Building the Perfect AV Set-Up On a Budget Part 2: Video

Yesterday we went over my budget picks for an audiophile stereo set-up using the stuff I actually have around and use. I spent $123. Lets see if we can beat this on video! In this post I’m including video devices including TVs, DVD, Blu-Ray, VHS and file playback.

FLATSCREEN TV: Olevia 40 inch

I got this TV used for $35. It’s from 2006. If you have a 4K Blu-Ray player you could get a much better TV, but if like me you have a lot of older components and video game consoles this is an excellent choice. It has 2 inputs each for RCA, S-Video, VGA, and Component along with a single HDMI input. It only outputs 720p, but this also means that when it upscales lower resolution devices (my NES for example) they look decent. I have many things hooked into this including my PS2, PS3, Wii U, Dreamcast, Oppo DVD player, and Pioneer laserdisc player. It’s my primary TV.

If you need a lot of outputs and want a cheap big screen TV, anything manufactured around that period of 2005-2008 or so will have the most types of inputs and be very cheap now. As far as I can tell the Olevia is still working perfectly and I’m very happy with the picture.

CRT TV: Sony Trinitron WEGA 20 inch TV

Since I have a lot of older game consoles and an extensive collection of vintage controllers, VHS, and laserdiscs, a CRT is a no-brainer. It outputs low resolution formats beautifully as they were intended, and for gaming you’re playing with zero lag on original hardware. The fact its a later model CRT also means it can take HD input. The quality of the picture it outputs can compete with and beat most flat screens due to the patented Trinitron stuff and the deeper black values possible using tubes.

I picked this up for free on trash day. You probably could too. Check craigslist. Just be forewarned for larger sized screens they can get pretty big and bulky.

DVD: Oppo 970HD

I mentioned this player in the audio article but it’s also my go-to DVD player. It’s region unlocked, plays a multitude of formats, the picture quality is great and you have tons of ouput options+a built-in upscaler. If you own a lot of DVDs and don’t own another Oppo unit, this is an absolute no brainer.

BLU-RAY: Sony Playstation 3

If you can get your hands on an Oppo blu-ray player, get that. But for the rest of us, this offers an excellent playback solution, HDMI out, 5.1 audio, SACD playback, and if modded it will play PS1 and PS3 games from .iso images with a wireless controller. I paid $20 for mine with 2 controllers, though they’re usually closer to $45-50. They’re kinda bulky tho, so if you already own a blu-ray player and don’t have a burning desire to play PS3 games, you should probably stick with the one you own. My prior blu-ray player was a Sony BDP-390, which also offered SACD playback in a much smaller form factor and was $8 used. If you’re being space conscious, I’d say go with one in that line.

VHS: JVC Pro-cision

JVC invented the VHS standard and released tons of great players that can now be gotten for dirt cheap (I’ve never paid more than $5 when I haven’t grabbed one off the street.) Mine’s from the mid-late 90s and more recent is definitely better with these since it likely means less wear on the transport meaning it will work for much longer.

These are built like tanks, have a built in RF switch for really old consoles, and you can get all kinds of weird privately released stuff on VHS. Few things in life are more fun than having some friends over, drinking a few beers and going through random piles of off-air recording VHS tapes.

Mine has S-VHS playback, which is a higher quality spin-off of VHS that never saw any commercial releases. S-VHS playback is only really useful if you do commercial tape transfer service out of your apartment or something similar. However, the fact the deck includes it means 2 things-1) it was made toward the later end VCR manufacture when the bugs had been worked out, 2) it was at least a mid-range deck, possibly better. It’ll say something like “S-VHS Quasi-Playback” on the front. The normal player is highly recommended, S-VHS playback is gravy.

It should also be noted that with VHS, the quality ceiling is pretty low, so a VCR that outputs an interesting looking warm image will often be preferable for long-term cohabitation than something that puts out picture strictly by the books. Embrace the distortion.

LASERDISC:  Pioneer DVL-909

It also plays DVDs and since its close to the last model that was ever sold in the US, it’s less likely to suffer hardware failure in the near future than something manufactured in the 80s or 90s. I got an insane deal on mine ($25 since they hadn’t put stickers on at Goodwill), these can get very expensive otherwise ($350-400.) This is only a budget item if you get lucky.

However, the picture quality is great for Laserdiscs and it will play digital 5.1 soundtracks off them, which the vast majority of LD players will not.

Moving on…

VIDEO GAMES:  Nintendo Wii/ Wii U

If you’re only ever going to own one gaming console, I would say get an original issue Nintendo Wii with the Gamecube controller ports. Why?

