Bibliographies thématiques / Bengali cinema

Littérature scientifique sur le sujet « Bengali cinema »

Auteur : Grafiati
Publié le 26 juillet 2024

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Articles de revues sur le sujet "Bengali cinema"

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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 (26 mars 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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Nag, Anugyan, et 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 (1 janvier 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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Gokulsing, K. Moti, et Wimal Dissanayake. « Bengali cinema : ‘an other nation’ ». South Asian Popular Culture 10, no 2 (juillet 2012) : 217–18. http://dx.doi.org/10.1080/14746689.2012.682859.

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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 (août 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 (juillet 2011) : 452–55. http://dx.doi.org/10.1080/19472498.2011.577583.

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

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Mukherjee, Dhrubaa. « Singing-in-between spaces : Bhooter Bhabisyat and the music transcending class conflict ». Studies in South Asian Film & ; Media 12, no 1 (1 février 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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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 (1 juillet 2010) : 3–17. http://dx.doi.org/10.1386/safm.2.1.3_1.

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

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

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Thèses sur le sujet "Bengali cinema"

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Bhowmik, Ritwij, et ​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.

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博士
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.
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Livres sur le sujet "Bengali cinema"

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Raha, Kironmoy. Bengali cinema. Calcutta : Nandan, 1991.

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Gooptu, Sharmistha. Bengali cinema : 'an other nation'. New York, NY : Routledge, 2010.

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Kazi, Anirban, dir. A directory of Bengali cinema. Kolkata : The Colors of Art, 2013.

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Sengupta, Ratnottama. Is it back to the future for Bengali cinema ? New Delhi : India International Centre, 2013.

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Sil, Sekhar. Representation of colonial women in Bengali cinema : Inner and outer worlds of Bhadramahila. Kolkata, India : Papyrus, 2016.

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Viswanathan, Ashoke. Bengal in the century of cinema and beyond. Kolkata : Director KIFF, 2013.

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Chowdhury, Maitreyee B. Uttam Kumar and Suchitra Sen : Bengali Cinema's first couple. New Delhi : Om Books International, 2013.

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Ahasana, Āsalāma. Bāṃlādeśera sinemāra smr̥ti jāgāniẏā gāna : Bangladesher cinemar smriti jaganiya gaan. Ḍhākā : Bāṃlādeśa Philma Ārkāibha, 2016.

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Gooptu, Sharmistha. Bengali Cinema. Routledge, 2010. http://dx.doi.org/10.4324/9780203843345.

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Gooptu, Sharmistha. Bengali Cinema : 'an Other Nation'. Taylor & Francis Group, 2010.

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Chapitres de livres sur le sujet "Bengali cinema"

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Haq, Fahmidul, et Brian Shoesmith. « Identity Approaches of Bengali Muslims ». Dans Identity, Nationhood and Bangladesh Independent Cinema, 30–55. London : Routledge, 2022. http://dx.doi.org/10.4324/9781003271093-3.

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Bhattacharya, Spandan. « Disco flamboyance, performative masculinities and dancer heroes of Bengali cinema ». Dans The Dancing Body, 110–22. London : Routledge, 2024. http://dx.doi.org/10.4324/9781003484059-7.

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Bhattacharya, Spandan. « Reading Anandalok : obscenity, cinema and other ‘prohibitive’ pleasures in 1970s–1990s Bengali print culture ». Dans South Asian Pornographies, 75–80. London : Routledge, 2024. http://dx.doi.org/10.4324/9781003359708-7.

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Bhattacharya, Mimi. « Women in Rituparno Ghosh's Cinema ». Dans Women in Bengal, 288–99. London : Routledge, 2024. http://dx.doi.org/10.4324/9781003473930-27.

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Sen, Sudarshana. « Anglo-Indian Women in Indian Cinema ». Dans Women in Bengal, 211–21. London : Routledge, 2024. http://dx.doi.org/10.4324/9781003473930-21.

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Raju, Zakir Hossain. « Two Cinemas in Two Bengals : From Indigenization to Globalization of Bengali Film Industries of Bangladesh and West Bengal ». Dans Two Bengals, 305–30. Singapore : Springer Nature Singapore, 2023. http://dx.doi.org/10.1007/978-981-99-2185-0_10.

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Vahali, Diamond Oberoi. « The Magnum Opus of the Bengal Partition and Its Aftermath : Motifs and Antinomies ». Dans 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.

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« Bengali Cinema ». Dans Mourning the Nation, 125–65. Duke University Press, 2009. http://dx.doi.org/10.1215/9780822392217-004.

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Ahmed, Omar. « The Trauma of Partition ». Dans Studying Indian Cinema, 69–86. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0005.

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This chapter shifts the focus to Indian art cinema with the Marxist work of Bengali director and iconoclast Ritwik Ghatak. The impressive Meghe Dhaka Tara (The Cloud Capped Star, 1960) is his best-known film. Dealing directly with the trauma of partition and its effects on a Bengali family, Ghatak's cinema is bold, uncompromising, and occupies a unique position in Indian cinema. Although his work is still somewhat overshadowed by that of Satyajit Ray, another masterful Bengali film-maker, and though many of his films are still sadly unavailable on DVD in the UK, Megha Dhaka Tara is now recognised as one of the key works of Indian art cinema. The chapter discusses numerous aspects, including Ghatak's position as a film-maker; the wider historical context such as the partition of Bengal; the relationship between melodrama and feminist concerns; the film's categorisation as an example of 1960s counter cinema; and the thematic importance of the family to the film's narrative.
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Ahmed, Omar. « Feminist Concerns ». Dans Studying Indian Cinema, 87–106. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9781906733681.003.0006.

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This chapter surveys the career and legacy of Indian cinema's greatest film-maker, Satyajit Ray. If Raj Kapoor can be credited with popularising Indian cinema around the globe, then Satyajit Ray can certainly lay claim to bringing a measure of artistic credibility and sincerity to Indian cinema. Choosing a favourite Ray film was a tricky proposition given the consistency he maintained as a film-maker over four decades. He may have built his reputation on the Apu trilogy, winning major awards at film festivals, but his lifelong fascination with Bengali novelist Rabindranath Tagore provided the source material for some of his finest and most complex works. Charulata (The Lonely Wife, 1964) forms the focus for the chapter, which covers the Bengal renaissance, Satyajit Ray's status as an auteur, gender representations in the films of Ray, camera and narrative style, the relationships between the three central characters, political undercurrents, and the film's portrayal of married life in the Bengali middle class.
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