DOCSLIB.ORG

Behind Closed Doors” in Presence of Ms Rinki Bhattacharya, Author at an Event Held in Oxford Book Stores, Kolkata

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Behind Closed Doors” in Presence of Ms Rinki Bhattacharya, Author at an Event Held in Oxford Book Stores, Kolkata Padma Vibhushan Mahasweta Devi, Indian social activist and writer releasing “Behind Closed Doors” in presence of Ms Rinki Bhattacharya, author at an event held in Oxford Book Stores, Kolkata. Prof Susie Tharu, Professor Emeritus, Cultural Studies Department, English and Foreign Languages University, Hyderabad releasing “Behind Closed Doors” in presence of Ms Rinki Bhattacharya, author at an event held in Hyderabad In the NEWS 2 September 2004 Opening doors The malaise of domestic violence cuts across class barriers. Rinki Bhattacharya has demolished more than just the myth of domestic bliss with her book, “Behind Closed Doors”. USHA RAMAN speaks to the author lifting the veil of darkness. AFTER MORE than 20 years of listening to and academic approaches. “While there is Dispelling myths women share their experiences of domestic no longer that silence or disbelief that once The book, she hopes, will dispel some of violence, after collecting many “powerful, surrounded the issue, there is still very little the “myths” about domestic violence and moving stories” from victims who needed support for women who face violence within empower more women to break the silence. to share and find belief, and after making the home,” she says. “There is still so much “Many women think violence is something her own way out of an abusive relationship, sanctity attached to marriage.” that happens only among the working Rinki Bhattacharya decided class,” she says. “So there’s a that a book needed to be lot of denial that women in upper written to break the myths classes go through before they about the “silent crime” of see that they too are victims.” domestic violence. When talking to poorer women, Rinki Roy Bhattacharya, Rinki found that even they thought ex-wife of the late Basu that women in well-to-do families Bhattacharya and daughter would never have to deal with of noted filmmaker Bimal domestic violence. But with Roy, knows how to wield the education and wealth also comes power of the written word. isolation, and women rarely Through a regular column connect what is happening to in Mumbai’s Mid-Day them with the notion of crime. In newspaper, she repeatedly addition, “educated” women also dealt with the issue of feel a greater sense of shame that violence against women. keeps them from “coming out”. Documenting domestic Moreover, there is little social violence support for victims of domestic “But the media has its violence. In Rinki’s film, “Char limits. There’s only so Diwari”, one woman recounts much you can do through how no one in her Mumbai a column in a newspaper,” chawl responded to her screams she says. “So I started because they all thought it was a collecting the stories, `gharelu mamla’. documenting everything Long way to go I heard and saw about “We’ve definitely made progress domestic violence.” It was in over the 20-odd years that I have the mid-1980s that the idea been working in the area, but we of putting these stories into are still not geared up to provide a book came to her. She a good safety net for the majority sent in her manuscript to a Author Rinki Bhattacharya... some light on shrouded deeds. of abused women,” notes Rinki. well-known publisher, who Photo: K. Ramesh Babu. Groups such as Nirmala Niketan initially reacted favourably. and Nari Kendra in Mumbai, Many months later, they changed their Statistics bear that out. A cross-cultural Sakshi in Delhi, Vimochana in Bangalore minds and returned her document, “totally study conducted in 2002 by a U.S.-based and Asmita in Hyderabad have made a mutilated”. “But I’m a documentarist at research group in collaboration with Indian difference to some women. Police are more heart, so I kept at it, writing and recording,” researchers found that two out of every five sensitive, the special Crimes Against Women she says. women in India remain silent about abuse (CAW) cells have helped to some extent. And almost two decades later, Sage because of shame and family honour. India But not enough. “Where is the visibility for Publications decided to publish these oral had one of the highest rates of domestic such issues in the public environment?” histories in an edited volume titled “Behind violence in the world, with and estimated asks Rinki. Rinki feels that we need to Closed Doors” dealing with domestic 45 per cent of Indian women reporting some educate women more about the possibility violence in India. “The book is in a sense form of abuse. Of the women reporting of such violence. “I was really pleased when a sequel to a film I made in the 1990s,” violence, 50 per cent were kicked, beaten a woman picked up my book, telling me