Mahasweta Devi
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Govind Nihalani's 'Hazaar Chaurasi Ki
Reclaiming Her /histories), reclaiming Lives: Govind Nihalani’s ‘Hazaar Chaurasi ki Ma’ and Mahashweta Devi’s Mother of 1084. Baruah Baishali Assistant Professor. Dept. of English Satyawati College (D) University of Delhi India Mahashweta Devi’s story is about the reawakening of a mother proselytized by the death of her son against the backdrop of the systematic “annihilation” of the Naxalites in the 1970’s Bengal. The uncanny death forces the apolitical mother to embark on a quest for the discovery of her ‘real’ son which eventually leads to her own self-discovery. The discovery entails the knowledge of certain truths or half truths about the particular socio-political milieu in which the characters are located. Sujata conditioned to play the submissive, unquestioning wife and mother for the major part of her life gains a new consciousness about her own reality (as a woman) and her immediate context (the patriarchal / feudal order). She therefore pledges to refashion herself by assimilating her son’s political beliefs of ushering in a new egalitarian world without centre or margin. In Govind Nihalani’s own words his film is “a tribute to that dream”. The symbiotic relation of the mother and the son which is shown to be more than just blood relation is done full justice by Nihalani. Jaya Bacchan plays to the hilt the traumatized mother (Sujata) who finds herself locked within her “solitary cell” and constantly assailed by the guilt of not knowing her son adequately when alive. The information about her son (Brati) that surfaces by her association with one Somu’s mother (Seema Biswas) and Nandini (played by Nandita Das) help her discover Brati his idealism, and shed her complacency about the arrangements of the hierarchised structure that underline every interpersonal (man- woman) and social (class/caste) relationship. -
Interview with Govind Nihalani Rukmavati Ki Haveli:: Creating
REVISTA CIENTÍFICA DE CINE Y FOTOGRAFÍA E-ISSN 2172-0150 Nº 12 (2016) INTERVIEW WITH GOVIND NIHALANI RUKMAVATI KI HAVELI: CREATING EMOTIONAL LANDSCAPES Amparo Rodrigo Mateu University of Mumbai, India [email protected] 25 years after filming Rukmavati Ki Haveli (1991), the Hindi movie adaptation of Lorca's play La casa de Bernarda Alba (Federico García Lorca, 1936), Mumbai-based Indian filmmaker and former cameraman Govind Nihalani (Karachi, 1940) vividly remembers the effect it had on him and relates how he adapted the play from Lorca's Spanish Andalusia to a film with an Indian background. 1 -Why did you choose Lorca and, among all his works, what attracted you to La casa de Bernarda Alba? I always liked theater and I was very close to a well-known Hindi theatre director. His name was Satyadev Dubey. He used to do English plays and he spoke to me a lot about some plays from Europe. Among them, he spoke about Lorca and this particular play. I had not read it but he described it as a strong play, so I became curious. I bought an English translation and I read it. I liked FOTOCINEMA, nº 13 (2016), E-ISSN: 2172-0150 321 the play very much because of its theme: authoritarianism and the rebellion against authoritarianism. I read it, I liked it and, then, I forgot about it. One day, I went to Jaisalmer, in Rajasthan. As I was going up the fort, I saw a group of Rajasthani women walking down. All of them -they must have been a particular tribe- were dressed in brown petticoats, brown skirts and black duppatas1 and chadars2, and wearing old silver jewelery. -
Reflections of Radical Political Movements on the Silver Screen: an Analysis
