2. Aparajita Pujari: Fond Letter to the Great Master

Total Page:16

File Type:pdf, Size:1020Kb

2. Aparajita Pujari: Fond Letter to the Great Master E-CineIndia: Oct-Dec 2020/ Aparajita Pujari 1 Centenary Tribute: Chidananda Dasgupta Aparajita Pujari Fond Letter to the Great Master It was a time when I could not written about them. I couldn’t decode the understand the English language thoroughly. name of the book. Yet, a sense of utmost Then, one day I saw that my father had curiosity and, to an extent, significant amount purchased a new book. From the cover, I of respect developed inside me at that very presumed that either it would be a storybook moment for the writer. And thought that one or a modern interpretation of mythological day, I’ll plunge into the deep ocean of the characters. For the next one week, father book. I will manthan the jewels from it. One immersed himself into the book. Seeing that I day! became anxious, angry, and jealous too. The name of the book was The Painted Because firstly, if he is busy who would read Face, author- Chidananda Dasgupta. me the cinema page in Telegraph’s Sunday The formation of the Calcutta Film edition? Secondly, after examining the book Society in 1947 was a groundbreaking incident inside out, seeing the known film in the history of Indian Cinema. Though the personalities’ giant photographs the more Amateur Cine Society (1937) and Bombay became overwhelmed, I found myself Film Society (1947) were formed in Mumbai perplexed too as I could not decipher what is till then, their impact on revolutionizing E-CineIndia: Oct-Dec 2020/ Aparajita Pujari 2 cinema in India could hardly be seen. It was educational importance of cinema. After the the Calcutta Film Society who introduced the dialogues, when Dasgupta was assured that he best films of World cinema to our audiences. could make the officer understand the It created a fresh sense of understanding relevance, the officer replied, ‘Look, I don’t cinema amongst intellectuals, artists, and think cinema has anything to do with socio- cinema lovers. The formation of the cultural, educational values. Tell me, is there Federation of Film Societies of India (1959) anything else in films rather than cheap acted as a thrust force to this awakening. entertainment?’ Chidananda Dasgupta was the co-founder of That happened in the early 50s in both societies. He was accompanied by Kolkata. If this was the mentality prevalent Satyajit Ray, Harisadhan Dasgupta, RP Gupta, among educated people of India, then how Vijaya Mule, Satish Bahadur etc. troublesome it could have been to start a film In 1948, when Jean Renoir visited movement then? Sometimes I think, is it due Kolkata in the context of his film The River, to the multifaceted career of Dasgupta that had most of the Indian filmmakers did not even made him a progressive thinker. What shaped know about him. But people from Calcutta him to be a powerful and farsighted writer? Is Film Society were the appreciative audience of it because of his involvement in anti-British his envious achievements. Besides him, movements, his lectureship, or being in famous personalities like Vsevolod Pudovkin, contact with numerous people due to film Cherkasov, John Houston, Frank Capra, etc. society's work? were the guests and speakers of the Society’s To be very generic, the lecturers have a different programs between 1947-52. structured schema of their creative writing and When a greater portion of our fellow criticism. Not readers of every age group seem Indian audiences was inundated by the to be interested in those writings for a longer romantic melodramatic films of the time, the time. Chidananda Dasgupta was also a Calcutta Film Society witnessed the grandeur lecturer, but to our utter astonishment, his and zest of World cinema; enriched writings either English or Bangla were far themselves with the struggle and evolution of away from scholarly ethos and monotony. cinema. And the result was fantabulous. Perhaps a critic is a person of bountifulness Pather Panchali (1955), a historic birth in who dares to face acceptance as well as Indian cinemascope! Mrinal Sen changed the rejection. script of Akash Kusum immediately after The question arises here, what is the watching Jules and Jim (1960) of Francois definition of film criticism? How is it different Truffaut in society’s show. The movements from a film review? Gaston Roberge has once lead by a film society and its connection with mentioned that film review is another way of World cinema had always been credited to promoting a film, a process of information filmmakers but not to film critics, neither to sharing, personal opinion. On the contrary, the active associates of the society perhaps. film criticism the analysis of personal reaction. The purpose behind the formation of a film It evolves from the critic's psychological, society doesn’t consist of only film exhibitions social, ethical point of view. According to and impelling the