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Cambridge University Press 978-0-521-62980-5 - The Cinema of Satyajit Ray: Between Tradition and Modernity Darius Cooper Index More information Index Note: Pages in bold italics denote illustrations. Abhijan (The Expedition), 250 abhinaya, 42, 45, 47, 48–9, flashback, 160 Abhinavagupta, 3, 15, 16, 17, 50 forest/tribal tradition, 157–9 18, 19, 20, 24 camera: framing, 41, 44, 47; humbling of male, 129–30 Abhinavabharati, 17, 24 movement, 42, 44, 47, 48, laughter, 161–2 abhinaya, 26, 206 59 mise-en-scène, 129 Aparajito, 42, 45, 47, 48–9, editing, 41, 43, 46 memory game, 128–31 50 mise-en-scène, 42 women’s hedonism, 127–8, Apur Sansar, 50, 53–4, 56, rasa in: camatkaras, 40–4 130–1 59–60, 62 (Benares), 46–7 (Calcutta); Aristotle Jalsaghar, 66, 68–9 constancy of gesture, 48– Nicomachean Ethics, 23 Pather Panchali, 26, 27, 30, 50; the look, 40–4, 48; por- Poetics, 16; action, 21; 33, 35–6, 37–8, 40, 47 trayal of death, 42–4, 47–8 catharsis, 23, 24; character, acchina, 24, 25 sound track, 43, 44 21; hamartia, 167; mime- acedia, 134–5, 136–7 Apur Sansar(The World of sis, 21, 22; plot, 21 adbhuta, 24, 27, 42, 45 Apu), 2, 4, 7, 8, 16, 25, 49, Aryan, 148, 178–9 adharma, 190 53, 63, 106, 250 Ashani Sanket (Distant Thun- adharsana, 29 abhinaya, 50, 53–4, 56, 59– der), 97, 121, 122, 252 adhiksipa, 29 60, 62 Brahmin, 121, 147–52 Adventures of Goopy and camera: framing, 52, 55, 58, camera, 121, 149 Bagha, The, see Goopy 59, 60, 62; movement, 52, editing, 151 Gyne Bagha Byne 58, 59, 62 mise-en-scène, 147–8 Adversary, The, see Pratidwandi child, presence of, 60–1 sound track, 151 Agantuk (The Stranger), 5, 14, editing, 52, 53, 54, 58, 59, Ashcroft, Bill (coeditor), The 214, 233, 243n6, 254 60, 62 Empire Writes Back, 184, bhadralok: “center,” 214–15, mise-en-scène, 50, 51, 56, 215, 219–20, 222, 223 219, 222–3, 224, 232; 58, 60 Atharveda, 31 family, 217–19, 230 rasa in: camatkaras, 50–2 (lit- Attenborough, Richard, 209 Calcutta, 214, 219, 223, 233 erary), 53–5 (connubial); aucitya, 26 ending, 232–3 constancy of gesture, 53–5, Aurobindo, 79 names, meanings, 218 56–8, 61–4; opposition of autsukya, 64 tribal culture vs. technology, character, 55–6; portrayal avatar, 113 224–5 of death, 59–1 avesa, 24, 25 uncle’s language, 222–5 sound track, 54, 60 awards, 4, 235n13 aharya, 26 voice-over, 60 alambanavibhava, 64, 66 Apu Trilogy, The, 2, 3, 4, 7, Babita, 122 Allen, Woody, 9 21, 24, 73, 211; see also Bach, Johann Sebastian, 227, almiarah, 227 Aparajito; Apur Sansar; 229 Altman, Robert, 9 Pather Panchali Bahadur, Jaya Wadiyar, An As- Anandvardhana, 3, 15, 17, 18, Aquinas, Thomas, epiphany pect of Indian Aesthetics, 19, 20 theory, 28–9 20 Dhvanyaloka, 19 Aranyer Din Ratri (Days and Bakhtin, Mikhail, 158–60, angika, 26, 37, 38, 48, 56, 57, Nights in the Forest), 11, 161–2 59, 60, 66 12, 13, 97, 107, 162, 251–2 Bala (documentary), 252 aniyata, 20 Calcutta, 127, 130, 157–8, Bandopadhyaya, Satya, 175 Antonioni, Michelangelo, 9 159, 160, 161–2, 176 Banerjee, Bibhuti Bhusan, 6, 73 anubhava, 29, 64 camera, 131 Pather Panchali (novel), 32 Aparajito (The Unvanquished), carnivalesque in, 158, 159 Banerjee, Bikram, 233 2, 4, 16, 25, 32, 41, 249 drunkenness, 160–1 Banerjee, Haradhan, 125 255 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62980-5 - The Cinema of Satyajit Ray: Between Tradition and Modernity Darius Cooper Index