1) You can get one with controllers used for $10-20 at most thrift stores since 100 million were produced. Look around and deals will emerge. The one I’m using currently I got in a tub with 4 Wiimotes, 3 Gamecube controllers, all cords and multiple games for $10.

2) They’re incredibly easy to softmod with an SD card.

3) Once softmodded, they can run practically every game ever made from the 80s and 90s. Mine has 50,000 games loaded.

4) You can use more controllers wirelessly with a Wiimote through adapters than pretty much any other system including PCs.

It’s a no-brainer. The Wii U is more expensive used (~$100), but I do like using the gamepad controller and it has easier controller compatibility with 3rd party stuff than the original Wii. You do lose the Gamecube ports tho.

VIDEO GAME SYSTEMS: PS2, PS3, Dreamcast, NES, Sega Genesis

This would be its own article. If you’re just a casual gamer, the Wii will probably fulfill all your needs. However, if you like the games for any of these consoles, it’s relatively easy to play them on original hardware without paying ridiculous prices for vintage cartridges and discs.  I’m not going to go into them here, but maybe in a future article.

STREAMING VIDEO: 8 year old Windows PC w/Wireless Logitech Keyboard and Mouse

Why reinvent the wheel? Just take an old PC and plug it into your TV. It will probably do a great job playing any video you throw at it so long as you’re not trying to run a 4K TV. A wireless keyboard and mouse are great remotes, and soundcards in most PCs in the last 10 years are capable of putting out excellent audio, especially when connected to an external DAC.

Anyway, I hope y’all learned something. I’m off to go play some video games.

 

The Signifiers of Monsoon in Hindi Cinema: Parallels from Brecht and Cultural Studies

The cultural industry of Hindi cinema has banked upon its geographical richness since its inception. While the inclusion of every season and the festivals therein is quite balanced, it is unequivocally the representation of monsoon that sets up aesthetic metaphorical constructions on the silver screen. Whether it is Kuleshov Effect or the use of montage, the idea of representing monsoon as an alienated concept from the central narrative or ‘life’ of the characters is a notable Brechtian characteristic in Hindi films. Such conception of monsoon is presented as an idea in itself that provides a perspective on the lives of the characters involved rather than becoming a naturalised happening of their milieu.

It is because of aforementioned reasons that I went on to call monsoon a ‘signifier’ in itself. When songs such as Pyaar Hua Ikraar Hua (Love Happened) from the movie Shri 420 and Bheegi Bheegi Raaton Main (In the Rainy Nights..) showcase romance between the two protagonists, it is not the romance that is realistically evolved and subsequently expressed in common parlance. It is a romance that is showcased as romance itself. Romance which has its ideological presence separate from the presence of the lovers involved. Therefore, in both the songs mentioned above, the idea of romance does not become synonymous with Raj Kapoor and Nargis or Rajesh Khanna and Zeenat Aman. Rather, it is the creation of the idea of romance itself through which the cinematic positioning of these characters are understood. So, this distinction between romance as an idea and the characters as mere forms of it, makes monsoon a cinematic as well as cultural signifier to represent the signified (romance).

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After understanding the alienation effect that Hindi cinema creates and has created over generations between the monsoon as a language and the characters as content, we shall now look into the various meanings that monsoon generates within the representational system of Hindi cinema.

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  1. Romantic Anticipation – The two songs mentioned above are a perfect examples of monsoon being used to describe the romantic anticipation and blossoming curiosity between the two lovers. Another addition to this can be a song that came almost three decades later – Sawan Barse Tarse Dil (Monsoon hovers as my heart craves). In Sawan Barse  there’s a shift away from the context of isolation as shown in the previous two songs. Unlike Pyaar Hua and Bheegi Bheegi Raaton Main, where lovers are shown in an isolated atmosphere under a moonlight sky, Sawan Barse uses Kuleshov Effect by using the busy streets of Bombay to show the carefree mindset of the two lovers involved. However, there is hard to trace the Screen A – Screen B direct metaphorical juxtaposition in the third song, it becomes evident in the closer analysis of the music video. Thus, I believe that completely crediting Kuleshov for this would not be a perfect idea but the commonalities are also hard to ignore. A notable example of a piece where both the isolation effect of the previous two songs and the carefree effect of the third song intersect can be Aaj Rapat Jaaye (If today I tumble down) starring Amitabh Bachchan and Smita Patil.

