This article examines how three classic Hindi films—Pyasaa, The Guide, and Jagate Raho—draw on Indic paradigms of devotional love and śānta rasa and how they use “wonder” as a resolution to distressing emotions experienced by the characters and elicited in the viewer. To this effect, the article emphasizes how socio-cultural models of appraisal elicit various kinds of emotion, and, from this culturally situated but broadly universalist perspective, it traces the journey of the protagonists from fear, dejection, and despair toward amazement and peace. Among contemporary cognitive theories of emotion, the article uses perspectives drawn from the appraisal theory.
Lalita Pandit Hogan
This article discusses filmic emotion by focusing on how the dominant color (blue in Gabbeh and Meenaxi; red in Mirch Masala) is used to elicit emotion. Through alienation effect, the viewer is distanced from the aims and goals of characters, and is less likely to experience the sorts of emotions that result from identification. The first two films use multiple frames of narration leading to character(s) in the outer frame becoming like spectators, invested in, for instance, fortune of others emotions that are central to the enjoyment of movies. In Mirch Masala, narration focuses on class struggle; there is minimal engagement with characters' individual aims, goals, and desires. While the red film foregrounds social anger, the blue films foreground consciousness. The three films together ask questions about what makes war and what makes peace, and how human action and human consciousness, represented through colors, figures in all this.