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Journal articles on the topic 'Bengali cinema'

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Author: Grafiati

Published: 26 July 2024

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1

Bhattacharya, Binayak. "Seeing Kolkata: Globalization and the Changing Context of the Narrative of Bengali-ness in Two Contemporary Films." Asiatische Studien - Études Asiatiques 73, no. 3 (March 26, 2020): 559–74. http://dx.doi.org/10.1515/asia-2019-0050.

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AbstractThe article engages with the question of an exclusivity, an ‘otherness’ of the Bengali culture, in the available representative modes of Indian cinema. It studies the socio-cultural dynamics through which this ‘otherness’ can be found reorienting itself in recent years in a globalized perspective. It takes two contemporary films, Kahaani (Hindi, 2012) and Bhooter Bhobishyot (Bengali, 2012) to dwell upon. The analysis aims to historicise the construction of a cultural stereotype called ‘Bengali-ness’ in Indian cinema by marking some significant aspects in the course of its historical development. Using the films as cases in point, the article attempts to develop a framework in which the changing landscape of the city of Kolkata, shifting codes of the cultural habits of the middle class and reconfigured ideas about a ‘Bengali nation’ can be seen operating to develop a refashioned relationship between the state of Bengal and the rest of the country. It suggests that the global cultural inflow, along with the localized notions of the new, globalized Bengali-ness, are engaged in developing a new politics of representation for the city and the Bengali society in the cinemas of India.

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2

Nag, Anugyan, and Spandan Bhattacharya. "The Politics Around ‘B-Grade’ Cinema in Bengal: Re-viewing popular Bengali film culture in the 1980s‒1990s." Acta Orientalia Vilnensia 12, no. 2 (January 1, 2011): 13–30. http://dx.doi.org/10.15388/aov.2011.1.3935.

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Jawaharlal Nehru UniversityThe 1980–90s was a turbulent period for the Bengali cinema, the events being triggered by a series of industrial problems, the anxiety of a new film public and the pressing necessity for newer forms of articulation. During this time, Bengali popular cinema responded with newer genres of narratives (elaborated later) that emerged from dissimilar aesthetic positions and different social perspectives. But it is unfortunate that instead of engaging with this diverse range of film making practices, the journalistic and academic discourses on the 1980–90s Bengali cinema present only the ‘crisis-ridden’ scenarios of the Bengali film industry―suffering from multiple problems. Interestingly, this marginalized and unacknowledged cinema of the 1980–90s almost became synonymous to the concept of the ‘B-grade’ cinema, although it is not similar in formation, circulation and reception like the other established B-circuit or B-grade cinemas across the world. This paper aims to criticize this simpler ‘crisis narrative’ scenario by looking at the categories of class and audience and questioning the relevance of issues related to the popularity of these films. In brief, our article aims to problematize the notion of what is ‘B-grade’ cinema in the context of the Bengali cinema of the 1980–90s and by referring to this film culture, it tries to open up some other possibilities to which this notion can refer.

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3

Gokulsing, K. Moti, and Wimal Dissanayake. "Bengali cinema: ‘an other nation’." South Asian Popular Culture 10, no. 2 (July 2012): 217–18. http://dx.doi.org/10.1080/14746689.2012.682859.

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4

Devasundaram, Ashvin. "Cyber Buccaneers, Public and Pirate Spheres: The Phenomenon of Bittorrent Downloads in the Transforming Terrain of Indian Cinema." Media International Australia 152, no. 1 (August 2014): 108–18. http://dx.doi.org/10.1177/1329878x1415200112.

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The polemic circumscribing the rise and regulation of new independent Indian cinema is a compelling example of vicissitudes in India's public sphere. This article locates a growing access to new independent Indian films through pirate spheres, reflected in the burgeoning popularity of BitTorrent websites, particularly among young, urban Indians, disenchanted by inaccessibility due to regulations and multiplex cinemas' expensive ticket-pricing system. It precipitates deeper discourses of ‘migrating’ cinema audiences, an ambivalent state of film and internet regulation, and civil resistance, exemplified in the recent Madras High Court volte face, unblocking banned BitTorrent websites. This article invokes interviews with independent filmmakers also utilising the paradigm of independent Bengali film Gandu (2010) – purportedly denied a release for its graphic sexual content, and yet widely accessed via BitTorrent and YouTube. Ultimately, this study examines the discursive ramifications of new independent Indian cinema in a metamorphosing Indian cinema sphere.

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Gopal, Sangita. "Bengali cinema: an other nation, by Sharmistha Gooptu." South Asian History and Culture 2, no. 3 (July 2011): 452–55. http://dx.doi.org/10.1080/19472498.2011.577583.

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6

Basu, Anustup. "Filmfareand the question of Bengali cinema (1955–65)." South Asian History and Culture 9, no. 2 (March 15, 2018): 141–58. http://dx.doi.org/10.1080/19472498.2018.1446794.