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2. The Longing – In the era of 90s and early 2000s, monsoon acquired a much more sexual connotation in terms of using representations of cravings and fantasies. In Tip Tip Barsa Paani (As the rain drops) and Lagi Aaj Sawan Ki (Today, the rain is falling like old days) there is intense use of emotions and clever use of editing by utilizing more space while building upon developing sexual desires. Such was the heat of these songs, that Raveena Tandon’s orange saree from Tip Tip became a major symbol of sensuality and sexual liberation in pop culture. Another notable example of this category can be Saanson Ko Saanson Se from the movie Hum Tum (You and I) where the red saree of Rani Mukherjee and the beautiful set up of two lovers rolling on the beach sand under a moonlight is a visual delight in itself.

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3. The Liberation – Out of all, this is the most celebrated representation of monsoon in the Hindi cinema. And, I would say, the most relatable. Although, the relatability of this representation comes as a rite of passage to carefree state of mind, and probably goes against the Brethian principles, it still saves the grace by not creating the empathetic relationship between the audience and the character. In Barso Re (Let it rain) and Bhaage Re Man Kahi ( My heart take the strides) it is the breaking of the monotony, the creation of the antithetical to gender roles, that comes across as the most fascinating use of monsoon as a signifier. While in Barso Re, we see Aishwarya Rai celebrating her freedom of choice to choose her own lover and the further course of life, in Bhage Re Man we see Kareena Kapoor, who plays a bar dancer, taking a time off her constructed reality to subsume herself in the bliss of falling droplets. In both of these songs, it is the momentary split between the character and the context, between the constructed reality and the unguided display of liberation that creates a beautiful trajectory for the audience to analyse monsoon as a concept alienated from the narrative of the film.

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Although Hindi cinema is decorated with blissful songs on monsoon, I had to quite painfully restrict myself to a handful. However, I feel that the songs that have been discussed above are quite deserving symbols of the spectrum. Hindi cinema has been celebrating the idea in their isolated forms in order to create a separate space to the entities that exist around us. This separation and the  further use of these ideas as an existent matter of thought in themselves have empowered the audience to think of these ideas objectively and without the distractions of the cinematic construction of the plot or the personal lives of the characters. Such thought provoking use of signifiers such as monsoon gives Hindi cinema a democratic nature that allows every viewer to think of these signifiers independently and imbue their own understanding or relation with them. For me and I hope for the supporters of Bretch and Kant, this is surely fascinating.

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The Avant-Garde, Zeenat Aman

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The cinema of the 70s is often termed as an era that marveled the art of pop culture reorientation. A decade that immersed itself in the chaos of coming of age screenplay and ever inspired music ensemble, the flights of imagination was anything but predictable. It was during this period that Hindi cinema saw the rise of its one of the most ground-breaking actress, a gifted performer and a formidable fashion icon – Zeenat Aman. The characters that she adorned were unafraid of juxtapositions and oozed liberation that was rarely seen in the public eye. From being an adultress in Dhund (Obsession) to a cheerful prostitute in Manoranjan (Entertainment), Zeenat Aman redefined narratives of gender roles in not only Hindi cinema but also in the entire urban Indian society. A former Miss Asia Pacific (1970), she was the first South Asian woman to win this coveted title. Even though her acting skills were second to none, Zeenat Aman had sealed her name in the history of Indian cinema for her unparalleled contribution in revolutionizing the use of fashion in Hindi movies.

The looks adorned by the lady swing across the spectrum of avant-garde fashion. She had never ceased to reinvent herself and often pushed the boundaries of artistic expression by her V-neck hem slit evening gowns or her infamous Boho looks. This post is a tribute to some of the most foresighted, coming of age and classical fashion statements of the woman that charmed the 70s and cemented her position in the pop culture.

  1. The Boho Chick

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Dubbed as her first block-burster hit, Hare Rama Hare Krishna (1971) paved the way for Zeenat’s towering success. What began as a role received by fluke, later unraveled into a timeless performance that got her the Filmfare Award for Best Supporting Actress, and most importantly, her perennial place in the pop culture.

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Playing the role of a girl separated from her family who subsequently slips into drug addiction, the character of Janice was unconventional for her period but beheld potential for a memorable performance. And for the visionary as she was, she delivered, and delivered with utmost excellence.

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2. The Girl with a Guitar 

When Zeenat Aman held a guitar to belt out a soothing lullaby for her lover in Yaadon Ki Baraat (The caravan of memories), she gave us a melody of a generation. The climatic progression of the music with the innocent smile decorating her face, Chura Liya Hai (Now that you’ve stolen my heart) is the musical beauty of the highest order. Apart form its melodious supremacy, it was this long white gown that etched Zeenat Aman in every man’s heart for years to come. Complementing that look with a choker necklace, she added one more feather to her overtly decorated hat of fashion laurels.

