1,721,155 research outputs found
"The fruits of independence": Satyajit Ray, Indian nationhood and the spectre of empire
Get PDFChallenging the longstanding consensus that Satyajit Ray's work is largely free of ideological concerns and notable only for its humanistic richness, this article shows with reference to representations of British colonialism and Indian nationhood that Ray's films and stories are marked deeply and consistently by a distinctively Bengali variety of liberalism. Drawn from an ongoing biographical project, it commences with an overview of the nationalist milieu in which Ray grew up and emphasizes the preoccupation with colonialism and nationalism that marked his earliest unfilmed scripts. It then shows with case studies of Kanchanjangha (1962), Charulata (1964), First Class Kamra (First-Class Compartment, 1981), Pratidwandi (The Adversary, 1970), Shatranj ke Khilari (The Chess Players, 1977), Agantuk (The Stranger, 1991) and Robertsoner Ruby (Robertson's Ruby, 1992) how Ray's mature work continued to combine a strongly anti-colonial viewpoint with a shifting perspective on Indian nationhood and an unequivocal commitment to cultural cosmopolitanism. Analysing how Ray articulated his ideological positions through the quintessentially liberal device of complexly staged debates that were apparently free, but in fact closed by the scenarist/director on ideologically specific notes, this article concludes that Ray's reputation as an all-forgiving, ‘everybody-has-his-reasons’ humanist is based on simplistic or even tendentious readings of his work
La síntesis poética de Satyajit Ray
Get PDFFont, R. (1997). La síntesis poética de Satyajit Ray. La madriguera. (1):54-55. https://riunet.upv.es/handle/10251/41604.Importación Masiva5455
Satyajit Ray 1921 - 1992
Get PDFOn Friday 29 and Sunday 31 May 1992 the Film and Television Institute of Western Australia paid homage to the Indian filmmaker Satyajit Ray by screening two of his films: Jana Aranya (The Middleman, 1975) and Jalsaghar (The Music Room, 1958). The following texts introduced the screenings
Tren de sombras. Entrevista a José Luis Guerín. Satyajit Ray
Get PDFLa madriguera (1997). Tren de sombras. Entrevista a José Luis Guerín. Satyajit Ray. Ediciones de intervención cultural S.L. https://riunet.upv.es/handle/10251/41599.Importación Masiva11
Rabindranath Tagore - Satyajit Ray. Une filiation indienne
No full textInternational audienceLes diverses facettes artistiques du regard sur le monde que portait Rabindranath Tagore a inspiré nombre de cinéastes et artistes. C’est le cas de Satyajit Ray qui s’est fait le véritable ambassadeur de Tagore dans son oeuvre cinématographique en se livrant à un véritable travail d’adaptation
Satyajit Ray The Man of Delineation.pdf
No full textWhenever the career of Satyajit Ray is discussed, it is always about his films. But he also left his mark as an illustrator and artist,a facet still unknown to many. His book cover designs to book illustrations; his portraits to his invention of new typography;these are all world -class creations. Most of the original artwork has been lost. A few copies of the original are found here andthere. This paper tries to analytically break down his artwork and origin and tries to offer a glimpse of Satyajit Ray’s majestic works of art to the world.</p
The contours of affinity: Satyajit Ray and the Tagorean legacy
No full textThis paper seeks to demonstrate the complexities of the Tagorean legacy through a re-examination of Tagore's influence on the filmmaker Satyajit Ray. Reappraising Ray's brief period at Santiniketan and some of his most celebrated engagements with Tagore, the essay argues that contrary to conventional wisdom, Ray was not a wholehearted follower of Tagore but a critical and creative interlocutor. The nuanced interpretation of his relationship with Tagore that Ray himself proffered in his last film Agantuk (1991), the essay suggests, is more persuasive than the exaggerated notions of Ray's Tagoreanism propagated by the vast majority of his biographers and critics
Postcolonial Indian Nonfiction Cinema: The Documentaries of Satyajit Ray
Get PDFSatyajit Ray (1921-1992), one of the great masters of world cinema has directed five documentary films, other than his 29 feature films, in his long four decades of career as a filmmaker in India. He constructed his cinematic language and style with neorealism and a very distinct humanist approach to celluloid. Ray made his films in Bengali, English, Urdu and Hindi; his films depicted the complexity of human relationship, conflicts and interactions in contemporary Indian societies with great details and different levels of interpretations. Western and international audiences are mostly familiar with Ray’s fiction films, though his documentaries were well-acclaimed in India and abroad.