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7

Mukherjee, Dhrubaa. "Singing-in-between spaces: Bhooter Bhabisyat and the music transcending class conflict." Studies in South Asian Film & Media 12, no. 1 (February 1, 2021): 3–17. http://dx.doi.org/10.1386/safm_00034_1.

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This article analyses Bhooter Bhabisyat, a Bengali political horror satire, as a counter-narrative to Bengali cinema’s monocultural bhodrolok branding. The article argues that Bhooter Bhabisyat is radical in its refusal to follow hegemonic homogenizing musical styles classified into genres such as folk, popular, traditional and modern, which tend to be ethnocentric and class based with serious value judgments about the superiority of certain musical forms over others. Instead, Bhooter Bhabisyat uses a variety of distinct Bengali musical traditions to problematize the historic role of capitalist media that work to homogenize and popularize the dominant culture of the ruling classes. The hybrid songs of the film disrupt a sense of homogeneous bhodrolok class position that Bengali cinema has historically sustained. Through the strategies of musical pastiche, Bhooter Bhabisyat offers a meta-historic narrative about Bengali cinema, which makes possible a critical investigation of the cultural discourses and historical narratives that are discursively embedded within the history of filmic production, circulation and consumption. If film histories are produced by repressing differences between social groups and constructing universal identification, then foregrounding film songs as decolonial storytelling methods that reemphasize local voices and subject matters can lead to an effort to read history from below. The vulgar representation of time as a precise and homogeneous continuum has […] diluted the Marxist concept of history. (Giorgio Agamben) The history of all hitherto existing society is the history of class struggles. (Karl Marx)

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8

Chattopadhyay, Saayan. "Performative Bengali Masculinity: The Rhetoric of Becoming in Bengali Popular Cinema of the 1950s." Studies in South Asian Film & Media 2, no. 1 (July 1, 2010): 3–17. http://dx.doi.org/10.1386/safm.2.1.3_1.

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9

Gooptu, Sharmistha. "Celluloid Soccer: The Peculiarities of Soccer in Bengali Cinema." International Journal of the History of Sport 22, no. 4 (July 2005): 689–98. http://dx.doi.org/10.1080/09523360500123093.

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10

Mitra, Bansari. "Women and Resistance in Contemporary Bengali Cinema: A Freedom Incomplete." Canadian Journal of Film Studies 26, no. 2 (October 2017): 145–47. http://dx.doi.org/10.3138/cjfs.26.2.br4.

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11

Gadihoke, Sabeena. "Capturing Stars: Bengali Actresses Through the Camera of Nemai Ghosh." BioScope: South Asian Screen Studies 8, no. 1 (June 2017): 30–45. http://dx.doi.org/10.1177/0974927617701568.

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This essay explores the rich archive of photographer Nemai Ghosh whose production stills on the sets of Satyajit Ray kept his cinema alive in popular memory. While it might appear that Ghosh was overwhelmed by the vision of Satyajit Ray, the essay explores how the documentary impulse in his work created continuity as well as rupture with the cinema of Ray and others in Bengal. Nemai Ghosh’s forte lay in capturing candid moments of actors just before and after filming on the sets. These interstitial moments caught between the vision of the director and the photographer shooting a production still could be used to tease out other deeper meanings about star personas. As we look through Nemai Ghosh’s larger body of work, particularly at images which may not have found public circulation as film stills, we see other kinds of mediations between the photographer, the camera and his subjects. By extricating still frames out of motion, Ghosh’s photographs invite us to contemplate certain tensions between female actors, their roles and their extra cinematic lives. Recollections of these stars are layered by stories, anecdotes and popular myths. In this essay, I explore what it might mean to look back at Nemai Ghosh’s images through the prism of these overlapping memories.

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12

Mandal, Somdatta. "Of "Women" and "Relationships" in Contemporary Bengali Cinema: Rituporno Ghosh's Oeuvre." Asian Cinema 13, no. 2 (September 1, 2002): 85–104. http://dx.doi.org/10.1386/ac.13.2.85_1.

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13

Chakraborty, Apurba. "Reflection of labour issues in bengali cinema in post colonial era." Journal of Management Research and Analysis 6, no. 3 (October 15, 2019): 154–58. http://dx.doi.org/10.18231/j.jmra.2019.032.

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14

Mubarak, Makbul. "Genre versus Local Specificity: Configuring Rangda and Durga in Balinese and Bengali Films." Plaridel 11, no. 2 (August 1, 2014): 117–39. http://dx.doi.org/10.52518/2014.11.2-05mbrk.

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The transnationalization of genre has been an unavoidable phenomenon in world cinema. This paper looks at the encounter of one of the most transnationalized genre of Hollywood, that is horror, upon its encounter with Balinese local specificities that are portrayed in Indonesian film. This paper argues that horror has been in an active interaction in cinematically framing the Balinese culture. However, some elements of horror looks unease in the sense that it tends to exclude some indispensable elements to Balinese culture. The paper takes on the gap between the position of Rangda – the Balinese goddess – in Balinese culture and films. In the Balinese culture, Rangda is portrayed as the dark element that completes the ideal circle of life, while in the horror film Mystics in Bali (1980), Rangda is portrayed simply as a mere evil. In the course of reading this, the paper conducts a comparative strategy to show that such a phenomenon is not unique to Indonesian cinema, but also to the other geographies that are in a constant critical interaction with Hollywood.

