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A Study of Neorealism in Assamese Cinema

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A Study of Neorealism in Assamese Cinema A Study of Neorealism in Assamese Cinema INDRANI BHARADWAJ Registered Number: 1424030 A dissertation submitted in partial fulfilment of the requirements for the degree of Master of Arts in Communication and Media Studies CHRIST UNIVERSITY Bengaluru 2016 Program Authorized to Offer Degree: Department of Media Studies ii CHRIST UNIVERSITY Department of Media Studies This is to certify that I have examined this copy of a master’s thesis by Indrani Bharadwaj Registered Number: 1424030 and have found that it is complete and satisfactory in all respects, and that any and all revisions required by the final examining committee have been made. Committee Members: _____________________________________________________ [AASITA BALI] _____________________________________________________ Date: __________________________________ iii iv I, Indrani Bharadwaj, confirm that this dissertation and the work presented in it are original. 1. Where I have consulted the published work of others this is always clearly attributed. 2. Where I have quoted from the work of others the source is always given. With the exception of such quotations this dissertation is entirely my own work. 3. I have acknowledged all main sources of help. 4. If my research follows on from previous work or is part of a larger collaborative research project I have made clear exactly what was done by others and what I have contributed myself. 5. I am aware and accept the penalties associated with plagiarism. Date: v vi CHRIST UNIVERSITY ABSTRACT A Study of Neorealism in Assamese Cinema Indrani Bharadwaj The following study deals with the relationship between Assamese Cinema and its connection to Italian Neorealism. Assamese Cinema was founded in 1935 when Jyoti Prasad Agarwala released his first film “Joymoti”. (Ponram, 2014) The films that came after followed the slow paced and sensitive style of film-making. Some of the greatest film directors of Assamese Cinema are Bhabendra Nath Saikia and Jahnu Barua. This study would deal with these two directors and their films. Italian Neorealism is a national film movement characterized by stories set amongst the poor and the working class, filmed on location, frequently using non-professional actors. There are many similarities between the Assamese film industry and the Italian Neorealism film form and this study would be directed at finding these similarities. Although Assamese films did have an identity of their own, like every other regional industry, it too had its roots in the previously established forms. The study would not only focus on the association between Assamese films and Italian Neorealism but also study the industry’s dissociation from it. Keywords- Italian Neorealism, Assamese Cinema, Film Studies vii viii ACKNOWLEDGEMENT My sincere gratitude to my Guide, Prof. Aasita Bali and Fr. Biju K. Chacko, for his constant guidance encouragement and support. I also thank the Head of the Department Prof. Naresh Rao for his support. I wish to extend my heartfelt thanks to Suparna Naresh, Amutha Manavalan, Rajesh A., Kannan S. Shantaraju S. Ivory Lyons and Chandrasekhar Vallath for their valuable feedback and restless assistance in bringing out this research. ix . x DEDICATION To my dearly departed father, Thank You For always watching out for me xi xii TABLE OF CONTENTS LIST OF TABLES ..................................................................................................... xv LIST OF FIGURES ................................................................................................. xvii Chapter 1 Introduction To The Study ...................................................................... 1 1.1 Introduction ....................................................................................................... 1 1.2 Background of the Study .................................................................................. 1 1.3 Directors Under Study ...................................................................................... 2 1.4 Research Problem ............................................................................................. 4 1.5 Films under Study ............................................................................................. 4 1.6 Expected Outcomes .......................................................................................... 5 Chapter 2 Review of Literature .................................................................................. 6 2.1 Review of Literature ......................................................................................... 6 Chapter 3 Research Methodology ............................................................................ 25 3.1 Definition of Research .................................................................................... 25 3.2 Types of Research ........................................................................................... 25 3.3 Statement of the Problem ................................................................................ 26 3.4 Purpose of the study ........................................................................................ 26 3.5 Methods of Data Collection ............................................................................ 26 3.6 Selection of Films ........................................................................................... 28 Chapter 4 Findings and Analysis ............................................................................. 29 4.1 Agnisnaan (1985) ............................................................................................ 29 4.2 Sandhyaraag (1977) ........................................................................................ 33 4.3 Kolahal (1989) ................................................................................................ 36 4.4 Abartan(1993) ................................................................................................. 39 4.5 Hkhagoroloi Bohu Door (1995) ...................................................................... 44 4.6 Konikar Ramdhenu (2003) ............................................................................. 48 4.7 Aparoopa(1982) .............................................................................................. 51 4.8 Baandhon (2012) ............................................................................................. 55 4.9 Results of Content Analysis ............................................................................ 59 Chapter 5 Conclusion ................................................................................................ 67 5.1 Further Scope of the study .............................................................................. 68 5.2 Limitations of the study .................................................................................. 68 Bibliography ............................................................................................................... 69 Appendix A ................................................................................................................. 71 xiii Coding Sheet ............................................................................................................... 71 Appendix B ................................................................................................................. 73 1. Agnisnaan ............................................................................................................ 73 2. Sandhyaraag ......................................................................................................... 73 3. Kolahal ................................................................................................................. 75 4. Abartan ................................................................................................................. 76 5. Hkagoroloi Bohu Door ........................................................................................ 77 6. Konikar Ramdhenu .............................................................................................. 78 7. Aparoopa .............................................................................................................. 79 8. Baandhon ............................................................................................................. 81 xiv LIST OF TABLES Table 1 List of Films ............................................................................................................... 28 Table 2 Setting of Films .......................................................................................................... 59 Table 3 Profile of Protagonist ................................................................................................. 60 Table 4 Role of Child Characters ............................................................................................ 60 Table 5 Issues depicted in the Films ....................................................................................... 61 Table 6 Location of Shooting .................................................................................................. 65 Table 7 Experience of actors ................................................................................................... 65 xv xvi LIST OF FIGURES Figure 1 Poster from Sandhyaraag ............................................................................................ 33 Figure 2 Poster of Hkagoroloi Bohu Door ...............................................................................
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