3. The Femme Fatale 

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Although, every song of Zeenat Aman has been a masterpiece in its own right, there is one song that not only concreted her as a superstar but also reflected her ideas of empowerment through sexual liberation. In Laila Main Laila (Laila, I’m Laila), a song that has been subsequently covered by a dozen singers and actresses, Zeenat Aman unleashes her femme fatale and explodes into the space where she adheres to no boundaries, rising above the artificial constructions of gender roles.

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In Aap Jaisa Koi (Someone Like You) and Don, she takes her seduction to next level and amalgamates it with her impeccable acting skills to deliver the critically acclaimed performances as a cabaret dancer and a villain respectively.

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Zeenat Aman had metamorphosed into a multi faceted performer who freed herself from the fear of being judged for her decisions. She pushed the limits of visual representation in Hindi cinema and became an icon for all the actresses that followed. Apart from her mounting commercial successes, she was critically well received for her depiction of a rape victim in Insaaf Ka Taraazu (The Scales of Justice). She was translated as a visionary, an artistic maverick, and a farsighted actress for her coming of age role of a cheerful hooker in Manoranjan (Entertainment). With more than half a ton movies on her name, Zeenat Aman was and will always be the first and the most beloved diva  of Hindi cinema.

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From Renee Smith to Sita Devi: Retrieving the Forgotten Enchantress of Silent Era

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Indian cinema had birthed a fair share of visionaries even before the beginning of what later came to be termed as the Golden era. Under the reigns of the British Raj, certain Indian artists thrived upon the offerings that colonial engagements with art had to offer and used the political situation of the period to engage cinema in a dialogue of cultures. The dialogical development of cinema, with silent movies relying heavily on scenic photography and camera angles, what unraveled on the big screen involved not only the oppressed lot making a statement but also the privileged lot participating in the process. The emancipating nature of art drew many budding filmmakers to garner the global recognition of not only Indian art but also Indian culture in general by using films as language. In this democratising activity of filmmaking, one of the most celebrated manufacturers was Himanshu Rai who dared to look beyond the logistical restrictions of his space to harness a global outlook. However, this post is not about him but about an unsung actor, who despite not being biologically involved in the cultural milieu of the subject matter of her work, adorned many characters in a number of such experimental films. Though, she was born as Renee Smith in an Anglo-Indian family, the cinematic history would remember her as Sita Devi.

The silent movie era of Indian cinema had a brief but eventful affair with German collaboration. Though much has not been written about her, Sita Devi’s momentary presence in Indian films can be seen in these very collaborative projects. When Himanshu Rai joined hands with a Bavarian film company Emelka, a film named Prem Sanyas (The Light of Asia) was released in 1925 which was generously budgeted and was directed and produced by Himanshu Rai himself who also appeared as one of the actors. This very film had the young Renee Smith (Sita Devi) playing the character of Princess Gopa, who is decorated quite intricately with the cultural symbols of Buddhist ritualism. This was her debut film, and thanks to her blossoming presence on screen, she became an overnight star. She later went on to work under the banner of Madan productions but could never repeat the success she garnered in her very first film.

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Renee went on to do two other films with this Indo-German collaborative project, which seemed more like a trinity now, that were also classified as period dramas showcasing the grandeur of Indian culture. Interestingly, these three films spanned three different religions (Buddhism, Islam and Christianity) rightly spanning the diverse cultural fabric of the country.

The artistic outlook of Renee Smith and her respect for the art of cinema can be traced from the diversity of roles she played in this trinity and also the distinct nature of each of those characters. Despite sprouting as a star in her very first film, she did not hesitate to play the ‘other woman’ in Shiraz (1928) and a villain in Prapancha Pash (Throw of Dice, 1929). Despite the social perception of that period for such roles and the impact it had on the careers of the actors who played them, Renee chose to explore the shades of her artistic capabilities rather than fearing social stigmatization.

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The short filmography of this illustrious actor involves many socially unconventional roles in movies such as Bharat Ramani (Enchantress of India, 1929), Bhrantri (Mistake, 1928) and Kal Parinaya (Fatal Marriage, 1930). Despite not being culturally relatable to the majority of the population, the success of Renee Smith established itself upon her ability to immerse herself in the complexities of her character, reaching the finest degrees of method acting. She came across as an exotic representation to many of her contemporary directors, but that only worked towards constructing a strong narrative around the creative credentials of this effervescent actress.

