and scaffoldings and him performing his routine acrobatics on the construction site have been captured. Shadows of the workers working at night against the flood lights of the constructions site helps in developing the stories of the worker in a real environment revealing his translucent and/or opaque identity as he changes the landscape of the city.

d.    Labour colonies – Close ups and long shots of workers daily routine – brushing, listening to the radio, cooking traditional food in firewood, warming up to winter mornings,  conversing with family members on mobile phones, figuring out mobile phones, workers walking to work and back, workers getting on the truck to go to work. Point of view of the worker on the truck.  The dailyness reveals their identity and familiarity with the city and also gives one a scale of migration in making of a globalized city.

As Jacques Ranciere affirms, memory is a work of fiction.

worker's kitchen
The film will be woven in an organic manner where the images of the city and the industrial sounds of construction will interplay with the affect of each story rendered by the workers. The narrative of the worker will meet the narrative of the city as the film gradually reaches its climax, leaving the viewer with an uncanny feeling where the familiar renders the unfamiliar.

“… in the city of sadness, there runs an invisible thread that binds one living being to another for a moment, then unravels, then is stretched again between moving points as it draws new and rapid patterns so that at every second the unhappy city contains a happy city unaware of its own existence.”
                                                             -Invisible Cities, Italo Calvino

www.tinsheets.in

 Trailer

Proposal 7: "Bodoland - Shades of Loss" by DEBJANI MUKHERJEE

In Assam, one of India's north-eastern states, political strife and insurgency has existed for decades, leading to large scale loss of human lives. This film deals with the loss such political maelstrom entails: whether it's the men who disappear, the women who lose their sons and husbands, or the sons who cannot ever return home. 


The film tells the poignant story of the women who struggle to deal with huge personal tragedies caused by a political maelstrom where they are only hapless victims. But it is interwoven with the story of young David, who having lost his father to political violence, secretly yearns to return home, but cannot. David travels to Bodoland to visit home, and the journey brings out a rush a memories, of ghosts past and present, putting in context the political situation in Bodoland and the personal stories of loss and longing that is part of their emotional landscape. 


BIO NOTE: 

Trained in film direction from the Satyajit Ray Film and Television Institute in Calcutta,  Debjani went on to get a degree in Communications Studies from the University of Leeds, UK. Thereafter, she worked for the School of Art and  Design, University of Ulster, Belfast, as a Research Associate in their Visual Ethnography/ Interactive Documentary programme, a collaborative EU funded new media project. Prior to leaving for Europe, she has worked in television and made documentaries for Doordarshan, India’s national network. In the past two years, she made documentaries for NHK, Japan and is currently producing and directing an environmental documentary for the Department of Tourism, Government of Assam.


Trailers of the proposed documentary:



SYNOPSIS:

In western Assam in India, along the north bank of the mighty Brahmaputra river, lies Bodoland, where the trail of the two-decade long insurgency is littered with the blood of thousands, and we are still counting. As the arc of violence widens to include more of the dead and injured, a sense of insurmountable tragedy prevails, reverberating with the pain of loss and longing. People disappear, lives hang in limbo, and young boys leave home never to return.

Leading difficult lives under extraordinary circumstances, the story of the lives of the people who live in this region hold up a mirror to the maelstrom of events that surround them, events that have shaped and changed their lives irrevocably. The film will try and hold up a mirror to how lives are torn apart by militancy, posing them with a dilemma – as to how to negotiate their journey through the fraught political space of their homeland.

Women like Anurani, Helena and Anupama, whose husbands have disappeared or been killed by militants, try to somehow rebuild their shattered lives for the sake of their children and move on to a semblance of normalcy. Normalcy – as we understand and take for granted – is something difficult to achieve under the circumstances, but it is a battle these women fight every day of their lives.

At the other end of the spectrum is David, Anupama’s son, who responds to the dilemma by leaving home. Rather than live under the shadow of guns or join a militant group, he prefers to disown and disregard the reality of his origin. Suffering from discontinuity and distortion regarding the social, cultural and human ambience he grew up in, he looks for a distorted identity unknowingly, one that will take him far away from his homeland – but, ironically, it is this, which makes him vulnerable. His homeland no longer belongs to him, and he finds himself in an existential disorder. In fact, it is through David's journey to his homeland, that the incendiary political situation in Bodoland is brought into sharp relief, where the political and the personal emotional landscape of its inhabitants collide and collapse into each other, with tragic consequences. 