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15

Dasgupta, Rohit K., and Kaustav Bakshi. "Opening closets and dividing audiences: Rituparno Ghosh, the queer star of Bengali cinema." South Asian Popular Culture 16, no. 1 (January 2, 2018): 101–13. http://dx.doi.org/10.1080/14746689.2018.1455877.

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16

Banerjee, Smita. "Evolution of Dada Uttam Kumar: Performing Masculinity and the Disillusioned Bhadralok Mahanayak in the 1970s’ Popular Melodramas." BioScope: South Asian Screen Studies 10, no. 1 (June 2019): 52–74. http://dx.doi.org/10.1177/0974927619855452.

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This essay focuses on a fragment of the Bengali superstar Uttam Kumar’s star text, the dada figure, to analyse the contours of melodramatic enunciations and masculinity that appear in the 1970s’ popular films. This decade is identified with the radical politics associated with the Naxal movement that erupted in varied expressions of rage and anger at institutional and systemic failures. Since Uttam typified a bhadralok masculine subjectivity, his evolution in domestic melodramas especially in male weepies from the period enables me to read the specifics of regional cinema and its response to social and political contexts of the times.

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17

Bhattacharya, Spandan. "Reading Anandalok: obscenity, cinema and other ‘prohibitive’ pleasures in 1970s–1990s Bengali print culture." Porn Studies 7, no. 1 (November 28, 2019): 13–18. http://dx.doi.org/10.1080/23268743.2019.1669930.

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18

Chowdhury, Sayandeb. "The Indian Partition and the Making of a New Scopic Regime in Bengali Cinema." European Journal of English Studies 19, no. 3 (September 2, 2015): 255–70. http://dx.doi.org/10.1080/13825577.2015.1091220.

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19

Chowdhury, Sayandeb. "The Heroic Laughter of Modernity: The life, cinema and afterlife of a Bengali matinee idol." Film International 10, no. 4 (October 31, 2012): 82–91. http://dx.doi.org/10.1386/fint.10.4-5.82_1.

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20

Mandal, Somdatta. "”May You Be the Mother of A Hundred Sons!”: Barrenness vs. Motherhood in Bengali Cinema." Asian Cinema 22, no. 1 (March 1, 2011): 329–47. http://dx.doi.org/10.1386/ac.22.1.329_1.

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21

Bhattacharya, Spandan. "The action heroes of Bengali cinema: industrial, technological and aestheticdeterminants of popular film culture, 1980s–1990s." South Asian History and Culture 8, no. 2 (March 30, 2017): 205–30. http://dx.doi.org/10.1080/19472498.2017.1304093.

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22

Ferdous, Reffat, and Saiyeed Shahjada Al Kareem. "Death Denial in Bengali Cinema: A Terror Management Analysis of Srijit Mukherji’s Baishe Srabon and Hemlock Society." Social Science Review 38, no. 2 (March 7, 2023): 159–74. http://dx.doi.org/10.3329/ssr.v38i2.64468.

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Everything that human beings do from the time of their birth, is a way for them to deny the inevitability of their death. A person adopts a myriad of ways to transcend the fear of death from their life and consciousness. This paper examines how the artistic medium of Bengali cinema provides insights into this existential issue and offers ways to overcome anxieties associated with human decay. Employing the Terror Management Theory (TMT) and film narratology, the study analyses two of Srijit Mukherji’s films, Baishe Srabon (2011) and Hemlock Society (2012), that involve plots where the characters explicitly encounter the fear of death. Both films substantiate TMT’s stance that humans seek immortality by establishing a “cultural worldview” and “self-esteem”, which provide individuals with an illusion of symbolic existence that will last even after their death. Social Science Review, Vol. 38(2), December 2021 Page 159-174

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23

Mukherjee, Silpa. "Fantasy to media-induced hallucination: The journey (or the lack thereof) of science fiction in Bengali cinema." Studies in South Asian Film & Media 6, no. 2 (October 1, 2015): 165–84. http://dx.doi.org/10.1386/safm.6.2.165_1.

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24

Hutnyk, John. "Tomar naam, amar naam, Vietnam Vietnam! Folk styles and solidarity in the Bengali new wave cinema." Inter-Asia Cultural Studies 24, no. 3 (June 23, 2023): 507–24. http://dx.doi.org/10.1080/14649373.2023.2209434.

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25

R, Dr Rajesh. "A study on Development and Scope of Product or Brand Placement as an Integral Part of Tamil Cinema Industry." Turkish Journal of Computer and Mathematics Education (TURCOMAT) 12, no. 11 (May 10, 2021): 1560–66. http://dx.doi.org/10.17762/turcomat.v12i11.6084.

