ShodhKosh: Journal of Visual and Performing ArtsISSN (Online): 2582-7472
The Impact of Movie Colorization by Artificial Intelligence on Cinematic Symbolism: A Case Study of Satyajit Ray’s ‘Pather Panchali’ Tanmay Samanta 1 1 Research
Scholar, Department of Journalism and Mass Communication, Faculty of Liberal
Arts, Parul University, Vadodara, Gujarat, India 2 Research
Supervisor, Department of Journalism and Mass Communication, Faculty of Liberal
Arts, Parul University, Vadodara, Gujarat, India
1. INTRODUCTION Films have
increasingly moved towards a more realistic style. The introduction of sound
heightened the impression of reality for listeners. The next phase was color, which included the chromatic senses. Motion movies
may now properly recreate all sensory experiences, both audio and visual.
Hence, it was seen that color
and the story had a contentious connection. This is understandable given how
recently the use of color has become standard in
filmmaking. The concept
of adding color to black and white films is not
revolutionary in the modern era. With the advancement of technology, it is
now possible to colorize a black-and-white film in a few hours using the
artificial intelligence, when earlier it was a very difficult and time-consuming
process Lavvafi et al. (2010). But the use of colorization in film has been a
subject of debate among filmmakers and film enthusiasts for decades. While the
addition of color to films is often seen as a way to enhance the visual appeal and realism of a
movie, it is also criticized for altering the original artistic vision of the
filmmaker and detracting from the film's intended impact. The purpose of this
research paper is to explore the role of colorization in cinematic
storytelling, specifically through a case study of Satyajit Ray's ‘Pather Panchali’, a classic black and white film from the
1950s. The study also plans to look at how recent advances in AI technology
have lowered the barriers to entry for colorizing black-and-white films. According
to the news report, Aniket Bera, a 30-year-old professor at the University of
Maryland, has published a 2.14-minute video on YouTube of Satyajit Ray's ‘Pather Panchali’ that has been digitally colorized and
upscaled. The video, which was posted on May 14, 2020, was an academic
experiment inspired by Bera's admiration of Ray's work. Bera up scaled the
footage to 60fps, 4K Ultra High Definition, and digitally colorized it using
deep neural networks. He explained that artificial intelligence technology
functions similarly to the human brain by analyzing
millions of real-world videos to 'dream' of the original hues and details.
Completely automated, Bera's method took roughly seven hours Dasgupta
(2020). An FTII alumnus, Sriram Raja, has conducted an
experiment called #imaginecolour during the lockdown. He coloured the Apur Sansar clip and conceptualised the ‘Jaane kya tune kahi’ song from Pyaasa in part black-and-white and part sepia-toned.
Raja compares his work with amateur independent musicians making ‘cover’
versions of popular songs TNN.
(2020). In addition
to the attempts by Aniket Bera and Sriram Raja to colorize clips of classic
Indian films using AI and manual techniques respectively, a full colorized
version of ‘Pather Panchali’ can also be found on
YouTube. This version, uploaded by Bjgtjme - Free
Movies, is over two hours long and presents the entire film in color. It is not clear what techniques were used to
colorize the film, but it has received mixed reactions from viewers Bjgtjme. (2022). As we
become acquainted with and empathize with each character, ‘Pather
Panchali’ builds inexorably to a dramatic climax. Ray invests time and cares
into creating a universe that seems real and authentic. No aspect of the
picture, from its characters to its speech to its plot, rings fake. The
feelings provoked by what happens in ‘Pather
Panchali’ are genuine and authentic, rather than the manufactured results of
manipulative formulae. Ray helps us feel along with, rather than simply for,
his characters Berardinelli (2016). Attempting to colorize a classic movie like this
is both a challenge and a thrilling endeavor. There
are a variety of considerations involved in this task that requires a great
deal of effort and attention to detail. The creator must consider the original
lighting and color palette, as well as the historical
and cultural context of the film. Additionally, they must ensure that the
colorization process does not compromise the artistic vision of the original
director. Despite these challenges, the process can also be exhilarating, as it
offers a unique opportunity to reinterpret and breathe new life into a beloved
classic. The
significance of this research lies in its contribution to the ongoing debate
about the use of colorization in film. The findings of the research will
provide insights into the impact of colorization on the artistic integrity of a
film and its intended emotional impact on the audience. The research will also
contribute to the understanding of the role of artificial intelligence in film
colorization and its potential benefits and drawbacks. 2. About the film ‘Pather Panchali’ ‘Pather Panchali’ is a critically acclaimed Indian film
directed by the Oscar award winner Satyajit Ray and produced by the Government
of West Bengal, released in 1955. It is Satyajit Ray’s directing debut and the
first film of the Apu trilogy, followed by Aparajito and Apur Sansar, which
portrays the story of the growth and maturation of Apu,
a young boy from a poor Brahmin family living in a rural village in Bengal. The
film's use of black and white cinematography is seen as a deliberate artistic
choice, with Ray stating that he used it to evoke a sense of nostalgia and
timelessness in the story TOI.
