D Madan Copal Singh Anup Singh: I think Mani Kaul's films, especially after Satah Se Uttha Admf, this use of the high-angle in relationship with the planes might be relevant to your point. MGS: You were also mentioning another film, which uses certain ways of splitting perspective. Could you explain that bit to the others? AS: Straub' s Chronicle of Anna Magdalena Bach. There is shooting constantly in cathedrals 97 and houses of that period, and wherever he places his camera he is constantly faced with the problem of perspective. And he faces the problem very beautifully. Instead of framing the perspective fully, he brings the camera to a point where he actually splits it. In terms of the film, I think it could be argued that it actually allows him to reveal a stage of the past. To work with the present in that sense. MGS: You also mentioned Mani trying the same way. AS: He tries to do something similar, but in a different way — he does it through the moving camera. GK: You've used a term — the realist conscience — which will take some time to generate its implications. But in a curious way, it has been part of the arguments that have been going on, including the very last part, with Sheikh.! Numbers 20 - 21