TREATMENT:



On the face of it, the story of Bodoland is about a divided community, waging a fratricidal war against each other. But it also offers many pathways and windows through which to examine concerns such as the other India, still mired in battling issues of ‘freedom’ and ‘sovereignty’, of changing identities and notions of belonging.
In the film, what happens to the characters in their lives and also within the interiority of their own minds, the jumble of fears, insecurities, conflicts, ambitions, and what is happening around them is equally important. The narrative has to negotiate moving between sections that deal with very individual moments of triumph and despair, and broader ones that deal with the fraught political situation in the state, interspersed with the even larger issue of human rights, sovereignty, poverty and ignorance.

In the formal expression and exploration of Bodoland, and the characters that people that space, the idea will be to make sense of the world that is put together on screen, in fleshing out a ‘life’ that may be familiar or unfamiliar. It will be the characters’ ‘voices’ that will articulate their lives, trying to explain, make sense of it all, trying to put together the pieces of the jigsaw for us. Perhaps a free flowing exploratory style that also combines talking head segments with spontaneous moments will be appropriate to understand existing perspectives and derive new ones from the material presented.
Structurally, the pivot of the narrative is David and his mother Anupama – what is happening to them, what is happening around them, and how they control, manipulate or succumb to what happens to them. It will adopt a free-flowing style, a blending of the observational, and stylistic and interpretative mode – for exposition of the characters and their situation with reference to their historical compulsion. This approach enables the film to take an authorship stance, to probe into the particular situation of Bodoland and the lives of these two individuals, caught in the conflict.
Unfolding as a narrative that moves back and forward in time and space interspersed with other first person accounts of victims of militancy in the region, the mode of editing creates the juxtapositions, contrasts and contradictions that is the soul of the narrative, keeping the trajectory of the story of bloodied and traumatised Bodoland in clear focus, exemplified by the people who live in it. But it would also be important to ensure that it is not just about the storyline, and the viewer also gets to see something beyond the obvious ‘life’ that has been created on screen, and feels a part of a person or situation, even if it has no semblance to the ‘life’ one is familiar with.

  •            The narrative starts off with Anurani Rabha recounting the night when her husband never came home. A sub-inspector with the police, he was killed in an ambush by Bodo militants. It is the abruptness of his death that Anurani has not come to terms with, the suddenness with which he left her, and the brutal end that he met with. Her husband’s memory is a constant in her life, and all that she wants is a semblance of a normal life so that she is able to raise her daughter and give her an education.



  •        Bodoland in western Assam, is the centre-point of the two-decade long Bodo insurgency, and now, a battleground between two Bodo militant groups engaged in a two-pronged war – one with the Indian government, and the other, a fratricidal war against each other, which threatens to wipe out the Bodo population. Issues of land, place, language, culture, identity and mythologies of ancestry and belonging generate a lot of confusion, turmoil and mayhem across the entire northeastern region of India, and Bodoland is a case in point, a deadly cocktail of violence and bloodshed.
  •           David is traveling to Kokrajhar, after a gap of some years. His home is Kokrajhar in Bodoland, where his mother still lives. But he rarely visits home, and when he does, it is only for a day or two.  The road to Kokrajhar is flanked by green on either sides, and the fog of a winter morning creates a dream-like atmosphere, like the road to some promised land. But David says he doesn’t like going home.


  •       As he looks out of the speeding car, David remembers the story told by his 120 year-old great grandmother. When she was young, more than a hundred years ago, there was a big earthquake in the region. It was so massive that it shook the earth, the ground gave way, cracking in a hundred different places, and all the various types of insects that lived beneath the ground came up, and started eating up all the trees and plants, destroying everything, leaving the land barren.
  •        This memory serves a perfect metaphor to present day Bodoland. As David’s voice recounts his grandmother’s story, the streets of Kokrajhar buzzes with a strange nervous energy. Army and paramilitary patrol the streets, alert and on edge, their AK-47’s and 57’s slung over their shoulder. People go over their daily lives, crowding atop buses, haggling over fish, rickshaws filled with giggling schoolchildren, but the army keeps a close watch, the flag atop the newly constructed Bodoland Legislative Council flutters nervously, and menacing graffiti fills all available wall space. 




Proposal 6: "Withering Democracy" by ADITYA SETH


Withering Democracy analyses & looks at the values & culture that the founders of the Indian Constitution  brought to the Indian Parliament.  What was Indian democracy  then and what has it become today? The proposed documentary would analyse the contrasts, highlighting the lack of ethics in today’s parliament and other democratic institutions and their deterioration over the years.

Withering Democracy  Duration 25 mts.





