ABSTRACT
In the opening sequence of Abohoman (The Eternal, 2010), ailing film director Aniket Mazumdar muses, ‘What is a film all about?’ Flanked by distant blue mountains on all sides, he tells his son Apratim about celluloid latitude implying range, scope and tolerance. His drifting mind considers how on digital mode he can erase and record, start anew at any point. Longevity of film and impermanence of the digitised image become metaphors of life, memory and meaning.
