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Friday, April 1, 2016

Cinema, Types of Cinema and Impact of Cinema

   Topic: Cinema,Types of Cinema and Impact of Cinema
   Paper: 15
   Paper Name: Mass Communication & Mass Studies  
   Name: Sagarkumar G. Ladhva 
   Roll No: 25 
   Class: MA-III
   Semester: 3
   Year: 2015-16
   E.No:14101022
Submitted to:
   Smt. S. B. Gardi M. K. Bhavnagar University, 
Department of English.


cin·e·ma/sinəmə/
Noun:A movie theater.

The production of movies as an art or industry.


Cinema has several meanings like a movie, filmmaking, etc. But many people refer it as a movie theatre. There have been several definitions of cinema. There is one definition of cinema that it happens to be the greatest medium of entertainment. There is another definition of cinema that it is a medium that does reflect the true mood of the society and that changing reality.
In accordance with several experts, the Indian cinema does fit in the last definition and in the best manner. Without a doubt Indian cinema has played a major role hitherto and through decades it has also the most appreciated medium of entertainment.
The origin of film is very debatable; some say it was the invention of the first magic lantern (a simple image projection device you will learn about later) while others belie e film started from the ancient puppet shows held in Rome and Asia. The list of film's possible origins goes on and on, but we know that without science, motion pictures would not be in existence. In fact, cinema is one of the seven arts that completely rely on science. In order to make a movie, you need to have a sufficient light source to capture and display the image. Without the study of light, movie making would probably not happen. It was a scientist named Athanathius Kircher who came up with the idea of projecting hand drawn images in the mid17th century. After the invention of the first magic lantern, lanternists such as Robert Barker travelled the world, enchanting the lives of many people with his "magic" ability of making images come to life. Who knew this would lead to the first movie ever made?
      

  INDIAN CINEMA has virtually become a parallel culture. Talk of India with a foreigner and debate virtually centers around Indian films
                                                                                 - Amitabh Bachhan




A SHORT HISTORY OF INDIAN CINEMA
Following the screening of the lumiere moving pictures in London (1895) cinema became a sensation across Europe and by July 1896 the lumiere films had been in show in Bombay. The full length motion picture in India was produced by Dadasaheb Phalke, a scholar on india’s languages and culture, who brought together element form Sanskrit epics to produce his Raja Harish Chandra (1913), a silent film in Marathi. The female roles in the film were played by male actors. During the early twentieth century cinema as a medium gained popularity across India’s population and its much economic section. Tickets were made affordable to the common man at a low price and for the financially capable additional comforts meant additional admission ticket price. Audiences thronged to cinema halls as this affordable medium of entertainment was available for as low as an Anna (4 paisa) in Bombay. The content of Indian commercial cinema was increasingly tailored to appeal to these masses.
      Young Indian producers began to incorporate elements of India’s social life and culture in to cinema. Others brought with them ideas from across the world. This was also the time when global audiences and markets become aware of India’s film industry. As sound technology advanced the 1930 saw the rise of music in Indian cinema with musicals such as Indra sabha and Devi Devyani marking the beginning of song and dance in India’s films. Studios emerged across major cities such as Chennai. Kolkata, and Mumbai as film making become an established craft by 1935, exemplified by the success of Devdas, which had managed to enthrall audiences nationwide. The Indian Masala film slang used for commercial film with songs, dance, romance etc. came up following the Second World War.
The partition of India following its independence divided the nation’s assets and a number of studios went to the newly formed Pakistan. The strife of partition would become an enduring subject for film making during the decades that followed. After Indian independence the cinema of Indian was inquired by the S.K.Patil commission. S.K.Patil, head of the commission, viewed cinema in India as a ‘combination of art, industry’ and showmanship while noting its commercial value. Patil further recommended setting up of a film Finance Corporation under the Ministry of Finance. This advice was later taken up in 1960 and the institution came into being to provide financial support to talented filmmakers throughout India.
The Indian government has established a films Division by 1949 which eventually become one of the largest documentary film producers in the world with an annual production of over 200 short documentaries, each released in 18 languages with 9000 print for permanent film theaters across the country. Commercial Hindi cinema further grew throughout the1980 and the 1990.

There have generally been six many major influences that have shaped the conventions of Indian popular cinema.

