Statistical Approach to the Aesthetic Communication of a Narrative Film : With Special Reference to the Film \'Charulata\'

Contents: Introduction. I. General idea: 1. Scope and limitation of film as an artistic medium. 2. By the selective association of those concepts. 3. Ideology and discourse. 4. Definition and structural components of narratives, functions of narratives and its components and historical evolution of relevant film theories in support of different modes of narrative discourse. 5. Development of the concept of aesthetics and aesthetics fields and how aesthetic is generated and how aesthetic communication takes place in an artistic medium. 6.  Sources of aesthetic and identification of the aesthetic fields in a narrative film and the process of aesthetics development and communication in a narrative film and the problems encountered. 7. Character and characterization. II. Textual component: 8. Environment and environmentalism. 9. Strategic solution of the problem of aesthetic communication. III. Components of spectatorship. 10. Spectatorship and its constituent components. IV. Development of the model and the operational definition of the terms used in the model: 11. (a) Imsign, attribute, ideas. (b) Power of imsigns. 12. Construction of the model, its conceptual validity and uses and application.

"The aesthetic impact of a narrative film can be measured by electing information from the spectator about how much he/she has enjoyed it. But the latter depends on the extent of pleasures derived by the spectator from the beauty of the discourse of its sensory stimuli emanated from the screen for impinging on his sense organs, from the beauty of the discourses of its actions and events and their logical and dramatic forms and also on the extent of pleasures derived by the spectator from the beauty of the discourse of its surface and deeper level of meaning. But it is also true that the spectator\'s experiential cognitive and affective impact of all those discourses are conditioned on his past exposures to such discursive stimuli and their consequent past cognitive and affective responses. But as the latter are dissimilar and different from spectator to spectator due to their different kinds and degrees of ideological orientation, inter-spectator variation to such discursive stimuli would also be markedly visible for all kinds of narrative films. This fact calls forth the need for adoption of a statistical and O.R. strategy, which would be empowered to manipulate ideologically conditioned spectator\'s response by suggesting means for controlling ideological orientation of the stimuli by investing them with different kinds and degrees of codedness."