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Once told that the legendary filmmaker Satyajit Ray in shooting for his movie removed the name boards of specific Bengali shop in the backdrops because he thought that the brands or product display might distract the audience. However, things have changed in due course of time, where the brands placed in the frames, shots, scenes, and even in the film title cards and film song lyrics, where the brands get much visibility. Product or Brand placement is a basic adverting format presented through various media to attract the audience. Today, the Product or Brand placement is popularly known as in-film advertising has become an integral part of the film industry. In the Indian context, the Product or Brand placement in film is one of the most important marketing strategies that advertisers follow. This article analyzes and evaluates various Product or Brand placement strategies implemented for promotional purposes in Tamil films by selecting the films based on its popularity and box-office success. This article also discusses the influence and impact of Product or Brand placement in the Tamil film industry.

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26

García-Periago, Rosa. "Othello as a play-within-the-film in post-independence Indian cinema¹." Indian Theatre Journal 5, no. 1 (August 1, 2021): 43–58. http://dx.doi.org/10.1386/itj_00015_1.

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This article aims to explore the appropriation of Othello as a play-within-the-film in three Indian movies: Anbu (Natesan 1953), Saptapadi (Kar 1961) and Ratha Thilagam (Mirasi 1963). Anbu and Ratha Thilagam are Tamil movies, whereas Saptapadi is an example of Bengali cinema. In the three films, the same scene from Shakespeare’s Othello ‐ the murder scene ‐ is performed as part of college theatricals. Although the films immediately associate Shakespeare with education, their appropriation of Othello goes beyond a college performance and provides insight on the main plot. The performance of the murder scene foreshadows the rest of the plot (Anbu and Ratha Thilagam), and explores racial dynamics and miscegenation in relation to the protagonists in Saptapadi. Anbu, Saptapadi and Ratha Thilagam introduce variations to the plot to add new layers of meaning. As the three films are set in postcolonial India, the use of the Shakespearean play inevitably becomes a site of negotiation between colonizers and colonized; the three films negotiate changing controversial political issues across the time period to which they all belong. Anbu, Saptapadi and Ratha Thilagam generate then a new understanding of Othello, which becomes paramount to trace the evolution of Shakespeare in postcolonial India.

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27

Rehman, Sharaf N. "Om Puri: The man who presented the real faces of the subcontinent of India." Asian Cinema 31, no. 2 (October 1, 2020): 269–78. http://dx.doi.org/10.1386/ac_00028_7.

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The Indian film industry continues to turn out between 1600 and 2000 films every year, making it the largest movie-producing country in the world. Yet, it would be a challenge for an average European or American moviegoer to name a film actor from the Indian subcontinent. Naming the films may be easier. For instance, millennials may be able to name Slumdog Millionaire (2008), Generation X crowd may mention Gandhi (1982) and the older audiences may recall The Party (1968) and Ganga Din (1939) as movies about the Indians and India. It was not until the movie Gandhi that Indian actors were allowed to play as Indians. Sam Jaffe and Abner Biberman played as Indians in Ganga Din; Peter Sellers was the Indian actor in The Party, and Shirley MacLaine was the Princess Aouda in Around the World in 80 Days (1956). It is reasonable to assume that many film viewers may be unfamiliar with Om Puri, an actor who played in over 325 films in India, Pakistan, the United Kingdom and the United States, and made films in English, Bengali, Punjabi and Tamil languages. Om Puri passed away in 2017. His name may be unfamiliar, but his face and his work as an actor will remain unforgettable. Between Gandhi (1982) and Viceroy’s House (2017), Puri acted in two dozen films in the United Kingdom, Canada and the United States. This article discusses Puri’s work in popular Hindi cinema, in Indian Parallel Cinema, and European and North American films.

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28

Verma, Harish. "CLASSICAL EXPERIMENT IN CINE MUSIC." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–4. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3404.

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Indian films cannot be imagined without music. The hallmark of Indian cinema is its vibrant music. Indian films, whether they are in any language (ie Hindi, Tamil, Bengali, Marathi, Telugu, Kannada or Malayalam), music predominates. Music is their basic element in films made in regional dialects like Bhojpuri, Rajasthani, Bandeli, Chhattisgarhi etc. Most of the films in India are made in Hindi language which are popular all over the world. Hence, we will discuss about Indian films by keeping Hindi films at the center. संगीत के बिना भारतीय फिल्मों की कल्पना भी नहीं की जा सकती। भारतीय सिनेमा की पहचान उसका सषक्त संगीत ही है। भारतीय फिल्में चाहे वे किसी भी भाषा (अर्थात् हिन्दी, तमिल, बंगाली, मराठी, तेलुगु, कन्नड़ या मलयालम) की हों, संगीत उनमें प्रमुख होता है। क्षेत्रीय बोलियों जैसे भोजपुरी, राजस्थानी, बंुदेली, छत्तीसगढ़ी आदि में बनने वाली फिल्मों में तो संगीत ही उनका मूल तत्व होता है। भारत में सर्वाधिक फिल्में हिन्दी भाषा में बनती हैं जो विश्व भर में लोकप्रिय होती हैं। अतः आगे हम भारतीय फिल्मों की चर्चा हिन्दी फिल्मों को केन्द्र में रखकर ही करेंगे।

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29

Thomas, Aparna. "Plaintive Survival under Panoptical Surveillance: A Reading of Rituparno Ghosh’s The Last Lear." SMART MOVES JOURNAL IJELLH 7, no. 1 (January 9, 2019): 9. http://dx.doi.org/10.24113/ijellh.v7i1.6285.