makers to do/produce more Dhiman Dasgupta's Dictionary of cinema, an films. It has a tremendous responsibility to art critic is an enthusiast first, expert later. create mass awareness about cinema as an art Chidananda Dasgupta also believed form as well as a mass medium. that the first and foremost initiative of a critic Once, Chidananda Dasgupta had to get should be the connection between artiste and about a government office due to some issues audience. of the society. After some tedious frequent When Dasgupta and few more film visits when Dasgupta finally met the highly critics started writing, their writings were educated, high-ranked officer, he had to published in the film festival and film society's convince him about the socio-cultural and souvenirs and magazines. Gradually, literary E-CineIndia: Oct-Dec 2020/ Aparajita Pujari 3 magazines started publishing articles on films. While the contemporary depression Filmmakers had started writing about films devours people like us, the ardent admirers of too. But, considering the huge potential of cinema, Chidananda Dasgupta becomes the cinema in India and the vast viewership Indian ever-flowing river of wisdom for the film industry, a healthy environment for distressed. Sitting on its bank we rise from discussing cinema is yet to come. disillusionment to nirvana. Celebrating 100th years of film In Chitra Samalochna (1987), the criticism in America, a documentary was definition assigned to film critic does the made in 2007 and it was named - “For the love justice for Dasgupta, I feel. Though no of movies”. In that documentary, American definition can encompass the characteristics of critic Gerald Peary was being asked, “What is an independent writer, still, the following the crisis of criticism? Peary replied: “Simply characteristics may help to elaborate on that if you are a print critic you are in danger Dasgupta's exceptional expertise: of losing your job at any moment”. 1. The socio-economical, geographical, The crisis Gerald mentioned was the anthropological, political, and intimidation, and animosity that print media historical details were at his fingertips. faces to date. The replacement of humans by 2. Skilled in film’s technical aspects as machines. People have now become solely well as knowledgeable in acting as he dependent on the device yet the role of a critic was involved with film society and is still full of challenges. advertising organizations. If we put aside film criticism for a 3. His command over English, Bangla, while, today’s socio-cultural circumstances and Hindi languages is exceptional. have become such that in an infotainment Readers spontaneously fall for his program, while sharing historical information, writings. This may be due to his the legend of Indian film, Mr. Amitabh political transparency and uncorrupted Bachchan is being trolled, an FIR being filed, personality which got reflected in his and every Tom-Dick-Harry has not hesitated writings. to label him as a leftist! This is what the 4. Immense interest in literature leads situation is. While writing a criticism a writer him to be an avid reader of English, has to worry about the socio-political views he Hindi, Bangla, and Urdu literature. has to avoid, the words that might not be liked 5. Professionally he used to ignore the by the ruling party, cannot appreciate a film closeness to film stars it seems. That’s that has an anti-government agenda, is always why his writings seemed to be under the fear of being backlashed by the unbiased. He could restrict himself ruling party, then how can be writing becomes from unessential mutual admiration somebody’s “own writing"? It can’t be which had elevated him from a writer criticism, mere bribe it is. to a Man of Dignity. Nowadays the success and appeal of a 6. Wit and satire are his spontaneous film solely depend on the first week rhythm. But he never used any collections, endorsement, and publicity stunts. insulting, cynical, or disrespecting After watching the premiere show/first show, words. (His wit was so sharp and who would post the first review, who would subtle that while writing this article I get the most “views” of the reviews has had to pause for one day to concise the circumference of film criticism. If differentiate the meaning between Film critics and film analysts become the kshonojiwi and khsonejiwi. Literally vehicle of publicity only then how could we both the words indicate the same expect the industry and audience to remain meaning - transient. But he was such a respectful towards the critic? (In 1920 Louis skillful writer that I couldn't take a risk Delluc had signaled about this type of of probable misinterpretation!) publicity criticism). E-CineIndia: Oct-Dec 2020/ Aparajita Pujari 4 7. Though sometimes, in his writings, In an interview, Aparna Sen said that sheer regionalism can be seen yet in most the first Bangla film she watched was Pather of his writings, specifically in English Panchali.
