Auswahl der wissenschaftlichen Literatur zum Thema „Bengali cinema“
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Zeitschriftenartikel zum Thema "Bengali cinema"
Bhattacharya, Binayak. „Seeing Kolkata: Globalization and the Changing Context of the Narrative of Bengali-ness in Two Contemporary Films“. Asiatische Studien - Études Asiatiques 73, Nr. 3 (26.03.2020): 559–74. http://dx.doi.org/10.1515/asia-2019-0050.
Der volle Inhalt der QuelleNag, Anugyan, und Spandan Bhattacharya. „The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s“. Acta Orientalia Vilnensia 12, Nr. 2 (01.01.2011): 13–30. http://dx.doi.org/10.15388/aov.2011.1.3935.
Der volle Inhalt der QuelleGokulsing, K. Moti, und Wimal Dissanayake. „Bengali cinema: ‘an other nation’“. South Asian Popular Culture 10, Nr. 2 (Juli 2012): 217–18. http://dx.doi.org/10.1080/14746689.2012.682859.
Der volle Inhalt der QuelleDevasundaram, Ashvin. „Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema“. Media International Australia 152, Nr. 1 (August 2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.
Der volle Inhalt der QuelleGopal, Sangita. „Bengali cinema: an other nation, by Sharmistha Gooptu“. South Asian History and Culture 2, Nr. 3 (Juli 2011): 452–55. http://dx.doi.org/10.1080/19472498.2011.577583.
Der volle Inhalt der QuelleBasu, Anustup. „Filmfareand the question of Bengali cinema (1955–65)“. South Asian History and Culture 9, Nr. 2 (15.03.2018): 141–58. http://dx.doi.org/10.1080/19472498.2018.1446794.
Der volle Inhalt der QuelleMukherjee, Dhrubaa. „Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict“. Studies in South Asian Film & Media 12, Nr. 1 (01.02.2021): 3–17. http://dx.doi.org/10.1386/safm_00034_1.
Der volle Inhalt der QuelleChattopadhyay, Saayan. „Performative Bengali Masculinity: The Rhetoric of Becoming in Bengali Popular Cinema of the 1950s“. Studies in South Asian Film & Media 2, Nr. 1 (01.07.2010): 3–17. http://dx.doi.org/10.1386/safm.2.1.3_1.
Der volle Inhalt der QuelleGooptu, Sharmistha. „Celluloid Soccer: The Peculiarities of Soccer in Bengali Cinema“. International Journal of the History of Sport 22, Nr. 4 (Juli 2005): 689–98. http://dx.doi.org/10.1080/09523360500123093.
Der volle Inhalt der QuelleMitra, Bansari. „Women and Resistance in Contemporary Bengali Cinema: A Freedom Incomplete“. Canadian Journal of Film Studies 26, Nr. 2 (Oktober 2017): 145–47. http://dx.doi.org/10.3138/cjfs.26.2.br4.
Der volle Inhalt der QuelleDissertationen zum Thema "Bengali cinema"
Bhowmik, Ritwij, und 李威杰. „Internal Partition: Satyajit Ray’s cinema in the light of Bengal Partition and the long Post-partition residual process“. Thesis, 2014. http://ndltd.ncl.edu.tw/handle/91275456278204969715.
Der volle Inhalt der Quelle國立交通大學
社會與文化研究所
102
The thesis explores issues related to 1947’s Bengali partition which influenced Satyajit Ray’s cinema, particularly the films that challenged the religious dogmas of the Bengali society which were presumably some of the predominant reasons behind this partition. It also studies those Ray-films that investigate the declining post-partition situation of West-Bengal and specially Calcutta and also delineate the grim pictures of the refugee exploitation, emancipation of refugee woman and their impact on the society. The Bengal, especially during the nineteenth century, with the advent of western education, perceived a golden era of social, political, religious and literary awakening known as the Bengali Renaissance. But within half a century this same Bengal witnessed some great communal atrocities which finally in 1947, divided the land into two parts – the Muslim ‘East-Bengal’ and the Hindu major ‘West-Bengal’. Over the years, the issues related to partition, which are minutely addressed in a significant number of Ray-films, were technically ignored by scholars, who chiefly ascertained Ray’s films in a myriad of perspectives, notwithstanding the fact that there is a deficiency of some specific scholarship that ensue his cinema within the light of devastating Bengali partition1. This thesis will primarily engage in investigating Ray’s cinema within the light of the Bengali Partition of 1947 and its prolonged residual process; it will draw two distinguishable categories of Satyajit’s prominent films: the first section seeking Ray’s criticism of religious orthodoxies, such as superstitions, blind-faith, untouchability and communalism. The second category will discuss Satyajit’s reprehension of the post-partition [West] Bengali society, the declining city and the uncontrollable refugee crisis – all of which were assuredly the fruits of the Partition. The aim of this thesis is to investigate Satyajit’s cinema that works as a potent articulation against the dolorous partition and the tormenting residual process. The questions that inform the study surround are the backdrop, influence and the means by which a stalwart virtuoso, like Satyajit, expresses his dissatisfaction and anguish. How Satyajit addressed communalism and religious fanaticisms, such as vulnerable superstitions and untouchability? How he ‘voiced’ his excruciation about the post-partition deterioration of his own city? How his films reacted against the ‘exploitation’ of ‘migrant women’ and celebrated their‘emancipation? How Satyajit employed the mid-night’s children or ‘second generation refugees’ as the lead protagonists of his films? Various representations and interpretations of these categories, within the locus of Ray’s cinema are analyzed in this thesis in order to examine the social, historical and political grounding that invigorated Satyajit Ray to produce these films.