says Rinki. “There’s been an overwhelming or hit when pregnant. About 74.8 per cent she wanted her young daughters to read it response to it across audience segments.” of the women who reported violence have and understand that this could happen to The narratives of battered women are attempted to commit suicide. anyone,” says Rinki. interspersed in the book with essays by scholars and activists, combining journalistic 30 May 2004 Can you beat that? Writer, columnist and documentary filmmaker Rinki Bhattacharya has edited an anthology on domestic violence. She should know. She’s been there Satish Nandgaonkar interviews the ex-wife of late director Basu Bhattacharya Twenty years is a long time to wait for catharsis. erupted. “He began screaming at me. That was Those were difficult days, for many refused to But cathartic is how Rinki Bhattacharya describes perhaps the beginning of the abusive behaviour.” believe her. But Bhattacharya tends to recall the the experience of awaiting the release of her new As Bhattacharya coped with the changes in her support that she got from different quarters — book — and her volcanic act of angst — on life — moving from a liberal well-to-do family from psychiatrist-turned-actor Mohan Agashe, domestic violence next week. “With this book, I filmmaker Satyajit Ray and actor Smita Patil. want to give it (her past) a decent burial,” says “Dr Agashe gave me tips on how to deal with a much-mellowed Bhattacharya — writer, Basu’s anger. Manikda wrote me a sympathetic columnist and documentary filmmaker. For after letter after he read the Manushi interview. Smita 18 years of physical and verbal abuse from her Patil publicly refused to share any forum with husband, and 20 years after she first spoke about Basu,” she recalls. it in an explosive interview — bringing domestic As she emerged out of her own shadow, she violence out of the closet — she is ready to lay began to collect books on domestic violence, her ghosts to rest. increase her involvement with the Women’s The former wife of filmmaker Basu Bhattacharya Centre and help other women in distress with was among the first high-profile women to a helpline for battered women. “Women are in speak out about domestic abuse. Her account constant denial. Many women think suffering was carried in a 1984 interview with senior MOVING ON: Rinki Bhattacharya at is their fate and they internalise it. Unless the journalist Madhu Kishwar in Manushi. The her Bandra home. victim tries to reach out herself, we cannot help,” interview brought to the fore the ugly side of Photo: Gajanan Dudhalkar she says. Bhattacharya, one of ace director Bimal Roy’s Bhattacharya has also produced a documentary promising associates and maker of sensitive into a one-room chawl and becoming a wife and — titled Chaar Diwari (Within Four Walls) — films such as the National Award-winningTeesri mother — she began to discover a parallel face that record the testimonies of domestic violence Kasam, and the trilogy, Anubhav, Avishkar and of her husband. There was, on the one hand, a survivors, exploring its psychological impact on Grihapravesh. sensitive and a creative side to the filmmaker women and children, the lack of legal recourse Rinki Bhattacharya has now edited an anthology whose films focused on strong women in search for women and the societal attitude of regarding on domestic violence, Behind Closed Doors – of an identity. And then there was the man who it more a “personal affair” than a social problem. Domestic Violence in India (Sage Publications, subjected his wife to frequent verbal and physical The book has been within her for long years. The Rs 295) which explores the various complex abuse. idea first came to her in 1984 when she began facets of what is called “the silent crime”. The For Bhattacharya, who was a part of her collecting personal stories of women victims of 234-page book includes interviews with women husband’s crew — helping in scripting, domestic abuse. Behind Closed Doors contains victims of domestic violence in different parts costumes, set and production design — the the raw testimonies of 17 such women. They of the country, apart from analytical articles anomaly was stark. “I think he was one of range from the story of Neela, whose husband by her youngest daughter Anwesha Arya, and the most talented directors. Coming from his dictated everything from which lipstick she should academics and writers such as Sobha Venkatesh background, what he achieved was great. But, wear to how the food should be served clockwise Ghosh, Kalindi Mazumdar and Shirin Kudchedkar. excessive abusiveness existed like a parallel on a plate, to Hansa who converted to Islam to For Bhattacharya, the book is a culmination of stream in him,” she says. legalise her bigamous marriage. “But I don’t a personal war against domestic violence which Rinki Bhattacharya put up with physical beatings want just battered women to read this book.