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This paper is an attempt to explore how the powerful gaze of the panoptical power relation through the technological aids of this neocolonial era which forms the ‘Self,’ distorts the identity, privacy and liberty of the lives under this surveillance who becomes the ‘other’. The study is based on the reading of Rituparno Ghosh’s 2007 English–language film The Last Lear. The film which won the National Award of India for the best feature film in English in 2007 is based on a 1985 Bengali play, Ajker Shajahan ( Today’s Shakespeare) written by Utpala Dutt. The film unfolds the story of an aging Shakespearean actor persuaded by a young ambitious director to take up acting again. But the retired actor is unwilling to adjust the new world of cinema and its complex technical tricks. The film also expose how the powerful camera gaze and mobile phones turn as the new colonizer who distorts truth and induce fears in the minds of the people under surveillance. This study is carried out based on the Post-Panoptical theories of Surveillance.

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30

Brunazzo, Alessandro. "Suspended meanings: Pier Paolo Pasolini’s and Ritwik Ghatak’s ‘epic melodramas’." Journal of Italian Cinema & Media Studies 12, no. 3 (July 1, 2024): 343–59. http://dx.doi.org/10.1386/jicms_00264_1.

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Pier Paolo Pasolini’s encounter with India is well known, but India’s engagement with Pasolini’s work is much less considered. This article puts the work of Pasolini in dialogue with the work of Bengali director Ritwik Ghatak, one of the most important figures in Indian parallel cinema. Ghatak discussed the Italian director’s work on several occasions. More importantly, Ghatak’s intellectual path and films have notable similarities with Pasolini’s. Both directors, Ghatak and Pasolini, pursued a ‘heretical’ approach to Marxist ideology by contaminating it with a passionate identification with the marginalized communities of today’s Bangladesh and southern Italy, respectively. Drawing from film critic Bhaskar Sarkar’s notion of epic melodrama, I suggest an analysis of two coeval films, Mamma Roma () and Meghe dhaka tara (The Cloud-Capped Star) (), in order to expose the directors’ complex location between Brechtian aesthetic, epic-religious vision and melodramatic motives. This article argues that these epic-melodramatic films suspend a final interpretation, providing an aesthetic correlative to the unreconciled position of the people the directors aimed to represent.

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31

Bakshi, Kaustav. "Women and resistance in contemporary Bengali cinema: a freedom incomplete, by Srimati Mukherjee, Abingdon, Routledge, 2016, 156 pp., £90 (hardback), ISBN 9781138120952." South Asian History and Culture 8, no. 3 (July 3, 2017): 380–82. http://dx.doi.org/10.1080/19472498.2017.1350398.

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32

Banerjee, Sarbani. "Reading Bhadralok Cultural Memory, Kitsch And Culture Industry In Ritwik Ghatak’s Films." CINEJ Cinema Journal 11, no. 2 (December 20, 2023): 21–49. http://dx.doi.org/10.5195/cinej.2023.422.

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The paper problematizes Ghatak’s Marxist treatment of the Bengali as well as the Brahmanical repertoire of cultural knowledge, for the purpose of carving out a Communist significance of the period. Rather than a recontextualization of traditional myths, the paper reads in this attitude a nostalgic particularistic abstraction of a rich array of aesthetic ideas, which are best appreciated in their diverse cultural context. The paper argues that Ghatak utilizes creative opuses of vast potential to serve political goals, with an aim of strengthening the East Bengali immigrant population in post-Partition West Bengal. The paper criticizes how Ghatak breaks down the traditions from different spatial and temporal coordinates for serving the representation of the plights of the Bengali Refugee – making a powerful integrated identity of the traumatized subject at the expense of erasing class, caste, communal and gender distinctions. In this, there is an effort to fashion an imaginary unified East Bengali sub-national entity, which is politically evened out for realization of unique identity and clout.

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33

Voeltz, Richard Andrew. "The Black Tent (1956) and Bengazi (1955): The Image of Arabs in Two post-Empire Journeys into the Deserts of Libya." CINEJ Cinema Journal 7, no. 1 (December 21, 2018): 169–88. http://dx.doi.org/10.5195/cinej.2018.200.

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These two little known films are both part of the cycle of post-imperial films dealing with the decline of the British Empire. They are perhaps the only films set in or near the historical period of the British Military Administration of Libya after 1945. The Black Tent frequently gets lumped in with the genre of World War II British war films. Bengazi marks the cinematic journey of the actor Victor McLaglen from The Lost Patrol (1934) to Bengazi (1955), his career encapsulating the beginning and end of the Hollywood British Empire film genre. Both films contain redemptive dramatic journeys into the deserts of Libya involving the loss of British imperial male power. The case studies of The Black Tent and Bengazi show the beginnings of new post-empire film genres and new mentalities toward the Arab “Other” that partially promotes a decolonization of western cinema.

