A film, at its best, isn’t just storytelling it’s emotional architecture. The plot is only the visible skeleton; what truly moves an audience is how characters feel, how those feelings evolve, and how the viewer is guided to internalize them. When you call it an “emotional delivery system,” you’re pointing to something very real: films are designed to engineer empathy. Think about how this works in practice – characters as emotional anchors, we don’t just watch them we identify with them. Their fears, desires, and conflicts become psychologically “mirrored” in us. Structure as emotional pacing, the rise and fall of tension isn’t just narrative it regulates how we feel moment to moment. Music, visuals, and performance work as amplifiers these elements synchronize to intensify emotional states, often bypassing rational thought entirely. When all of this aligns, the film becomes more than a sequence of scenes; it becomes a cohesive emotional experience.

The film author Richard Bach refers in his book “Butch Cassady and Sundance Kid” is a perfect example of what Bach is pointing toward. On the surface, it’s a story of outlaws, adventure, and friendship. But beneath that, it becomes something much deeper: a lived emotional experience. A movie is not just watched, it is entered. When we sit in a theatre, we suspend our own identity and step into another reality. Time behaves differently, emotions are heightened, and the boundary between “self” and “character” softens. In that space, we are no longer merely observers, but we become participants. This is what Bach calls an “illusion” not in the sense of something false, but something constructed yet meaningful. Just like life itself in his philosophy, the movie is a crafted experience that feels real while we are inside it.

In Butch Cassidy and the Sundance Kid, the friendship between Butch and Sundance becomes the emotional anchor. We don’t just understand their bond—we feel it. Their risks, their humour, their defiance, even their inevitable fate, all of it becomes our experience. That’s the “emotional simulation.” Movies allow us to experience life without consequences. That’s precisely why they are powerful. They let us rehearse emotions (love, fear, loss, courage)explore identities beyond our own, gain insight without direct suffering.

In Richard Bach’s worldview, both life and cinema operate similarly—we step into roles, live through them, and eventually step out again. In a sense, both cinema and literature create a safe illusion of reality a constructed space-time bubble where we can explore identity. In fact, some of the most impactful films are remembered not for their plots, but for the feeling they leave behind something difficult to articulate, yet deeply personal.

One latest example of a movie is ‘Dhurandhar’ it is a highly successful Indian action-thriller film directed by Aditya Dhar, starring Ranveer Singh, about an Indian spy (Hamza) who infiltrates Pakistan’s notorious Lyari underworld to dismantle terror networks targeting India, blending real events like the IC-814 hijacking with fictional espionage, serving as a large-scale blockbuster sequel to Uri. The story follows Hamza’s deep undercover mission within Rehman Dacoit’s gang, played by Akshaye Khanna, a powerful and feared Baloch gang leader, facing internal conflicts and political intrigue in Pakistan while gathering intelligence for RAW, ultimately exploring themes of patriotism, sacrifice, and complex covert operations.   The character is inspired by the real-life Karachi gangster of the same name who was involved in extortion, narcotics, and organized crime. Khanna’s portrayal has received significant attention, particularly for a viral entry scene.

Moviegoers and readers identify with stories through the characters. The most powerful way to reach an audience is through the characters’ emotions. For only when we connect with the characters on an emotional level, the communication becomes deep and meaningful. Well-written scenes that include characters’ emotions allow the audience to absorbedly take part in the story and bond with the characters. In our real life, we meet and interrelate daily with other people. Unlike in stories, many of these interactions are apparent. While some audience rather enjoy a more distanced, intellectual challenge, many others want to engage with characters in books and movies on an emotional level. Through the character’s emotions, experience, learning etc the audience live their lives.  Writing, plotting, editing, etc is not a joke. It requires great talent to script a story, choose the right actors to emote those characters, a great writer to write dialogues, a great editor to edit scenes to reinforce significance of emotion in creating a persuasive story.

Key Aspects of the Synergy created in a movie are emotional channel wherein characters serve as channels for the audience to experience feelings, where well-developed characters heighten the audience’s investment in the story. Film is highly effective at inducing empathy (both mental and embodied), allowing viewers to feel emotional shifts in real-time. Catharsis and release. Films provide a “safe space” for audiences to experience intense emotions—such as fear or sadness, remove their pent-up negative feelings in a process known as catharsis. Finally, the technical integration: this synergy is achieved by combining the actor’s performance with technical elements like lighting, music, and sound design to amplify the emotional impact.

The 1965 film Guide is widely regarded as a masterpiece of Indian cinema, featuring a “superb” and pioneering plot that was far ahead of its time. Directed by Vijay Anand and based on R.K. Narayan’s novel, it is praised for its character depth, realistic flawed characters, and powerful emotional arc. The film departs from typical Bollywood tropes by portraying realistic, flawed human beings rather than black-and-white heroes. Raju (Dev Anand) evolves from a charming tour guide into a deeply emotional, flawed man, and eventually to a spiritual seeker.