SYNOPSIS:

With over a billion people, the Republic of India is the world's largest parliamentary democracy. India has gone from being a mere British colony to a functioning, independent democracy in more than 60 years.
But is that really the case, what with law makers repeatedly breaking the law within the hallowed precincts of the Indian Parliament & State Assemblies with an alarming frequency? Abusing each other, coming to blows frequently, shouting out the adversary, snatching the  microphone from a fellow parliamentarian & even using it as a weapon & hurling it at opponents, storming the well of the house, smashing furniture/fixtures, threatening the Speaker of the house, staging walkouts ad- nauseum & just not letting the normal proceedings of the house continue simply because the opposition does not agree with the  governments stand on an issue or a policy or vice versa, these scenes & more are now a daily occurrence & have become the rule more than the exception as is apparent shown live on national television at the expense of the Tax payer, us, we who elected them in the first place end up kicking ourselves helplessly watching this appalling behaviour day in & day out.
When Dr. B.R.Ambedkar and his team comprising the likes of my grandfather   MAnanthasayanam Ayyangar wrote the constitution of India they had envisioned a strong, inclusive, resilient, progressive nation & not one which was corrupt, weak, avaricious & communal. They were truly & genuinely in the business of nation building & not nation bleeding. They would never have imagined Parliament & State Assemblies seeing such repeated acts of hooliganism, corruption & uncouth “unparliamentary” behavior! 
The documentary Withering Democracy shall explore & analyse how the strength & promise of India’s democratic institutions & Parliamentary ethics have deteriorated over the years.



BIO:
Aditya Seth has been in the Indian Media, since 1986 & has been involved extensively with Documentary Filmmaking, Television Production & Advertising related Filmmaking. He has been associated with over 500 projects since in the capacity of Producer/ Writer/ Director / Editor/ Voice Over Artist.














TREATMENT:



The film shall open with the camera entering Parliament which shall be used as a mnemonic to lead into each sequence. As we enter an empty Parliament the sound of a Quotation or Speech by Dr. B.R.Ambedkar, Shri.M.Ananthasayanam Ayyangar, Speaker Lok Sabha 1956-1962 shall be heard. Photographs or news footage of Shri.M.Ananthasayanam Ayyangar (available & appropriate) shall then be juxtaposed with his speech. The moment the speech shall end we shall cut into a modern day sequence of mayhem either within Parliament or one of the Legislative Assemblies.

Quotation or Speech by Shri.M.Ananthasayanam Ayyangar: On democracy: A democratic way of life is not only necessary for India but it must spread throughout the world as that is the only solution for avoiding conflicts as far as possible in the world.
Post the speech we cut to a sequence of shots sourced from a News Channel:
Headline: Parliament stood paralysed for twenty two out of twenty three days in its winter session:
The Winter Session of the Indian Parliament which began on November 9 2010 witnessed repeated adjournments over the opposition’s insistence for a JPC probe into the 2G spectrum scam.

From here we shall first go to the constituencies of the MP’s who created the ruckus in the assembly & get the electorate’s opinion on their representatives’ behavior. 


We shall then dwell upon the reasons behind electing such people despite their behavior & poor performance & intercut these interviews with the interviews of the MP’s themselves.
This sequence shall be juxtaposed with interviews with Senior Parliamentarians, Social Scientists, Legal luminaries, PR Managers/Spin Doctors, Journalists, Social Psychologists & Modern day politicians who shall help the audience in understanding & lay threadbare the reasons behind such behavior & the overall worsening of Parliamentary & Legislative Ethics.



We shall then go back to the people of India both rural and urban and  interview them about how things have changed in their perception over the years & why?

Discipline, Decorum and Dignity of Parliament are of paramount importance for
the efficient functioning and success of parliamentary institutions. All over the world
concerns have been expressed about the decline of discipline, decorum and dignity of
legislative bodies. Seen in the context of the evolution of democracy these problems though understood as aberrations are now becoming more the norm rather than the exception.


The Winter session of Parliament (2002) was a remarkable example of the functioning of Parliament in consonance with its dignity, decorum and discipline in recent times. As this particular session had set a high standard for Parliamentarians this session the reasons behind the success of the session & why can’t such decorum be sustained shall be analysed & discussed.     

  
Finally the downfall of Parliamentary Ethics shall be juxtaposed with the growth of the Sensex, Foreign Direct Investment & the robust economy & be analyzed & debated in a Socio-Economic/ Political Perspective by Economists, Industrialists & the common man. 
Withering Democracy shall dissect and  depict the Spirit of Democracy, Role of the Opposition, Corruption in Politics, The Total disregard of discipline in the House/ Disrespect of the Speaker’s Chair, Shouting out the opposition in a debate & walking out, Disrupting proceedings especially when a vote has to be taken or a bill has to be passed etc. 