Load more

Recommended publications
  • Adeep Tandon
    Adeep Tandon Member of the Jury, 9th NSFFI 2019 Shri Adeep Tandon is a Science Graduate from AGRA UNIVERSITY and a DIPLOMA HOLDER from FILM INSTITUTE OF INDIA, ( Now FTII ), PUNE, having graduated in the year 1968,specialising in MOTION PICTURE PHOTOGRAPHY. After passing out from Pune FTII, he joined Satyajit Ray's Director Of Photography, Mr.Subrata Mitra as his chief assistant and assisted him in Merchant -Ivory Production's " BOMBAY TALKIE",Mahatma and the Mad Boy (A tele-film for BBC ) and a series of TV commercial for American TV for Tea Board of India,Calcutta. In Calcutta worked as DOP for Mr.Shanti P Choudhury ( Image India Films ) on six documentaries and also for Mr.Chidanand Dasgupta as his DOP for five documentaries before leaving for Mumbai. In Mumbai he shot nearly 120 Ad commercials as DOP, more than 100 documentary films, about 35 Feature films as DOP and Corporate films etc. till date. Some of notable films are, Griha Pravesh , Saaransh,Thikana, Rao Saheb, Mere Saath Chal, Censor,Jana Na Dil Se Door etc., Have done 7 feature films in Punjabi ( Directing two and as DOP 5 ),Bengali film " Anand Niketan" as DOP. Have Directed & Photographed a Hindi Feature film " NAAZUK SAA MODD " ( To be released). He is also a writer and presently co-written two features for Mr.Avtar Kohli Alias Kuku Kohli, maker of "Phool Aur Kante" and many more hindi block busters. Have worked as DOP in the feature films with Basu Bhattacharya, Mahesh Bhatt,Vijaya Mehta,Chetan Anand,Dev Anand,Vijaya Anand,Harpal Tiwana,Priti Sapru,Sujit Guha, Suresh Sharma,Tanvir Ahmed and many more.
    [Show full text]
  • Understanding Meaningful Cinema
    [ VOLUME 5 I ISSUE 3 I JULY– SEPT 2018] E ISSN 2348 –1269, PRINT ISSN 2349-5138 Understanding Meaningful Cinema Dr. Debarati Dhar Assistant Professor, Vivekananda School of Journalism and Mass Communication Vivekananda Institute of Professional Studies, New Delhi. Received: June 23 , 2018 Accepted: August 03, 2018 Introduction: Cinephilia Cineastes say that films help the audience to reflect on the divergent cultures and justify the presence of multi-cultural, multi-ethnic audience in view of this divergence. The language of cinema continues to evolve in a living tradition and the filmmakers trace the ever-changing language of this medium from the silent era to the talkies, from the days when screen went from black and white and got colorized. Emotional appeal, subtlety in its communication and most importantly throwing a new light on the world, as we know it counted a lot to the audience. Filmmakers now work across the spectrum of media including painting, novels, theatre and opera. In the global cinema, in general, the production has become more accessible today, the qualitative aspects have sadly given way to quantity and so, films often miss emotional and spiritual richness. The world is a closer place today. Perhaps it is cinema that helps to blur the boundaries. The concept of film as a commercial art form started in fifties. The fifties and sixties are generally known as the golden period of Indian cinema not only because masterpieces were being made, but because of the popularity of the songs of that era. One of the distinctive features of Indian cinema is its narrative structure.
    [Show full text]
  • Koel Chatterjee Phd Thesis
    Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar.
    [Show full text]
  • The Changing Role of Women in Hindi Cinema
    RESEARCH PAPER Social Science Volume : 4 | Issue : 7 | July 2014 | ISSN - 2249-555X The Changing Role of Women in Hindi Cinema KEYWORDS Pratima Mistry Indian society is very much obsessed with cinema. It is the and Mrs. Iyer) are no less than the revered classics of Ray or most appealing and far reaching medium. It can cut across Benegal. the class and caste boundaries and is accessible to all sec- tions of society. As an art form it embraces both elite and Women have played a number of roles in Hindi movies: the mass. It has a much wider catchment area than literature. mythical, the Sati-Savitri, the rebel, the victim and victimizer, There is no exaggeration in saying that the Indian Cinema the avant-garde and the contemporary. The new woman was has a deep impact on the changing scenario of our society in always portrayed as a rebel. There are some positive portray- such a way as no other medium could ever achieve. als of rebels in the Hindi movies like Mirch Masala, Damini, Pratighat, Zakhm, Zubeida, Mritudand and several others. Literature and cinema, the two art forms, one verbal in form The definition of an ideal Indian woman is changing in Hindi and the other visual, are not merely parallel but interactive, Cinema, and it has to change in order to suit into a changing resiprocative and interdependent. A number of literary clas- society. It has been a long hundred years since Dadasaheb sics have been made popular by the medium of cinema. Phalke had to settle for a man to play the heroine in India’s first feature film Raja Harishchandra (1913) and women in During its awesome journey of 100 years, the Indian Cinema Hindi cinema have come a long way since then.