Recommended publications
  • A Portrayal of People Essays on Visual Anthropology
    A PORTRAYAL OF PEOPLE Digitized by the Internet Archive in 2018 with funding from Public.Resource.Org https://archive.org/details/portrayalofpeoplOOunse A PORTRAYAL OF PEOPLE Essays on Visual Anthropology in India Co-published by ANTHROPOLOGICAL SURVEY OF INDIA INDIAN NATIONAL TRUST FOR ART AND CULTURAL HERITAGE INTACH 71, Lodhi Estate New Delhi-110 003 ANTHROPOLOGICAL SURVEY OF INDIA West Block 2, Wing 6, First Floor R.K. Puram New Delhi 110 066. ©ASI, INTACH, 1987. © For individual contributions with authors. Printed at Indraprastha Press (CBT) 4 Bahadur Shah Zafar Marg, New Delhi 110002. CONTENTS Foreword v Introduction ix An Examination of the 1 Need and Potential for Visual Anthropology in India Rakhi Roy and Jayasinhji Jhala Anthropological Survey of 20 India and Visual Anthropology K.S. Singh History of Visual Anthropology 49 in India K.N. Sahay Perceptions of the Self and Other 75 in Visual Anthropology Rakhi Roy and Jayasinhji Jhala My Experiences as a Cameraman 99 in the Anthropological Survey Susanta K. Chattopadhyay The Vital Interface 114 Ashish Rajadhyaksha The Realistic Fictional Film: 127 How far from Visual Anthropology? Chidananda Das Gupta Phaniyamma and the Triumph 139 of Asceticism T.G. Vaidyanathan Images of Islam and Muslims 147 on Doordarshan Iqbal Masud Man in My Films 161 Mrinal Sen/Someshwar Bhowmick The Individual and Society 169 Adoor Gopalakrishnan/Madhavan Kutty Notes on Contributors 174 FOREWORD It has often been said that India lives in many centuries at the same time. The complex network of diversity that stretches across time and space has made India a paradise for anthropologists.
    [Show full text]
  • Translation As Transcreation: a Study of Selected Poems of Jibanananda Das
    JAST © 2015 M.U.C.Women’s College, Burdwan ISSN 2395-4353 -a peer reviewed multidisciplinary research journal Vol.-01, Issue- 01 Translation as Transcreation: A Study of Selected Poems of Jibanananda Das Joyanta Dangar Department of English M.U.C. Women’s College, Burdwan West Bengal, India E-mail: [email protected] Abstract: Jibanananda Das, a poet of the post-Tagore era in Bengal, composed volumes of poetry, from which some representative poems such as “I have seen the face of Bengal,” “Banalata Sen,” and “One Day Eight Years Ago” have been selected for the present study. To capture the “harmonic cadences” arising from employment of different types of rhyme and figures of speech in Das’s poetry is a challenge for his translators. Besides, considerations of form and the art of conveying Das’s sense of history of India when the target audience is non- Indian are equally challenging. However, some gains in the form of transcreation may be considered compensations for inevitable losses incurred in course of translation. Key words: Mosaic rhyme, hyperbaton, “ambiguity,” target reader, linguistic equivalence, untranslatability, sense of history The act of translation is voluntary, that is the material has been chosen by the translator himself and the prime mover is to recreate it. —Meenakshi Mukherjee, “Transposition of Culture.” Cygnus 2: 2(1981) Jibanananda Das (1899-1954) was a modern Bengali poet writing in the twentieth century. Acknowledged as the leading poet of the post-Tagore era, Das wrote ceaselessly, but only seven volumes of his poetry were published during his lifetime. An introvert, he never came to the limelight: one of his contemporary poets, Buddhadeb Bose called him the “loneliest of poets.” Among major collections of his poetry are Beautiful Bengal (Rupasi Bangla; 1934, Pub.