Ray’s documentaries are mostly personality genre films. He documented the lives of great Indians who shaped and constructed the societies and cultures of colonial and postcolonial India with their creative endeavors and concepts. Ray made his first documentary film on famous Indian poet Rabindranath Tagore in 1961; and later he made films on Binode Behari Mukherjee (1972), a famous Bengali artist and Bala (1976), a Bharatanatyam dancer from Tamil Nadu. In 1971 Ray directed a film on Sikkim, then an independent state in the Himalayas. Ray’s last documentary was also a biography film on Sukumar Ray, a pioneer of juvenile literature in early twentieth century India. In his documentaries, like his feature films, Ray told stories to his audience. His documentaries depicted history, politics, social changes and crafts of his time; and also elaborated the lives and achievements of the great personalities he documented in his films.
India and also the colonial India has a long history of nonfiction films. In British India, around 1910, newsreels as nonfiction films were produced regularly and after that, throughout WWI and WWII, and after the independence of India many filmmakers documented the different aspects of Indian life and other perspectives. Indian government controlled organization, the Film Division of India (FDI), world’s biggest producer of documentary films has produced 9,000 documentary films in last 75 years. After independence of India, Satyajit Ray and his contemporaries made some nonfiction films which portrayed the postcolonial aspects of India.
This dissertation briefly discussed the history of nonfiction films in India and also introduced and analyzed the documentary films of Satyajit Ray from the perspective of post colonialism, contents and aesthetics. This paper also discussed and examined his documentary film style and philosophy
Motion Sequence Teaser for a Trilogy by Satyajit Ray
Get PDFArt is omnipresent, and the exclusivity in any form of art comes from our surrounding and the environment that we surround ourselves with. This thesis attempts to investigate the characteristic work of an Indian director, Satyajit Ray (1921-1992) from a modern point of view and bring back his work that has been forgotten with time. Satyajit Ray introduced the Neorealism movement 1 to Indian cinema, and came to be known for his artistic style which offered a certain sense of universality to the expression depicted. The honest portrayals in his work resonated with the international audience for the first time in the history of Indian cinema.
Neorealism is a documentary style of shooting movies where they mostly used non-professional actors and filmed at real locations, in real environments. The point was that of capturing life in its purest forms which mostly addressed the rural and the poor class in the society.
My thesis engages in studying the significance of Ray’s work in today’s world, and briefly discusses ways to incorporate the same kind of work with today’s technology and audience. I have studied one of his masterpiece’s called “The Apu Trilogy” which is a fusion of sadness, humour and poetry with exceptionally little resort to the spoken words. It’s an attempt to establish a connection between his films with the contemporary American culture, hence navigating across culture boundaries. Attention to detail, minute observation, and appreciation of issues in a mundane human life were characteristic features of Ray’s work. These are some points that I am trying to focus on through an audio-video presentation. This thesis will attempt to reintroduce Ray’s virtues into a rather modern setting of today’s time
Bengali popular literature and its audio form: Context Satyajit Ray/ বাংলা জনপ্রিয় সাহিত্যধারা ও তার অডিও রূপ : প্রসঙ্গ সত্যজিৎ রায়
No full textWe are living in a busy age. Leisure has decreased among people in the dynamic era. Many people hardly have the time and patience to enjoy reading long novels and stories. So in this era, Audio stories have become a popular means of enjoying tales. These stories are easy to listen to when the listener is busy during the work time. Different sound effects, professional storyteller, background music and various foley sounds make the stories more fascinating. Millions of people are enjoying stories through YouTube, Spotify, Storytel, Gaana and other broadcasting mediums. So in today\u27s era Audio stories are bound to be discussed. This is the main reason for the current discussion.
In the world of Bengali audio story, the name of Satyajit Ray is bright for a special reason. The journey of Radio Mirchi\u27s Sunday Suspense began with the adaptation of a story written by Satyajit Ray. The first story aired with Satyajit Ray\u27s story \u27Septopaser Khide\u27, on 28 June 2009. The plan was to continue this program with the story of Satyajit Ray; But keeping in mind the huge popularity and demand, the stories of other popular writers have also been converted into audio stories and are still being done today. Stories by foreign writers are also being translated and served. Nowadays, the world of Bangla audio stories has become more diverse and popular. Along with popular stories and novels, classic stories and novels are also being converted into audio stories these days. So audio stories have become an important medium in the popularity of Bengali literature. It is for this reason that the present discussion is taken up as the subject
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