Film Aur Screen

Hamara zehan aik screen hey. Jis par zindagi ki film chalti rehti hey. Is screen ki do sthin hein. Aik satah woh hey jis par maadi hawaas ki film chalti hey. Jo bhi khwahisaat aur takazey, khayalat ki soorat mein warid hotay hein in ka aks shaoor ki bairooni satah par parta hey aur in taqazoon ke tehat maadi jism ke aamaal o vazayf poooray hotay hein.

Screen ki doosri satah zehan ki geherai mein mojood hey. Usay androoni satah bhi keh saktey hein. Is satah par ittllaat ka tasweerai aks roshni ki shakal mein parta hey. Aam halaat mein yeh screen hamari nigahon ke samnay nahi hota.

Misaal:

Cinema ghar mein screen ke bil-muqabil aik jagah projiktr nasb hota hey. Is projiktr par film charha kar roshni ka switch aan kar diya jata hey. Film ke feetay par mehfooz nuqoosh roshni ki lehron ke zariye safar karte hue screen par tasweerai khadd-o-khaal mein nzraate hein. Agar projiktr aur screen ke darmain khala mein dekha jaye toh roshni ka aik dhara nazar aata hey. Roshni ki in lehron mein woh tamam tasaveer mojood hoti hein jo screen taq pahunchti hein. Is terhan teen tainaat qaim hotay hein. Aik film ke nuqoosh, doosra roshni ya lehron ka woh nizaam jis ke zariye tasaveer safar karti hein aur teesra woh screen jahan laharen takra kar tasweerai khadd-o-khaal ban jati hein.

Jab hamaray andar maadi hawaas harkat karte hein toh hum film ko maadi screen par mushahida karte hein. Is waqt film ka aks shaoor ki bairooni satah par parta hey. Jibilli tor par hamara Hafza hamein kashish saqal ka paband kar deta hey. Hum waqt aur faaslay ki pabandion mein sirf lamha haazir ka mushahida karte hein.

Hamaray zehan mein aik roshni ki screen bhi mojood hey. Jis par kainati film ka mushahida kya ja sakta hey. Is screen par hum film ke in ajzaa ko bhi dekh saktey hein jo maadi aankhon se Mawra rehtay hein. Is tarz mushahida mein waqt aur faasla ki murawaja pabandi baqi nahi rehti. Sania haazir mein hum kisi bhi lamhay ko dekh saktey hein. Chahay is ka talluq maazi o mustaqbil se ho ya qareeb o baeed se ho.

Hum jo kuch dekhte hein woh aisay awamil ke dosh par safar kar raha hey jo bzahir hamari aankhon se oojhal hein. Lekin in ki mojoodgi ke baghair koi harkat zahoor mein nahi aati. Mojoodaat ki har harkat aik dosray se marboot hey. Aur har lamhay ki taamer pehlay lamhay par qaim hey. Pehlay lamhay se doosra lamha janam laita hey aur dosray lamhay se teesra lamha wujood mein aata hey. Zindagi ki jin harkaat ko hum maazi kehte hein aur jin lamhaat ka naam mustaqbil rakha jata hey, zamana haal mein in ki mojoodgi ko tasleem kiye baghair charah nahi hey.

Zindagi ki tamam sifaat aur tamam ittllaat jismani wujood ke sath munsalik rehti hein. Aam tor par hamari ankhen inhen dekh nahi sakteen. Lekin jab in ki zaroorat paish aati hey toh woh samnay aa jati hein. Zahiri hawaas in sifaat ko dekh nahi saktey, lekin in sifaat ke wujood se inkaar nahi kiya ja sakta. Sifaat ki yeh satah roshni ki duniya mein mukammal khadd-o-khaal ke sath mojood rehti hey. Lehron ke zariye ya khaliyaat ke chimiavi anasir ki Maarfat yeh nizaam harkat karta hey.

Jab hum kisi shakhs maslan Mahmood ko dekhte hein toh hamari aankhon ke samnay gosht post ka aik mujasma hota hey lekin Mahmood ki sifaat nigahon se Mawrah rehti hein. Maslan Mahmood naram dil hey, Burdbar hey, maamla feham hey, ehsasat rakhta hey, waghera waghera. Mahmood ke dimagh mein bohat se aloom mehfooz hein. Hafzay mein la tadaad nuqoosh jama hein, Mahmood ke jism o dimagh mein la tadaad harkaat aisi jari rehti hein jinhein bzahir dekha nahi ja sakta.