    [Show full text]
  • Calcutta Notebook Shoummo
    Frontier Vol. 44, No. 7, Aug 28 -Sept 3, 2011 Calcutta Notebook Shoummo Lastly, silence: I believe, this is the most symbolic.... (Ritwik Ghatak on sound in films) KOLKATA WAS ALWAYS well known for its discourse on cinema facilitated in no small way by film clubs or film societies. The activity levels of these clubs have ebbed of late and the reasons could be many. Digital technology has empowered film lovers to enjoy cinema within the confines of their homes along with friends and fellow film buffs. Queuing up outside Sarala Ray Memorial hall, best suited for foreign films with subtitles because of abysmal auditorium acoustics, has been passé for the past ten years in the least. It must be mentioned that at least two film societies, namely Cine Central and Eisenstein Film Club have ridden the digital crest very well and many a time these societies have screened films with the aid of digital gadgets, in better auditoriums. Kolkata film societies have also been prolific publishers and again, even if the level of activity may have ebbed, there has been an intermittent flow of film society periodicals as well as scripts of notable films and anthology of important articles. One such publication that readily comes to mind is Film Polemics by Cine Club of Calcutta. It is a collection of letters and a few articles that drew attention on the pages of Kolkata newspapers and periodicals between 1958 and 1991. Some of the articles and letters appeared in newspapers and periodicals published from elsewhere like The Times of India, Mainstream and the now defunct Illustrated Weekly of India.
    [Show full text]
  • Été Indien 10E Édition 100 Ans De Cinéma Indien
    Été indien 10e édition 100 ans de cinéma indien Été indien 10e édition 100 ans de cinéma indien 9 Les films 49 Les réalisateurs 10 Harishchandrachi Factory de Paresh Mokashi 50 K. Asif 11 Raja Harishchandra de D.G. Phalke 51 Shyam Benegal 12 Saint Tukaram de V. Damle et S. Fathelal 56 Sanjay Leela Bhansali 14 Mother India de Mehboob Khan 57 Vishnupant Govind Damle 16 D.G. Phalke, le premier cinéaste indien de Satish Bahadur 58 Kalipada Das 17 Kaliya Mardan de D.G. Phalke 58 Satish Bahadur 18 Jamai Babu de Kalipada Das 59 Guru Dutt 19 Le vagabond (Awaara) de Raj Kapoor 60 Ritwik Ghatak 20 Mughal-e-Azam de K. Asif 61 Adoor Gopalakrishnan 21 Aar ar paar (D’un côté et de l’autre) de Guru Dutt 62 Ashutosh Gowariker 22 Chaudhvin ka chand de Mohammed Sadiq 63 Rajkumar Hirani 23 La Trilogie d’Apu de Satyajit Ray 64 Raj Kapoor 24 La complainte du sentier (Pather Panchali) de Satyajit Ray 65 Aamir Khan 25 L’invaincu (Aparajito) de Satyajit Ray 66 Mehboob Khan 26 Le monde d’Apu (Apur sansar) de Satyajit Ray 67 Paresh Mokashi 28 La rivière Titash de Ritwik Ghatak 68 D.G. Phalke 29 The making of the Mahatma de Shyam Benegal 69 Mani Ratnam 30 Mi-bémol de Ritwik Ghatak 70 Satyajit Ray 31 Un jour comme les autres (Ek din pratidin) de Mrinal Sen 71 Aparna Sen 32 Sholay de Ramesh Sippy 72 Mrinal Sen 33 Des étoiles sur la terre (Taare zameen par) d’Aamir Khan 73 Ramesh Sippy 34 Lagaan d’Ashutosh Gowariker 36 Sati d’Aparna Sen 75 Les éditions précédentes 38 Face-à-face (Mukhamukham) d’Adoor Gopalakrishnan 39 3 idiots de Rajkumar Hirani 40 Symphonie silencieuse (Mouna ragam) de Mani Ratnam 41 Devdas de Sanjay Leela Bhansali 42 Mammo de Shyam Benegal 43 Zubeidaa de Shyam Benegal 44 Well Done Abba! de Shyam Benegal 45 Le rôle (Bhumika) de Shyam Benegal 1 ] Je suis ravi d’apprendre que l’Auditorium du musée Guimet organise pour la dixième année consécutive le festival de films Été indien, consacré exclusivement au cinéma de l’Inde.
    [Show full text]
  • Let's Talk About Films – Again!