(2022). Featuring Kanu Banerjee, Subir Banerjee, Karuna
Banerjee, Pinaki Sengupta, Uma Dasgupta, and Chunibala
Devi, the drama film "‘Pather Panchali’"
received all-time Best Indian Film award from the International Federation of
Film Critics (FIPRESCI) E-Times.
(2022). The film is
based on the novel of the same name by Bibhutibhushan
Bandopadhyay. It is known for its realistic portrayal of rural life in India,
also capturing the beauty and hardship of the people and their environment. The
story follows the struggles of Apu's family,
including his father Harihar, mother Sarbajaya, and
sister Durga, as they face poverty, illness, and death, while striving to find
joy and hope in their daily lives TOI.
(2022). Ray had conveyed a major lesson via the picture
that hardship brings out one's heroic potential. It might be Apu or Sarbajaya. What happens to
a family when a daughter or sister dies, especially if they are already
struggling financially because of economic hardship? The film's small moments
of creative peaking make it timeless. It's true that ‘Pather
Panchali’ is a cult film that preserved the humanity of interpersonal
connections. So, even though it's about life in rural Bengal, it has universal
appeal Getbengala. (2020). The film ‘Pather Panchali’ is a masterpiece of Indian cinema and is
widely regarded as a landmark in the development of Bengali cinema. Global
viewers are connected with the film's common
themes of poverty, family, and the fight for survival. According to SatyajitRay.org's report, "Pather
Panchali" received critical acclaim and garnered numerous awards,
including the President’s Gold & Silver Medals in New Delhi (1955), the
Best Human Document at Cannes (1956), a Diploma Of Merit at Edinburgh (1956),
the Vatican Award in Rome (1956), the Golden Carbao
in Manila (1956), Best Film and Direction at San Francisco (1957), the Selznik Golden Laurel in Berlin (1957), Best Film in
Vancouver (1958), Critics’ Award for Best Film in Stratford, Canada (1958),
Best Foreign Film in New York (1959), the Kinema Jumpo
Award for Best Foreign Film in Tokyo (1966), and the Bodil Award for Best
Non-European Film of the Year in Denmark (1966)
SatyajitRay.org. (2024). It has since become a classic of world cinema and
is considered as one of the greatest films ever made. Satyajit
Ray, the director of ‘Pather Panchali’, was one of
the most important filmmakers of the 20th century, and the first Indian
director to gain international recognition. His works are known for their
realistic portrayal of Indian life, and their exploration of themes such as
identity, family, and tradition. Ray's influence on Indian cinema and his
contributions to world cinema have been widely acknowledged, and he is regarded
as one of the greatest filmmakers of all time. Figure 1
Figure
2
3. Review of literature For a long time, it has been debated whether or not to utilize AI to add color
to previously shot black-and-white films. It is obvious that there was a gap between the conception
and development of color. People expected color in motion pictures to be identical to color in nature, which led to its pervasive use. From the aforementioned points of view, early color
films failed miserably in representing "real colors."