 Mahmood ki zindagi la tadaad harkaat ka majmoa hey. Paidaiesh se zamana haazir taq har zehni aur jismani amal aik harkat hey. Mahmood ki zindagi aik film hey. Jis mein har harkat aik naqsh hey. in mein kisi bhi naqsh ko Mahmood ki zindagi se allag nahi kiya ja sakta. Yeh tamam harkaat Mahmood ki khafi zindagi hein. Hamaray samnay jo shakhs mojood hey. Woh sirf maadi khadd-o-khaal ka mujasma hey lekin is ka maazi, is ka mustaqbil aur is ki tamam salahiyaten aur sifaat nigahon se oojhal hein. Is ka matlab yeh hey ke asal Mahmood sifaat ka naam hey aur jism in sifaat ka muzahira hey.

Mahmood ki khafi zindagi aur is ki tamam khususiyaat aik record ya film ki shakal mein mojood hein. Is film ka maadi Mazhar khud Mahmood ka jismani wujood hey. Jis ko shaoor bhi kehte hein. Hamari nigehain jis Mahmood ko dekhatii hein woh chand sifaat ka majmoa hey jabkay deegar la tadaad sifaat ko hamari nigah ihata nahi kar sakti. Lekin in sifaat ki mojoodgi se inkaar mumkin nahi hey.

Ghaibi record ya film har waqt zehan ke sath mojood rehti hey. Maslan jab hum kisi aisay shakhs ko dekhte hein jisay pachees saal pehlay dekha tha toh hamein guzashta pachees saal ke waqeat yaad karne ki zaroorat paish nahi aati aur nah hum jismani tor se pachees saloon ko uboor kar ke maazi mein muntaqil hotay hein balkay hum dekhte hi is shakhs ko pehchan jatay hein. Yani pachees saal ka waqfa lashoor mein record hey. Jab yeh record harkat mein aaya toh pachees sala shakhsiyat ko wapas laane ke liye tamam darmiyani waqfa hazf ho gaya aur hamara zehan record mein is lamhay ko dekhnay ke qabil ho gaya jis mein pachees saal pehlay ki shakhsiyat mehfooz hey.

Kisi darakht ka beej is ki zindagi ka awleen maadi Mazhar samgha jata hey. Yahi beej jab matti aur pani se mut-tasil hota hey aur usay aik makhsoos darja hararat muyassar aata hey toh zindagi mein harkat peda ho jati hey. Bzahir aik nanhay se beej ko dekh kar yeh baat na qabil feham maloom hoti hey ke aik nanhay Munnay beej mein darakht ki poori zindagi, is ki shaakhen, pattay, phal phool aur anay wali naslon ke poooray darakht mojood hein. Lekin yeh haqeeqat na qabil tardeed hey. Yahi beej numoo paata hey toh zindagi ke tamam marahil yakke baad deegray tey karne lagta hey. Baalfaz deegar darakht ke maadi wujood (beej) ke sath is ki poori zindagi aik record ki soorat mein munsalik rehti hey. Aur yahi record tarteeb aur Moueen miqdaron ke sath poora darakht ban jata hey.

Roohani ilm ke mutabiq sifaat ka tamam record aik aisi satah par mojood hey. Jisay roshni ki duniya kehte hein. Is record ko film ki shakal mein mutalea kya ja sakta hey. Androoni film ke mushahiday ka tareeqa yeh hey ke nigah ko maadi screen se hataya jaye. Is amal mein woh tamam umoor ikhtiyar kiye jatay hein jin se nigah bairooni screen ke bajaye androoni screen ki taraf Raghib hoti hey. Is koshish se shaori waardaat maghloob ho jati hey aur nigah is screen ko radd kar deti hey jo maadi hosh o hawaas mein nigah ke samnay rehta hey. Musalsal mashq se nigah ki markaziyat woh screen ban jata hey jo zehan ki dakhli satah aur jis par kaayenaat ke makhfi Mazahir ki film harkat karti hey.

Androoni film par nigah qaim karna, hamari aadat mein daakhil nahi hey is liye tabiyat is rujhan ko khatam karna chahti hey. Terhan terhan ke khayalat atay hein aur tabiyat mein bezari peda hoti hey. Androoni screen par nigah ko qaim karne ke liye is amal ko baar baar dohrana parta hey taa ke yeh amal aadat ban jaye.

Aadmi ke andar nuqta e zaat dono screen par kaayenaat ke Mazahir dekh sakta hey. Lekin androoni film se woh is liye nawaqif hey ke a seen ki tamam tar dilchaspi bairooni screen ke sath hey. Androoni film dekhnay ki taraf aadmi mutwajjah nahi hota.