    Follow Us: Today's Edition | Thursday , October 4 , 2012 | Search IN TODAY'S PAPER Front Page > Calcutta > Story Front Page Like 30 Tw eet 4 0 Nation Tw eet Calcutta Bengal Let’s talk about films – again! Opinion International In 1947, a group of cinephiles started a film society that Business revolutionised Bengali cinema and brought it into the forefront of world cinema. The group of cinephiles in Sports question? Satyajit Ray, Chidananda Dasgupta, Bansi Entertainment Chandragupta, Harisadhan Dasgupta…. The society Sudoku was the Calcutta Film Society (CFS). The first film Sudoku New BETA screened there was Sergei Eisenstein’s Battleship Crossword Potemkin. Jumble Regular screenings of world cinema gave access to the Gallery best of cinema across the globe. There were regular Horse Racing addas on films and eminent people delivered lectures at Press Releases the society, film-makers of the stature of Jean Renoir Travel and John Huston. By now it is part of folklore the influence that Renoir had on the young Ray and how WEEKLY FEATURES Pather Panchali was made a few years down the line. 7days Graphiti There was a bulletin that was published where the contributors were the likes of Knowhow Chidananda Dasgupta, Satyajit Ray and Harisadhan Dasgupta and those are some of Jobs the best pieces of film-writing to come out from Bengal. Ray’s Our Films, Their Films Careergraph was written in that period of his life. Salt Lake The Calcutta Film Society has dwindled ever since, more so in the last few decades. CITIES AND REGIONS Concomitantly, the culture of discussing and debating films, or a film culture as started Metro by the CFS, has faded into oblivion in the current Bengali film industry.
    [Show full text]
  • Women's Self-Agency Through the Metaphor of Symbolic
    WOMEN’S SELF-AGENCY THROUGH THE METAPHOR OF SYMBOLIC OBJECTS IN SELECTED FILMS OF SATYAJIT RAY. Ivana Chowdhury1 __________________________________________________________________________________ Abstract: Satyajit Ray (‘true to his time’),the great creator- the aficionado of Indian literature, perfectly captured in his writings the 20th century ‘public panorama’ and people bounded by the social hierarchical dispositions by focusing more on the interplay of several characters, than the words they spoke. Satyajit Ray portrayed and emphasized more on human and domestic factors representing neorealism by stressing upon the structure of the behavioral characteristics prominently in his writings between 1960 and 1985.Therefore specially the female characters of Ray are very interesting as the writer Ray himself was a synthesis of EAST and WEST, Tradition and Modernity and the amalgamation of INDIAN and WESTERN. Ray simultaneously tapped and displayed his closeness and fondness of natural affinity towards the middle-class as well as Subaltern Colloquialism and the postcolonial approach. Ray symbolises the objects in a subjective way to justify the ways of inner self reflective approach to the outer world via mirrors and lots of dream sequences in his writings. And this paper also provides a postcolonial document by retracing Indianness in Bengali literature as well. His writings specially the Calcutta Trilogy : (1) Pratidwandi (The Adversary) (1970), (2) Seemabaddha(Company Limited) (1971), (3) Jana Aranya (The Middleman) (1976) has an immense reference to the mirror reflective structures and dream sequences that are enclosed with the inner conflict of the ‘self’ and ‘other’, specially the identity crisis of the female characters . So, therefore the Calcutta Trilogy leads the lexicon of the female psyche as a ‘weapon’ to demonstrate by showing how patriarchal thinking dominates and perpetuates by implementing discourses and denies the gender meritocracy.
    [Show full text]
  • Special Edition
    Satyajit Ray Centenary: Remembering his DIGITALLY YOURS... Legacy & Timeless Contribution to Indian Message from Managing Editor & Dean of Academics Madam Cinema countryside. Ray told Renoir -By Priyanka Bhattacharya countryside. Ray told Renoir As we move into the second about his idea of Pather Pachali Master of Hospital about his idea of Pather Pachali year of uncertainty, & Renoir encouraged him in the Administration & Renoir encouraged him in the insecurity, ambiguity and project. In 1952, with his project. In 1952, with his diffidence, we are moving personal savings, Ray started Satyajit Ray (born on 2nd personal savings, Ray started closer to an unrealistic and “Pather Pachali” shooting & May 1921 in Calcutta), “Pather Pachali” shooting & artificial world where survival took loan from WB Govt. to respected as Manik Da, took loan from WB Govt. to is an everyday challenge. The complete it. It was shot over carved a niche in Indian complete it. It was shot over COVID 19 pandemic has 2&1/2 years, released in 1955 to Cinema with his brilliant 2&1/2 years, released in 1955 to taught us many things among great critical success, won 11 film making, storytelling, great critical success, won 11 which the most significant international prizes (inaugural graphic arts, screen writing international prizes (inaugural one is digitalization. This one Best Human Document Award & music composing skills. Best Human Document Award word seems to have changed at 1965 Cannes Film Festival). He studied Arts from at 1965 Cannes Film Festival). the meaning of our very Ray’s International career Presidency College & Visva Ray’s International career existence.