Global Media Journal-Indian Edition; Volume 12 Issue1; June 2020. ISSN:2249-5835 Reflections of Radical Political Movements on the Silver Screen: An Analysis Aakash Shaw Assistant Professor and Head, Department of Journalism and Mass Communication Vivekananda College (Affiliated to the University of Calcutta) [email protected] Abstract Jean – Louis Comolli and Jean Narboni described film as a particular product, manufactured within given economic relations, and involving labour to produce. This is a condition to which ‘independent film-makers’ and the ‘new cinema’ are subject, involving a number of workers and as a material product it is also considered as an ideological product of the system. No film makers can by individual efforts, change the economic relations governing the manufacture and distribution of her/his films. The radical political movements which culminated from the peasant uprising in 1967, spread like firestorm and eventually turned out to be an urban phenomenon. Films invoke current evaluations founded upon new criteria which are marked by the representation of power structures, authoritative institutions, engaging contestations and ideological apparatuses frozen in a specific time and space. Film reproduces reality that is an expression of prevailing ideology and seeks to re-interpret or find inferences and possible explications of the discourse from the past. In the context of radical political movements, the paper seeks to understand and analyze cinematic portrayal of Naxalite movement not only as peasants uprising but as a socio-economic approach arising as a response to the exploitation and subjugation prevalent in the semi-feudal and semi-colonial socio-economic structure. -
Analysing Structures of Patriarchy
LESSON 1 ANALYSING STRUCTURES OF PATRIARCHY Patriarchy ----- As A Concept The word patriarchy refers to any form of social power given disproportionately to men. The word patriarchy literally means the rule of the Male or Father. The structure of the patriarchy is always considered the power status of male, authority, control of the male and oppression, domination of the man, suppression, humiliation, sub-ordination and subjugation of the women. Patriarchy originated from Greek word, pater (genitive from patris, showing the root pater- meaning father and arche- meaning rule), is the anthropological term used to define the sociological condition where male members of a society tend to predominates in positions of power, the more likely it is that a male will hold that position. The term patriarchy is also used in systems of ranking male leadership in certain hierarchical churches and ussian orthodox churches. Finally, the term patriarchy is used pejoratively to describe a seemingly immobile and sclerotic political order. The term patriarchy is distinct from patrilineality and patrilocality. Patrilineal defines societies where the derivation of inheritance (financial or otherwise) originates from the father$s line% a society with matrilineal traits such as Judaism, for example, provides, that in order to be considered a Jew, a person must be born of a Jewish mother. Judaism is still considered a patriarchal society. Patrilocal defines a locus of control coming from the father$s geographic/cultural community. Most societies are predominantly patrilineal and patrilocal, but this is not a universal but patriarchal society is characteri)ed by interlocking system of sexual and generational oppression. -
Coalition Between Politics & Entertainment in Hindi Films: A
Journal of Education & Social Policy Vol. 1 No. 1; June 2014 Coalition between Politics & Entertainment in Hindi Films: A Discourse Analysis Dr. C. M. Vinaya Kumar Assistant Professor & Head Department of Journalism and Mass Communication Krishna University Machilipatnam-521 001 91-9985085530 Romesh Chaturvedi Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, 91-9721964685 India Shruti Mehrotra Sr. Lecturer Amity School of Communication Amity University, Lucknow Campus Uttar Pradesh, India 91-9451177264 Abstract The study attempts to explore dynamics of political discourse as reflected in Hindi films. Political messages in most Hindi films are concealed within entertainment. Films use thrilling & entertaining plots mixed with political content in order to convey their messages to the public. Films not only reflect reality but also construct the political ideology. The public is generally unaware of the extent to which they are being influenced, managed and conditioned by the political discourses in Hindi films. This study attempts to conduct the discourse