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POWERFUL and POWERLESS: POWER RELATIONS in SATYAJIT RAY's FILMS by DEB BANERJEE Submitted to the Graduate Degree Program in Fi
POWERFUL AND POWERLESS: POWER RELATIONS IN SATYAJIT RAY’S FILMS BY DEB BANERJEE Submitted to the graduate degree program in Film and Media Studies and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master’s of Arts ____________________ Chairperson Committee members* ____________________* ____________________* ____________________* ____________________* Date defended: ______________ The Thesis Committee of Deb Banerjee certifies that this is the approved version of the following thesis: POWERFUL AND POWERLESS: POWER RELATIONS IN SATYAJIT RAY’S FILMS Committee: ________________________________ Chairperson* _______________________________ _______________________________ _______________________________ _______________________________ Date approved:_______________________ ii CONTENTS Abstract…………………………………………………………………………….. 1 Introduction……………………………………………………………………….... 2 Chapter 1: Political Scenario of India and Bengal at the Time Periods of the Two Films’ Production……………………………………………………………………16 Chapter 2: Power of the Ruler/King……………………………………………….. 23 Chapter 3: Power of Class/Caste/Religion………………………………………… 31 Chapter 4: Power of Gender……………………………………………………….. 38 Chapter 5: Power of Knowledge and Technology…………………………………. 45 Conclusion…………………………………………………………………………. 52 Work Cited………………………………………………………………………... 55 i Abstract Scholars have discussed Indian film director, Satyajit Ray’s films in a myriad of ways. However, there is paucity of literature that examines Ray’s two films, Goopy -
The Writing in Goopy Bagha
International Journal of Humanities and Cultural Studies (IJHCS) ISSN 2356-5926 Vol.1, Issue.2, September, 2014 Right(ing) the Writing: An Exploration of Satyajit Ray’s Goopy Gyne Bagha Byne Amrita Basu Haldia Institute of Technology, Haldia, West Bengal, India Abstract The act of writing, owing to the permanence it craves, may be said to be in continuous interaction with the temporal flow of time. It continues to stimulate questions and open up avenues for discussion. Writing people, events and relationships into existence is a way of negotiating with the illusory. But writing falters. This paper attempts a reading of Goopy Gyne Bagha Byne in terms of power politics through the lens of the manipulation of written codes and inscriptions in the film. Identities and cultures are constructed through inscriptions and writings. But in the wrong hands, this medium of communication which has the potential to bring people together may wreck havoc on the social and political system. Writing, or the misuse of it, in the case of the film, reveals the nature of reality as provisional. If writing gives a seal of authenticity to a message, it can also become the casualty of its own creation. Key words: Inscription, Power, Politics, Writing, Social system 1 International Journal of Humanities and Cultural Studies (IJHCS) ISSN 2356-5926 Vol.1, Issue.2, September, 2014 Introduction Goopy Gyne Bagha Byne by Satyajit Ray is a fun film for children of all ages; it ran to packed houses in West Bengal for a record 51 weeks and is considered one of the most commercially successful Ray films. -
The Humanism of Satyajit Ray, His Last Will and Testament Shantanu Ray Chaudhuri
AGANTUK – The Humanism of Satyajit Ray, His Last Will And Testament Shantanu Ray Chaudhuri It’s impossible to record the transition in the socio-political and cultural landscape of India in general and Bengal in particular without taking into account the contribution of Satyajit Ray. As author Peter Rainer says, ‘In Ray’s films the old and the new are inextricably joined. This is the great theme of all his movies: the way the past in India forever bleeds through the present.’ Today, Indian cinema, particularly Bollywood, has found a global market. But it may be useful to remember that if anyone can be credited with putting Indian cinema on the world map, it is Satyajit Ray. He pioneered a whole new sensibility about films and filmmaking that compelled the world to reshape its perception of Indian cinema. ‘What we need,’ he wrote in 1947, before he ever directed a film, ‘is a style, an idiom, a part of the iconography of cinema which would be uniquely and recognizably Indian.’ This Still from the documentary, The Music of Satyajit Ray he achieved, and yet, like all great artists, his films went Watch film here- https://bit.ly/3u8orOD beyond the frontiers of countries and cultures. His contribution to the cultural scene in India is limited not just to his work as a director. He was the Renaissance man of independent India. As a film-maker he handled almost all the departments on his own – he wrote the screenplay and dialogues for his film, he composed his own music, designed the promotional material for his films, designed his own posters, went on to handle the cinematography and editing, was actively involved in the costumes (literally sketching each and every costume in a film). -
Remembering Ray | Kanika Aurora
Remembering Ray | Kanika Aurora Rabindranath Tagore wrote a poem in the autograph book of young Satyajit whom he met in idyllic Shantiniketan. The poem, translated in English, reads: ‘Too long I’ve wandered from place to place/Seen mountains and seas at vast expense/Why haven’t I stepped two yards from my house/Opened my eyes and gazed very close/At a glistening drop of dew on a piece of paddy grain?’ Years later, Satyajit Ray the celebrated Renaissance Man, captured this beauty, which is just two steps away from our homes but which we fail to appreciate on our own in many of his masterpieces stunning the audience with his gritty, neo realistic films in which he wore several hats- writing all his screenplays with finely detailed sketches of shot sequences and experimenting in lighting, music, editing and incorporating unusual camera angles. Several of his films were based on his own stories and his appreciation of classical music is fairly apparent in his music compositions resulting in some rather distinctive signature Ray tunes collaborating with renowned classical musicians such as Ravi Shankar, Ali Akbar and Vilayat Khan. No surprises there. Born a hundred years ago in 1921 in an extraordinarily talented Bengali Brahmo family, Satyajit Ray carried forward his illustrious legacy with astonishing ease and finesse. Both his grandfather Upendra Kishore RayChaudhuri and his father Sukumar RayChaudhuri are extremely well known children’s writers. It is said that there is hardly any Bengali child who has not grown up listening to or reading Upendra Kishore’s stories about the feisty little bird Tuntuni or the musicians Goopy Gyne and Bagha Byne. -
Portrayal of Environment in Cinema: a Comparative Study of 'Pather Panchali'
International Journal of Humanities and Social Science Research International Journal of Humanities and Social Science Research ISSN: 2455-2070; Impact Factor: RJIF 5.22 www.socialsciencejournal.in Volume 3; Issue 5; May 2017; Page No. 45-48 Portrayal of environment in cinema: A comparative study of ‘Pather panchali’ & ‘Dreams’ Ram Prakash Dwivedi Department of Hindi journalism & Mass Communication, Dr. B.R. Ambedkar College, University of Delhi, New Delhi, India Abstract Satyajit Ray (1921-1992) and Akira Kurosawa (1910-198) are the world-famous filmmakers. Coincidentally, they were contemporary and friends. They were also sources of inspiration for each other. Their films are a landmark example of creative cine-language. In most of their movies, nature and the environment are as important as the human characters. Rather, the human being is guided by the nature to act upon. Their movies incorporate nature as an essential component for human activities. Portrayal of nature, in Ray’s movies, is different from that of Kurosawa. To Ray’s films environment and nature comes as part of daily life or seasonal change, whereas Kurosawa represents nature as phenomena like rain, volcanic eruptions, tsunami and earthquakes. This difference is the result of separate geographical conditions of India and Japan. Japan is environmentally very sensitive country, whereas India, due to its larger landmass, does not feel such sensitivity. Pather Panchali (1955) is considered as a masterpiece of parallel cinema and reflects reality. The film was made with on location shooting technique. This film, therefore, depicts the nature and environment of Bengal. In Dreams (1990) imagination is more important than reality. -