    [Show full text]
  • 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.
    [Show full text]
  • Social Science TABLE of CONTENTS
    2015 Social Science TABLE OF CONTENTS Academic Tools 79 Labour Economics 71 Agrarian Studies & Agriculture 60 Law & Justice 53 Communication & Media Studies 74-78 Literature 13-14 Counselling & Psychotherapy 84 7LHJL *VUÅPJ[:[\KPLZ 44-48 Criminology 49 Philosophy 24 Cultural Studies 9-13 Policy Studies 43 Dalit Sociology 8 Politics & International Relations 31-42 Development Communication 78 Psychology 80-84 Development Studies 69-70 Research Methods 94-95 Economic & Development Studies 61-69 SAGE Classics 22-23 Education 89-92 SAGE Impact 72-74 Environment Studies 58-59 SAGE Law 51-53 Family Studies 88 SAGE Studies in India’s North East 54-55 Film & Theatre Studies 15-18 Social Work 92-93 Gender Studies 19-21 Sociology & Social Theory 1-7 Governance 50 Special Education 88 Health & Nursing 85-87 Sport Studies 71 History 25-30 Urban Studies 56-57 Information Security Management 71 Water Management 59 Journalism 79 Index 96-100 SOCIOLOGY & SOCIAL THEORY HINDUISM IN INDIA A MOVING FAITH Modern and Contemporary Movements Mega Churches Go South Edited by Will Sweetman and Aditya Malik Edited by Jonathan D James Edith Cowan University, Perth Hinduism in India is a major contribution towards ongoing debates on the nature and history of the religion In A Moving Faith by Dr Jonathan James, we see for in India. Taking into account the global impact and the first time in a single coherent volume, not only that influence of Hindu movements, gathering momentum global Christianity in the mega church is on the rise, even outside of India, the emphasis is on Hinduism but in a concrete way, we are able to observe in detail as it arose and developed in sub-continent itself – an what this looks like across a wide variety of locations, approach which facilitates greater attention to detail cultures, and habitus.
    [Show full text]
  • Rani Durgavati University, Jabalpur
    Department of Communication Studies & Research Rani Durgavati University, Jabalpur B.A. (HONS) IN MASS COMMUNICATION First Semester Syllabus There shall be five Courses in each semester, four theories and one practical. Each Course is divided in two components. Component A and Component B. Passing in each component shall be compulsory. Each theory Course will be divided in to Five Units. The students will be required to solve one question from each units. Details and marks are as following: COMPONENT - A Total Course Subject Credit Theory CCE Marks Course 1 English 05 60 40 100 Course 2 Hindi 05 60 40 100 Introduction to mass Course 3 05 60 40 100 Communication Course 4 History of Media 05 60 40 100 Course 5 Practical & Viva-Voce 04 60 40 100 24 300 200 500 BA Syllabus Page 1 COMPONENT - B - CCE Marks 1. Course - 1 1. Seminar 10 2. Unit Test 10 3. Unit Test 10 4. Unit Test 10 Total – 40 Marks 2. Course - 2 1. Seminar 10 2. Unit Test 10 3. Unit Test 10 4. Unit Test 10 Total – 40 Marks 3. Course - 3 1. Seminar 10 2. Unit Test 10 3. Unit Test 10 4. Unit Test 10 Total – 40 Marks 4. Course - 4 1. Seminar 10 2. Unit Test 10 3. Unit Test 10 4. Unit Test 10 Total – 40 Marks 5. Course - 5 1. Assignment in each Course 30 2. Field Visit 10 Total – 40 BA Syllabus Page 2 B.A. Mass Communication First Semester Course 1 English Credit – 05 Marks- 60 Unit 1 *Sentences: Simple, Compound, Complex, Assertive, Interrogative, Imperative, And Exclamatory.