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34

Hoek, Lotte. "Blood splattered Bengal: The spectacular spurting blood of the Bangladeshi cinema." Contemporary South Asia 21, no. 3 (September 2013): 214–29. http://dx.doi.org/10.1080/09584935.2013.826622.

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35

Mukherjee, Madhuja, and Kaustav Bakshi. "A brief introduction to popular cinema in Bengal: genre, stardom, public cultures." South Asian History and Culture 8, no. 2 (March 23, 2017): 113–21. http://dx.doi.org/10.1080/19472498.2017.1304082.

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36

CHATTERJEE, PARTHA. "Theatre and the Publics of Democracy: Between Melodrama and Rational Realism." Theatre Research International 41, no. 3 (October 2016): 202–17. http://dx.doi.org/10.1017/s0307883316000419.

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The theatre that developed in late nineteenth-century India, especially in the Bengal and Maharashtra regions, catered to an audience that was much wider than the new educated middle-class males who introduced the European stage form in Kolkata, Mumbai and Pune. Driven by private capital, the new Indian theatre adopted the melodrama as its main dramatic form. When performance capital shifted to the more lucrative field of cinema in the middle of the twentieth century, the melodramatic form again became the chief narrative mode. Such is its power that it has become the principal rhetorical form of popular democracy in India. In the decades after independence, theatre was rescued from imminent death by the support provided by state agencies which sponsored the production of a national theatre canon and style, as opposed to the prevailing regional ones. However, with bureaucratization and political interference, theatre in India today must revert to its one inherent superiority over the cinema – the immediacy of its encounter with small audiences.

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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.

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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.

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Biswas, Amrita. "Tracing Kolkata's cinephilic encounters: An analysis of alternative cinema in the city." Studies in South Asian Film & Media 10, no. 2 (December 1, 2019): 113–28. http://dx.doi.org/10.1386/safm_00009_1.

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Abstract This article attempts to delineate the cartography of alternative cinematic productions in the region of Kolkata, which, being a nodal juncture that shapes the cultural milieu of Bengal, offers the technological and cultural infrastructures and the scope for cinephilic engagement crucial to the production of non-mainstream cinemas. To explore the gradual development of independent and amateur films in Kolkata, this article emphasizes the cinephilic tradition of the city that not only triggered cinematic movements (such as the film society movement and the Super-8 movement) but also ushered in the institution of film festivals in the region. Despite the mutations due to technological shifts, both film societies (in altered forms) and film festivals occupy central positions in the contemporary city's cinephilic culture. This article analyses the cinephilic legacies of the film society and the Super-8 movements that have historically fostered the contemporary cinephilic ecology of Kolkata, spurring peripheral media products.

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Zinni, Maurizio. "L'impero sul grande schermo. Il cinema di finzione fascista e la conquista coloniale (1936-1942)." MONDO CONTEMPORANEO, no. 3 (May 2012): 5–38. http://dx.doi.org/10.3280/mon2011-003001.

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Nei mesi che seguirono la guerra d'Etiopia, la cinematografia italiana ebbe un ruolo centrale nella celebrazione degli uomini e nella diffusione degli ideali che avevano permesso la conquista dell'impero. Tra il 1936 e il 1939 vennero realizzate sei pellicole che appaiono oggi come il frutto piů maturo non solo della propaganda coloniale fascista, ma della stessa politica cinematografica messa in atto dal regime a partire dai primi anni Trenta. Attraverso film come Lo squadrone bianco, Il grande appello, Scipione l'Africano, Sentinelle di bronzo, Luciano Serra pilota, Sotto la Croce del Sud, Abuna Messias, ma anche il piů tardo Bengasi del 1942, č cosě possibile ricostruire non solo la percezione che la societŕ italiana ebbe dell'avventura africana nel suo svolgersi, ma anche i topoi tematici che informarono l'immaginario collettivo nazionale in maniera duratura e profonda anche oltre gli ultimi anni di vita del fascismo.

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Mukherjee, Madhuja. "Rethinking popular cinema in Bengal (1930s–1950s): of literariness, comic mode, mythological and other avatars." South Asian History and Culture 8, no. 2 (March 23, 2017): 122–42. http://dx.doi.org/10.1080/19472498.2017.1304088.

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Chatterjee, Subhajit. "A Rendezvous with the Ghosh Brothers: a sneak peek into Bengal’s homegrown exploitation cinema." South Asian History and Culture 10, no. 4 (June 10, 2019): 397–421. http://dx.doi.org/10.1080/19472498.2019.1614300.