    [Show full text]
  • Sati, House of Memories, and 15 Park Avenue
    Gender and Women’s Studies RESEARCH ARTICLE Disability, Agency, and Subjectivity in Aparna Sen’s Three Disability Films: Sati, House of Memories, and 15 Park Avenue Sreerupa Sengupta Department of English, Auburn University, USA Abstract This paper focuses on three films directed by Indian-Bengali filmmaker Aparna Sen: Sati (1989) (Bengali), Paromitar Ekdin (subtitled as House of Memories) (2000) (Bengali), and 15 Park Avenue (English) (2006). Set in three different time periods and geopolitical spaces, these films experiment with the tabooed concept of female disability in India. Through a close reading and detailed analysis of the films, this paper argues that disability in the subcontinent has an altogether different implication for women because they are more valued in terms of their bodies’ cultural, social, and familial profitability or exchange value than their individual qualities. While disabled men are seen as unfortunate and objects of pity, disabled women are held culpable for shaming their family, community, and nation. In the subcontinent, disability is conveniently used to stigmatize women deviating from the normative duties their bodies should fulfill, including bearing children and being satisfactory sexual partners. This paper claims that disability is occasionally used as a discriminatory term irrespective of its medical validity. Sen does not forget to reiterate the fact that medical diagnosis is not a valid method in determining the lack of functionality of an individual. Uma, Khuku, and Mithi, are the specially-abled characters who are marginalized due to their deviation from “socially and politically constructed able-bodied or neurotypical norm” (Fraser 6). This chapter shows how Sen denies binary identity categories, such as abled-disabled, normal-abnormal, through a recognition of alternative ways of being.
    [Show full text]
  • South Asian Film & Television 16 + Guide
    SOUTH ASIAN FILM & TELEVISION 16 + GUIDE www.bfi.org.uk/imagineasia This and other bfi National Library 16+ guides are available from http://www.bfi.org.uk/16+ IMAGINEASIA - SOUTH ASIAN FILM & TELEVISION Contents Page IMPORTANT NOTE ........................................................................................ 1 GENERAL INFORMATION ............................................................................. 2 APPROACHES TO RESEARCH, by Samantha Bakhurst.................................. 4 INTRODUCTION ............................................................................................ 6 BANGLADESH............................................................................................... 7 Focus on Filmmakers: Zahir Raihan................................................................. 9 BHUTAN, NEPAL & TIBET.............................................................................. 9 PAKISTAN..................................................................................................... 10 Focus on Filmmakers: Jamil Dehlavi ................................................................ 16 SRI LANKA .................................................................................................... 17 Focus on Filmmakers: Lester James Peries ..................................................... 20 INDIA · General References............................................................................ 22 · Culture, Society and Film Theory ......................................................... 33 · Film
    [Show full text]
  • VOL. LVIV September-October2015 No. 9-10 HIGHLIGHTS
    VOL. LVIV September-October2015 No. 9-10 HIGHLIGHTS Court is India’s official entry for Oscars Angry Indian Goddesses wins award at Toronto Court, Konkona win major awards Swara Bhaskar bags best actress award Shah Rukh Khan honoured with a doctorate 8th CMS Vatavaran Film Festival held 12th Jeevika: Asia Livelihood Film Festival held Ravindra Jain, Aadesh Srivastava, Manorama and E Nageswara Rao are no more NATIONAL DOCUMENTATION CENTRE ON MASS COMMUNICATION NEW MEDIA WING (FORMERLY RESEARCH, REFERENCE AND TRAINING DIVISION ) MINISTRY OF INFORMATION AND BROADCASTING Room No.437-442, Phase IV, Soochana Bhavan, CGO Complex, New Delhi-3 Compiled, Edited & Issued by National Documentation Centre on Mass Communication NEW MEDIA WING (Formerly Research, Reference & Training Division) Ministry of Information & Broadcasting Chief Editor L. R. Vishwanath Editor Alka Mathur CONTENTS FILM AWARDS International 1-3 Private 5-6 FESTIVALS Busan 3 Danish 7 Jeevika 6-7 London 2 Silk Road 2 Toronto 1 Vatavaran 4-5 Venice 3 Washington DC South Asian 2 OBITUARIES 8-12 PUBLICATIONS 8 AWARDS/FESTIVALS Court is India’s official entry for the Oscars Debutant director Chaitanya Tamhane’s Marathi film Court that has bagged number of International awards along with national awards in the best feature film category has now been selected as India’s official entry to the Best Foreign Language Film category of the 2016 Academy Awards or the Oscars. The film was selected by a jury headed by Amol Palekar. Hindustan Times (24 September 2015) Hindu (24 September 2015) Deccan Herald (24 September 2015) Indian Express (24 September 2015) Asian Age (24 September 2015) Times of India (24 September 2015) Angry Indian Goddesses wins award at Toronto Pan Nalin’s Angry Indian Goddesses was declared the first runner up for the Grolsch People’s Choice Awards at the Toronto International Film Festival.
