The Cinema of Satyajit Ray: Between Tradition and Modernity
Satyajit Ray is India's greatest filmmaker and his importance in the international world of cinema has long been recognised. Darius Cooper's study of Ray is the first to examine his rich and varied work from a social and historical perspective, and to situate it within Indian aesthetics. Providing analyses of selected films, including those that comprise The Apu Trilogy, Chess Players, and Jalsaghhar, among others, Cooper outlines Western influences on Ray's work, such as the plight of women functioning within a patriarchal society, Ray's political vision of the 'doubly colonised', and his attack and critique of the Bengali/Indian middle class of today. The most comprehensive treatment of Ray's work, The Cinema of Satyajit Ray makes accessible the oeuvre of one of the most prolific and creative filmmakers of the twentieth century.
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abhinaya Aditi aesthetic Agantuk Amal Amitabha Ananga Aparajito Aparna Apu Trilogy Apu's Apur Sansar Aranyer Din Ratri Arati Arindam Ashim Ashoke Banerjee Bansi Chandragupta become Bengali bhadralok Bimala Biswambhar Bose Brahmin British Calcutta camatkara caste character Charu Charulata Chess Players cinema critical culture daughter death Doya Doya's Dukhi Dulal Dutta Durga emotion face father feels film's finally frame Gangacharan gaze Ghare-Baire Ghosh goddess Gupta Hari Harihar Hindu husband Ibid jalsa Jalsaghar Kajal Kakar Kalikinkar Karuna male Mirza mise-en-scene mother Mukherjee nawabs Nikhil offers Oudh Outram Pandit Pather Panchali play Pratidwandi Premchand Proshanto Protap Pulu rasa Ratan Ray shows Ray's camera Ray's film role Sadgati Sandip Sanjoy Sarbojaya Satyajit Ray Satyaki scene sexual Sharmila Sharmila Tagore Shekar shot Shyamalendu Siddhartha Somnath song Soumendu Roy Soumitra Chatterjee spectator Subrata Sutapa Tagore tion tribal uncle Untouchable vacika village Wajid wants Western wife women words zamindar