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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. -
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. -
4 Broadcast Sector
MINISTRY OF INFORMATION AND BROADCASTING Annual Report 2006-2007 CONTENTS Highlights 1. Overview 1 2. Administration 3 3. Information Sector 12 4. Broadcast Sector 53 5. Films Sector 110 6. International Co-operation 169 7. Plan and Non-Plan Programmes 171 8. New Initiatives 184 Appendices I. Organisation Chart of the Ministry 190 II. Media-wise Budget for 2006-2007 and 2007-2008 192 Published by the Director, Publications Division, Ministry of Information and Broadcasting, Government of India Typeset at : Quick Prints, C-111/1, Naraina, Phase - I, New Delhi. Printed at : Overview 3 HIGHLIGHTS OF THE YEAR The 37th Edition of International Film Festival of India-2006 was organized in Goa from 23rd November to 3rd December 2006 in collaboration with State Government of Goa. Shri Shashi Kapoor was the Chief Guest for the inaugural function. Indian Film Festivals were organized under CEPs/Special Festivals abroad at Israel, Beijing, Shanghai, South Africa, Brussels and Germany. Indian films also participated in different International Film Festivals in 18 countries during the year till December, 2006. The film RAAM bagged two awards - one for the best actor and the other for the best music in the 1st Cyprus International Film Festival. The film ‘MEENAXI – A Tale of Three Cities’ also bagged two prizes—one for best cinematography and the other for best production design. Films Division participated in 6 International Film Festivals with 60 films, 4 National Film Festivals with 28 films and 21 State level film festivals with 270 films, during the period 1-04-06 to 30-11-06. Films Division Released 9791 prints of 39 films, in the theatrical circuits, from 1-4-06 to 30-11-06. -
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. -
Satyajit Ray
AU CINÉMA LE 9 DÉCEMBRE 2015 EN VERSION RESTAURÉE HD Galeshka Moravioff présente LLAA TTRRIILLOOGGIIEE DD’’AAPPUU 3 CHEFS-D’ŒUVRE DE SATYAJIT RAY LLAA CCOOMMPPLLAAIINNTTEE DDUU SSEENNTTIIEERR (PATHER PANCHALI - 1955) Prix du document humain - Festival de Cannes 1956 LL’’IINNVVAAIINNCCUU (APARAJITO - 1956) Lion d'or - Mostra de Venise 1957 LLEE MMOONNDDEE DD’’AAPPUU (APUR SANSAR - 1959) Musique de RAVI SHANKAR AU CINÉMA LE 9 DÉCEMBRE 2015 EN VERSION RESTAURÉE HD Photos et dossier de presse téléchargeables sur www.films-sans-frontieres.fr/trilogiedapu Presse et distribution FILMS SANS FRONTIERES Christophe CALMELS 70, bd Sébastopol - 75003 Paris Tel : 01 42 77 01 24 / 06 03 32 59 66 Fax : 01 42 77 42 66 Email : [email protected] 2 LLAA CCOOMMPPLLAAIINNTTEE DDUU SSEENNTTIIEERR ((PPAATTHHEERR PPAANNCCHHAALLII)) SYNOPSIS Dans un petit village du Bengale, vers 1910, Apu, un garçon de 7 ans, vit pauvrement avec sa famille dans la maison ancestrale. Son père, se réfugiant dans ses ambitions littéraires, laisse sa famille s’enfoncer dans la misère. Apu va alors découvrir le monde, avec ses deuils et ses fêtes, ses joies et ses drames. Sans jamais sombrer dans le désespoir, l’enfance du héros de la Trilogie d’Apu est racontée avec une simplicité émouvante. A la fois contemplatif et réaliste, ce film est un enchantement grâce à la sincérité des comédiens, la splendeur de la photo et la beauté de la musique de Ravi Shankar. Révélation du Festival de Cannes 1956, La Complainte du sentier (Pather Panchali) connut dès sa sortie un succès considérable. Prouvant qu’un autre cinéma, loin des grosses productions hindi, était possible en Inde, le film fit aussi découvrir au monde entier un auteur majeur et désormais incontournable : Satyajit Ray. -
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. -
Annual-Report-2014-2015-Ministry-Of-Information-And-Broadcasting-Of-India.Pdf
