Art Cinema and Popular Cinema

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NAME: AMI SOJITRA
PAPER: MSMC
COLLEGE: DEPARTMENT OF ENGLISH,MKBU
TOPIC: ART CINEMA AND POPULAR CINEMA
CLASS: M.A. PART 2
amisojitra23@gmail.com

 ART CINEMA AND POPULAR CINEMA

 

 INTRODUCTION

Bengal was the first state to be colonized by the British. They have started to rule over India from Bengal. Most of the revolution took place in Bengal and in the initial stage of Indian film industry (Bollywood) Bengali directors have been played vital role in the development and the progress.

It was the time when drama and written material like poem, novel, stories etc. were only the source of knowledge and entertainment. As from the time of Shakespeare only stories of high class people who have a power position used to be the hero of the story even our most of the myths also support this argument. The language must be ornamental because elite people used such language which common man cannot speak.
As the Indian film industry was established in India, the theme was to go back to your roots; Initial films were about myths and Indian great history. Film is an instrument of entertainment but some of the time film becomes more than only the source of entertainment. Film is an audio visual medium so anyone can enjoy the film. So the film makers are not always the deep thinkers they are just story tellers. The story which may provide entertainment, it made us laugh or sad, it gives relief or disturb the audience.
According to Rabindranath Tagore:
"Form in art changes according to the means it uses, I believe that the new art that could be expected to develop out the motion picture has not yet made it appearance. In politics we are looking for independence in and they must do the same. Every art seeks to find its on Independent manner of expression within the world it create; otherwise it's self expression is undefined for the lack of confidence in itself......No creative genius has yet arrived to deliver it from in bondage. This act of rescue will not be easy, because in poetry, painting and music the means are not expensive, where as in the cinema, one need not only creativity but financial capital is well."
Thus, film is not only about creativity it is also about money or finance. Some of the time producers may fail to produce such a kind of film because lake of technology or maybe lack of finance. The film "Sayrat" is the best example that what the producers can do with the film if they have a financial support.
We can divide cinema into two types
1) Dominant cinema
2) Counter cinema
Dominant cinema has been made for entertainment purpose. Basically the cinema is medium of entertainment which is based on fiction and gives aesthetic pleasure to the audience. The things used to represent with the glamorization. Popular cinema can be considered as a dominant cinema. Counter cinema is also entertaining the audience but it has real story. it's based on reality which may be fails to entertain the audience but the cinema have more than entertainment. The things used to represent with the nude reality. Art cinema or parallel cinema can be considered as a counter cinema.

ART CINEMA:

One moment occurred in Indian cinema which was leaded by such directors and producers like Bimal Roy, Satyajit Ray, Ketan Mehta, Ritwik Ghatak,Raj Kapoor etc. have been introduced some avoidable part of India behind The Great Glory parts. The unheard voice was raised in parallel cinema. The glory of India is the various culture languages of the people which was reflected in Kotadi or the rural spaces. But generally in the great stories these things used to hide behind the curtain.
Cinema is not always only made of dialogues but it has meaningful frame, eye of camera, light-dominant, action, location and background music, Pause, Slow motion and fast motion which suggest more than dialogues and action. Popular cinema has also used this but parallel cinema has used this all in sensational way. Some of the time the frame suggest more than describe in the picture.
Cinema used to describe every descent things and if it is not that than it will be cover up by glamour. Most of time the bright part of country has been shown more brighten in the cinema. But the parallel cinema has focus upon the dark and the grey part of country. The thing which may provide entertainment and it gives feeling of relief or the reality will disturb the mind. Those who have money and power have been never at the side of victims may they never feel that so it was always voidable part of them and without feeling of such a pain one may not understand.
In parallel cinema, camera watched the things from both side and then audience can decide or give the judgement. Parallel cinema has been focused on the small corner of the India it maybe corner of a small village of Gujarat or the corner of Calcutta. Parallel cinema in India was produced after the Independence. After the exploitation of 200 years how the Indian looks is described in the most of the parallel cinema. Not the people are exploited by British but now their own people have started to rule and again poor become worst.
On other side the growth and progress of town and city where industrialization has attract the people from villages so the migration from City to village in some of the film is describe positively while some film have described disastrous impact of industrialization and migration. Film like Manthan shows how people of rural are uneducated and their life, politics, Social awareness, life of women, untouchability is shown in Bhavni Bhavai and Achhut Kanya, and industrialization, power, hegemony, subaltern, subjectivity represented through Do Bigha Zamin and other social issues were highlighted by parallel cinema.

