Bollywood has long lost the art of song Picturization. It sounds like an eternity as any track was filmed with flair, with Kalpana. It seems that the song for a long time was known for his shots, which he expressed visually. Now, only a handful of traditionalist (Karan Johar, Sanjay Leela Bhansali), still catch his magic. Some have long surrendered it to narrative power. Other people are also lost, the way songs and dances are once in Bombay cinema, they stop to understand the weight, the way they turned the Bhavna into some tangible form, some immortal. No wonder they are used, if at all, as later: devoid of purpose, poem was looted. Even the filters are now rare, as some of them had a grandeur of a music video once at least once. Now, the songs are not seen, but the past is scrolled. Today, they are shot only as reels – not to stay in memory, but to chase the algorithm, not to move the heart, but to rank high on a feed.
Bow for all algorithms
The algorithm determines its grammar. Hook line is heartbeat; The rest dissolves in oblivion. Musicians no longer make tunes which are lingar; They design the engineer earworms to disappear quickly. The verses surrender to viral loops. The illustration follows the suit. The hook step is everywhere, the rest one smear. For a long time, the altar of meditation is sacrificed. Slow dissolves, gives way to cut jumping. The movements are choreographed not for the screen but for scrolls.
“Tauba Tauba,” Lut Put Gaia, “Ayi Nay” are some songs that are known for his spirit, not for his flow, but for a step. Does anyone remember what comes before or after? Similarly, “Pehli Bhi Main,” Abad Baradbad, “Sajni,” Meera Dholna ‘has filled the feed in the fracture bursting her scratch. But does anyone remember them beyond them MalayThere was a time when a song, if not remembered by heart, was at least known by the soul. Hook Steps have always got a place in the mind, but once, space, crafts, a song filmed by a song only matters.
viral fever
Now, the only thing that matters is how to win the reels, and in its waking, a new event has come out: Reunion. Everything is filtered through a social media reel lens, which, keeping in mind its rhythm, is shaped to fit its fading frame, which is measured not by artistry but by virality. And first, the biggest casualties? song and dance. This is not to dismiss the craft of making a reel; It has its own language, its grammar. But there is a case about how it has redefined the way the audience consumes cinema – Nai, ‘Content’. Those days came when the songs were reborn through the remake. Now, they are revived at the feed, the reference is removed, rebuilt in trends. The days came when a song was of a unique moment. Now, they are overturned at anything and everything, devoid of meaning, separated from memory.
It has also given birth to moments of simplicity, the brightness of creative flourish. It has forgotten forgetting tunes and introduced fresh sounds for unfamiliar audiences. Finally, it speaks for the power of revaluation when an Iranian slavery, ‘Jamal Kudu’, one thousand editing becomes a heartbeat, or when Laxmikant-Pyrelal’s ‘a Hasina Theme’ ghost of Laxmikant-Pyrelal becomes a heartbeat in the ghost digital cosmo. Is found. But the biggest casualties of all are the period of focusing the viewer. Everything must be immediately: fast, essential, attractive. There is no place for hesitation, there is no patience to bloom slowly. A song, a scene, a film has only one chance, to seize, to stun, catch. It should be packed in a beauty that conforms, as something else is not making adequate arrests. Things should be said quickly, or not at all. Slow irritation is a crime, subtlety is a sin.
Slow irritation
This is clear in stories that find favor in the last half decade. Whether in the story or dramatic release for a long time, patterns emerge in styles that receive green lights while others fade in the background. Of course, there are many reasons – Star Vanity is one – but Spains who attract attention remain the most decisive. For example, take OTT space. Since its inception, the crime is filled with thriller and police processes. This is not the only coincidence. These styles thrive at the illusion of high stakes, urgency. They hold the audience with a twist, maintain their grip with a twist, and hit them back with sudden death or two. And if everything else fails, then there is always a safety trap of a clifted.
Dramatic cinema has also focused its focus, with only a few select styles obtaining traction. One such breed is horror-comedy. This is not just comedy which is seductive. It is the brightness of the horror that tilts the audience, bends forward, is ready for whatever it is. These films flourish over the contradictions, where the punchline is often with a sudden shock. Similarly, mass action films have developed, removing themselves from the intricacies of ‘Masala’ tradition. Payment after payment, Panchline after Panchline – a highlight reel simultaneously. Filmmaker like Atley (young, Baby John) And Shankar (game changer) Now work in a world where stress takes a backseat for the GIF-competent moment, where the thrill lies in immediate satisfaction, not in the art of build-up.
It can be argued that both these filmmakers meet a South Indian tradition, where Mass Cinema has long followed its unique identity, which is far from the general syntax of Bollywood. It is true that this can happen, in recent years, Bollywood has slipped into this pattern. Movies now often meet with the reels prepared as cinema -the moments of joy come only when everything moves when there is chaos posture, and everything is thrown on the screen with a hope that something, Anything will be connected.
Hugs absurd
For example, Badmai Ravi KumarIn The Titular Roll starring Hyish Reshammiya. From the very beginning, it looks like a pastech who knows how to really laugh in itself. Nevertheless, it is not self-aware, it is enough to make fun of the meta trend. Rather, it surrenders to them, proudly wearing its disinterest. Writing, framing, acting-all drip almost intentionally with extra extra, such as every dialogue is a competition for the final-paneer, announcing his own estimation every moment. The bets continue to grow, the timeline in an endless loop gets blurred, and the action is served with the right spoon corn. This is not quite cringe, but something else completely: a performance for a audience that is in joking, with both and laughing with the spectacle, a strange fusion of reel cinema and meme culture.
Recently recently released in release, especially in Hindi cinema, is most of its speed for algorithm. Look closely, and you will see a pattern: films that have been released again, people who have drew large -scale crowds are those who have long advocated reels. It is not to suggest that they lack the weight of the icon status, or to dismiss the fact that many spectators have never experienced them in a pack theater for these screening. But it is undisputed that these films are often inspired by viral scenes and songs, reviving the feed, feeding the collective apathy of the Internet. Tell, Laila MajnuOr, recently, My love I swear this on youWhen he was first released, he was barely registered. But today, they attract the attention of thousands of spectators, filling theaters across the country. His popularity is no longer obliged for his original release, but is reborn through endless loops of social media.
Who will be remembered?
Even the film promotes, of course an arena where Hindi producers used to put their creativity and money easily, have now been surrendered to scroll. No more tornado city tour, no other interview where actors can create a permanent relationship with their audience. Now, virality is the only currency. A press conference is not a conversation; It is a breeding ground for mems. A song release is not about Melody or Bhavna; It is about the challenge that it sparks: who can mastered the hook step, which can bend it into some clicking.
Loveyapa The title is not being done by the track actors, but has been completed by the affected. Famous celebrities no longer look for journalists; They sit in viral podcasters who trade depth for access. And Veer Pahria is not a name on people’s lips due to his craft – that is a construction that needs to be converted to the endless of the Internet and everything into conversation. Because, after all, revaluation is not just a trend – it is a development, an omnipresent force is a shape shaping the shape of cinema. This is a new language, new currency, new reality. And in this reality, the algorithm regulates the supreme rule, what is alive, what faded, and if anything, if anything, will be remembered anytime.
(Anas Arif is a film writer and a media graduate from Ajkmcrc, Jamia Millia Islamia)
Disclaimer: These are the personal opinions of the author
(Tagstotranslet) crook Ravi Kumar (T) Lvavapa (T) Cinema (T) movies
