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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. -
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. -
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. -
Rathin Datta
The Legacy Continues... Rathin Datta A history of Price Waterhouse, Lovelock & Lewes and PricewaterhouseCoopers Pvt. Ltd. in India Rathin Datta This is an internal document of Price Waterhouse, Lovelock & Lewes and PricewaterhouseCoopers Pvt. Ltd. meant only for the private reading of the Partners and Executive Directors of these entities and intended to be archived by these entities as an internal record. Published by Nandini Chatterjee of PricewaterhouseCoopers Pvt. Ltd., Y14, Block EP, Sector V, Salt Lake, Kolkata 700 091, as an internal document of Price Waterhouse, Lovelock & Lewes and PricewaterhouseCoopers Pvt. Ltd. Design: [email protected] Printed by: Paramount Printographics Contents Introduction 5 Chapter I –The Early Days Calcutta in 1880 7 The founding of PW 9 The founding of L&L 15 The shifting of the Capital 22 International linkage of PW 23 The Managing Agency Houses 31 The Indian Industrialists 33 Post World War I 34 Early years of the profession 37 Offices in those days 39 Run up to World War II 43 Birth of a Nation 46 Chapter II – Post Independence Era The dawn 49 Cawnpore & Madras 50 East Pakistan 50 Socialistic Pattern of Society 52 Leadership changes 53 Eclipse of the Agency Houses 55 Other Offices 57 Nationalisation 59 1970s-1980s 61 Regulations 69 Chapter III –The Era of Reforms 1990s 71 Reforms 74 Merger 75 The rise of MCS 78 Not IT alone 85 Epilogue 90 Appendix 91 Madras (Chennai) Office 92 Bombay (Mumbai) Office 94 New Delhi Office 96 Bangalore Office 98 Pune Office 100 Hyderabad Office 102 Bhubaneswar Office 104 The Legacy Continues.. -
Common Objective Paper Part-I
PART-I (Hkkx-I) BOOKLET SERIES/ iqfLrdk lhjht+ A DO NOT OPEN THIS QUESTION BOOKLET UNTIL ASKED TO DO SO tc rd dgk u tk, bl iz'u iqfLrdk dks u [kksysaA Important: Please refer to your admit card while filling in details in this Question Booklet and in the OMR Answer Sheet. egRoiw.kZ% d`i;k vius izos'k i=k dks ns[kdj iz'u&iqfLrdk vkSj mÙkj i=kd esa fooj.k HkjsaA The written test structure is as given below: fyf[kr ijh{kk dh lajpuk uhps nh xbZ gS % Paper Test Components Question No. of Questions to be Answers to be isij ijh{k.k ?kVd Nos. Questions attempted marked/ iz'u&la[;k dqy iz'u (Marks) written on dqy iz'u gy mÙkj fdl ij djus gSa (vad) fy[kuk gS Part-I Section-A : Objective Type 30 OMR 1-30 30 Hkkx&I [k.M&A % oLrqfu"B Vkbi (30 marks/vad) mÙkj i=kd Question-cum- Part-II Section-B : Subjective Type 5 Answer booklet 1-7 7 Hkkx&II [k.M&B % vkRefu"B Vkbi (70 marks/vad) iz'u&lg mÙkj iqfLrdk PLEASE READ INSTRUCTIONS ON THE BACK COVER CAREFULLY. fiNys doj ij fn, x, vuqns'kksa dks è;ku ls if<+,A Use Blue/Black Ball Point pen to fill in the following particulars. Ñi;k fuEufyf[kr tkudkfj;ksa dks Hkjus ds fy, uhys@dkys ckWy ikWbaV isu dk iz;ksx djsaA Name / uke: …………………………………………………………………………………… Roll No / vuqØekad Signature/ gLrk{kj:……………………………………………………………………………. This Question Booklet and OMR Answer Sheet are to be returned on completion of the test. -
Satyajit Ray Season Reveals the Enduring Versatility and Masterly Satyajit Ray: Part Two Style of the Indian Director
22 The second part of our major Satyajit Ray season reveals the enduring versatility and masterly Satyajit Ray: Part Two style of the Indian director. But his later output is marked by a darkening mood that reflects Ray’s This second part of Ray’s career begins And his exquisite historical drama about on a sunny note. The Adventures of the British military takeover of Lucknow ambivalence towards the society he lived in, Goopy and Bagha was his most popular in 1856, The Chess Players, was equally argues Andrew Robinson. film in Bengal, with children and adults concerned with individual morality singing its Bengali songs on the streets as with political systems. But his two for months. ‘Maharaja, We Salute You’ detective films, The Golden Fortress was spontaneously sung by the crowds and The Elephant God, based on his at Ray’s funeral in 1992. own Holmes-and-Watson-style