analysis on the Hindi film “Chakravyuh” to find how politics and entertainment are merged together to influence public opinion. The film is based on the dark, largely-unexposed world of the Naxalites fighting for their land and dignity. Discourse analysis of the film will help in exploring how an entertaining film can carry a meaningful message. For over 40 years in India, since the emergence of the Naxalite rebellion, cinema has drawn inspiration from the rupture caused by this iconic movement in Indian political history. Hindi films seem to have woken up to Naxalism, or Maoism, as it is more commonly known today. -
Preuzmi Publikaciju (PDF)
reuters Goran Tomašević / Goran Tomašević Prosvjednik stoji pred barikadom u plamenu za vrijeme demonstracija u Kairu 28. siječnja 2011. Policija i demonstranti vodili su bitke na ulicama Kaira u petak na četvrti dan nezapamćenih prosvjeda desetaka tisuća Egipćana koji su zahtijevali kraj vladavine predsjednika Hosnija Mubaraka, koja je trajala trideset godina. reuters Goran Tomašević / Goran Tomašević Pristaša oporbe maše cipelom u znak nepoštovanja, nedugo nakon klanjanja molitve petkom na Trgu Tahrir u Kairu 4. veljače 2011. Desetci tisuća Egipćana klanjali su u petak na kairskom Trgu Tahrir (Trg oslobođenja) za kraj tridesetogodišnje vladavine predsjednika Hosnija Mubaraka, u nadi da će im se pridružiti još milijun građana na dan koji su nazvali “Danom odstupanja.” reuters Goran Tomašević / Goran Tomašević Mubarakovi pristaše marširaju prema anti-vladinim prosvjednicima na Trgu Tahrir u Kairu 2. Veljače 2011. Protivnici i pristaše egipatskog predsjednika Hosnija Mubaraka borili su se šakama, kamenjem i palicama u Kairu u srijedu u sukobu koji je, izgleda, bio pokušaj snaga vjernih egipatskom vođi da okončaju prosvjede kojima se zahtijeva njegova ostavka. reuters Goran Tomašević / Goran Tomašević Pristaše oporbe klanjaju molitvu petkom pokraj tenkova pred pedsjedničkom palačom u Kairu 11. veljače 2011. Razgnjevljeni odlučnošću predsjednika Hosnija Mubaraka da ostane na vlasti, Egipćani marširaju u znak protesta pred njegovom palačom u Kairu, odbacujući jamstvo vojske za prijelaz na slobodne izbore ocjenivši taj korak nedovoljnim. reuters -
War Cry of the Beggars: an Exploration Into City, Cinema and Graphic Narratives
South Asian Popular Culture ISSN: 1474-6689 (Print) 1474-6697 (Online) Journal homepage: http://www.tandfonline.com/loi/rsap20 War Cry of the Beggars: an exploration into city, cinema and graphic narratives Madhuja Mukherjee To cite this article: Madhuja Mukherjee (2016): War Cry of the Beggars: an exploration into city, cinema and graphic narratives, South Asian Popular Culture, DOI: 10.1080/14746689.2016.1241346 To link to this article: http://dx.doi.org/10.1080/14746689.2016.1241346 Published online: 08 Nov 2016. Submit your article to this journal View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rsap20 Download by: [Madhuja Mukherjee] Date: 09 November 2016, At: 20:43 SOUTH ASIAN POPULAR CULTURE, 2016 http://dx.doi.org/10.1080/14746689.2016.1241346 War Cry of the Beggars: an exploration into city, cinema and graphic narratives Madhuja Mukherjee Film Studies, Jadavpur University, Kolkata, India ABSTRACT This short piece is an account of the making of the graphic novel, Kangal Malsat (/War Cry of the Beggars, Bengali, 2013), designed, written and illustrated by the author (The graphic novel was described as the ‘first’ graphic work in Bengali by the popular press, and featured on the bestseller’s list). It presents a short introduction to the primary text, a Bengali novel by Nabarun Bhattacharya who was one of the most influential and controversial authors of recent times. The plot of Kangal Malsat (2002) presents the exploits of the Fyatarus/Flying Men and the Choktars/Black magicians. -
Kal Ho Naa Ho