Trailer for Withering Democracy


EXCERPTS FROM PREVIOUS WORK
This is the first trailer of Bahadur (The Accidental Brave) a documentary on Nepali Labour migration to India; 

A clip from a documentary entitled Learning to Live on Life Skills Education made for Unicef.

FILMOGRAPHY:

Aditya Seth’s work includes the documentaries YOUTH AND FUTURE: THE INDIAN SPECTRUM, a comprehensive attempt to project the problems, dilemmas and prospects facing our youth. EK PARISTHITI,  a scathing indictment of the child labour problem, produced for Doordarshan. AN EXPERIENCE OF A HINDU TEMPLE, a documentary film on the festival of ‘Shivaratri’ for The Asia Society, New York, screened at The International Documentary and Short Film Festival, Bombay, 1994. PARITAP, a 30 minute documentary on the sexual abuse of children, for the Department of Women and Child Development, Government of India. This film was screened at The International Documentary and Short Film Festival, Mumbai – 1998, SADHARAN INSAAN KA ASADHARAN HINDUSTAN, a cultural round up of the millennium, produced by Cinema Vision India, PEHLI KIRAN, a daily morning breakfast show, “live magazine format” for Sahara TV. The Science Programme Turning Point for Times TV. A lifestyle show, HAR GHAR KUCH KEHTA HAI for Star One.  He has Produced an animated Public Service Announcement entitled THE BUZZ OF BETRAYAL (www.pixels3.com/buzz) on the Sexual Abuse of Children, which was screened at PLATFORMA_03, Athens, Greece, World Social Forum ‘04, Mumbai, Vikalp: Films for Freedom, Mumbai ’04 & Abhivyakti: The 6th All Bihar Low cost Videofest & the Vikalp festivals at Antwerp, Brussels & OBLO. Learning to Live, a documentary on Life Skills Education for Unicef. A Silent Revolution a documentary for the SAARC Confrenece on Rural Sanitation (SACOSAN) for Unicef. Energising India an Industrial documentary on the Indian Corporate Sectors move towards effective ENCON & sustainable development. Two films on Water Conservation for the Ministry of Rural Development. Sanitising India a film on the Total Sanitation Campaign a MDG for Unicef. Has produced a Radio Series Desh Paradesh on the Nepali migrant Community in India & HIV awareness.

Is currently producing a documentary on the Nepali migrant in Mumbai & HIV entitled Bahadur : The Accidental Brave.

Is currently Directing a Food Show entitled “Sanjeev Kapoor’s Kitchen” for Food Food TV Channel. 

He has Written, Produced, Directed & Edited Television commercials, AVs, Promos & Corporate Films & Documentaries for Agencies such as Lowe Lintas, Mudra & Contract Advertising & for clients such as Maruti Udyog Ltd, CII, UPFC, Modi Entertainment Network, HLL, P&G, Sriram Honda, Pearl Polymers Ltd., Asian Sky Shop, TSN, Eureka Forbes, Jaipan, Sumeet, Indiantelevision.com, GTZ, INDAL, Raymond, Reliance, Beil, LIC, Pogo, Bayer group, NCR, Zentrend & Aditya Birla Retail, Rich Foods, Teach For India.

 

His fiction work includes Writing, Direction & Editing of Tele-serials & Soap-operas such as Koi Aur Indradhanush for Eagle Video Films, Kaamyabi for Adakar, Kya yehi pyar hai for Bitv, Kabhi Sautan Kabhi Saheli for Balaji Telefilms, Mime a Rhyme (a children’s show) for Srishti Videotec, the thrillers Raaz & Kagaar for Sahara Manoranjan & Crime Patrol for Sony Entertainment Television.

He has also worked as Technical & Online Director for Events such as NIFT Fashion Showcase, Australian Fashion Framework, Red & White Bravery Awards, Anu Malik Nite, Chattisgarh Folk Festival, Army Band in Concert & Shows such as Fads, Jesus Christ Superstar, Rajasthani Lok Kathayein, Cricket in India, Centenary celebrations of Rakab Ganj Gurdwara, Talking Shares, Vision Point, the UTN Channel launch, the Live Telecast of the Anti-Bush rally @ Azad Maidan, Mumbai for JAIN TV & the launch of Bay systems India @ Noida UP amongst others.  

Is also a Voice over Artist in both English & Hindi & is empanelled with the Films Division of India.
 He is also an academic & teaches Film making & related Media Studies both at the graduate & post graduate levels at prestigious institution in Mumbai.