Artist Recreates Satyajit Ray S Film Posters on 100Th Birth Anniversary
Artist recreates Satyajit Ray's film posters on 100th birth anniversary to depict Covid crisis An artist marked 100 years of legendary filmmaker Satyajit Ray by recreating his iconic film posters to depict the Covid-19 crisis in India. Krishna Priya Pallavi Writer [email protected] If I am not writing on fashion, places you can travel to for that perfect holiday, mental health, trending topics, I am probably escaping the city for a vacation, eating a scrumptious meal at a quaint cafe, and so much more in between. Love to travel (obviously), dance, explore new places, read extensively and try out new and exciting dishes. Works as Senior Sub-Editor at India Today Digital. Aniket Mitra used posters from Satyajit Ray's iconic films to depict the Covid-19 crisis going on in India Photo: Facebook/Aniket Mitra Satyajit Ray had an inedible mark on the Indian cinema. His films are admired by cinephiles all over the world. May 2 marks 100 years since Satyajit Ray was born, and to celebrate his 100th birth anniversary, an artist paid the legendary filmmaker a poignant and relevant tribute. A Mumbai-based artist named Aniket Mitra celebrated the historic day by reimagining Satyajit Ray's iconic film posters amid the Covid times. ARTIST RECREATES SATYAJIT RAY'S FILM POSTERS TO DEPICT COVID CRISIS Aniket Mitra used ten films by Satyajit Ray to depict the Covid-19 crisis going on in India. Posters of films like Pather Panchali, Devi, Nayak, Seemabaddha, Jana Aranya, Mahanagar, Ashani Sanket and more, were used to show the citizens' struggle during the second wave of the deadly virus. -
Satyajit's Bhooter Raja
postScriptum: An Interdisciplinary Journal of Literary Studies Online – Open Access – Peer Reviewed ISSN: 2456-7507 postscriptum.co.in Volume II Number i (January 2017) Nag, Sourav K. “Decolonising the Eerie: ...” pp. 41-50 Decolonising the Eerie: Satyajit’s Bhooter Raja (the King of Ghosts) in Goopy Gyne Bagha Byne (1969) Sourav Kumar Nag Assistant Professor in English, Onda Thana Mahavidyalaya, Bankura The author is an assistant professor of English at Onda Thana Mahavidyalaya. He has published research articles in various national and international journals. His preferred literary areas include African literature, Literary Theory and Indian English Literature. At present, he is working on his PhD on Ngugi Wa Thiong’o. Abstract This paper is a critical investigation of the socio-political situation of the Indianised spectral king (Bhooter Raja) in Satyajit Ray’s Goopy Gyne Bagha Byne (1969) and also of Ray’s handling of the marginalised in the movie. The movie is read as an allegory of postcolonial struggle told from a regional perspective. Ray’s portrayal of the Bhooter Raja (The king of ghosts) is typically Indianised. He deliberately deviates from the colonial tradition of Gothic fiction and customised Upendrakishore’s tale as a postcolonial narrative. This paper focuses on Ray’s vision of regional postcolonialism. Keywords ghost, eerie, postcolonial, decolonisation, subaltern Nag, S. K. Decolonising the Eerie ... 42 I cannot help being nostalgic sitting on my desk to write on Satyajit Ray‟s adaptation of Goopy Gayne Bagha Bayne (1969). I remember how I gaped to watch the movie the first time on Doordarsan. Not being acquainted with Bhooter Raja (The king of ghosts) before, I got startled to see the shiny black shadow with flashing electric bulbs around and hearing his reverberated nasal chant of three blessings. -
Pather Panchali
