Part Human, Part Machine, Part Fantasy, Part Real

Download a pdf of illustrative images here.

The sight of Oscar Pistorius running unsettles me. All the visual tropes of the running athlete – bulging calves, stretched tendons, flexing ankles – are conspicuous by their absence. This is because Pistorius’ legs end at the knees. He runs on two curved pieces of carbon fibre that are sold under the name Cheetah Flexfeet. The cutting edge in prosthetic design, modeled on a cheetah’s feet, they will allow the disabled Pistorius to compete against abled runners in the 2012 Olympics. Cheetah Flexfeet are prosthetic limbs that actually work better than human limbs.

I am ashamed to admit it, but all I can think when I see Pistorius is “Cyborg.”

Super Ram and Durga Woman: Contemporary Indian Comics

If I had a rupee for every time I’ve heard the sentence, “This is about the battle between good and evil”, I’d be a multi-millionaire. I could bet that every book that tells a story from Hindu Mythology has this sentence somewhere in its pages. It is a cliché I have truly come to hate, because it grossly and erroneously oversimplifies the truly complex stories of Hindu Mythology. So I was pretty dismayed when this phrase showed up as a tagline for a recent exhibition at the Los Angeles County Museum of Art.

Luckily, “Heroes & Villains: The Battle for Good in India’s Comics”, is a forgivable case of inappropriate titling. I completely sympathise with the exhibition’s curators, Julie Romain and Tushara Bindu Gude. Coming up with a title that bundles together Chitrakathi art from Paithan, Miniatures from Guler, Amar Chitra Katha, Wonder Woman, and Ramayan 3392 AD and Devi from Liquid Comics, must have been a pretty uphill task. But once you get past that unfortunate title wall, painted so stereotypically in fuchsia pink and orange, the richness and diversity of the material on display gives lie to any one-liner analysis of the fascinating development of comics in India.

A New Mythological

The first feature length film made in India was ‘Raja Harishchandra’ in 1913. It isn’t surprising to any Indian to find out that the film was a ‘mythological’: it told stories of Hindu Gods and Goddesses, of ancient kings and curses. The medium of film provided the means, for the first time, for visual spectacles such as Gods flying in air and actors burning on funeral pyres to emerge unscathed. The mythological film was a prominent part of Indian Cinema till the 80’s, when television took over that genre. Tarsem Singh grew up in India, and while his film ‘The Fall’ bears an unmistakeable Bollywood stamp, I could not shake off the thought that its true progenitor is the bollywood mythological.

The film is a freefall into a world of fantasy. A stuntman in Los Angeles of the 1920’s breaks his legs in a fall, and then, while he is in hospital, discovers that his true love has betrayed him. After a failed suicide attempt, he befriends a little Spanish girl in the hospital. Hoping that he can trick her into getting him pills for a second suicide attempt, he begins to tell her a story. The audience now tumbles into the girl’s imagination, and the story unfolds through her eyes.