More information 256 Index Banerjee, Karuna, 34 Agantuk, 214, 219, 223, 233 Chaudhuri, Nirad C., The Con- Banerjee, Victor, 91 Aparijito, 4, 45–7, 48, 50 tinent of Circe, 134–5, 136, Barnouw, Erik (coauthor), Aranyer Din Ratri, 127, 130, 137, 144, 152, 171, 175 Indian Film, 7, 11, 12 157–8, 159, 160, 161–2, Chess Players, The, see Basu, Gangapada, 71 176 Shatranj-ke-Khilari Baumer, Rachel (coeditor), San- Devi, 110, 112, 164, 165 children’s films, by Ray, 7, 13 skrit Drama in Perfor- Jana Aranya, 143, 144 Chiriakhana (The Zoo) mance, 21, 26, 73 “The Postmaster,” 80, 81, 82, (completed by Ray), 251 begum, 131, 186, 187, 188, 83 close-up, 105, 121, 194, 226 204, 205 Pratidwandi, 6, 137, 139, The Apu Trilogy, 27, 28, 30, Benares, 4, 32, 40–3, 44, 47, 140, 142, 143 37, 39, 40, 44, 55, 58, 62 48, 49 Seemabaddha, 6, 107, 153, Charulata, 85, 88, 103 Bengal, 90 154 Jalsaghar, 65, 67 Bergman, Ingmar, The Silence, 9 Shakha Proshaka, 216, 217, Shatranj-ke-Khilari, 200, 201 Beveridge, Henry, 199 220, 223 Company Limited, see Seema- bhadralok “center,” 5, 213, camatkara, 18–19, 22 baddha 220, 234 as principle of rasa, 24–5 Cook, Pam, 101, 239n23 Agantuk, 214–15, 219, 222– see also specific Apu Trilogy Conrad, Joseph 3, 224, 232 film Heart of Darkness, 202 Ganashatru, 213, 214 camera movements, see specific Lord Jim, 140 Shakha Proshaka, 214, 216, film or kind of shot Cormack, Margaret, The 217 carnivalesque, 158, 159 Hindu Woman, 108 bhadralok culture/sensibility, 13 Cassavetes, John, 9 Coward and the Holy Man, Agantuk, 214–15, 218–19, Castelvetro, Ludovico, 23 The, see Kapurush-o- 222–4, 225, 227, 230–1, caste system, 178–80 Mahapurush 232–3 centrism, 213–14, 224 Crawford, Joan, 97–8 Ganashatru, 213, 226 “otherness” as response to, Curtiz, Michael, Mildred “The Postmaster,” 80–3 214–15, 217–18, 232–3 Pierce, 97–8, 99–100 Shakha Proshaka, 214, 217, see also bhadralok, “center” Curzon, George Nathaniel, 220, 221, 222, 226 Certeau, Michel de, 153 Lord, 90 Bhagavad-Gita, 133, 193 Chakravarty, Aloke, 63 bhajan, 93 Chanda, Barun, 155 Dalhousie, Lord, 198, 200 bhakti, 191 Chandipur, 164, 165, 213, 215, The Letters of Lord Dalhou- Bhanja, Samit, 162 226 sie, 199, 201 Bharata, 16, 17, 18, 23 character, 21 Dandin, 3, 15, 17, 18, 19 Natyasastra, 16, 24 constancy of, as rasa, 24–5; Kavyadarshana, 17 bhaya(naka), 17, 22, 70, 71–2 see also specific Apu Trilogy dasa, 179 Big City, The, see Mahanagar film; Jalsaghar Dasarupaka, 24 Bihar, 139, 143, 153, 157 contrasted, Apur Sansar, 55–6 Das Gupta, Chidananda Biswas, Chhabi, 11, 71 names, see name of character Cinema of Satyajit Ray, The, Blue Book on Oude, 199 flat vs. round, Shatranj-ke- 6, 12–13 Blumberg, Rhoda Lois (co- Khilari , 205–6 Film India–Satyajit Ray, 140, author), India’s Educated Chari, V. K., Sanskrit Criticism, 141, 146–7, 156, 177, 211 Women, 78 16, 18, 20, 21, 24 Das Gupta, Uma, 35 Bombay, 106, 107 Charulata (The Lonely Wife), Dawson, John, The Classical Bose, Professor, 1 11, 12, 13, 73, 79, 85, 102, Dictionary of Hinduism, boxwallah, 126 103, 251 192 Brahmadatta, 196 camera: framing, 85, 88, 89, Days and Nights in the Forest, brahman, 190 103; movement, 84, 89 see Aranyer Din Ratri Brahmin, 16, 179, 195 entrapment in Hindu “doll’s Deleuze, Gilles Ashani Sanket, 121, 147–52 house,” 83–6 Cinema One: Movement- Devi, 110, 111, 112 final reconciliation, 89 Image, 86 Jana Aranya, 144, 146 freeze frame, 