February 19, 2002 (V:5) Conversations about great films with Diane Christian and Bruce Jackson SATYAJIT RAY (2 May 1921,Calcutta, West Bengal, India—23 April 1992, Calcutta) is one of the half-dozen universally P ATHER P ANCHALI acknowledged masters of world cinema. Perhaps the best starting place for information on him is the excellent UC Santa Cruz (1955, 115 min., 122 within web site, the “Satjiyat Ray Film and Study Collection” http://arts.ucsc.edu/rayFASC/. It's got lists of books by and about Ray, a Bengal) filmography, and much more, including an excellent biographical essay by Dilip Bausu ( Also Known As: The Lament of the http://arts.ucsc.edu/rayFASC/detail.html) from which the following notes are drawn: Path\The Saga of the Road\Song of the Road. Language: Bengali Ray was born in 1921 to a distinguished family of artists, litterateurs, musicians, scientists and physicians. His grand-father Upendrakishore was an innovator, a writer of children's story books, popular to this day, an illustrator and a musician. His Directed by Satyajit Ray father, Sukumar, trained as a printing technologist in England, was also Bengal's most beloved nonsense-rhyme writer, Written by Bibhutibhushan illustrator and cartoonist. He died young when Satyajit was two and a half years old. Bandyopadhyay (also novel) and ...As a youngster, Ray developed two very significant interests. The first was music, especially Western Classical music. Satyajit Ray He listened, hummed and whistled. He then learned to read music, began to collect albums, and started to attend concerts Original music by Ravi Shankar whenever he could. -
Beyond the World of Apu: the Films of Satyajit Ray'
H-Asia Sengupta on Hood, 'Beyond the World of Apu: The Films of Satyajit Ray' Review published on Tuesday, March 24, 2009 John W. Hood. Beyond the World of Apu: The Films of Satyajit Ray. New Delhi: Orient Longman, 2008. xi + 476 pp. $36.95 (paper), ISBN 978-81-250-3510-7. Reviewed by Sakti Sengupta (Asian-American Film Theater) Published on H-Asia (March, 2009) Commissioned by Sumit Guha Indian Neo-realist cinema Satyajit Ray, one of the three Indian cultural icons besides the great sitar player Pandit Ravishankar and the Nobel laureate Rabindra Nath Tagore, is the father of the neorealist movement in Indian cinema. Much has already been written about him and his films. In the West, he is perhaps better known than the literary genius Tagore. The University of California at Santa Cruz and the American Film Institute have published (available on their Web sites) a list of books about him. Popular ones include Portrait of a Director: Satyajit Ray (1971) by Marie Seton and Satyajit Ray, the Inner Eye (1989) by Andrew Robinson. A majority of such writings (with the exception of the one by Chidananda Dasgupta who was not only a film critic but also an occasional filmmaker) are characterized by unequivocal adulation without much critical exploration of his oeuvre and have been written by journalists or scholars of literature or film. What is missing from this long list is a true appreciation of his works with great insights into cinematic questions like we find in Francois Truffaut's homage to Alfred Hitchcock (both cinematic giants) or in Andre Bazin's and Truffaut's bio-critical homage to Orson Welles. -
A Marxist Study of Ray's Film Hirak Rajar Deshe
[ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 “Dori Dhore Maro Taan / Raja Hobe Khan Khan”: A Marxist Study of Ray’s Film Hirak Rajar Deshe Dayal Chakrabortty* & Sambhunath Maji** *Independent Research Scholar, The University of Burdwan, W.B. **Assistant Professor, Sidho-Kanho-Birsha University, W.B. Received: May 30, 2018 Accepted: July 14, 2018 ABSTRACT From the very uncalendered past of society when system of production started its journey, automatically ‘class-struggle’ started to accompany it. Class-struggle is everywhere. In the age of slavery there was class struggle between slave-owners and slaves, in the age of Feudalism the class-struggle was between landowners and serfs and in capitalist society there is also class-struggle between Bourgeoisie and Proletariat. Lower class people or working class people or Proletariat people are always suppressed and oppressed by upper class people or the capitalists. This is the major aspect of Marxism. This Marxist approach is very much there in the Film Hirak Rajar Deshe directed by Satyajit Ray. Keywords: Class-Struggle, Capitalist Society, System of Production, Bourgeoisie and Proletariat, Marxism. “Marxist criticism has the longest history. Karl Marx himself made important general statements about culture and society in the 1850s. It is correct to think of Marxist criticism as a 20 th century phenomenon” (Selden, Widdowson, and Brooker 82). Marxism depends on temporal – spatial reality. The appropriation and application of it entirely depends on the consideration of time and place. Marxism is very much open to change. Karl Marx opines for a change for the betterment. -