  Ø  The first influence was the ancient Indian epics of Mahabharata and Ramayana which have exerted a profound influence on the thought and imagination of Indian popular cinema, particularly in its narratives.

  Ø  The second influence was the impact of ancient Sanskrit drama, with its highly stylized nature and emphasis on spectacle, where music, dance and gesture combined “to create a vibrant artistic unit with dance and mime being central to the dramatic experience.

  Ø  The third influence was the traditional folk theatre of India, which became popular for around the 10th century with the decline of Sanskrit theatre. These regional tradition include the yatra of Bengal, the Ramila of Uttar Pradesh, and the Terukkuttu of Tamil Nadu.

  Ø  The fourth influence was Parsi theatre, which “blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into dramatic discourse of melodrama.

  Ø  The fifth influence was Hollywood, where musicals were popular form the 1920 to the 1950, Though Indian filmmakers departed from their Hollywood counterparts in several ways.


  Ø  The final (sixth) influence was Western musical television, particularly MTV, which has had an increasing influence since the 1990, as can be seen in the pace, camera angles, dance sequences and music of recent Indian films. An early example of this approach was in Mani Ratnam’s Bombay (1995)
v Types of Cinema:



§    Hindi Cinema:

The Hindi language film industry of Mumbai also known as Bollywood is the largest and most popular branch of Indian cinema. Hindi cinema initially explored issues of caste and culture in films such as Achhut Kanya (1936) and Sujata (1959). International visibility came to the industry with Raj Kapoor’s Awara. Hindi cinema grew during the 1990 with the release of as many as 215 films. With Dilwale Dulhania Le Jayenge, Hindi cinema registered its commercial presence in the Western world. In 1995 the Indian economy began showing sustainable annual growth, and Hindi cinema, as a commercial enterprise. The salary of lead stars increased greatly. Many actors signed contracts for simultaneous work in 34 films. Institutions such as the industrial development Bank of India also came forward to finance Hindi films. A number of magazines such as Filmfare, Stardust, cineblits, etc..., became popular.

§    Gujarati Cinema:







The film industry of Gujarat started its journey in 1932. Since then Gujarati films immensely contributed to Indian cinema. Gujarati cinema has gained popularity among the regional film industry in India. Gujarati cinema is always based on scripts from mythology to history and social to political. Since its origin Gujarati cinema has experimented with stories and issues from the Indian Society. The scripts and stories delt in the Gujarati films are intrinsically humane. The include relationship and family oriented subjects with human aspirations and deal with Indian family culture. Thus, there can be no turning away from the essential humanity of these Gujarati cinema. The first Gujarati movie, Narasinh Mehta, was released in the year 1932 and was directed by Nanubhai Vakil.

  •      Bhojpuri Cinema:

Bhojpuri language films predominantly cater to people who live in the regions of western Bihar and eastern Uttar Pradesh. These films also have a large audience in the cities of Delhi and Mumbai due to migration to these metros from the Bhojpuri speaking region. Besides India, there is a large mar ket for these films in other Bhojpuri speaking countries of the west Indies, Oceania, and South America. Bhojpuri language film’s history begins in 1962. Although a smaller industry compared to other Indian film industries, the extremely rapid success of their films has led to dramatic increases in Bhojpuri cinema’s visibility, and the industry now supports an awards show and a trade magazine Bhojpuri City.
    





  •     Bengali Cinema:

    The Bengali language cinematic tradition h as had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its most acclaimed. Recent Bengali films that have captured national attention include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai. Bengali filmmaking also includes Bengal science fiction films and films that focus on social issues. In 1993, the Bengali industry’s net output was 57 films. The history of cinema in Bengal dates back to the 1890, when the first “bioscopes” were shown in theatres in Kolkata. The ‘parallel cinema movement began in the Bengali film industry in the 1950. A long history has been traversed since then, with stalwarts such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak and others having earned intern national acclaim and securing their place in the history of film.

Marathi Cinema : 

Marathi theatre is theatre in Marathi-language, mostly originating or based in the state Maharashtra in India, and elsewhere with Marathi Diaspora. Starting in the middle of the 19th century, it flourished in the 1950s and 60s, and
includes forms like Sangeet Natak (Musical drama) and Tamasha (folk dance). Today, it continues to have a marked presence in the State of Maharashtra with a loyal audience base, when most theatre in other parts of India have had tough time facing the onslaught of cinema and television. Its repertoire ranges from humorous social plays, farces, historical plays, musical, to experimental plays and serious drama of the 1970s onwards, by Vijay Tendulkar, P. L. Deshpande, Mahesh Elkunchwar and Satish Alekar, which have influenced theatre throughout India In fact in the post-independence era, besides Bengali theatre, Marathi theatre has been a singular driving force behind innovations and significant dramaturgy in Indian theatre.