POPULAR CINEMA:

The popular cinema is made to better suit what the director, producers, and actors consider as audience entertainment. Popular cinema is designed around selling tickets and making money at the expense of catering to the demands of an audience. 
An example of popular cinema is the Shaw shank Redemption directed by Frank Darabont. The cinema is based on a young banker (Andy) he had his life changed quickly when he was convicted of the murdering his wife and lover then sentenced to life in prison. As the story unfolds, Andy shows that he is a not a typical prisoner.Films were created and designed around the concept of transforming the art of still photography into a moving picture. Film has never been made for the sole purpose of catering to what audience¶s desire. Films have always been made from the artistic point of view of the director, producers, and writer.

The contribution of popular cinema is immense as it connects entire India, actor Sharmila Tagore said here on Tuesday. If she wrote her memoirs some day, she would throw more light on this subject, Ms. Tagore added. “I have learnt quite a few things from my film-scholar friends on how to look at popular cinema. We always criticize popular since but I think that the contribution of popular cinema is immense as it really connects entire India and tell us stories in a different way,” Ms. Tagore said while interacting with press-persons at the 21st edition of the Kolkata International Film Festival (KIFF).

CONCLUSION:

Thus, Art cinema and popular cinema both are similar to each other and now a days amalgamation of both the types of film become helpful to give best film to indian film industries. Film is not all about story but it has more than a simple story.

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Revolution 2020 and One Night @TheCall Canter

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NAME: AMI SOJITRA

TOPIC: CHARACTERIZATION IN THE TEXTS OF CHETAN BHAGAT WITH THE REFERENCE OF ONE NIGHT @ THE CALL CENTER AND REVOLUTION 2020

PAPER: NEW LITERATURE

COLLEGE: DEPARTMENT OF ENGLISH, MKBU

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CHARACTERIZATION IN THE TEXTS OF CHETAN BHAGAT WITH THE REFERENCE OF ONE NIGHT @ THE CALL CENTER AND REVOLUTION 2020

 INTRODUCTION

‘One night at the call center’ by Chetan Bhagat is a story about the lives of six people working in a call center searching for true happiness. Beginning with a messed-up love story of the narrator “Shyam”, to the separated family life of the retired military person, we can see different short stories of each individual fighting to get peace. In the midst of their complexities they work together at the “Connextions” call center under the Manager Subhash Bakshi who acts like a villain in the story. Towards the end of the book we can see how “God” comes to rescue each one of them which leads into a major transformation of everyone’s life. We also see the downfall of Mr. Bakshi, who is taught a lesson by his agents whom he considered ‘good for nothing’ and exploited them.

  Revolution 2020 is written by Chetan Bhagat. The fiction has been started in Varansi which is one of the holy place of India. Even the protagonists were very little. Than they grew up and their dreams leads them in different direction.

Love and the Politics remain the center of the novel even there was love triangle. Money is important to live the life but money is not life.Arti, Gopal and Raghav are best friends and the protagonists of the fiction.

The novel talk about dream, love, ambition, politics, friendship and journalist. In modern time these elements become part of our life. At the every point of life these things comes to us. The realization is something important and after knowing the mistakes one have to face a big turn in life and Gopal has done that. Being a son of poor man he has dream of earning a lots of money and for that he has unknowingly stepped in to politics.

SHYAM MEHRA(ONE NIGHT@ THE CALL CENTER)

First of all the author introduces us to Shaym(Shyam Mehra)– the narrator and the most important character of the book who is the hero of the book along with his close friend Vroom. For Shyam, Priyanka who was his girlfriend as well as a colleague is the most important person in the whole story. Throughout the novel we see Shyam narrating his past dates with Priyanka with whom he has had a break up. He is a person who lacks self-confidence and therefore he is unable to achieve his girlfriend as well as a good position at his work place. He is extremely talented and efficient. Towards the end we see how he transforms himself into a completely new person and achieves whatever he wants in his life.