    [Show full text]
  • Satyajit Ray Birth Anniversary: a Picture in Contrast
    MOVIES Satyajit Ray birth anniversary: A picture in contrast Shiv Sahay Singh KOLKATA 04 MAY 2017 21:01 IST UPDATED: 04 MAY 2017 21:01 IST The 96th birth anniversary of Satyajit Ray on Tuesday in Kolkata brought forth a picture of contrasts that simultaneously provides joy and despair to film buffs and fans of the great filmmaker. On the one hand, there has been a tremendous response to an exhibition on Feluda, the famous Kolkata-based detective created by the master, and on the other, the Calcutta Film Society, set up by Ray in 1947, languishes in a state of neglect due to paucity of funds. Celebrating 50 years of the iconic sleuth Feluda, a display of over a hundred exhibits at the Indian Council for Cultural Relations (ICCR) in south Kolkata is drawing large crowds. The exhibition includes a poster of Feluda, book covers and films, scanned copies of Ray’s hand-written manuscripts, first drafts of the stories, as well as details in Ray’s own hand, on shooting scenes and schedules of the two Feluda films he had directed — Sonar Kella, and Joi Baba Felunath. There are also drawings and sketches made by Ray for his Feluda books, and shooting stills from the two Feluda films he directed. Visitors can have a look and even purchase a blow-up of a first page draft of the first Feluda story ‘Feludar Goendagiri’ (‘Danger in Darjeeling’, 1965), the first page of the first draft of the novel ‘Badshahi Agnti’ (‘The Emperor Ring’, 1966), and the shooting schedule of Sonar Kella.
    [Show full text]
  • East-West Film Journal, Volume 4, No. 2
    EAST-WEST FILM JOURNAL VOLUME 4· NUMBER 2 The Artist's Desire: Reflections on the Films of Mizoguchi Kenji I LINDA C. EHRLICH Satyajit Ray's Secret Guide to Exquisite Murders: Creativity, Social Criticism, and the Partitioning of the Self 14 ASHIS NANDY Ideology of the Body in Red Sorghum: National Allegory, National Roots, and Third Cinema YINGJIN ZHANG Vietnam and Melodramatic Representation 54 ANDREW MARTIN Melodrama, Temporality, Recognition: American and Russian Silent Cinema MARY ANN DOANE The Romance of Maoriland: Ethnography and Tourism in New Zealand Films MARTIN BLYTHE Man and Revolutionary Crisis in Indonesian Films III SALIM SAID Book Reviews 13° JUNE 1990 The East-West Center is a public, nonprofit educational institution with an international board of governors. Some 2, 000 research fellows, grad­ uate students, and professionals in business and government each year work with the Center's international staff in cooperative study, training, and research. They examine major issues related to population, resources and development, the environment, culture, and communication in Asia, the Pacific, and the United States. The Center was established in 1960 by the United States Congress, which provides principal funding. Support also comes from more than twenty Asian and Pacific governments, as well as private agencies and corporations. The Artist's Desire: Reflections on the Films of Mizoguchi Kenji LINDA C. EHRLICH A PIECE of calligraphy that used to hang on Japanese director Mizo­ guchi Kenji's wall read: "For each new look, it is necessary to cleanse one's eyes."l Like the artists depicted in his films, Mizoguchi was aware that he was the kind of director who had to start anew each time he tried to create an important film.
    [Show full text]