Page 13 - THE CHANGING WORLD OF RAY

the self’, in which he drew thus, becoming a living ex-

the evolution of the ‘persona’ tension of the mask. Simi-

from the sacred use of masks larly to the opening credits,

in rituals to the legal Kalikinkar’s dark vision

constitution of the (see Table 2.2 in Appendix)

Roman person, and begins with a slow zoom-

through the Chris- in and close-up on the face
tian moral person to of Doya, which gradually

contemporary psy- transforms into the lumi-

chological ideas of nous face of Durga/Kali. A

the ‘self’ (1985/1938: strong white light highlights

1-25). In similar the face of the archetype of

terms, Devi portrays Ma contrasting to the black
the evolution of the background of Kalikinkar’s

archetypal symbol vision. For both Jung and

to the liminal mask, Durkheim ritual life was

and from the mask above all a matter of person-

to the temple, where al experience, opening the

she becomes a living way to connect to the wider
Goddess, disappearing in the collective (i.e. ‘society’), both

muddy waters of the sacred in the form of consciousness

river. or in respect to the uncon-

The evolution of the mask scious, through the lumi-

to a social persona antici- nous experiential concept of

pates the rite of passage of ‘numinous’ (Otto 1958: 5-11,

Doya from a young inno- and Paganopoulos 2010:
cent girl to a living goddess, par.1, 3). Kalikinkar’s vision

adorned and worshipped by idealizes Doya’s face, visu-

a male crowd. In the film, alized as a luminous Imago

she is made to wear the so- Dei in Jung’s terms, or in

cial mask of Ma, unwillingly Hindu philosophy, a mirror

transforming herself into a of the illusion of the ‘inner

material manifestation of self’ (Jiva), which is ‘only re-
her father-in-law’s vision; vealed by intuition, by reve-