ABSTRACT
This chapter explores the cinema of Pramod Pati, an eccentric Indian filmmaker of the 1960s, who also led the animation unit at the Films Division of India. It is a study of the method as well as the content of his films—the political, the kinetic, the imaginary, the edificatory, and the un/real—using the Deleuzian lens. In doing so, three films, Abid, Explorer, and Trip, are treated as philosophical lab material. The chapter argues that Pati engaged with altered notions of identity, difference, assemblage, time, motion, territory and politics, thereby creating an alternative to mainstream cinematic method and content—an alternative that is peculiarly Deleuzian.