Ø Types  of Films



v  Commercial Cinema:
It primarily aims at providing entertainment to the people.it includes the ingredients of popular cinemastar high budget, abundance of music, song and dance. It mostly resorts to phantasy to provide entertainment to people. For example, films like Vaqt, Sholay, Muqhddar Ka Sikandar are few example of such films.
v  Art Cinema:
It is more realistic and relevant in the needs of people and society. This form is not very popular. It is also called ‘parallel cinema’ ‘alternative cinema’ or ‘New main stream of commercial cinema’. Their dominant characteristic were their social concern, purposefulness, realism, narrative style, exclusion of unrelated songs, dances and fights and other familiar devices of commercial package. Their acceptance by the intelligent and cultivated audience in the country and the high praise which some of the really good new trend films won abroad brought a much needed selfconfidence  to adventurous or innovative film makers. National corporation provides institutional aid for the production of these films. Satyajit Ray, Shyam Benegal, Govind Nihalani, Mrinal Sen, are some of the known art cinema proponents. However, or distributer. Many of them remain at award winning level only and reach the masses due to these difficulties. With the popularity of television, some of such films are telecast on television. Chakra, Ankur, Nishant, Ardha, Satya, Damul some of the example of art cinema.
v  Feature Films:
Feature film means fictionalised film exceeding, 200 metres in length in 36mn or corresponding length in other gauge or on video. Feature film means full length cinematography film produced wholly or partly in India with a format and a story woven around a number of characters where the plot is animation or cartoon depiction and does not include an advertisement film. Feature films are about a story enacted by a people cast and to convey a moral but firstly to entertain to audience. They continue to be most popular form of entertainment. Feature films could be commercial or art films. These are produced for mass information and entertainment. These films create cultural waves and to certain modify behavior. These films have the elements like comedy, drama, suspense, science, fiction, detective or horror.
v  Documentary Films:
Documentary dramatizes an idea or theme uses the factual material in order to dramatize its idea, it tells its simple story in terms of beings and human interests. Sometimes can be exhibited in school, village and labour areas through mobile vans so that a number of children can take advantages of these this film. As expressed by Goswami “Making film for children is a hard task than making films for adults. The producer has to take great care at every step. Only the best should be shown to children. Their whole can be adversely affected if they see the wrong films in the formative state of their mental development.”