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Beier, Paul, and Agba Issahaku Tungbani. "Nesting with the Wasp Ropalidia Cincta Increases Nest Success of Red-Cheeked Cordonbleu (Uraeginthus bengalus) in Ghana (Augmentation du Succès de Nidification de Uraeginthus bengalus Nichant avec des Guêpes Ropalidia cincta au Ghana)." Auk 123, no. 4 (October 2006): 1022–37. http://dx.doi.org/10.2307/25150217.

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Beier, Paul, and Agba Issahaku Tungbani. "Nesting With The Wasp Ropalidia Cincta Increases Nest Success of Red-Cheeked Cordonbleu (Uraeginthus Bengalus) in Ghana." Auk 123, no. 4 (October 1, 2006): 1022–37. http://dx.doi.org/10.1093/auk/123.4.1022.

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AbstractAssociations between birds and social Hymenoptera (ants, wasps, bees) are common in tropical regions and are usually assumed to be commensal relationships that benefit birds but neither help nor harm the arthropods. However, benefits to birds have been documented in only four such associations, and no previous research has rigorously investigated costs or benefits to associated hymenopterans. We followed the nesting cycles of an estrildid finch, the Red-cheeked Cordonbleu (Uraeginthus bengalus), and a common nesting associate, the wasp Ropalidia cincta, during 2002 and 2003 in northern Ghana to compare reproductive success of birds and wasps nesting in association with that of birds and wasps nesting separately. Red-cheeked Cordonbleus and wasps nested together in the same tree 3.7 × as often as expected if nesting decisions were made independently, with 74% of bird nests and 74% of wasp colonies occurring in associations. Bird nesting was initiated ≈33 days after founding of an associated wasp colony; bird nests and wasp colonies were, on average, 42 cm apart. In both years, Red-cheeked Cordonbleus in nesting associations with wasps were twice as likely to fledge young as birds nesting in trees without wasps. Reduced predation was apparently a major reason for increased fledging success: we documented four cases of nest predation on 122 Red-cheeked Cordonbleu nests associated with wasps, and 11 cases on 90 nests not associated with wasps. Association with birds did not affect the success of wasp colonies. Although our observational study cannot rule out the possibility that both species coincidentally shared a preference for a habitat feature in limited supply, suitable nest sites did not appear to be limiting (74% of potential nest trees had neither bird nor wasp nests). Reproductive success of Red-cheeked Cordonbleu populations in this region may be limited by the number of available wasp colonies. By designing our study to address four working hypotheses (commensalism, mutualism, parasitism, coincidence of habitat preference), we have provided strong evidence that this relationship is commensal.Augmentation du Succès de Nidification de Uraeginthus bengalus Nichant avec des Guêpes Ropalidia cincta au Ghana

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Beier, Paul, and Agba Issahaku Tungbani. "NESTING WITH THE WASP ROPALIDIA CINCTA INCREASES NEST SUCCESS OF RED-CHEEKED CORDONBLEU (URAEGINTHUS BENGALUS) IN GHANA." Auk 123, no. 4 (2006): 1022. http://dx.doi.org/10.1642/0004-8038(2006)123[1022:nwtwrc]2.0.co;2.

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Freitag, Sandria B. "The Making of a New ‘Indian’ Art: Artists, Aesthetics and Nationalism in Bengal, c. 1850–1920. By Tapati Guha-Thakurta. Cambridge: Cambridge University Press, 1992. xxvii, 351 pp. $85.00 (cloth). - Cinema and the Urban Poor in South India. By Sara Dickey. Cambridge: Cambridge University Press, 1993. xiv, 213 pp. £30.00 (cloth)." Journal of Asian Studies 55, no. 3 (August 1996): 750–52. http://dx.doi.org/10.2307/2646487.

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Bhattacharya, Spandan. "Transgressing Boundaries, Transforming Film Culture(s): Tales of Bedeni and the Constructs of Female Performer Figure in the 1990s Bengali Cinema." BioScope: South Asian Screen Studies, June 29, 2022, 097492762211049. http://dx.doi.org/10.1177/09749276221104910.

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Bedeni film emerged as a film genre centred on the snake worship cult and the figure of the bedeni/snake charmer woman after the phenomenal popularity of Beder Meye Josna (Panu, 1991). In this article, I consider how bedeni’s figuration disrupted the idea of the bhadra heroine of Bengali cinema, a figure of polish and restraint, and offered new understandings of ‘public women’. I study constructs of bedeni as a sexualised female performing figure through the multiple influences of diverse media texts ranging from Hindi cinema, to music videos, to sexually explicit Bengali songs (‘raser gaan’) popularised by cassettes. These influences speak of an expansive adaptation by Bengali cinema of contemporary popular culture across regional and national boundaries.

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Timoshchuk, A. S. "Nabadwip Bhava Taranga or time cinema of the Bengal Vaishnavism." Vestnik of Minin University 10, no. 2 (June 30, 2022). http://dx.doi.org/10.26795/2307-1281-2022-10-2-12.

