As a seasoned movie critic with a penchant for cross-cultural cinematic explorations, I find the discourse at Film Bazaar both enlightening and intriguing. The insights shared by these esteemed professionals underscore the delicate dance between preserving authenticity and adapting stories to resonate with diverse audiences.
As a follower, I had the opportunity to join a gathering of esteemed television professionals and innovators at Film Bazaar, where we delved into the complexities of tailoring foreign series to cater to Indian viewers.
As a devoted cinema enthusiast, I wholeheartedly agree that successful adaptations demand more than just straightforward translation. There’s a delicate balance between translating a format and reimagining it, and it’s in the realm of reimagination where the true enchantment lies. For instance, “The Good Wife” was brilliantly reinvented as “The Trial,” featuring two daughters instead of a son and daughter, thus allowing for an intriguing exploration of emotional complexities within an Indian family context.
Creator Suparn S. Varma (“Ray Donovan” adaptation “Rana Naidu”) highlighted that not every successful international series adapts well to Indian screens. He explained, “Not every story can be adapted. For instance, I was offered ‘Peaky Blinders.’ I’m a fan of ‘Peaky Blinders,’ but it doesn’t fit as an Indian series because it’s deeply rooted in the culture and society of its origin [U.K.], making a direct adaptation difficult, as it wouldn’t resonate or work effectively in India.
Actress-producer Kirti Kulhari disclosed some learnings from her stint leading “Criminal Justice: Behind Closed Doors,” admitting that she deliberately chose not to watch the original BBC series. She explained, “I can remain in my current position, establish a barrier between myself and the character, still empathize with it deeply, and yet preserve my own identity.” This statement highlights her approach to handling the intense emotional aspects of her role while setting personal limits.
BBC Studios India’s Sameer Gogate detailed how they transformed “Press” into “Broken News,” shifting the essence of British tabloid culture to modern Indian newsroom journalism. When we felt that we could convey the tabloid culture’s struggle between truth and sensationalism, which is prevalent in [Indian] prime time broadcasting, we realized we had struck the heart of the series, according to Gogate.
The group delved into understanding the differences in emotional expression between cultures, using the example that transforming “Doctor Foster” to “Out of Love” necessitated a thoughtful approach regarding how Indian characters express feelings. Gogate explained this process, highlighting that their British writer was adamant about the lead female character not shedding tears upon learning about her husband’s infidelity, preserving the original character’s strength.
Format owners have been supportive of cultural adaptations, according to the panelists.
Looking to the future, it’s worth noting that Indian television shows have already gained popularity in markets such as Indonesia, where they make up approximately 45% of some networks’ programming through dubbed versions, as Jain mentioned. However, the industry appears to be primarily focusing on catering to its domestic market at this time, according to the panelists’ suggestions.
The conversation underscored the growth of India’s reservoir of creative talents, noticeably post-COVID-19, as resources are increasingly drawn from literature, folklore, and artists hailing from various regions throughout the country.
At the heart of the bustling film scene in November, I find myself immersed in the Project Market segment of the International Film Festival of India (IFFI), held from the 20th to the 28th, right here in sunny Goa. This vibrant event offers a unique platform for filmmakers, industry professionals, and cinephiles alike to collaborate, learn, and celebrate the art of cinema.
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2024-11-24 10:16