Exposure to the media and technology has increased manifolds in the present age as compared to the past. A major portion of the daily routine is dedicated to an individual’s interaction with the moving image in the form of the theatre, drama or movie. This practice serves to enhance the comprehension of the viewer and his perception is modified accordingly. The viewer analyzes what is projected in the media and in the context of his personal knowledge and experience in the subject matter and therefore starts to interact with the moving image. The greater exposure to moving image and the natural liking humans have for the same has materialized a need for using the moving image as a means of taking an individual’s perception of the literature to the next level. Moving image has a lot of potential to modify an individual’s attitude toward literature in the way in which it facilitates him to grasp the fundamental concepts of literature. Hence, use of the moving image in schools as a tool for developing the students’ interest and involvement in literature is indeed, a realization of the changing demands of education in the today’s media age.
Owing to the strong relation of moving image with the cognitive learning, the need for its inclusion in the curriculum is largely felt. It is widely recognized as a new dimension of literacy, often referred to as cineliteracy and is defined as, “The ability to analyze moving images, to talk about how they work, and to imagine their creative potential, drawing upon a wide film and television viewing experience as well as on practical skills”. (British Film Institute, 2000). In order to gain full advantage of the moving image for educational purposes, it is imperative that the language of moving image is recognized as a separate field that needs to be explored not only by the students but also by the