***
Impact of cinema:
Now a day movies have a great impact on not only youth but also on children. Impact mainly depends on us, any movie will have bad and good and it is ourselves should able to distinguish between them. People watching too much of movies .People get very much attracted to the roles that involve interesting characters. They try to imitate such roles.
Cinema has become the most influential art form of 20th century from its marginal beginnings. India holds eminent position in film making in the world. It produces highest number of films every year. Whatever may be the quality of the film, they continue to be the popular mass media. Earlier, cinema was a simple means of mechanical recording, preserving and reproducing moving visual images. With the development of film technology, the art of cinema developed a language of its own. Kumar says, that cinema is called “the seventh art”, and its language has developed over the past 7080 years to a specialized and sophisticated level, opinion differ, however on whether cinema is a ‘pure’ art form or a ‘bastard’ art.
·       Positive Impact:
The positive impact is any kind of good behavior of a character can affect the mind of a person and he/she can try to inculcate it in his/her life. Sometimes even sad movies help us to be thankful for what we have. It might make us feel lucky and leave a positive impression on our lives. If there is any kind of educational value or a great person’s life in the movie, people might try to do the same for a happy ending in their lives just like the movie.
Negative Impact
The negative impact is People try to copy stunts which the heroes of the movies do; Thinking that they are brave which lead s them to injure themselves. It can range from a minor bruise to a major fracture. Movies play an essential role in teaching a person; Especially a child to accept ideas like a criminal attempted to murder, a victim attempted suicide, to hit a person in a cruel way or to do things using violent ways.
Some children are fascinated by fiction movies which can affect their mind and they are not able to differentiate between real life and fiction life. Some horror movies can fear people and children a lot that they get scared of everything and never try to face it. Cinema effects health. Long movies can affect a person’s eyes. Watching a movie can make him very restless.
THE CINEMA AND its IMPACT:
In our society there are many practices and traditions which are based on ignorance and which have withheld the progress of our society. Rigidity of caste system, untouchability, dowry system and purdah system has done enormous harm to our society. Cinema films can do a lot to eradicate these evils. They can be used for promoting national integration, Prohibition, inter caste
marriages, family planning, eradication of illiteracy, etc; Such themes can help the transformation of our society. The cinema can be used as an instrument to help people get rid of obscurantism and also to guide them along the right path it can help in removing ignorance from our society. Not only this, several much needed social reforms can be introduced and brought about with the help of the cinema. The cinema exercises a great influence on the mind of the people. It can achieve splendid results in the field of expansion of education. There are certain subjects, such as science and geography, which can be more effectively taught with the help of talkies.
Cinema films have the power to influence the thinking of the people. They have changed the society and social trends. They have introduced new fashions in society. They may be described as pacesetters. They can create a direct impact on our social life. Films can go a long way towards arousing national consciousness and also in utilizing the energies of the youth in social reconstruction and nation building by a skilful adaption of good moral, social and education themes, and by introduction of popular sentiments, films can, to a great extent, formulate and guide public opinion.
 ‘Cinema’ and ‘films’ are used interchangeably but there is a difference between these two terms. Cinema has specific means to create imaginary time and space, and utilization of these means defines how cinematic a film is. Imaginary time can be created through movement by means of montage, camera movements and movement within the frame and through sound of human voice, music and noise. Space can be created through image with the help of size of shoots, camera angle, deapth of field, montage and through sound ‘off screene’. Films are made of stories dance, music, drama, photo graphy, painting, architecture and many other things that we call cinema. Filems mean the particular movies that we see with all the elements they contain and cinema means the sum of the means made possible only by film technology which distinguish cinema.
THE ADVANTAGES AND DISADVANTAGES OF THE CINEMA:
1.      Recreation is an essential part of life.
2.    Cinema of recent birth but has attained phenomenal popularity.
3.      Heaters to the peopl
4.      Its value in cultural and educational spheres.
5.      Social and political importance of Cinema
6.    It has led to the development of cosmopolitan outlook and can be used for the growth of      international understanding.
7.      Commercial importance.
8.      Its evil effects.
9.      Far reaching effects upon the youth of the country.
Cinema has also thrown down the barriers of time and space. It has made man truly cosmopolitan in outlook. A grand sight in cold Norway is reproduced vividly to people in hot Africa. A political or social revolution in one part of the country is shown the world over. Moreover, it can be used as medium for the enlightenment of other nations about our own culture, customs, manners and policies. It has often been said that one of the potent causes of international misunderstanding, hot and cold wars, is that people of different country do not have the means to understand and appreciate each other adequately. In this respect cinema can serve the goodwill mission of presenting the correct image of the country and the people abroad. Thus, Cinema can be used for establishing mutual international understanding and paving the way for permanent world peace. However, it cannot be neglected that they are the major single factor which earn substantial and much needed foreign exchange.
The Cinema has far reaching effect upon the youth of the country. The films make them prematurely sex conscious and they start reaching the sense of romantic pictures in their regular life. A sense of dissatisfaction with life is engendered among them. Vandalism and increasing acts of rowdyism in the student community are attributed to their indiscriminately frequenting the Cinema halls. Again the youth imitating all sorts of fashions from the films lead to the development of expansive tastes and manners. They grow divorced from grim and dismal realities of life and start living in the fairyland pictures on the screen. In this respect the role of government is significantly felt.
***
In the last fifty years cinema has become not only a serious art form a field of study by itself. Continuous advancement in film technology and high level of conceptualization of the film take viewer to the world outside his day-to-day world providing entertainment. This has made cinema a popular medium of masses. Indian educations and sociologist have shown a surprising lack of interest in the film as an education force and social challenge. Hardly an academic. Systematic scientific studies have been undertaken on the social and psychological impact of the films in India. There is no data available on the systematic use of the documentary and the feature film in social education programs in India. However, experience in Canada, USA, and USSR indicate the documentary and film have contributed to bringing about a better social order and in building up a national community having common thing about nation. Many social scientists have shared their informal experiences and observation regarding the impact that films have created.