CHARACTER OF GOPAL (REVOLUTION 2020)

Aarti and Gopal have been childhood friends, and share a deep but platonic relationship. As teenagers, Gopal pushes Aarti for more, but she later reveals that she was not ready for anything. Gopal gets a low ranking in the AIEEE exams while Raghav is among the toppers. Gopal moves to another city (Kota), to join reputed coaching classes to help with his ranking. Raghav becomes a celebrity in the town after he passes the Indian Institute of Technology entrance exam. Aarti falls for Raghav during Gopal's absence.

Gopal becomes a rich and successful businessman, but is still heartbroken over Aarti. Despite sacrificing his lifelong love to bring about the "revolution", Gopal still doubts whether he is a "good man".

CHARACTER OF VARUN(ONE NIGHT@ THE CALL CENTER):

Varun Malhotra, call name Victor Mell, is Shyam’s friend. He loves Bikes and speeds so friends call him Vroom. He stays with his mother who has separated from his father and his father was a businessman. We can say that Varun is the most carefree person in the novel. He has a soft corner for his colleague Esha, but she has never taken him seriously till now it seems and as we know he is a very good friend of Shyam so he helps him to get back with Priyanka. Vroom is the one who saves “Connextions” call center from a major problem using his skills. In the end he gets along with Shyam and starts his own web based company.

CHARACTER OF PRIYANKA (ONE NIGHT@ THE CALL CENTER)

Priyanka- an intelligent and a practical girl who is too pre-occupied with her mother who was an extremely important person to her. For her mother’s sake she had decided to break up with her boyfriend Shyam and marry NRI Ganesh. However, things turn out to be different in the end and Priyanka chooses her love over her mother’s wishes for the sake of her own happiness.

CHARATER OF AARTI(REVOLUTION 2020):

Aarthi was in love with Gopal since her school days. This is clear from her dairy. If she has Gopal in her mind why did she love Raghav. Aarthi says "It’s sometimes about timing, and sometimes about how much you push’. So then does she accept Raghav only because he pushed her harder than Gopal. How did she ever allow herself to get " pushed" when she loves Gopal so much. More so isn't Gopal clear enough to her that he loves her since start. Why is she so ambivalent?

Aarthi could have drifted to Gopal for the time and love he gives her which she is deprived of from Raghav. But why should she have intimate relationship with him. Though unnecessary this may be the authors plot to make the story interesting and practical  in his terms. Since "Passions repressed for years came forth unleashed" did it become possible for Gopal to let leave Aarthi to Raghav after some dramatic events? Would it have been possible otherwise?

CHARACTER OF RAGHAV(REVOLUTION 2020):

Raghav decides to become a journalist and pursue a career in a newspaper publishing house. Raghav, AS a journalist, exposes the corruption-funded college and is eventually fired from the newshouse. Raghav starts his own newspaper, Revolution 2020, to "change the world" and expose the corrupt system in India. After another expose, Raghav's newspaper is shut down by politicians and thugs, and he loses almost everything.Raghav is still passionate about his activism and forgets about Aarti.

CHARACTER OF ESHA(ONE NIGHT@ THE CALL CENTER):

Esha Singh who wants to become a model. She was pretty and had been struggling quite hard to get modeling assignments but perhaps her short height is a barrier (obstacle/wall) for her choice of career. She had slept with a Designer once, to get an offer, who turned out to be a cheat. Since that incident she had formed a guilt within her which was one of the reasons of her not accepting Vroom’s proposal. In the end she decides to give up her dream to become a model and continued to work at the call center.
An aspiring model who run away  from her home because just want to b a model so that she had joined callcenter so that she could achieve her dreams. Just because her desire to b a model she had slept with one designer to get a offer and after that she realize that she was cheated by him and with the guilt she decides to give up her dream to become a model and continued to work at the call center.
 

CHARATER OF RADHIKA(ONE NIGHT@ THE CALL CENTER):

Rahika Jha, who stays with her husband and in-laws. She had married her husband against her parents’ wishes and had transformed herself completely in order to adjust herself into an orthodox family. She had been working very hard to mange her house and work. Unfortunately she finds out her husband’s affair with another woman and decides to give him a divorce. In the end she quits her husband’s family and goes to live with Esha.

CHARACTER OF MILITARY UNCLE(ONE NIGHT@ THE CALL CENTER): 

Military Uncle who live alone and having some problems with his son and grandson but at the end he realizes his mistake and decide to apologize. Military Uncle who works at the call centre to earn few money apart from the pension that he gets.

He had some misunderstanding with his Son and daughter-in-law but in the end he realizes his mistake and decides to apologize and go back to them. 