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Introduction. The article analyzes the key value-semantic moments of the genesis of the Caitanya cult in West Bengal, as well as the philosophical forms of Gaudiya theology (Bengali Vishnuism).Materials and Methods. The theoretical state of the problem lies in the lacuna of the idiographic description of the genesis of the new religious movement, which is Bengali Vishnuism. Structural, systemic, comparative, factorial and phenomenological types of analysis form the basis of the methodology. The construction of a new religion is understood as the production of a symbolic universe, the spiritual generation of a value-semantic system that allows subjects to function in an antagonistic worldResults. The aesthetic reflection of Chaitanya and the dynamics of his movement are conceptualized as a ribbon of kairos running before the eyes of the beholder. The title of the article reproduces the birthplace of Chaitanya in Bengal, the center for the spread of the new religion (Navadwip), the emotional pressure of the teachings of bhakti (bhava) and the undulating dynamics of the development of the Chaitanya movement (taranga). In the context of Western philosophy, the process of emergent formation of Bengali Vaishnuism is terminated as a movie theater of time or a visual attitude of the observer that allows one to make a broad overview of forms, contents, actors, and institutions.Discussion and Conclusions. The visual culture of our time requires openness, manifestation of processes and states. The space-time perspective of the Caitanya cult appears as a series of transformations replacing incompleteness and poetry with institutionalization and form. The aesthetic vision offered by Chaitanya is transformed in time into a special intellectual-reflective genre of profane freak show.Scientific novelty. In terms of the progress of technology, we sometimes ask ourselves, why do we need knowledge created by people of the past who lived in the Middle Ages, or in the Bronze Age? Or is there knowledge that does not become obsolete over time? Metaphysics of Plato? Aristotle's formal logic? The paraconsistent logic of the mystic Caitanya? Another historical question that inevitably arises when referring to the past - what new can be said about an event from which we are rapidly moving away? However, another logic is at work here – the big is seen from a distance. The further we are from Caitanya, the more we value the meager Bengali sources about him, the more other knowledge we have that allows us to assess the global context of the new ideational system.Practical significance. Bengali Vaishnavism is constantly in the center of attention of specialists in history, linguistics, religious studies and sociology. Until now, interest in the charismatic selforganization of the Chaitanya Movement has not faded, how its personality, spirit and initiatives influenced the evolution of a whole ramified direction of Gaudiya Vaishnavism. It is obvious for religious scholars that Mahaprabhu was deified by his followers, but this does not deny the creative potential of the new religious movement, its power of generating meaning and creating new sociocultural forms.

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Bhattacharyya, Ranjan, Sumita Bhattacharyya Panda, and Supriya K. Mondal. "Mad Tales of Tollywood : Psychiatry in Bengali Cinema." Bengal Journal of Psychiatry, April 8, 2014, 32–37. http://dx.doi.org/10.51332/bjp.2014.v19.i1.64.

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There are reviews about portrayal of Psychiatry in Hollywood and Bollywood movies. Impact of cine media is extremely important in regional movies where actors and actresses are being worshipped as god. Initial stigmatization about madness is gradually changing to some strong social messages. Tollywood or Bengali movies have incorporated the mental illness way back from the era of Satyajit Ray and Riitwik Ghatak. The newer Bengali movies have extreme importance in spreading awareness and reducing stigma of mental illness.Keywords : Tollywood movies, Mental Illness, Stigmatizarion, Social messages.

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Siwach, Simran. "A STUDY OF BOLLYWOOD’S COMEDY OF ERRORS: AN INTERTEXTUAL APPROACH." INTERNATIONAL JOURNAL OF SCIENTIFIC RESEARCH, March 1, 2021, 10–12. http://dx.doi.org/10.36106/6038201.

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The cinematic adaptation of Shakespeare's play never been antediluvian around the world. There are a plethora of lms in Hindi cinema which have been adopted from literary works by lm makers. When it shows up to adaptation of William Shakespeare's epic tales in Hindi cinema, Vishal Bharadwaj acclaimed trilogy of Maqbool, Omkara and Haider comes rst in mind but not comes rst in the history of Indian cinema. This paper will begin with analysing one of the rst adaptation of Brad's epic-the 'comedy of errors' into Gulzar's enduring popular 'Angoor'(grapes) considered one of the Bollywood's best comedies. This research article is an attempt to understand and answer these questions with intertextually approach. Why a comedy of error is an appropriate choice for an adaptation? How the Gulzar's Angoor has an accurate title for an adaptation of Brad's saga of two sets of identical twins? And how Gulzar has done justice to his Bollywood adaptation of an epic play with obvious similarities and difference in plot and characterization? The paper will end with the discussion over the very rst adaptation of comedy of errors into Bengali theater well as Bengali cinema with the same name by Ishwar Chandra Vidyasagar's -' Bhranti Bhilas' which can also be considered as inspiration for Gulzar's tribute to Shakespeare.

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Bhattacharya, Spandan. "Disco flamboyance, performative masculinities and dancer heroes of Bengali cinema." South Asian History and Culture, July 22, 2022, 1–13. http://dx.doi.org/10.1080/19472498.2022.2101762.

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