89 Cinema II: The Time Image, Sadgati (and story), 2–3, 178, garden sequence, 86–8 119, 120, 143 180–4, 190, 191, 196, 197 mise-en-scène, 12, 85, 86 principle of indiscernability, Branches of the Tree, see names, meanings, 83 120–1, 122 Shakha Proshaka sound track, 84, 85 Deliverance, see Sadgati Brandon, James R. (coeditor), Chatman, Seymour, Story and desa, 191, 192 Sanskrit Drama in Perfor- Discourse, 205 De Sica, Vittorio, 73 mance, 21, 26, 73 Chatterjee, Anil, 99 Devi (The Goddess), 96, 106, Bresson, Robert, Journal d’un Chatterjee, Bankim Chandra, 111, 163, 250 curé de campagne, 104 79 Brahmin father, 110, 111, Brian, Alan, 146–7 Chatterjee, Dhritiman, 141, 221 112; “dream” of, 108, Byron, George Gordon, Lord, Chatterjee, Sarat Chandra, 79 109, 165 88 Chatterjee, Shubhendu, 162 Calcutta, 110, 112, 164, 165 Chatterjee, Soumitra, 53, 63, camera: framing, 109, 113, Calcutta, 4, 6, 87, 99, 171, 85, 125, 162, 221 114; movement, 113 173, 199, 231 Chatterjee, Swatilekha, 91 father–son conflict, 164–6 © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-62980-5 - The Cinema of Satyajit Ray: Between Tradition and Modernity Darius Cooper Index More information Index 257 Freudian conflict, 108–10 camera, 220, 226 harsha, 64 goat sacrifice, 110–12 ending, 226, 231 Harvey, Sylvia, 97–8 goddess incarnation as trap, “home,” 227 Hasa, 17 112–14 language in, 219–20 hasya, 33 mise-en-scène, 109, 165 mise-en-scène, 221, 225–6 haveli, 186, 187 superstition indicted, 108–9 problematic characters, Hero, The, see Nayak Devi, Chunibala, 34, 35 215–16 Hinduism Dey, Dipankar, 229, 233 Gandhi, Indira, 6 bureaucratic centrism and, dharma, 78, 189–90, 191, 197, Gandhi, Mohandas, 79, 217 213 224 Ganesha, 39 caste system, 178–80; see Dhruva, 54 Ganges River, 40, 43, 45, 48, also Brahmin dhvani, 17, 18, 19, 20, 31, 37, 184 contamination, 183–4 43, 48, 50, 57, 62, 65 Genji, Lady, 91 father–son bond, 162–3 Dimock, Edward C., Jr., The Gerow, Edwin, 15, 25, 26, 69, life and death in, 43 Literatures of India, 3, 15, 73 patriarchy, 108, 114–15 25, 69 gesture, constancy of, as rasa, restrictiveness, 131, 158, 159 dissolve, see editing, dissolve 25–6; see also specific Apu ritualization, 181–2, 184 Distant Thunder, see Ashani Trilogy film; Jalsaghar suffering, three kinds, 134–5 Sanket Ghare-Baire (Home and the superstition, 108, 109 Diwali, 42, 43, 49 World), 7, 9, 79, 91, 102, wedding “knot,” 52 Dravidian, 148, 150 215, 253 and women, see women, dream sequence, 13, 138–9, Camelot subtext, 91–2 Hinduism and 167 camera: framing, 94–5, 120; Hirok Rajar Deshe (The King- Duras, Marguerite, 123 movement, 94–5 dom of Diamonds), 7, 13, durbar, 201 cigarette brand, 95 253 Durga, 40, 108, 109, 110, 111, editing, 93, 96 Hitchcock, Alfred, 73 112, 113, 114, 184 gender role reversal, 95–6 North by Northwest, 105, Dutt, Utpal, 233 Hinduism, effect on woman, 125–6 Dwarki, Leela (coauthor), In- 96 Vertigo, 84 dia’s Educated Women, 78 Krishna–Draupadi allusions, Home and the World, see 94 Ghare-Baire editing, 12; see also specific film mirroring, 92–6, 120–1 Homer, The Iliad, 22 Elephant God, The, see Joi mise-en-scène, 94 Hooghly River, 47 Baba Felunath Mother Goddess–Queen Bee, House, Humphrey, Aristotle’s Eliot, T.
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    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'

    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.