The plot bravely explores unconventional themes for its time, including a married woman (Rosie, played by Waheeda Rehman) seeking a divorce and living with another man (Raju) to pursue her own identity and passion for dance. Bothe Raju and Rosy become a live-in couple. This was ahead of its times. The story explores a profound transformation, moving from a tale of love, fame, and greed to a story of sacrifice and spiritual awakening. It follows a strong, winding character arc (guide –  lover –  convict –  saint) that keeps the audience engaged throughout its duration. Despite some deviations from the original novel, the film’s climax where Raju voluntarily fasts for a village during a drought provides a powerful, cathartic end to his spiritual journey, as noted in the film’s synopsis. The film is recognized for its artistic brilliance, blending drama, romance, and philosophy, along with iconic music by S.D. Burman.

In 1965 Guide had a profound and lasting impact on Indian cinema, breaking societal taboos and redefining film aesthetics, rather than having a specific 1969 impact. It was considered “way ahead of its time” for its themes of female agency, adultery, and spiritual redemption. This is how a good movie unites strangers in shared emotions.

How often you’ve come across a PhD scholar happy with his/her guide? How many cheerful PhD scholars have you seen? Everyone dreams of a pleasant, helping, and dependable in short a ‘dream supervisor’ for completing the PhD degree. But let me tell you they don’t exist. The reality is that even on the rare occasions when supervisors do turn out to be masterminds, or even just very brainy in reality, they are still neither gods nor saints; more likely they are simply overworked and underpaid, and just trying to do their job which is often thankless.

Yes, you are at liberty to pass on the buck of incompletion, hypothesis getting nowhere, inadequacy of primary data, literature review going nowhere, bibliography not completed etc, etc on your supervisor. Well, till you get your PhD degree every bit that you are doing is an “Illusion.”  The relationship between a doctoral candidate and the supervisor (guide) needs some definite outline; hence I am giving this brief account based upon my experience.

Your supervisor is responsible to conduct and monitor the prescribed course activity and report its progress to the Center for Research. Some Universities have the prescribed formats of course work while many universities in the developing nations are yet to formulate it. The course work must contain topics related to how to scientifically review the literature, collecting primary data, designing the instruments to collect primary data, centering the primary data on meeting the research objectives, hypothesis of the research, and the statistical tools to validate the hypothesis. In my opinion if the research scholar has a good industry experience, has exposure to professional life then, the course work option should be left flexible.

A PhD usually concludes in a dissertation of around 100,000-3,00,000 words, based on research carried out over the course of study. The research must be original work which aims at creating new information or supposition in a particular area. In this case the specialized area chosen by the student. It has been observed that many Universities initially make the students go through an M.Phil program and then upgrade them to PhD status after further work on the chosen topic. Thus students who are not considered to be doing work appropriate for PhD level can instead submit a shorter thesis and gain an M.Phil.

PhD students are expected to work independently, supported by their center and a supervisor. They need to work by themselves, attend seminars, workshops to gain many insights on the chosen topic. During their study, students are expected to publish some papers/articles, present their work at conferences, which will allow them to get feedback on their ideas for their dissertation. Be critical and reflect on your work. Take some time after intervals, before final revisions rework, acknowledge the limitations of your PhD. Your final work should elevate the tone of your PhD – leave the reader in an affirmative frame of mind.  Thus, discuss with your guide why, when, how, how many – will your work bring in some change to the world?  What we see most often is statistical authentication of the hypothesis. Well your PhD has qualitative importance also.

What is role of a guide in PhD program?

• Suggest and guide the research student for his dissertation on a suitable topic.
• Guide his participation in conferences, seminars and other discussion group of relevance and for paper presentations.
• Regularly follow up and monitor the progress made by the student in conformity with the study plan. The advent of Internet allows the guide and the student to communicate with each other through different Medias. But, meet at least once in six months personally.
• Suggest modifications/ changes if any required in the scope of the research study necessary by the external factors to make the study meaningful and relevant.
• Provide a quarterly progress report to the Centre for Research in the prescribed format for its review and feedback (if format is available )
• Make valid recommendation of the study to the doctoral evaluation committee in accordance with the specific requirements as may be stipulated.
• Recommend referees for the assessing the dissertation.
• Thus the guide must be available for consultation, collaborate with the Research Centre for brining in the best practices for the doctoral program.  The guide’s and student’s relationship may be described as ‘normal working relationship.’ 

If you guide tries to become your superior, your employer, your associate, your best friend, your editor, your search engine, lends his/her shoulder to cry, is socializing with you to remove your boredom is simply crossing prescribed limits.

Your PhD supervisor is a human like you. He/she has a character. Understand personality of your supervisor. He/she may like to see regular progress reports, others may be less demanding, particularly if your supervisor is in regular contact with you keep him/her updated. Whatever the case may be, it is important for a student to meet the supervisor, sort out problems if any, avoid misapprehension and mutual disappointment if any, make the first move always. Take the first initiative and generate a good relationship with your supervisor. Do not overburden your supervisor with too many similar drafts – they will not be able to cast a fresh eye over it after the second draft. Do not burden your supervisor with trivia, discuss what is important. I want to clarify one important point here – do not assume silence from your supervisor means approval, while forgiving them for assuming that silence from your end means you are doing your work without any problems.

However, a PhD scholar produces a good PhD when he/she opens up new area, provides amalgamating framework, answers long-standing question, does a through exploration of an area of study, removes bias in existing knowledge, validates a theory, provides empirical data, develops new methodology, develops a new tool to a finding in short explores something new, and is a brave innovation. Remember friends – let your PhD contribute to the goodness of the society. Don’t look at it as merely a certificate.

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