Cinema, Emergence, and the Films of Satyajit Ray
This is a deeply researched, theoretically sophisticated and organic study. Keya Ganguly's intellectual tour de force in this analysis of the great Indian film maker Satyajit Ray will provide a benchmark for future studies of the subject. Partha Mitter, author of The Triumph of Modernism: Indian Artists and the Avant-Garde 1922-1947
"What distinguishes Ganguly s book from the more fashionable approaches to non-Western cinema is her willingness to assert the importance of European theoryspecifically, writings on film by Eisenstein, Benjamin, Kracauer, Balazs, among othersas a way to elaborate Satyajit Ray s contributions in the larger postwar context of an international New Wave cinema movement. She does this with extraordinary intelligence and finesse, and the result is an illuminating statement on how a cinema that seems nostalgic for a disappearing cultural past can in fact be read, for the first time perhaps, for its intimations of an as-yet unrealized futurity."Rey Chow, author of Sentimental Fabulations, Contemporary Chinese Films"
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THE LIGHT OF THE NEW MOON
GHARE BAIRE OR THE HOUSEHOLD GODDESS
VISUALITY AND THE MODERN IN CHARULATA
DOCUMENTING THE DECADENT INCARNATING THE MODERN
JALSAGHAR ATTRACTION PERCEPTION
MAHANAGAR AND CINEMATIC IMPERFECTION
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Adorno and Eisler aesthetic allegory Aparajito Apu trilogy Apur Sansar Arati argument avant-garde Barthes Beethoven Bengali Benjamin Bhupati Bimala Bouthan camera Charu Charulata conceptual conﬂict context contradictions critical critique cultural deﬁned depicted Devi dialectical diegesis diegetic difﬁculties Doya Eisenstein emergence European exempliﬁed existence experience expression fetishism ﬁgure Film and Study ﬁlm’s ﬁlmic ﬁlmmaking ﬁnal ﬁnd ﬁrst Ghare Baire goddess Hindustani classical music historical idea ideology India Indian cinema inﬂuence Jalsaghar Jameson Kajol Kapur Kracauer less lorgnette Mahanagar meaning medium mode modern modernist montage Nargis narrative Nastanirh Nikhil notion novel objects past permission from Satyajit political possible postcolonial predicament present problem Rajadhyaksha Ray’s cinema Ray’s ﬁlms reality reﬂection reﬂexive rendered representation represents Satyajit Ray Film scene sense shot signiﬁcation social song speciﬁc story Study Center Tagore Tagore’s temporal Theodor Adorno theory thinking Third World tion tradition understanding viewer vision visual