With her films being showcased in German and English to the elite cinematic audience of Europe, including the royal family, a couple of Renee’s films were also immortalized for global audiences with German translations (Das Grabmal einer großen Liebe and Die Leuchte Asiens). It is hard not to mention the famous rumour of the period which said that Renee’s sister Patty was often used as her double in some of the sequences. Renee Smith has been unfortunately forgotten by the repositories of Indian cinema. In her short yet colossal montage of work, Renee aka Sita Devi has displayed the full dimension of her artistic prowess and the lengths of her creativity. I hope the reading of this post will only generate more discussion on this wonderful actor, getting her the rightful place in pop culture, something she so unequivocally deserves.

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Picture Credits: British Film Institute

Revisiting The Oeuvre of Bazaar-e-Husn

There aren’t many works of cinematic art that become cinematic in their own right. The legacy of these works transcends what is projected on the screen and venture into the arenas of popularity that was quite unintended by the creator itself.

Pakeezah, a Hindi Cinema classic that took almost 15 years to complete, is one such movie whose legacy is unparalleled and finesse unmatched. The fervour around the film was as much due to the stories that revolved around each and every person associated with it as the climactic plot of the film itself.

The journey of making Pakeezah is no less of an odyssey for its director Kamal Amrohi and the lead actress Meena Kumari. They both were in the romantic company of each other both during the commencement and the conclusion of the film, however, going through a judicial separation and an alleged extra-marital affair in between. As much as I would love to delve more into the depths of this theme, the main focus of this work is rather centred upon one of the most intelligently designed sets from the movie – Bazaar-e-Husn.

Translated as a ‘fair of beauty’, Bazaar-e-Husn reflects the budgetary prowess of Pakeezah’s production. Often termed as a perfectionist, Kamal Amrohi had to shed almost a million rupees to build a perfect settlement for a desired reality of erstwhile Muslim royality.

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The set for Bazaar-e-Husn took six months to complete with over 600 men working on it. A publicity material for the film described it as:

“There is nothing make believe in this set. Dozens of genuine shops from the various parts of the country were bodily shifted to the set to lend it the authenticity it demanded. These shops remained on the sets for more than a year involving a payment of huge compensation to their owners. Nothing so fantastic was ever attempted or achieved in a single film.”

Despite involving investment of such magnitude, the set has only been used for just one dance sequence in the entire movie. Since the plot of the movie shifts from Delhi to Lucknow, the only display of Bazaar-e-Husn that we get to see is during the opening mujra of Sahibjaan in Inhi Logon Nai. Despite having such a brief presence, the choreography of Inhi Logon imbued with the charm of Meena Kumari, makes the scenic experience of the establishment quite unforgettable.

In the only dance sequence where the glimpse of Bazaar-e-Husn is shown, we can see the flavour of the tawaif (courtesan) culture of Delhi in its maturity. As Sahibjaan (Meena Kumari) is performing her teasing dance number, we can see a lot of motion behind her that manifests itself as daily routine at such establishments. We can see parallel mujras being performed at other courts and commodities such as betel nuts, ornaments and fruits being sold. Despite the commotion in the streets, one finds it really difficult to take his eyes off from the leading lady and take a moment to ponder upon the life at Bazaar-e-Husn. However, as a myriad of vivacity and vividness, Bazaar-e-Husn not just beautifully merges with the choreography of the mujra but goes on to enhance the aesthetics of it. It provides it with a context that paints a picture in the viewer’s conscience which is like a medieval portrait of a desired escape.

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Apart from the monetary shelling, a lot of artistic capital also went on to contribute to the making of this enchanting establishment. Hundreds of dancers were specifically trained for months just for the picturization of that brief mujra sequence of Inhi Login Ne. This not only gives us a glimpse of Kamal Amrohi’s traits of perfection but also goes on to expose his tremendous respect for the art that he intended to pursue.

If Pakeezah was Amrohi’s dearest creation, Bazaar-e-Husn would undoubtedly be his most vivid fantasy. As the making of the movie saw no signs of completion, and while being intertwined in a personal turmoil, Amrohi never shed a single shade of doubt on his brainchild. In an interview which he gave to Time Magazine for the project that he had penned, directed and also intended to act in, he said –

‘Jab tak Pakeezah khatm nahi ho jaati, tab tak mujhe maut bhi nahi aayegi’

(Even death is waiting for me to finish Pakeezah)

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Pictures: National Film Archives of India