cineworx Indian Love Story – Kal Ho Naa Ho ein Film von Nikhil Advani Indien 2003 _ 187 min. _ 35mm _ Farbe _ OmdU _ FSK 6 beantragt KINOSTART 8. Juli 2004 Verleih und Presse cineworx gmbh gerbergasse 30 postfach ch-4001 basel fon: +41-61 261 63 70 fax: +41-61 261 63 77 e-mail: [email protected] cineworx Credits................................................................................2 Kurzinformation ..................................................................3 Inhalt...................................................................................3 Hintergrundinformation.......................................................4 Regisseur Nikhil Advani......................................................5 Interview mit Nikhil Advani..................................................5 Darsteller............................................................................8 Drehbuch: Karan Johar ....................................................12 ‚Dharma Productions’ .......................................................12 Auszeichnungen und Festivals.........................................14 Pressestimmen.................................................................14 INDIAN LOVE STORY – KAL HO NAA HO 1 cineworx .........................................................................................Credits INDIAN LOVE STORY – KAL HO NAA HO Originaltitel: KAL HO NAA HO Indien 2003 · 187 Minuten · OmdU (Hindi) · 35mm/Cinemascope · FSK 6 beantragt Offizielle indische Homepage: www.khnhthefilm.com Regie....................................Nikhil -
IP Eng Jan-Mar 09.Indd
Vol 23, No. 1 ISSN 0970 5074 IndiaJANUARY-MARCH 2009 Perspectives Editor Vinod Kumar Assistant Editor Neelu Rohra Consulting Editor Newsline Publications Pvt. Ltd., C-15, Sector 6, Noida-201301 India Perspectives is published every month in Arabic, Bahasa Indonesia, Bengali, English, French, German, Hindi, Italian, Pashto, Persian, Portuguese, Russian, Sinhala, Spanish, Tamil and Urdu. Views expressed in the articles are those of the contributors and not necessarily of India Perspectives. All original articles, other than reprints published in India Perspectives, may be freely reproduced with acknowledgement. Editorial contributions and letters should be addressed to the Editor, India Perspectives, 140 ‘A’ Wing, Shastri Bhawan, New Delhi-110001. Telephones: +91-11-23389471, 23388873, Fax: +91-11-23385549, E-mail: [email protected], Website: http://www.meaindia.nic.in For obtaining a copy of India Perspectives, please contact the Indian Diplomatic Mission in your country. This edition is published for the Ministry of External Affairs, New Delhi, by Parbati Sen Vyas, Special Secretary, Public Diplomacy Division. Designed and printed by Ajanta Offset & Packagings Ltd., Delhi-110052. The Indian B.R. Chopra Film Industry A FILM MAKER FOR ALL SEASONS UPENDRA SOOD Editorial 2 58 Shyam Benegal We bring to our readers this time a special issue on Indian PROGENITOR NEW WAVE CINEMA Cinema. There could not have been a better theme for me to 62 commence my editorial stint as Indian and India-based cinema Gulzar seem to be the fl avour of the season. THE VERSATILE MAN AND HIS WORLD India was introduced to ‘moving pictures’ soon after their 66 screening by the Lumierre brothers in Paris. -
Screening the Impossible: the Politics of Form and Feeling in Second Wave Revolutionary Cinema
SCREENING THE IMPOSSIBLE: THE POLITICS OF FORM AND FEELING IN SECOND WAVE REVOLUTIONARY CINEMA By Sarah Hamblin A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY English 2012 ABSTRACT SCREENING THE IMPOSSIBLE: THE POLITICS OF FORM AND FEELING IN SECOND WAVE REVOLUTIONARY CINEMA By Sarah Hamblin Screening the Impossible explores how the new revolutionary ideologies that emerged in the various global articulations of the “long 1968” produced new forms of revolutionary cinematic practice – what I collectively refer to as a second wave of revolutionary filmmaking. The project focuses on films largely from the 1960s and 1970s that engage the revolutionary energies of the period to examine the relationship between emotion, aesthetics, and political theory in an international cinematic context. Drawing on the claim that the global rebellions of the 1960s mark the denunciation of early 20th century revolutionary narratives, it traces the connections between filmmakers who are similarly preoccupied with the limits, failures, and