CONCLUSION:

Here in both the novel Chetan Bhagat has broken his own image of characters and the names of the character. In Revolution 2020 the names of the characters are appropriate to the nature of character but in One Night @ The Call Center has characters who have totally different characteristics than their names.


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Waiting for Barbarian and Robinson Crusoe

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NAME: AMI SOJITRA

PAPER: AFRICAN LITERATURE

TOPIC: COMPARISON BETWEEN ROBINSON CRUSOE AND WAITING FOR BARBARIAN

COLLEGE: DEPARTMENT OF ENGLISH, MAHARAJA KRISHNAKUMARSINHJI BHAVNAGAR UNIVERSITY

amisojitra23@gmail.com

 

Robinson Crusoe

Daniel Defoe wrote Robinson Crusoe at the age of fifty-nine and it was an immediate success. The story of Robinson Crusoe that has delighted the young, and the old for that matter, for over two-hundred years was actually based on an experience in the life of a seaman, Alexander Selkirk, who spent four years on the deserted island of Juan Fernandez. - See more at: http://www.bachelorandmaster.com/britishandamericanfiction/robinson-crusoe-introduction.html#.WOKIzJCY7qM

 

          Daniel Defoe wrote Robinson Crusoe at the age of fifty-nine and it was an immediate success. The story of Robinson Crusoe that has delighted the young, and the old for that matter, for over two-hundred years was actually based on an experience in the life of a seaman, Alexander Selkirk, who spent four years on the deserted island of Juan Fernandez. 

         That Robinson Crusoe is a Defoe character is evident from the moment he finds himself shipwrecked. He acts immediately in the interest of survival, salvaging such necessities as he can from the stricken ship and building a rude shelter. Yet Crusoe’s concern is not only for his physical well-being; he begins a journal in which he plans to record his spiritual progress as it is reflected in the daily activities that mark his sojourn on the island. For nearly two decades, Crusoe works to create a life for himself, building what he needs, improvising where he must, and ultimately replicating a little corner of England on the desert island. What he accomplishes is beyond basic survival; he fashions an English life that is dependent on the transformation of raw materials into the necessities of his culture. He plants grain that he bakes into bread, he domesticates goats so that he might have milk, and he turns a cave into a cozy fortified dwelling that boasts comfortable furniture. When Friday arrives, Crusoe’s little English empire is complete: The conqueror has mastered both the territory and its people.  

         Defoe has created in Robinson Crusoe a man very like himself and very much a typical eighteenth century Englishman. Crusoe’s plebeian origins, his earnest industry, his tendency to see religious meaning in the mundane, and his talent for overcoming misfortune are all Defoe’s qualities. Like the average Englishman of his time, Crusoe is something of a bigot, and although he treats Friday well, the slave is never offered his freedom and must call Crusoe “Master.” Crusoe triumphs over his circumstances and environment, and indeed he manages to provide himself with a little paradise on earth; but he is English to the core, and with the first opportunity he returns to England and settles down to family life. 

Waiting for Barbarian

       “Waiting for the Barbarians” is a novel by the South African- born  Nobel  laureate  J. M. Coetzee.  First  published  in 1980, it was chosen by Penguin for its series Great Books of the 20^th Century and won both the James Tait Black Memorial Prize and Geoffrey Faber Memorial Prize for fiction. American composer Philip Glass has also written an opera of the same name based on the book which premiered in September 2005 in Erfurt, Germany.Coetzee took the title from the poem "Waiting for the Barbarians" by Greek poet Constantine P. Cavafy.

          J.M.Coetzee’s  Waiting for the Barbarian is the Meditative and Melancholy tale of an aging colonial magistrate’s futile struggle against the stupidity, brutality and racism of a government which he has served complacently all of his life. The unnamed magistrate is reluctant to take any action which would disrupt the pleasant and secure course of his life; he wishes to serve out his days “On this lazy frontier, waiting to retire”, spending his time engaged in “hunting and hawking and placid concupiscence”. Waiting for Barbarians is an allegory that much is plain from the generic terms used to describe places, people and events. It is a story meant to tell a different hidden story. It is as much about modern day warfare and scare tactics. The title ‘waiting for Barbarian’ is taken from a line from Greek poet Constantine P. Cavafy. The narrator calls himself an old man and spends almost all of his leisure time thinking of sex with girls. The difference between reading a novel such as Waiting for Barbarians as art and as propaganda is that art emphasis the universal. It is about human experience, the individual experience or the societal experience propaganda is about a specific issue with specific view point, specific agenda, about a particular society. 