Annual Report 2014-15 ANNUAL PB REPORT An Overview 1 Published by the Publications Division Ministry of Information and Broadcasting, Government of India Printed at Niyogi offset Pvt. Ltd., New Delhi 20 ANNUAL 2 REPORT An Overview 3 Ministry of Information and Broadcasting Annual Report 2014-15 ANNUAL 2 REPORT An Overview 3 45th International Film Festival of India 2014 ANNUAL 4 REPORT An Overview 5 Contents Page No. Highlights of the Year 07 1 An Overview 15 2 Role and Functions of the Ministry 19 3 New Initiatives 23 4 Activities under Information Sector 27 5 Activities under Broadcasting Sector 85 6 Activities under Films Sector 207 7 International Co-operation 255 8 Reservation for Scheduled Castes, Scheduled Tribes and other Backward Classes 259 9 Representation of Physically Disabled Persons in Service 263 10 Use of Hindi as Official Language 267 11 Women Welfare Activities 269 12 Vigilance Related Matters 271 13 Citizens’ Charter & Grievance Redressal Mechanism 273 14 Right to Information Act, 2005 Related Matters 277 15 Accounting & Internal Audit 281 16 CAG Paras (Received From 01.01.2014 To 31.02.2015) 285 17 Implementation of the Judgements/Orders of CATs 287 18 Plan Outlay 289 19 Media Unit-wise Budget 301 20 Organizational Chart of Ministry of I&B 307 21 Results-Framework Document (RFD) for Ministry of Information and Broadcasting 315 2013-2014 ANNUAL 4 REPORT An Overview 5 ANNUAL 6 REPORT Highlights of the Year 7 Highlights of the Year INFORMATION WING advertisements. Consistent efforts are being made to ● In order to facilitate Ministries/Departments in promote and propagate Swachh Bharat Mission through registering their presence on Social media by utilizing Public and Private Broadcasters extensively. -
EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P
UMATIC/DG Duration/ Col./ EVENT Year Lib. No. Name of the Film Director 35MM DCP BRD DVD/CD Sub-Title Language BETA/DVC Lenght B&W Gujrat Festival 553 ANDHA DIGANTHA (P. B.) Man Mohan Mahapatra 06Reels HST Col. Oriya I. P. 1982-83 73 APAROOPA Jahnu Barua 07Reels EST Col. Assamese I. P. 1985-86 201 AGNISNAAN DR. Bhabendra Nath Saikia 09Reels EST Col. Assamese I. P. 1986-87 242 PAPORI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 252 HALODHIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1988-89 294 KOLAHAL Dr. Bhabendra Nath Saikia 06Reels EST Col. Assamese F.O.I. 1985-86 429 AGANISNAAN Dr. Bhabendranath Saikia 09Reels EST Col. Assamese I. P. 1988-89 440 KOLAHAL Dr. Bhabendranath Saikia 06Reels SST Col. Assamese I. P. 1989-90 450 BANANI Jahnu Barua 06Reels EST Col. Assamese I. P. 1996-97 483 ADAJYA (P. B.) Satwana Bardoloi 05Reels EST Col. Assamese I. P. 1996-97 494 RAAG BIRAG (P. B.) Bidyut Chakravarty 06Reels EST Col. Assamese I. P. 1996-97 500 HASTIR KANYA(P. B.) Prabin Hazarika 03Reels EST Col. Assamese I. P. 1987-88 509 HALODHIA CHORYE BAODHAN KHAI Jahnu Barua 07Reels EST Col. Assamese I. P. 1987-88 522 HALODIA CHORAYE BAODHAN KHAI Jahnu Barua 07Reels FST Col. Assamese I. P. 1990-91 574 BANANI Jahnu Barua 12Reels HST Col. Assamese I. P. 1991-92 660 FIRINGOTI (P. B.) Jahnu Barua 06Reels EST Col. Assamese I. P. 1992-93 692 SAROTHI (P. B.) Dr. Bhabendranath Saikia 05Reels EST Col. -
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. -
Current Affairs February 2016
CCUURRRREENNTT AAFFFFAAIIRRSS FFEEBBRRUUAARRYY 22001166 -- AAWWAARRDDSS http://www.tutorialspoint.com/current_affairs_february_2016/awards.htm Copyright © tutorialspoint.com News 1 - Bihar Chief Minister Nitish Kumar selected for the K Veeramani Award for Social Justice. Bihar’s Chief Minister, Nitish Kumar was selected on January 29, 2016 for the prestigious K Veeramani Award for Social Justice 2015. The award is given for his contribution towards social justice in Bihar as Chief Minister. This award is organized by Periyar International, a Chicago-based voluntary organization. However, the date and venue of the award function have not been mentioned yet. The award is instituted in Dr. K. Veeramani's name to accept and flourish his initiatives in creating an awareness on social equality and respect for human dignity in India. News 2 - 'Titli' bags the prestigious French Critic Award. Kanu Behl directed 'Titli' has won the Best First Foreign Film Award from the French Syndicate of Cinema Critics (FSCC) 2016 on February 02, 2016. The award was offered in Paris. The FSCC declares four prestigious prizes for Best French Film, Best First Foreign Film, Best International Film and Best Short Film annually. 'Titli', the film was co-produced by Dibakar Banerjee Productions Pvt. Ltd and Aditya Chopra’s Yash Raj Films. Ranvir Shorey, Amit Sial, Shashank Arora, Lalit Behl and Shivani Raghuvanshi are in the lead roles in this film. News 3 - Bhimsen Joshi Award goes to Sarangi Maestro Pandit Ram Narayan. Sarangi Maestro, Pandit Ram Narayan has been chosen for the Bharat Ratna Pandit Bhimsen Joshi Classical Music Award 2015-2016. The announcement was made by Maharashtra's Cultural Affairs Minister, Vinod Tawde on February 03, 2016. -