In Our State regional Newspaper in three main Supplements of under title like cinema news or some popular 'Masala’ movies reviews to give such entertainment. here some image like this:

Boundaries:
The main limitation of films is its fixed space. The move as a fixed space, some viewers are likely to fall behind. If they are the unable to keep pace with the pace of the film. Since films are mostly the dramatized presentation. There the chances of sophisticated treatment or exaggerated version of a situation or issue. For example if ad adolescent has seen a film with generation gap.Theme. It is likely that he will take this melodrama in literary sense and feel that he also has to face to face many problems due to generation gap in his relationship with his parents and teacher. It is very difficult to define the limits of what is ‘controversy’ in films. For, example the film ‘Andhi’ was banned during the emergency period in India. It was labelled as controversial film. When released people did not find anything controversial on objectionable in the film. The commercial films are made with the audience’s preference in mind but there is hardly any feedback mechanism. The production of film or a replication of a film are costly and require huge amount of finances highly sophisticated equipment for production as well as projection. Film production also requires trained personnel such as Director, Photographer, Sound effects, Musician editor etc. once the film production is complete; it is very expensive to make any changes in the film. Each film require individual distribution network which requires investment of large amount of money and time.

Source:



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Critical Analysis of "Things fall Apart’’! And Okonkwo

   Topic: Critical Analysis of "Things fall Apart’’!  And Okonkwo
   Paper: 14
   Paper name: The African Literature
   Name: Sagarkumar G. Ladhva 
   Roll No: 25 
   Class: MA-III
   Semester: 3
   Year: 2015-16
   E.No:14101022
Submitted to:
   Smt. S. B. Gardi M. K.Bhavnagar University, 
Department of English.

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Preamble
           
 Before Things Fall Apart was published, most novels about Africa had been written by Europeans, and they largely portrayed Africans as savages who needed to be enlightened by Europeans.For example,Joseph Conrad’s classic tale Heart of Darkness (1899), one of the most celebrated novels of the early twentieth century, presents Africa as a wild, “dark,” and uncivilized continent.                 

            
Introduction of the writer :
        Each of my books is different. Deliberately...
I wanted to create my society, my people, in their fullness”

Chinu Achebe in” Thing Fall Apart” presents a different idea of Africans. They have families, religions, honors, music, laws and farming Techniques. He represents the cultural roots of the Igbo in order to provide self-confidence.  He presents people’s dignity that they lost during the colonial period . Chinua Achebe broke apart this dominant model with Things Fall Apart, a novel that portrays Igbo society with specificity and sympathy and examines the effects of European colonialism from an African perspective.
No one could have predicted that this novel, written by an unknown Nigerian, would one day sell nearly 11 million copies.

The actual title is taken from W.B Yeat’s poem  “The Second Coming”

                   “Turning and turning in the widening gyre  
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold.”


This line from the poem reflects Okonkwo’s grasp on his own life, family and power in his community.

Today Things Fall Apart is one of the most widely read books in Africa; it is typically assigned in schools and universities, and most critics consider it to be black Africa’s most important novel to date. Further, the novel has on syllabi for literature, world history, and African studies courses across the globe. The first African novel to receive such powerful international critical acclaim, Things Fall Apart is considered by many to be the archetypal modern African novel.
To understand the impact that Things Fall Apart had on both the African and international literary worlds, it is useful to briefly examine the novel’s historical context.
The first reviews for Things Fall Apart appeared in Britain, then the United States. Though a few of these early Western reviewers took a condescending or Eurocentric tone, for the most part they were positive and emphasized the novel’s significance as an African’s insight into the lives of Africans at the time of colonization.
Three days after the novel’s publication, a Times Literary Supplement review praised own people. Positive reviews also appeared in The Observer and The Listener. The UK-based journal African Affairs attested: “This powerful first novel breaks new ground in Nigerian fiction”
In the United States, The New York Times called Achebe a “Good Writer,” and claimed, “His real achievement is his ability to see the strengths and weaknesses of his characters with a true novelist’s compassion”.
Many of these early reviews emphasized Achebe’s Nigerian roots, and, while they often praised the subject matter and his description of the African society, they tended to pay less attention to the novel’s literary. Reviewers dwelled on Achebe’s vivid portrayal of the Igbo village and the “Insider” quality of the work. The New York Times called it one of the “sensitive books that describe primitive society from the inside”, and the Times Literary Supplement claimed, “the great interest of this novel is that it genuinely succeeds in presenting tribal life from the inside”. African Affairs chimed in: “In powerfully realistic prose the writer sets out to write a fictional but almost documentary account of the day to day happenings in a small Nigerian village without evasion, sophistry or apology”
Just as Things Fall Apart made a large impact on Africans, it has also proven to be popular among international audiences. It is one of those rare novels that can be read and reread from many different perspectives and continues to generate many diverse interpretations. It continues to endure as an international classic.
 The events of Things Fall Apart take place in the late 1800s and early 1900s, just before and during the early days of the British Empire's expansion in Nigeria. The novel depicts details about life in an African culture much different from Western culture. In this chapter, Achebe reveals the following aspects of Igbo culture:

   Some Most Character as like in this novel :


Above image can help to us that understanding of characters.
     Okonkwo:
   
The beginning describes Okonkwo's principal accomplishments that establish his important position in Igbo society. These details alone provide insight into Okonkwo's character and motivation. Driving himself toward tribal success and recognition, he is trying to bury the unending shame that he feels regarding the faults and failures of his late father, Unoka. Essentially, Okonkwo exhibits qualities of manhood in Igbo society.
Familiar with Western literature and its traditional forms, Achebe structures Things Fall Apart in the tradition of a Greek tragedy, with the story centered on Okonkwo, the tragic hero. Aristotle defined the tragic hero as a character who is superior and noble, one who demonstrates great courage and perseverance but is undone because of a tragic personal flaw in his character.
Achebe sets up Okonkwo as a man much respected for his considerable achievements and noble virtues — key qualities of a tragic hero. Okonkwo's tragic flaw is his obsession with manliness; His fear of looking weak like his father drives him to commit irrational acts of violence that undermine his nobleness. In the chapters ahead, the reader should note the qualities and actions that begin to reveal the tragic flaw in Okonkwo's otherwise admirable actions, words, ideas, and relationships with others. At the Achebe foreshadows the presence of Ikemefuna in Okonkwo's household and also the teenage boy's ultimate fate by referring to him as a "doomed" and "ill fated lad."
One of the most significant social markers of Igbo society is introduced in this chapter — its unique system of honorific titles. Throughout the book, titles are reference points by which members of Igbo society frequently compare themselves with one another (especially Okonkwo). These titles are not conferred by higher authorities, but they are acquired by the individual who can afford to pay for them. As a man accumulates wealth, he may gain additional recognition and prestige by "taking a title." He may also purchase titles for male members of his family (this aspect is revealed later). In the process of taking a title, the man pays significant initiation fees to the men who already hold the title.
A Umuofian man can take as many as four titles, each apparently more expensive than its predecessor. A man with sufficient money to pay the fee begins with the first level — the most common title — but many men cannot go beyond the first title. Physical signs, such as an anklet or marks on the feet, may show each title taken or face, so others can determine who qualifies titles.
  The initiation fees are so large that some writers have referred to the system as a means for "redistributing wealth." Some Native American tribes of the Pacific Northwest observe their own version of redistributing wealth through a potlatch ceremony at which the guests receive gifts from the person gaining the honor as a show of wealth for others to exceed.
The reader begins to see beliefs and practices of the Igbo tradition that are particularly significant in the story — for example, the wide division between masculine and feminine actions and responsibilities. Respect and success are based on only manly activities and accomplishments; Taking care of children and hens, on the other hand, are womanly activities.
 In this novel we can saw  that some cultural movement same as same Raja Rao’s novel ‘Kanthapura’ . There cultural; event like as: 



Okonkwo has a big family that follows the traditions of the Igbo people:
                    I have put image to help Okonkow was lead role of Umuofia village ...