counter-revolutionary appropriations of orthodox revolutionary thought and yet remain committed to the necessity of revolutionary transformation. Through a comparative analysis of films from various national traditions, the project examines how the political cinema of this period develops a new understanding of revolutionary process and the role that cinema can play in it. At its core, the project lays out the aesthetic and affective contours of this emergent genre, arguing that second wave revolutionary cinema is characterized by its rejection of the teleological narratives and didactic political messages embedded in earlier first wave revolutionary cinematic production. -
The Creative & Cultural Dimension of the Naxalbari Movement
People, Politics and Protests V The Creative& Cultural Dimension of the Naxalbari Movement Subhoranjan Dasgupta 2017 The Creative & Cultural Dimension of the Naxalbari Movement ∗ Subhoranjan Dasgupta Preface Efflorescence … Efflorescence … Efflorescence. The legendary teacher of English Literature, Professor Taraknath Sen, used this particular term to evaluate the outburst of sonneteering in the Elizabethan age. Quite consciously, this term is being repeated to encapsulate, if possible, the prolific abundance of creativity inspired by the Naxalite movement. A few relevant though approximate figures will substantiate the choice of the word. No fewer than 500 poems were written by activists and sympathizers to record the upsurge; no fewer than 200 short stories were penned by the writers to capture the ebb and flow of the complex, political movement; no fewer than 50 novels were written to express the Naxalite experience; no fewer than 50 plays were written by indefatigable playwrights to dramatize the movement which struck us like a meteor and then dwindled; no fewer than 20 films were made to capture in celluloid the upsurge and tragic decline of the violent rebellion and resistance. Indeed, on commencing to explore this creative efflorescence, it is difficult to know where and how the quest should be terminated. It is therefore strange to read the comment of an otherwise excellent critic, Iraban Basu Ray, which labelled this outburst as ‘slim’, ‘confined’ and ‘slender’. 1 If one cares to read the plays published in the journal Abhinay and old copies of two magazines in particular, Anustup and Aneek , one realizes that the objections chosen by Iraban Basu Ray were fallacious. -
Contents SEAGULL Theatre QUARTERLY
S T Q Contents SEAGULL THeatRE QUARTERLY Issue 27/28 Dec 2000 Editor 2 Anjum Katyal ACKNOWLEDGEMENTS Editorial Consultant Samik Bandyopadhyay 4 Assistants INTRODUCTION Sayoni Basu Samik Bandyopadhyay Chaitali Basu Paramita Banerjee Sumita Banerjee Sudeshna Banerjee Sunandini Banerjee 9 Padmini Ray Chaudhury POINTS OF CONSIDERATION Vikram Iyengar 10 Design COLLOQUIUM ONE : Naveen Kishore THE DIRECTORS Assisted by Sunandini Banerjee 126 COLLOQUIUM TWO : WOMEN IN GROUP THEATRE Cover photograph Kali Banerjee as Karim in the Anushilan Sampraday production 260 of Ispat (1956). A NOTE ON THE PARTICIPANTS End papers Front: a poster of LTG’s Kallol (1965). Back: a scene from LTG’s production 263 of Kallol: NOTES ON PERSONS REFERRED TO IN THE TEXT Shekhar Chatterjee (Sardul Singh) and Samaresh Banerjee as a naval rating officer on board Khyber. 266 NEW RELEASES FROM SEAGULL BOOKS Published by Naveen Kishore for The Seagull Foundation for the Arts, 26 Circus Avenue, Calcutta 700017 Printed at Laurens & Co 9 Crooked Lane, Calcutta 700 069 1 Acknowledgements This special double issue of STQ, focusing on contemporary Bangla Group Theatre, has been 3 years in the making. Between the original conception and planning, and its final actualization, we have benefited from the contribution of innumerable persons, some of whom have even left and moved on in the interim. All persons who have worked for STQ on the matter in this issue have been acknowledged as ‘assistants’ on the contents page. Samik Bandyopadhyay has been closely involved with this issue, and with the larger Seagull project of documenting and disseminating theatre in Bengal, from the very beginning.