Thus, by the 1930s, the black-and-white realist codes were well-established. It
was familiar to the audience. The introduction of color
to the cinema was a radical change that took some getting used to Costa
(2011). Wilson
Markle introduced the concept "colorization" in the 1970s to refer to
the practice of digitally enhancing previously black-and-white imagery with
additional hues. The phrase is now often used to refer to any method of coloring previously black and white photos or videos Koleini et al. (2010). Since
1980, the technique of colorizing black-and-white film and images has gained a
lot of traction in the movie business and the world of computer graphics. The
fundamental principle behind any and all colorization
techniques is to swap out the original monochrome image's luminance (the gray level) for a vector color
space Lavvafi et al. (2010). Several
different colorization techniques have arisen since the introduction of digital
video processing. Drawing scribbles to spread color
to nearby pixels is one such method, but it takes a lot of human input. A
different method for adding color to a
black-and-white picture involves copying the colors
from a reference image into the new one. Colorize grayscale photos using CNNs
trained on large-scale image datasets Chen
et al. (2018). According to Shiguang
Liu, traditional manual coloring method consumes a
lot of manpower and material resources, and may not
get satisfactory results. Given a source image or video, colorization methods
aim to automatically colorize the target gray image
or video reasonably and reliably, which thereby greatly improves the efficiency
of this work Liu
(2022). Coloring
techniques have evolved throughout time and may be grouped into three
different types: hand coloring, semi-automatic, and
automated coloring. Coloring
by hand is an age-old art form that has been utilized to showcase the skills of
many creative minds. In 1988, for instance, it took almost two months and about
US$ 450,000 to finish coloring the iconic film
Casablanca. This approach required investigating historical costume notes from
the original movie's set to find the actors' and actresses' most common colors. Black Magic, a commercial software suite designed
for colorizing still images, gives the user access to a wide variety of strokes
and palettes of colors. One major issue is that all
segmentation work must be done by hand Semary et al. (2007). The
semi-automatic approach for adding color to
black-and-white photographs was introduced by Levin et al. Similar
to the technique reported by Levin in 2004, Li et al. demonstrated a
semi-automatic approach for colorizing grayscale photographs. However, this
algorithm took advantage of the edges gradients, and
advanced gradient directions information available in the grayscale images
to fill in the user's scribbles with color Li
et al. (2015). A plethora
of research using gradient-steered diffusion, heat transfer equations, and
inpainting to facilitate colorization surfaced in the early 2000s. These
techniques let users enter simple color strokes, and
algorithms would fill up the marked spaces without going over bounds. But
a breakthrough was made with the introduction of neural networks,
especially convolutional neural networks (CNNs). CNNs are excellent at
recognizing objects and can efficiently combine colorization and recognition
tasks if trained with large-picture datasets. The literature presents
a range of strategies that use several network architectures, including
auto encoders and GANs (Generative Adversarial Networks) Titus
& N.M (2018) In their
paper, Koleini et al. have discussed the texture based colorization method for black and white
videos. In order to make use of MSMD's strengths in
edges and texture-related data extraction, they mapped the black and white
scenes' Gabor filter-based features to the optimal location within the HLS
range using a multi-layer perceptron (MLP). A combination of Gabor filter banks