    [Show full text]
  • Download Download
    "Light Your Cigarette with My Heart's Fire, My Love": Raunchy Dances and a Golden- hearted Prostitute in Bhardwaj's Omkara (2006) Madhavi Biswas, University of Texas Dallas Abstract This essay argues that Omkara (dir. Vishal Bhardwaj, 2006) foregrounds contemporary gender concerns in modern, small-town India, primarily through the film's reformulation of the three female roles in Othello. Billo/Bianca, played by a glamorous, contemporary, female star, gets her own romance and two popular and raunchy song-and-dance tracks in Omkara. These dance tracks are a peculiar mixture of traditional folk Nautanki and identifiable Bollywood masala "item numbers," whose layered lyrics have been penned by Gulzar, a well-known poet, lyricist, scriptwriter, and ex-film-director who closely collaborates with Bhardwaj. The essay argues for the recognition of the songs in Omkara as a parallel narrative that intertwines with and intersects the central narrative of the plot, inflecting it with a range of cultural and social intertexts, along with a dash of metatextual flavor. The article examines how the two song-and-dance sequences by Billo/Bianca in the film use the familiar tropes of the "courtesan" figure of Hindi films and draw upon traditional folk-theater — reflecting both its local poetry and its vulgarity — to evoke a new kind of verbal and visual "realism" that intertwines Bollywood glamor with local histories. Omkara, with its big budget stars, glossy production values, and popular song- and-dance numbers interspersing the narrative — elements that are often associated with the "Bollywood" style of Hindi cinema — is the most obviously commercial of Vishal Bhardwaj's three Shakespearean adaptations.
    [Show full text]
  • RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE Et
    Direction de la communication DOSSIER DE PRESSE VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE et www.centrepompidou.fr VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) DDirection sommaire de la communication 75 191 Paris cedex 04 responsable du pôle presse I. COMMUNIQUE DE PRESSE page 2 Carole Rio-Latarjet chargée des relations presse Albane Jouis-Maucherat II. VOUS AVEZ DIT « BOLLYWOOD » ! page 4 téléphone par Nadine Tarbouriech 00 33 (0)1 44 78 13 81 télécopie III PROGRAMMATION ET SYNOPSIS DES FILMS page 6 00 33 (0)1 44 78 13 02 mél IV. CALENDRIER DES PROJECTIONS page 29 albane.jouis-maucherat @cnac-gp.fr V. RENCONTRE ORGANISEE PAR LES FORUMS DE SOCIETE La « résistance » de Bollywood ? page 38 VI. EVENEMENTS AUTOUR DE LA MANIFESTATION page 40 VII. LISTE DES PHOTOS DISPONIBLES POUR LA PRESSE page 48 VIII. REMERCIEMENTS page 52 IX. INFORMATIONS PRATIQUES page 53 VOUS AVEZ DIT BOLLYWOOD ! RÉTROSPECTIVE DU CINÉMA INDIEN POPULAIRE 4 FEVRIER – 1er MARS 2004 ET 17 MARS – 19 AVRIL 2004 CINEMA 1 (NIVEAU 1), CINEMA 2 (NIVEAU –1) Direction Pour la première fois en France, une grande rétrospective consacrée à la cinématographie de la communication indienne populaire est proposée par les Cinémas du Centre Pompidou. 75 191 Paris cedex 04 responsable du pôle presse er Carole Rio-Latarjet Pensée en deux temps, la manifestation rend d’abord hommage, du 4 février au 1 mars 2004, chargée des relations presse aux auteurs des grands classiques en noir et blanc des années 50 considérées comme l’âge Albane Jouis-Maucherat d’or des studios indiens : Guru Dutt, Raj Kapoor, Bimal Roy, Mehboob Khan, V.
    [Show full text]
  • The Shadow and the Arc Light: Finding the Female Workforce in Bombay Cinema
    E-CineIndia July-September 2020 ISBN: 2582-2500 Article Madhuja Mukherjee The Shadow and the Arc Light: Finding the Female Workforce in Bombay Cinema Abstract: This paper is connected to broader research concerning gender, labour and the Indian film industry, and develops from my on-going audio-visual project titled ”The shadow and the arc light”. While it is linked with my previous book project, ‘Voices of the Talking Stars’ (2017) involving women/ work and cinema dynamics, the attempt here is to reclaim feminist narratives from the historical debris and amnesia, in the context of contemporary and emergent feminist historiography. Furthermore, while certain degree of research has been conducted on women as ‘directors’, my purpose here is not to posit women as ‘auteurs’; contrarily, I aspire draw attention to the problems of historical readings which, generally speaking, have been greatly influenced by studies of periods, styles, movements and (great) masters, even though, more recently newer research have examined industrial conditions, cinematic transactions across regions, media histories, and so on. Consequently, my aim is to shift the focus to subjects of labour, and bring to light the characteristics of film work, and enquire where is the female figure on the elusive credit lists? Therefore, I call attention to a historical lacuna, which provokes us to rethink film historiography, and highlight the nature of filmic work and underscore the (un-credited) work done by women, in multiple capacities, during the last century. The ‘women’s question’ thus, urges us to rethink methods of writing histories for cinema. The purpose of this paper consequently is two fold -- first, to understand the nature filmic work, and secondly, to locate the shadow of the women worker in the archives of cinema.