Bücher zum Thema "Bengali cinema"
Raha, Kironmoy. Bengali cinema. Calcutta: Nandan, 1991.
Den vollen Inhalt der Quelle findenGooptu, Sharmistha. Bengali cinema: 'an other nation'. New York, NY: Routledge, 2010.
Den vollen Inhalt der Quelle findenKazi, Anirban, Hrsg. A directory of Bengali cinema. Kolkata: The Colors of Art, 2013.
Den vollen Inhalt der Quelle findenSengupta, Ratnottama. Is it back to the future for Bengali cinema? New Delhi: India International Centre, 2013.
Den vollen Inhalt der Quelle findenSil, Sekhar. Representation of colonial women in Bengali cinema: Inner and outer worlds of Bhadramahila. Kolkata, India: Papyrus, 2016.
Den vollen Inhalt der Quelle findenViswanathan, Ashoke. Bengal in the century of cinema and beyond. Kolkata: Director KIFF, 2013.
Den vollen Inhalt der Quelle findenChowdhury, Maitreyee B. Uttam Kumar and Suchitra Sen: Bengali Cinema's first couple. New Delhi: Om Books International, 2013.
Den vollen Inhalt der Quelle findenAhasana, Āsalāma. Bāṃlādeśera sinemāra smr̥ti jāgāniẏā gāna: Bangladesher cinemar smriti jaganiya gaan. Ḍhākā: Bāṃlādeśa Philma Ārkāibha, 2016.
Den vollen Inhalt der Quelle findenGooptu, Sharmistha. Bengali Cinema. Routledge, 2010. http://dx.doi.org/10.4324/9780203843345.
Der volle Inhalt der QuelleGooptu, Sharmistha. Bengali Cinema: 'an Other Nation'. Taylor & Francis Group, 2010.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Bengali cinema"
Haq, Fahmidul, und Brian Shoesmith. „Identity Approaches of Bengali Muslims“. In Identity, Nationhood and Bangladesh Independent Cinema, 30–55. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003271093-3.
Der volle Inhalt der QuelleBhattacharya, Spandan. „Disco flamboyance, performative masculinities and dancer heroes of Bengali cinema“. In The Dancing Body, 110–22. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-7.
Der volle Inhalt der QuelleBhattacharya, Spandan. „Reading Anandalok: obscenity, cinema and other ‘prohibitive’ pleasures in 1970s–1990s Bengali print culture“. In South Asian Pornographies, 75–80. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003359708-7.
Der volle Inhalt der QuelleBhattacharya, Mimi. „Women in Rituparno Ghosh's Cinema“. In Women in Bengal, 288–99. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003473930-27.
Der volle Inhalt der QuelleSen, Sudarshana. „Anglo-Indian Women in Indian Cinema“. In Women in Bengal, 211–21. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003473930-21.
Der volle Inhalt der QuelleRaju, Zakir Hossain. „Two Cinemas in Two Bengals: From Indigenization to Globalization of Bengali Film Industries of Bangladesh and West Bengal“. In Two Bengals, 305–30. Singapore: Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-2185-0_10.
Der volle Inhalt der QuelleVahali, Diamond Oberoi. „The Magnum Opus of the Bengal Partition and Its Aftermath: Motifs and Antinomies“. In Ritwik Ghatak and the Cinema of Praxis, 61–78. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-1197-4_5.
Der volle Inhalt der Quelle„Bengali Cinema“. In Mourning the Nation, 125–65. Duke University Press, 2009. http://dx.doi.org/10.1215/9780822392217-004.
Der volle Inhalt der QuelleAhmed, Omar. „The Trauma of Partition“. In Studying Indian Cinema, 69–86. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0005.
Der volle Inhalt der QuelleAhmed, Omar. „Feminist Concerns“. In Studying Indian Cinema, 87–106. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0006.
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