(feature extractor) and a multilayer perceptron (mapper) achieved promising
results with the objective of successfully colorizing black-and-white films. In order to ensure that their procedure was accurate, they
took into account both the colorization's aesthetic quality and the MSE
inaccuracy Koleini et al. (2010). Older colorization techniques produce movies
that have less contrast, seem flatter and whiter, and have washed-out colors. Nonetheless, notable breakthroughs in colorization
technology throughout the 1980s brought about advances. Since then, some
black-and-white films and TV shows have been given realistic-looking color makeovers. Colorization approaches usually entail
assigning colors to particular
regions within a frame and monitoring those regions over many
frames. For example, neural technology was used in the 2003 release of Black
Magic, a commercial image-colorization program. This tool allows users
to choose from various color schemes and
patterns, and segmenting pictures is user-driven. Samanta (2023). In the
early 2000s, numerous studies emerged employing techniques like
gradient-steered diffusion, heat transfer equations, and inpainting to aid in
the colorization process. These methods allowed users to input minimal color strokes, after which algorithms would seamlessly fill
the designated areas without exceeding boundaries. However, the advent of
Neural Networks, particularly Convolutional Neural Networks (CNNs), marked a
significant advancement. CNNs excel in object recognition, and when trained
with extensive image datasets, they can effectively combine recognition and
colorization tasks. Literature showcases various approaches utilizing diverse
network structures such as Autoencoders and GANs (Generative Adversarial
Networks) Boutarfass & Besserer
(2020). To colorize
a video automatically, Mohiy, Noura, and Alaa.M.Abbas developed a system
that did it shot by shot, instead of frame by frame. This allowed for a variety
of approaches to be provided, including shot cut identification, motion
estimates, and similarity characteristics across pictures, and colorization.
The fact that each shot in a movie had common framing cues served as the
inspiration for their concept. Therefore, there was no need to go
frame-by-frame and colorize the film. It was sufficient to color
the first frame of each shot (the key frame) and then use a transferring method
to apply those colors to the other frames. Their
paper successfully proposed and implemented an end-to-end automatic
colorization system tailored to motion pictures, and they came close to
realizing their vision Hadhoud et al. (2010). Mohammad,
Seyed Amirhassan, and Payman developed a method for
colorizing black-and-white video footage utilizing artificial neural networks
and digital image processing methods, with the goal of minimizing the need of a
human operator. The suggested method utilized ANN to automatically colorize
black-and-white films. While training an ANN took a considerable amount of
time, this could be reduced with the help of more powerful computers or more
efficient training algorithms. It was estimated that this approach of
colorization was almost 50 times quicker than those in which every frame had to
be colorized by hand, and that they could colorize a series of 50 frames on
average with each colored frame and developed neural
networks, which was about two or three seconds of a film. In the actual
procedure, a source black and white frame was first manually colorized. After
that, they tried a Multi-Layer Perceptron (MLP) neural network with these 2 images
as inputs. (A black-and-white film was fed into a machine that was supposed to
spit out a color film). Next, the neural network's
input was the sequence of black-and-white frames; the network's output was the
matching color data for those frames Lavvafi et al. (2010). 4. Objectives The aim of
this research is not just analyze
the satisfactory factor of colorization of ‘Pather
Panchali’, but also discuss the film in terms of accuracy and authenticity.