Bengali But then his mood darkened, first into the duo, betrayed a declining belief in official wincing irony of Days and Nights in the justice. In Deliverance, a stark attack on Forest, afterwards into a political trilogy: the cruelty of Untouchability, Ray moved The Adversary, Company Limited about as far from the hopefulness of and The Middleman. From 1969, the Pather Panchali as it was possible to go. Naxalite movement inspired by Maoism Ray’s last three films, though not without rocked Bengal through terrorist acts his trademark comedy, were urgent by young Bengalis, followed by horrific warnings to his fellow citizens against police and army reprisals, and a period religious fundamentalism and social of national Emergency declared by Indira corruption. -
A Comparitive Study on Politics in Sathyajith Ray's Films-Appu Triology, Mahanagar, Jana Aranya, Charulatha and Pathirdwani
un omm ica C tio s n s a & Ramis Salam, J Mass Communicat Journalism 2016, 6:6 M J o f u o Journal of r DOI: 10.4172/2165-7912.1000316 l n a a n l r i s u m o J ISSN: 2165-7912 Mass Communication & Journalism AnalysisResearch Article OpenOpen Access Access A Comparitive Study on Politics in Sathyajith Ray’s Films-Appu Triology, Mahanagar, Jana Aranya, Charulatha and Pathirdwani Ramis Salam P* Department of Mass Communication and Journalism, Pazhassiraja Collge, Calicut University, Pulpally, Kerala, India Abstract The most celebrated eminent Indian film director Satyajit Ray pasteurised the political history of India during 70’s and 80’s through his films. It looks different and gets more popularity. Politics, the word itself does not a word which used for valance and protest, otherwise politics is the internal evolution of human beings. The Ray characters played a very important role in deliver the political circumstances in 70’s and 80’s. It may be a striking political lesson. Politics, the word most commonly used for convey the provoking idea to the people. Satyajit Ray tries to wipe out the evil face of politics through his films In this study politically analysis the films Appu Trilogy, Jana aranya, Charulatha and Prathidhwani with the help of Indian political scenarios. This study is based on the content analysis of Sathyajith ray movies. The study conducted based on the method of mise-en scene of Sathyajith ray films. The study is also based on the theoretical frame work of Gandhian aproches and Marxian view. -
(1): Special Issue 100 Years of Indian Cinema the Changing World Of
1 MediaWatch Volume 4 (1): Special Issue 100 Years of Indian Cinema The Changing World of Satyajit Ray: Reflections on Anthropology and History MICHELANGELO PAGANOPOULOS University of London, UK Abstract The visionary Satyajit Ray (1921-1992) is India’s most famous director. His visual style fused the aesthetics of European realism with evocative symbolic realism, which was based on classic Indian iconography, the aesthetic and narrative principles of rasa, the energies of shakti and shakta, the principles of dharma, and the practice of darsha dena/ darsha lena, all of which he incorporated in a self-reflective way as the means of observing and recording the human condition in a rapidly changing world. This unique amalgam of self-expression expanded over four decades that cover three periods of Bengali history, offering a fictional ethnography of a nation in transition from agricultural, feudal societies to a capitalist economy. His films show the emotional impact of the social, economic, and political changes, on the personal lives of his characters. They expand from the Indian declaration of Independence (1947) and the period of industrialization and secularization of the 1950s and 1960s, to the rise of nationalism and Marxism in the 1970s, followed by the rapid transformation of India in the 1980s. Ray’s films reflect upon the changes in the conscious collective of the society and the time they were produced, while offering a historical record of this transformation of his imagined India, the ‘India’ that I got to know while watching his films; an ‘India’ that I can relate to. The paper highlights an affinity between Ray’s method of film-making with ethnography and amateur anthropology.