         Waiting for Barbarians is about two main things: Complacency and Pain. It is a story pain, physical pain, and how its influence can drive and determines an entire society. Physical pain torture or threat of torture plays a large role in barbarians. Coetzee’s shows how at the same time man can be so afraid of physical pain as to trump any conviction or idea but also willing some times eagerly to dole out the some pain on others. The“Empire” in Barbarians is an established power in order to achieve some vague perhaps impossible objective. The Magistrate on Barbarians is a figure aroused from his complacency by a needling conscience that finally drives him to resistance against the very organization he embodies.
         The nameless character, referred to only by his title is a cog in the well- old machine of power he begins as a rather non- sympathetic character and through his transformation becomes a powerful alley for justice and doing what is right, but as usual with those who try to do what is right in a difficult situation, he comes to ruin. His physical bodies abused and destroyed he is shamed and outcast laughing stock, but what the Magistrate retains is conviction, is a sense of displacement, a sense that he doesn't belong to or in the empire and does not want to be part of its ways. He wants  to live “Outside History”. He wants to be inhuman because only humans are capable of the kinds of horrors against other humans that make us call them monsters.

AS POST COLONIAL TEXTS

    The major post-colonial theme that is extremely troubling to readers of the book today, particularly perhaps for Western readers, is the way that Robinson Crusoe seems to assume an ownership over property that he has no actual claim over, simply because of who he is.

       The post-colonial perspective on Defoe's Robinson Crusoe stems from the strand in Post-colonial studies that goes back to the classic realist or canon making texts of the colonial culture that participate in the textual politics of colonialism by upholding or allegorizing a colonial point of view. Crusoe's relation to the Black slave Friday is the issue here. The linguistic and religious colonizations are at work in the so-called civilizing project of Friday as undertaken by Crusoe. Joyce saw Crusoe as a typical Anglo-Saxon colonist. So did the likes of Coetzee in Foe where he tries to draw our attention to the silencing of the sub-altern voice in the text. Even Marquez's The Shipwrecked Sailor has shades of Robinson Crusoe but it subverts the colonial heroism-rhetoric in Defoe's text by making it prey to an inflated media construct at the end of his novel. Crusoe's home-buliding in the island is seen as a perfect metaphor for the process of colonization. The island is also called a 'colony' late in the text.

      As far as the feminist angle is concerned, Coetzee's re-writing of it in Foe also makes gender a central issue by making a woman, who spent the days in that island with an old Crusoe and the dumb Friday, the narrator of the novel. The radical exclusion of the female which seems to characterize, typify and ground Crusoe's island-colony is inverted by Coetzee who not only inserts a woman (Susan Barton)  into the tale but lets it become her tale; told by her. That the repressive agenda of patriarchy and colonialism go hand in hand is the point driven home.

"The main character in his allegorical novel, "Waiting for the Barbarians," is a magistrate in an outpost at the edge of an empire. He is aware of the dangers of passing judgement on the barbarians: while his fellow settlers blame them for lying drunk in the gutter, the magistrate finds fault with the settlers for selling them the liquor. Yet for all of his sensitivity he fails to understand the barbarian girl he adopts out of a mixture of compassion and lust. The cultural distance is too great, and at the end of the novel the magistrate concludes that his liberalism was no more helpful to the barbarians than the behavior of the soldiers who make war on them"

 CIVILIZATION 

 The meanings of civilization

1)the control or governing influence of a nation over a dependent country, territory, or people.

2)the system or policy by which a nation maintains or advocates such control or influence.

3)the state or condition of being colonial.

4)an idea, custom, or practice peculiar to a colony.

    The Magistrate begins to question the legitimacy of imperialism and.personally nurses a barbarian girl who was left crippled and partly blinded by the Third Bureau's torturers. The Magistrate has an intimate yet uncertain relationship with the girl. Eventually, he decides to take her back to her people. 
     Like an ideal colonizer Crusoe establishes his cultural dominance on the island too. He establishes the supremacy of his religion. Though the sincerity of Crusoe’s conversion and his religious commitment have been debated by critics, in Robinson Crusoe Defoe creates a Protestant who is tolerant, committed to essential practices, keenly evaluative of his own behavior in relation to his religion, intensely personal in his encounter with God, and committed through acts of interpretation to seeing God’s hand in everything. In the novel Crusoe develops a complex relationship with Friday, his find Friday willingly submits to Robinson’s orders in gratitude for having being rescued. Friday voluntarily accepts a lifelong servitude under a mutual verbal agreement.