Through this study the researcher tried- 1)
To
assess significance of colorization in highlighting the symbolism in the film
with reference to specific scenes. 2)
To
dissect the nostalgia/emotions associated with the classic black and white
films among the experts. 3)
To
evaluate the reception of use of artificial intelligence for colorization of
grayscale films. 5. Research Methodology For this
study, the research methodology employed is a qualitative approach using
in-depth interviews with experts in the film industry. The objective of this
method is to gather insights and opinions from professionals who have
experience and knowledge in the field of film colorization and its effects on
cinematic storytelling. The interviews have been conducted in a structured
manner, with a pre-determined set of questions related to the research
objectives. For the interview,
interviewees were provided with a YouTube link to the colorized version of ‘Pather Panchali’ and a short montage created by Bera for
their feedback. To collect
data, we selected participants for the study based on their expertise in film color, symbolism, and the use of artificial intelligence
for colorization. Participants were required to work or have worked in the film
industry and possess experience with colorization techniques. Participants gave
their informed permission before being interviewed via the phone, in person, or
through online video chat. In most interviews, five standard questions were
used. These five questions are as follows: ·
Which
version of this film, black and white or color, would
you prefer to watch, and why? ·
How
does the use of color in ‘Pather
Panchali’ enhance the film's narrative and themes? ·
Is
the colorization adequate for highlighting cinematic symbolism? ·
Do
nostalgic and emotional aspects remain relevant post-colorization? ·
How
successful is artificial intelligence in colorizing ‘Pather
Panchali’, and is the outcome acceptable and satisfactory? Interviews
have also been conducted with a small number of students who comprehend film
language and who watch films on a variety of platforms in
order to ascertain their perspectives and feedback regarding
colorization. Thematic analysis was used to assess the data acquired from the
interviews. Finding commonalities and organizing them systematically into
meaningful patterns that can be used to answer research questions and draw
conclusions is at the heart of this strategy. Researchers conducted the analytic
procedure through multiple coding phases, with themes and patterns emerging as
we progressed with the investigation. 6. Data analysis and interpretation ·
Interview: 1 In an
online interview, Atanu Ghosh, a National Award-winning filmmaker,
shares his perspective on the colorization of Satyajit Ray's ‘Pather Panchali’. He states unequivocally that he prefers
the black-and-white version of the film, considering it to be the original and
therefore significant. As the original film was shot in black and white, he
claims that color doesn't add anything to his
interpretation of ‘Pather Panchali’. Atanu emphasizes
that the lighting scheme, tone, texture, and aesthetics of the film were
meticulously designed to suit the grayscale format. He believes that imposing color on a film created with black and white parameters
would have a detrimental effect on its overall artistic vision. Atanu Ghosh
argues that the movie's colorization dilutes the film's symbolic meaning. He
criticizes the artificial appearance of skin tones, backdrops, and props, which
lack depth and authenticity. Ghosh contends that the colorization method, which
involves wide sampling, cannot duplicate the original's unique subtleties. He
further asserts that colorization alters the aesthetics of the original film,
going against the artistic and intellectual brilliance of its creators. Ghosh
firmly states that nostalgic and emotional aspects do not remain relevant
post-colorization, without providing further elaboration. Moreover, the mise-en-scene would have been drastically altered by the
addition of color. Colorizing it, thus, changes its
aesthetic value from the original. He believes that colorizing classic
black-and-white films can only serve entertainment purposes, highlighting
concerns about the violation of the creative and intellectual rights of the
director, cinematographer, and art director through the colorization process.
He emphasizes the importance of preserving the original black and white
version, questions the relevance and adequacy of colorization in enhancing the
film's narrative and symbolism, and raises concerns about the violation of
artistic value through the use of artificial
intelligence in colorization. ·
Interview: 2 Debasish
Sen Sharma, a filmmaker, thespian, and academician, shares his perspective on
the colorization of Satyajit Ray's ‘Pather Panchali’
in a face-to-face interview. When asked about his preference between the black
and white and color versions of the film, Sen Sharma
expresses a strong inclination towards the black and white format. He explains
that this preference is rooted in the audience's familiarity with the film
presented in its original black-and-white form, which holds great nostalgic
value, particularly for Bengali viewers. Sen Sharma takes an unfavorable perspective on the use of color
in ‘Pather Panchali’ and its influence on the film's
narrative and themes, believing that colorization has no substantial impact on
the film's narrative or ideas. According to him, the original black-and-white
presentation conveyed the intended message and emotional depth effectively,
rendering the addition of color extraneous and
ineffectual. The
colorization, he says, could do a better job of communicating or emphasizing
the film's symbolic aspects. This indicates that adding color
does not help bring out the film's more profound significance. Sen Sharma
thinks the film's sentimental and nostalgic elements are less effective once
they've been colorized. He points out that colorization leads to the loss of
the iconic palette, as well as the diminished impact of light and shade effects
in certain scenes. As a result, there is a major shift in the picture away from
the sentimental aspects of the original black-and-white version. While the AI
colorization is technically impressive, Sen Sharma argues that the ultimate
result still has an unnatural feel. He emphasizes the difficulty of combating
the collective reminiscence engrained in the minds of a generation, indicating
that the artificial colors fail to resonate with the
viewers' sentimental attachment to the black-and-white version. ·
Interview: 3 In an
online interview, Somdev Chatterjee, an Assistant Professor of Television
Production at the Satyajit Ray Film & Television Institute (SRFTI), firmly
expresses his preference for the black-and-white version of the film. He
thinks it's vital to keep Ray and cinematographer Subrata Mitra's vision
intact, and that any kind of interference, including colorization, messes with
the integrity of the film. According to Chatterjee, the
black-and-white version its own and requires no additional modifications.
