Content_DV_VIII

Overview

0:00-4:17

20.-22.05.2001

shooting of guda at Kanavu, Wayanad, Kerala

Time	Content	Inter-Facing
	20.05.2001, on the set of guda, i.e. at Kanavu	guda
0:00-0:08	shooting in 'Kanavu village', in the forest, first day -> Kanavu-people, producer Habeeb Arakkal & film team: KSFDC, cinematographer Kannan	'Kanavu village'
0:08	21.05.01, second day
0:08-0:18	Geethi with Sony-camera, pictures like first day, more individuals, interviewed by Schulze
0:15	K.J. Baby's mother shows her tongue
0:18-0:39	Interview with Shanti in English: about the philosophy behind the film, what happens to main women protagonists	inter-view Shanti - B. Schulze
0:40-0:48	Outside: in the village, Kanavu team, film team during rain taking a break	early monsoon in Kanavu village
0:48-0:59	Inter-View with Meena, translated by Habeeba, Meena's experiences and feeling about the guda-tradition, what role do languages: Malayalam, adivasi languages play ...:	inter-view Meena - B.Schulze
0:51	"...Habeeb Arakkal, he reads K.G. Baby's story, drama ...
0:53	…Baby, the whole story …Kanavu-students prepared the story … traditions of adivasi people in Paniya language ..."	co-operation, Paniya language
0:58	attitude of girl towards filmmaking „acting is living“	"acting is living"
1:00	[new orig. tape] continuation with Meena and Habeeba
1:02	Meena explains about guda: „custom of community“ [once girls matured to a woman and have their first menstruation]	guda custom
1:07	Meena´s attitude towards guda –> does not like the seclusion but would obey mother	girl would not oppose mother
1:16	Meena with film script, reading aloud in Paniya	Paniya
1:21	Schulze: connection between Paniya and Malayalam, which language important to Meena for which facets of her life?	Malayalam's relevance to adivasi life in the village
	end of inter-view
1:22	22.05.2001: third day of shooting in Kanavu village, Karappi makes faces, etc.
1:25	picture: young Kanavu men in jungle, women joking
	at night
1:28-1:37	Night shooting, scene with fire-eating, Shanti and Manglu jump around and make noises	young women want to terrify as "ghosts"
1:38-1:47	Day shooting in Kanavu village, preparations for Maveli scene, others prepare one boy dressed in sari
1:48	earth-hole, hut, preparation and waiting for shooting Maveli scene, rain	Maveli
	At Kanavu common kitchen	cooperation Kanavu
1:52	Kanavu main (school) building, sound of the nearby generator, inside: women and men cutting vegetables, cooking
	jungle/ forest around Kanavu	jungle/ forest
1:54	forest, village, film team waiting for the sun light: preparation for shooting in forest Nannaru-Mothali scene
1:59-2:01	B. Schulze being photographed by Saji and Santheep
2:10	Mothali's flute in forest, drums, dancing, girl at creek by giant tree and swinging across the creek	flute & drums, melody & rhythm
2:19	Kanavu people and film team
2:22	stable with horse and her new born foal at Kanavu village
2:24	film team, very busy, day and night
2:29-2:34	Maveli scene played by Santheep
2:30	Sound: Geethi explains film scene
	Change to Sopana's house
2:34	house and stable, inside: Sopana, a Mohiniyattom dancer and teacher is putting make-up and costume on her student Preeya, Schulze asking questions on this dance tradition, in between: Sopana's little boy is also dancing
2:45	Preeya in costume and make-up posing to the photographer, Sopana assists and advises	Mohiniyattom and women
2:53-2:59	Change of location: night shooting at the earth-hole, Santheep down there, preparations	Maveli in the earth
2:59	Daytime: village, children wearing masks (Schulze brought for playing)	children and masks
3:02-3:21 3:07	Inter-View Manglu, Shirly, Brigitte, Manglu acts as guda’s main character Lechu, Shirly translates: what she feels about guda tradition? about other film characters? Manglu: dislikes it, refused a similar ritual of her tribe. On Marveli she thinks positive, a God became man Schulze: which female character in film positive? Manglu: Lechu, Nanaru because they “grow and change“	Manglu Manglu dislikes guda tradition, likes characters who "grow and change" Maveli: a god-man
3:11	Schulze asks Shirly about guda tradition, Shirly: around 1930s-40s adivasi women were facing these kind of problems as shown in guda, other problems. Today many changes are also through TV, TV enters new sources of information for girls, etc. Schulze: girls and their use of languages: when they speak Malayalam, English, Paniya, etc. ? How to translate context-specific differences? Shirly: translate with context	Shirly playful with mask of old woman guda - historical changes "I" - "we" in Mala-yalam differs from English, language is context specific
3:21-3:26	Interview with Dr. Hari about his role and other characters, eg. Lechu [sound low]
	26.05.01: Sunday morning, Kanavu school house
3:26-3:32	Boys making music with drums and harmonium, little children eating	Kanavu music
3:33	Inter-View with Santheep, actor and set-designer of guda, Pradeep and Hari translate; Schulze: did he experience a change in his attitude towards adivasi traditions through this film? Santheep: Marveli had been very important and clear in his meaning to him, already, but his understanding of the 'typical Kerala festival' Onam changed > „sadness“ Schulze asks Santheep who is also a painter, a sculptor: how did he like and experience „the making of this film“?	Inter-view Santheep - B. Schulze Santheep's Maveli Onam - Santheep's sadness about society's hypocrisy
3:42-3:50	Santheep: not completely content about how he could realise his ideas, about relationship towards Marveli’s character ... Schulze: “would you like to show the film, to have contact to other people?“ Santheep: Yes	young adivasi man's deep love for Maveli
3:50-3:56	Kanavu library: children playing with the masks B.Schulze brought to them from Ludwig Vogl Outside: horse ...	being merry in Kanavu library
3:57	A wide view: rural landscape, pasture, bus, people
3:59-4:05	Film team before shooting in the field
4:05-4:14	Night: film team before shooting in village, scene: Chachapan and 'Hechi' dancing to rhythmic adivasi music
4:14-4:17	Monday morning: in Kanavu village Geethi and Shanti are busy in checking the guda script, and their takes with their video camera