RELATIONSHIP IN BOTH THE TEXT:

      Robinson Crusoe is man of Man Trader. The relationship between Crusoe and Friday is rather mixed one. We are confused in throughout the novel that what the relationship between them is??  Because at first point of view we can say that they have relationship of father and son because Crusoe teaches Friday that how one can well behave in manner or teaches him that how to eat and he teaches him Christianity also so from this aspect we can say that they have relationship of father and son. But from the second aspect we realise that this is not the relationship of father and son but this is the relationship of master and slave from the second aspect. This colonial aspect of master slave relationship is shown in throughout the novel example like,

[ "I made him know that his name was to be Friday...
I likewise taught him to say Master, and then let him know, that was to be my name".]

      This thing shows that Crusoe is master and he gives him name and snatched his identity from him and Crusoe never inform Friday of his real name, it displays certain hierarchy system in this novel example like Crusoe is Master and he is ‘Higher’ in position then Friday who is merely a servant of Crusoe. This is shown time of Crusoe that in that time servant is named by his master and this thing reflect by Daniel Defoe in this novel without knowing that what is his real name. In that period of time when slaves were named by their colonial masters and this is portrayed well when Crusoe gives Friday his name, without regard for what his real name might be. Friday, however, does not take this master-servant relationship badly; in fact, he welcomes it in an extremely grateful manner and displays behavior that Crusoe sees as surrender to him example like,

"he kneel'd down again, kiss'd the Ground, and laid his Head upon the Ground, and taking me by the Foot, set my Foot upon his Head; this it seems was in token of swearing to be my Slave for ever;"

        The relationship between the magistrate and the barbarian girl is certainly complicated. It begins simply enough in that the barbarian girl is assigned the task of cleaning up the magistrate's rooms. Although she does a poor job of completing this task, the magistrate keeps that to himself and endures the presence of the girl, at first out of pity and then out of selfishness.

       The relationship between the Magistrate and the barbarian girl in Waiting for the Barbarians is not at any point in the novel, a typical relationship. The Magistrates guilt for having been involved in a government that has for so long mistrusted and mistreated the barbarians manifests itself in his attraction to the barbarian girl. The affair begins on his part, as an innocent infatuation with the barbarian girl. Throughout the novel, he becomes more and more aware of the subconscious reasons he has for having such an attraction to the girl. From the time when he first begins the relationship with her to the time he leaves with her people is a progression of the clarity with which he views the relationship. 

              The Magistrate begins to be intrigued by the girl in a fairly natural way. As he sees her, a blind barbarian girl begging on the streets, left behind by her people, he feels an attraction for her. They begin their relationship (if such a one-sided relationship can actually be labeled one at all) in a completely physical way. The Magistrate is content with only dealing with her body. He massages her, bathes her, and sleeps next to her. He is completely satisfied with this seemingly normal relationship. So I lie beside this healthy young body while it knits itself in sleep into ever sturdier health, working in silence even at the points of irrediable damage, the eyes, the feet, to be whole again.As a combination of a lover and healer, the Magistrate feels comfort in being with the scarred, broken, barbarian girl. While he may not know yet why, the washing and massaging of the girls body brings him a certain healing effect. The Magistrate easily succumbs to ! the feeling of peace he receives from pampering her. 

CONCLUSION:

Thus, Robinson Crusoe and Waiting for Barbarian both are different texts and both were written by different perspective. We can connect both in post colonial view and it is not false to say that barbarian or the one who is slave has always suffered and the relationship between black and white is always like master and slave.


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Daniel Defoe wrote Robinson Crusoe at the age of fifty-nine and it was an immediate success. The story of Robinson Crusoe that has delighted the young, and the old for that matter, for over two-hundred years was actually based on an experience in the life of a seaman, Alexander Selkirk, who spent four years on the deserted island of Juan Fernandez. - See more at: http://www.bachelorandmaster.com/britishandamericanfiction/robinson-crusoe-introduction.html#.WOKIzJCY7qM