Chatterjee expresses skepticism about the effects of color on the film's storyline and ideas while analyzing the usage of color in ‘Pather Panchali’. He believes the black-and-white format
and Subrata Mitra's skilled cinematography effectively convey the intended
message. According to him, the film's use of color
clashes with its otherwise harmonious aesthetic. Somdev
doubts the assumption of the question, suggesting that colorization effectively
draws attention to cinematic meaning. He wonders whether there wasn't already
enough symbolism in the black-and-white version to justify making it colored, and he argues that the picture doesn't need to be colored to make its meaning clearer. Somdev recognizes the
possibility for diversity among viewers when examining the significance of
nostalgic and emotional qualities after colorization. Having watched the
original black and white film so many times, the color
version makes him uneasy. He claims that he does not feel more moved by the
picture because of the use of color. He stresses the
significance of retaining the original vision, doubts the need for colorization
to enhance story and themes, and emphasizes the subjective nature of
colorization's emotional and nostalgic influence. ·
Interview: 4 In this
interview, Asok Dasgupta, a National and International award-winning
cinematographer, documentary filmmaker, and academician, expresses a clear
preference for the black-and-white version. He states that the tonal
separation is much better in the black-and-white version, implying a
stronger visual impact. Dasgupta believes that the use of color
detracts from the viewing experience of the film rather than enhancing its
storyline and concepts. He specifically mentions that the skin tone of the
characters is not accurately rendered on the screen, implying a lack of
authenticity. He states categorically that the colorization does not correspond
to the intended cinematic symbolism. This indicates that the film's symbolic
elements are not effectively conveyed through colorization. According
to Asok Dasgupta, sentimental and emotional qualities are completely irrelevant
after colorization. This implies that the emotional impact and nostalgic
resonance of the film are diminished or lost through the colorization process.
Dasgupta notes that the color screen is not
effectively maintained while evaluating the performance of AI in colorizing ‘Pather Panchali’. Occasionally, he observes, the film is colored, while a few portions remain black and white.
However, he does say that the sight of the green foliage is appealing to the
eye. According to his analysis, the colorized version loses cinematic
symbolism, nostalgia, and emotion and is inconsistently rendered. The
black-and-white version, on the other hand, has greater tonal separation. ·
Interview: 5 In the
interview with Soumya Shubra Das, a multifaceted individual proficient in the
domains of filmmaking, acting, and academia, his profound observations
pertaining to the process of colorization employed in Satyajit Ray's seminal
work, ‘Pather Panchali’, offer a unique and
discerning viewpoint. Das vehemently rejects the color
rendition, deeming it a derisive and unsuitable portrayal for a globally
renowned masterpiece. He staunchly asserts his stance as a cinema connoisseur
and is vehemently against the use of color in 'Pather Panchali.' He emphasizes the apparent irrationality
of such a choice and argues that incorporating color
in the film deviates from its original artistic intent, which affects its
storyline and themes. Das believes that the use of color
impacts the overall integrity of the film. The author emphasizes the careful
and detailed preparation that filmmakers engage in when envisioning their films, and argues that the introduction of color undermines the planned monochromatic approach of the
director. Das criticizes the efficacy of colorization in accentuating cinematic
significance, underlining that cinematic symbolism is not exclusively reliant
on color. He contends that the use of color may undermine the original aims of Satyajit Ray, who
did not employ color for symbolic reasons in the
first monochromatic rendition. Das
critically assesses the significance of nostalgic and emotional elements after
the process of colorization. He denounces the artificiality of the
colorization, deeming it to be of worse quality than Technicolor and
highlighting flaws in the depiction of skin tones, notably in the train
scenario. Das argues that skin tone has influenced the surroundings. Durga's
skin tone exhibits variations, ranging from pitch black to red-black, and
numerous shades in between. In his opinion, the colorization has a negative
impact on the sentimental and emotional elements, disturbing the recollections
linked to the original monochrome film. Das vehemently opposes the use of
artificial intelligence for colorization, finding it infuriating. He argues
that certain works, particularly those that embody the unique concepts of