some important outlook about Okonkow:
Ø  Okonkwo becomes successful in many ways – he becomes very wealthy, holds a high-ranked position in the community
Ø  Okonkwo is a member of the Igbo people in the African Country of Nigeria .
Ø  Okonkwo is a wealthy farmer and is well respected in his clan.
In Okonkwo's determination to be a perfect example of manhood, he begins to reveal the consequences of his fear of weakness — his tragic flaw. Okonkwo hates not only idleness but also gentleness; he demands that his family works as long as he does (without regarding their lesser physical stamina), and he nags and beats his oldest son, Nwoye. Achebe continues weaving traditional elements of Igbo society into Chapter 2. The marketplace gathering illustrates the Igbo society's reverence for what is "manly" — for example, the male villagers' loyalty to each other when they refer to the woman murdered by another village as "a daughter of Umuofia."
This scene also illustrates the ceremonial nature of town meetings, as the Speaker shouts the customary greeting to the crowd while turning in four different directions. In addition, the reader learns that Umuofian religious traditions include the worship of wooden objects representing not only one's personal god but also the ancestral spirits to whom one prays and makes sacrifices.
To secure his manliness, Okonkwo believes that he should beat members of his family (Nwoye, Ikemefuna, Ojiugo, and his wives) and that he should ridicule men who remind him of his father — even for slight annoyances. Although he may inwardly experience emotions of affection and regret, he cannot show these emotions to others, so he isolates himself through extreme actions.
Examples of traditional wisdom are used when talking about

Okonkwo:
"Those whose palmkernels
Were cracked for them by a benevolent
Spirit should not forget to be humble."
 This proverb means that a man whose success is a result of luck must not forget that he has faults. Okonkwo, however, had "cracked them himself," because he overcame poverty not through luck, but through hard work and determination.
"When a man says yes, his chi says yes also."
This Igbo proverb implies that a man's actions affect his destiny as determined by his chi. Okonkwo's chi is considered "good," but he "[says] yes very strongly, so his chi [agrees]." In other words, Okonkwo's actions to overcome adversity seem justified, but because he is guided by his chi, his denial of kindness, gentleness, and affection for less successful men will prove self destructive.(The chi itself is somewhat ambiguous.)
In contrast, Okonkwo exhibits feelings of love and affection — his first encounter with Ekwefi and his fondness for Ezinma, his daughter. However, Okonkwo considers such emotions signs of weakness that betray his anilines, so he hides his feelings and acts harshly to conceal them.Okonkwo, whose sense of pride and dignity continues until the end, chooses to live and die on his own terms rather than submit to the white man. When Okonkwo tells Obierika that his fellow Umuofians should rise up against the British, Obierika wisely understands that it is too late. Many Umuofians have already "joined the ranks of the stranger." Obierika says that the white man "has put a knife on the things that held us together and we have fallen apart" - the first specific acknowledgment of the book's title, Things Fall Apart. a third institution is established by the British in Umuofia — trade with the outside world. The Europeans buy palm oil and palm kernels from the Igbo at a high price, and many Umuofians profit from the trade. These Umuofians welcome the new trading opportunities, though these activities are effectively undermining the clan and its self sufficiency.
Throughout the book Achebe gives his characters names with hidden meanings; for example, Okonkwo's name implies male pride and stubbornness. When Achebe adds British characters, he gives two of them common and unremarkable British names, Brown and Smith. His third British character, the District Commissioner, is known only by his title. The choice of names and lack thereof, is in itself a commentary by Achebe on the incoming faceless strangers.
After Okonkwo is freed from prison, he remembers better times, when Umuofia was more warriors like and fierce - "when men were men." As in his younger days, he is eager to prepare for war (not unlike Enoch the convert in the preceding chapter). He is worried that the peacemakers among them may have a voice, but he assures himself that he will continue the resistance, even if he has to do it alone. He will be manly in his actions even to the end.

When Okonkwo kills the court messenger, his fellow clansmen almost back away from him in fear; in fact, his violent action is questioned. When he realizes that no one supports him, Okonkwo finally knows that he can't save his village and its traditions no matter how fiercely he tries. His beloved and honored Umuofia is on the verge of surrender, and Okonkwo himself feels utterly defeated. Everything has fallen apart for him. His action in the final chapter will not be a surprise.
 The novel has a tragic end because Okonkwo committed suicide.

 Conclusion:-
In this way the cultural conflict applied to Achebe’s Things Fall Apart unravels is the cultural politics of the white man Nigeria. It shows the true imperialist face behind it.It shows the disintegration suffered by the rich and varied culture of the Igbo and with the intrusion of the colonizers.
My thought begins and ends, as I have said many times, with Gandhi's statement that "We must be the change we wish to see in the world." Not approve of the change, advocate it, or vote for it. Be it. There is no greater or more beautiful confrontation of the second law.

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