Portrayal of the Marginalized in Satyajit Ray's Sadgati
Contemporary Literary Review India CLRI Print ISSN 2250-3366 | Online ISSN 2394-6075 Vol. 7, No. 4: CLRI November 2020 | p 190-217 Dimensions of Narrative Through Dress: Portrayal of the Marginalized in Satyajit Ray’s Sadgati Vinayak Yashraj & Dr Priyanka Tripathi Vinayak is an Associate Professor at National Institute of Fashion Technology Patna. Dr Priyanka is an Associate Professor of English at the Department of Humanities and Social Sciences, Indian Institute of Technology Patna. Abstract A general understanding of dress categories it as a social, cultural construct, however it adds a unique perspective to its symbolic and semiotic dimension if interpreted in the sphere of film studies. Sadgati (1981) filmed by Satyajit Ray for Doordarshan was originally written in Hindi by Premchand in 1931. Reflective of postcolonial society, and bringing in the neo realist film-making influences, Ray has epitomized the Contemporary Literary Review India | pISSN 2250-3366 / eISSN 2394-6075 | Vol. 7, No. 4: CLRI November 2020 | Page 190 Dimensions of Narrative Through Dress: Portrayal of the Marginalized In Satyajit Ray’s Sadgati | Vinayak Yashraj & Dr Priyanka Tripathi Dalit cause in a hard hitting approach. Analyzing the film through the lens of "dressing up" infers that narrative is lucidly intertwined to clothes and formulates the cinematic construct. The article therefore attempts to look into how Ray takes his narrative and cinematic vision forward with an articulate and communicative use of "dressing up". Keywords: Dress and costume, narrative, identity, film adaptation, Dalit. Introduction Dress includes a collection of the modifications of body and/or the supplements to the body, including garments, jewelry, accessories, and modifications like tattooing, piercing, hair do, and make up that can be chosen as a group or also as individuals within the group (Eicher & Higgins 1). -
Rape Culture, Misogyny, and Urban Anxiety in NH10 and Pink
Feminist Media Studies ISSN: 1468-0777 (Print) 1471-5902 (Online) Journal homepage: http://www.tandfonline.com/loi/rfms20 Rape culture, misogyny, and urban anxiety in NH10 and Pink Tupur Chatterjee To cite this article: Tupur Chatterjee (2017): Rape culture, misogyny, and urban anxiety in NH10 and Pink, Feminist Media Studies, DOI: 10.1080/14680777.2017.1369446 To link to this article: http://dx.doi.org/10.1080/14680777.2017.1369446 Published online: 04 Sep 2017. Submit your article to this journal Article views: 30 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rfms20 Download by: [University of Washington Libraries] Date: 29 September 2017, At: 01:21 FEMINIST MEDIA STUDIES, 2017 https://doi.org/10.1080/14680777.2017.1369446 Rape culture, misogyny, and urban anxiety in NH10 and Pink Tupur Chatterjee Radio-Television-Film, The University of Texas at Austin, Austin, USA ABSTRACT ARTICLE HISTORY One of the most pervasive aspects of Delhi’s post-liberalization Received 20 March 2017 psychopathology has been everyday violence against women. The Revised 13 August 2017 city’s rape culture was given an exceptionally sharp global focus after Accepted 13 August 2017 the horrific gang rape of Jyoti Singh on December 16, 2012. Recent KEYWORDS Hindi cinema has begun to engage with some aspects of the capital’s Delhi; rape culture; misogynist urban ethos. In this paper, I look at how the Delhi subgenre multiplex film; multiplex of the “multiplex film” has engaged with rape culture, misogyny, and viewer; anxiety; Bollywood; urban anxiety through a close textual and discursive analysis of two misogyny; Pink; NH10 recent films—NH10 (Navdeep Singh, 2015) and Pink (Aniruddha Roy Chowdhury, 2016).