directors, need to be conserved. He underscores that AI colorization may serve
as an experiment, but it can never replace or be deemed suitable in comparison
to the original. Drawing
upon the insights shared in the aforementioned interviews,
a comprehensive chart has been devised to highlight preferences across various
conditions, encompassing symbolism, emotional aspects, and the acceptance of
colorization from both versions. The findings unequivocally indicate a
unanimous sentiment among the experts, as none of them express a liking or
recommendation for the color version. Based on
the insights garnered from the aforementioned interviews,
a second table has been formulated to encapsulate the distinctive viewpoints of
the five film experts concerning the defined objectives. Table 1 encapsulates the valuable
perspectives provided by these experts. Table 1
A group
discussion and interviews were organized with 45 students from the Department
of Mass Communication at St. Xavier's University, Kolkata. Among them, the majority of the students (40 out of 45) expressed
dissatisfaction with the colorized version of "Pather
Panchali." In a detailed analysis of the data, three primary reactions
emerged regarding the colorization of the film. The first is technical. Many
students appreciated Professor Bera's efforts to use AI for film restoration
and enhancement. However, they noted that AI technology, while beneficial, does
not yet match the quality of hand-tinted color. An
example they preferred was the colorization in "Mughal-E-Azam," which
seemed more natural compared to the sometimes artificial-looking skin tones in
"Pather Panchali." The second
reaction is emotional. The students expressed a deep emotional connection with
"Pather Panchali" and its creators—Satyajit
Ray, Bibhutibhushan Bandyopadhyay, and Pandit Ravi
Shankar—who are revered figures. Characters like Apu,
Durga, Indir Thakrun, and Sarbajaya are ingrained in their hearts, representing
familial archetypes and emotional touchstones. The students felt that any
alteration to this deeply emotional content was hard to accept. Lastly, the
reaction is psychological. Colors significantly
influence our psychological responses, playing a subtle but powerful role in
shaping our film-viewing experience. The students discussed how filmmakers
manipulate emotions through the use of color, a technique that should feel natural and unforced.
In "Pather Panchali," the imposition of color was seen to distract and diminish the viewing
experience, shifting focus in a way that could disrupt the natural engagement
with the film. Apart from
that, various surveys and interviews with filmmakers and film critics,
conducted by multiple media houses, have consistently opposed the colorization
of 'Pather Panchali'. This widespread sentiment
reflects a strong preference for preserving the film in its original
black-and-white format. Film critic and author Amitava Nag notes that a
significant survey conducted by the Kolkata-based TV channel, 24 Ghanta, revealed
an overwhelming 96% of participants believed that 'Pather
Panchali' does not require colorization to enhance its quality or appeal to
modern audiences. Nag also mentions that the debate over the colorization of
black-and-white films began in Hollywood during the 1980s Chatterji (2020). Filmmaker Sandip Ray, son of Satyajit Ray, has labeled it as "artificial," though he
acknowledges the difficulty in creating overly tacky results due to
technological advancements. Ray expresses discomfort with the departure from
the eternal black-and-white frames, citing a lack of consistency and a
deviation from the original directorial vision. He emphasizes consulting the
original cinematographer to maintain authenticity and understand the tonal
quality Dasgupta
(2020). Professor Madhuja Mukherjee, a Film Studies
lecturer at Jadavpur University and filmmaker, has strongly criticized the
colorization of 'Pather Panchali'. She argues that it
undermines the original work of cinematographer Subrata Mitra by obliterating
the film's nuanced gray scales and lighting
variations. According to her, the colorization homogenizes skin tones, merges
elements inappropriately, and flattens the visual depth, likening the effect to
being "washed with chlorine" Chatterji (2020). 7. Findings and Conclusion The
findings of this study indicate that the colorization of ‘Pather
Panchali’ does not adequately emphasize the cinematic symbolism depicted in the
original black-and-white version. Experts expressed concerns about the
artificial appearance of skin tones and the lack of depth in certain backdrops
and props. It was observed that the colorization process did not effectively
replicate the specific nuances of the original film, leading to disconnect
between the colorized version and the intended symbolism. Furthermore,
the research revealed that the nostalgic and emotional aspects associated with
classic black-and-white films do not remain relevant post-colorization.