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TVml August 28, 2020 National Stock Exchange of India Limited BSE Limited Exchange Plaza, Plot No. C/1, P J Towers G-Block Bandra-Kurla Complex, Dalal Street Bandra (E) Mumbai - 400051 Mumbai - 400 001 Trading Symbol: TV18BRDCST SCRIP CODE: 532800 Dear Sirs, Sub: Annual Report for the financial year 2019-20 including Notice of Annual General Meeting The Annual Report for the financial year 2019-20, including the Notice convening Annual General Meeting, being sent to the members through electronic mode, is attached. The Secretarial Audit Report of material unlisted subsidiary is also attached. The Annual Report including Notice is also uploaded on the Company's website www.nw18.com. This is for your information and records. Thanking you, Yours faithfully, For TV18 Broadcast Limited c ~~ ~"OrJ . )," ('.i/'. ~ . .-...e:--.-~ l \ I Ratnesh Rukhariyar Company Secretary Encl. As Above TV18 Broadcast Limited (eIN - L74300MH2005PLC281753) Regd. office: First Floor, Empire Complex, 414- Senopoti Sopot Marg, Lower Parel, Mumboi-400013 T +91 2240019000,66667777 W www.nw18.com E:[email protected] CONTENTS 01 - 11 Corporate Overview 01 Information. Entertainment. Impact TV18 is as unique as 02 Driven to Inform 04 Inspired to Involve it is impactful. It blends 06 Brands that Stimulate compelling and insightful 08 Letter to Shareholders news with inspiring and 09 Corporate Information stimulating entertainment; 10 Board of Directors an attribute that makes it 12 - 68 stand out amongst peers Statutory Reports regardless of size or vintage. 12 Management Discussion and Analysis 29 Board’s Report 40 Business Responsibility Report India’s largest News Broadcast network and the third 49 Corporate Governance Report largest player in the Television entertainment space, TV18 has infused into the Media and Entertainment industry a large dose of youthful dynamism. -
The Cinema of Satyajit Ray Between Tradition and Modernity
The Cinema of Satyajit Ray Between Tradition and Modernity DARIUS COOPER San Diego Mesa College PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge cb2 2ru, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, ny 10011-4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia Ruiz de Alarcón 13, 28014 Madrid, Spain © Cambridge University Press 2000 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written perrnission of Cambridge University Press. First published 2000 Printed in the United States of America Typeface Sabon 10/13 pt. System QuarkXpress® [mg] A catalog record for this book is available from the British Library Library of Congress Cataloging in Publication Data Cooper, Darius, 1949– The cinema of Satyajit Ray : between tradition and modernity / Darius Cooper p. cm. – (Cambridge studies in film) Filmography: p. Includes bibliographical references and index. isbn 0 521 62026 0 (hb). – isbn 0 521 62980 2 (pb) 1. Ray, Satyajit, 1921–1992 – Criticism and interpretation. I. Title. II. Series pn1998.3.r4c88 1999 791.43´0233´092 – dc21 99–24768 cip isbn 0 521 62026 0 hardback isbn 0 521 62980 2 paperback Contents List of Illustrations page ix Acknowledgments xi Introduction 1 1. Between Wonder, Intuition, and Suggestion: Rasa in Satyajit Ray’s The Apu Trilogy and Jalsaghar 15 Rasa Theory: An Overview 15 The Excellence Implicit in the Classical Aesthetic Form of Rasa: Three Principles 24 Rasa in Pather Panchali (1955) 26 Rasa in Aparajito (1956) 40 Rasa in Apur Sansar (1959) 50 Jalsaghar (1958): A Critical Evaluation Rendered through Rasa 64 Concluding Remarks 72 2.