    [Show full text]
  • LIST of HINDI CINEMA AS on 17.10.2017 1 Title : 100 Days
    LIST OF HINDI CINEMA AS ON 17.10.2017 1 Title : 100 Days/ Directed by- Partho Ghosh Class No : 100 HFC Accn No. : FC003137 Location : gsl 2 Title : 15 Park Avenue Class No : FIF HFC Accn No. : FC001288 Location : gsl 3 Title : 1947 Earth Class No : EAR HFC Accn No. : FC001859 Location : gsl 4 Title : 27 Down Class No : TWD HFC Accn No. : FC003381 Location : gsl 5 Title : 3 Bachelors Class No : THR(3) HFC Accn No. : FC003337 Location : gsl 6 Title : 3 Idiots Class No : THR HFC Accn No. : FC001999 Location : gsl 7 Title : 36 China Town Mn.Entr. : Mustan, Abbas Class No : THI HFC Accn No. : FC001100 Location : gsl 8 Title : 36 Chowringhee Lane Class No : THI HFC Accn No. : FC001264 Location : gsl 9 Title : 3G ( three G):a killer connection Class No : THR HFC Accn No. : FC003469 Location : gsl 10 Title : 7 khoon maaf/ Vishal Bharadwaj Film Class No : SAA HFC Accn No. : FC002198 Location : gsl 11 Title : 8 x 10 Tasveer / a film by Nagesh Kukunoor: Eight into ten tasveer Class No : EIG HFC Accn No. : FC002638 Location : gsl 12 Title : Aadmi aur Insaan / .R. Chopra film Class No : AAD HFC Accn No. : FC002409 Location : gsl 13 Title : Aadmi / Dir. A. Bhimsingh Class No : AAD HFC Accn No. : FC002640 Location : gsl 14 Title : Aag Class No : AAG HFC Accn No. : FC001678 Location : gsl 15 Title : Aag Mn.Entr. : Raj Kapoor Class No : AAG HFC Accn No. : FC000105 Location : MSR 16 Title : Aaj aur kal / Dir. by Vasant Jogalekar Class No : AAJ HFC Accn No. : FC002641 Location : gsl 17 Title : Aaja Nachle Class No : AAJ HFC Accn No.
    [Show full text]
  • Women, Cinema and the Indian Nation: a Description Historical Survey
    I. (A) Personal Details Role Name Affiliation Principal Investigator Prof. SumitaParmar Allahabad University, Allahabad Paper Coordinator Prof. Rekha Pande University of Hyderabad, Hyderabad Content Writer/Author Prof. Lalit Joshi University of Allahabad, (CW) Allahabad. Content Reviewer (CR) Prof.Rekha Pande University of Hyderabad Language Editor (LE) Prof. SumitaParmar Allahabad University, Allahabad (B) Description of Module Items Description of Module Subject Name Women’s Studies Paper Name Women and History Module Name/ Title, Women, Cinema and the Indian Nation: a description historical survey Module ID Paper-3, Module-33 Pre-requisites The reader is expected to have an understanding of how patriarchy is articulated in visual and performing arts. Objectives To make the reader understand how the ‘look’ is organized in Indian cinema and how it is used to promote voyeuristic tendencies among the audiences. Keywords film criticism,darsana theory,Indian cinema,male gaze, anti-colonial movement,female protagonists WOMEN, CINEMA AND THE INDIAN NATION: A HISTORICAL SURVEY Introduction This unit is about the representation/portrayal/depiction of women in Indian cinema. No attempt has been made to choose films made in all the languages in India. Nor has any attempt been made to distinguish between representations in what have been called ‘mainstream’ and ‘art’ films. The lack of an ‘Indian Theory of Cinema’, explaining how women are represented on the screen, creates problems of interpretation. Moreover feminist film criticism in the western academia opens new vantage points for the reader but limited possibilities to understand Indian cinema. Nonetheless, some prominent theorists merit mention. Pioneering work was done by Laura Mulvey (Visual Pleasure and Narrative Cinema, 1975) who argued that the look or gaze in cinema is androcentric and that male audiences derive ‘scopohilic pleasure looking at women’.
    [Show full text]