Experts voiced displeasure with the colorized version, emphasizing the
significance of preserving the original aesthetic and the emotive impact
it has on audiences. It was felt that the inclusion of color
detracted from the director, cinematographer, and art director's aesthetic
vision and intellectual brilliance. Analysis of
the use of AI to colorize black-and-white films revealed both its strengths and
weaknesses. While experts acknowledged the technical sophistication of the
colorization process and the capabilities of artificial intelligence, they
raised concerns about its inability to replicate the original black-and-white
format's authenticity and aesthetic value. The colorization was done more for
the sake of audience enjoyment than to improve the film's aesthetic or symbolic
value. Numerous
articles could be written about the role and importance of colors
in visual storytelling. However, focusing on the main issue, the decision to
colorize 'Pather Panchali' lacks creativity. If
Satyajit Ray had chosen to colorize the film himself, he likely would have
approached it differently. The original script, production design, and costumes
were all crafted with a black-and-white format in mind. This underscores the
complexity of colorization and restoration of classic films; it involves much
more than merely adding colors. Recent successful
colorizations in India, such as 'Mughal-e-Azam' and 'Naya Daur', which are both
epic dramas, contrast with 'Pather Panchali'. The
latter film's nuanced, lyrical, and realistic nature demands not just technical
expertise, but also a deeper level of creative engagement Sarkar
(2020). In
conclusion, this study highlights the relevance of colorization, symbolism, and
AI in the context of ‘Pather Panchali’ by Satyajit
Ray. Expert interviews elucidated the nuanced relationship between the film's
colorization and its original aesthetic intent. The findings underscore the
importance of preserving the original black-and-white format while recognizing
both the potential and limitations of artificial intelligence in colorization.
More investigation into the effect of colorization on cinematic storylines and
the emotional involvement of viewers is required. 8. Recommendation Based on
the analysis and insights derived from the interviews with film experts
regarding the colorization of classic black-and-white films, specifically
focusing on Satyajit Ray's ‘Pather Panchali’, the
following recommendations are proposed in alignment with the study objectives: ·
It
is crucial to uphold and respect the original artistic vision of filmmakers,
especially for classics that have significant cultural, historical, and
cinematic value. ·
Colorization
could be considered for specific instances where it genuinely enhances the
narrative, symbolism, or viewer experience without detracting from the original
aesthetic and emotional impact. ·
The
emotional and nostalgic aspects associated with the classic films must be
preserved. ·
Before
undertaking colorization projects, it is advisable to engage with the film
community, including directors, cinematographers, film historians, and the
audience, to gauge their perspectives and preferences. ·
The
colorization process should navigate ethical and legal considerations,
particularly regarding the intellectual property rights of the original
creators. By adhering to these recommendations, the film industry can navigate the delicate balance between innovation and preservation, ensuring that the legacy of classic films is honored while also exploring new dimensions of storytelling through colorization.
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