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Analysis Of Amar Kanwar's A Season Outside

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Mutability of Archive According to Kanwar, “[There ]is the inadequacy of the archive. The presence activates the absence. The collection activates the unknown. It is not the archive that we cling to, but the uncertainty in the core of the archive. What is true is false and what is false is true so easily in this territory; testimonies and memories are fluid, constantly changing, and so it is this temporary fragility that is mobile, potent, and revealing (Emilia Teracciano, 76).” A Season Outside Amar Kanwar’s A Season Outside (1998, 30 minutes) is a thought provoking quest to investigate the futility or validity of violence. The film employs several codes of conflict and discord—from the territorial border of India and Pakistan to visuals of Tibetan refugee settlement— to satiate the curiosity to posit violence as a credible response to hurt and harm. It questions its worthiness as device to exact revenge on the transgressor. He uses the everyday ordinariness of military routines on the Wagah border as a representation of perpetual reminder of the severe injury caused to the lands on either of the line. The faces witnessing such traditions find tem to be deeply entrenched customs that are representative of the kind of conspired silence that people get in to justify violence and accept the damage in its wake as inevitable. Bringing Character through Spoken Word According to Jyotsana Kapur, the film’s power lies in the simplicity and minimalism of its structure, interplay

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