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Sharmistha Gooptu is a founder and managing trustee of the South Asia Research Foundation (SARF), a not-for-profit research body based in India. SARF’s current project SAG (South Asian Gateway) is in partnership with Taylor and Francis, and involves the creation of what will be the largest South Asian digital database of historical materials. She is also the joint editor of the journal South Asian History and Culture (Routledge) and the Routledge South Asian History and Culture book series.
Indian cinema teems with a multitude of different voices. The Directory of World Cinema: India provides a broad overview of this rich variety, highlighting distinctions among India’s major cinematic genres and movements while illuminating the field as a whole. This volume’s contributors – many of them leading experts in the fields – approach film in India from a variety of angles, furnishing in-depth essays on significant directors and major regions; detailed historical accounts; considerations of the many faces of India represented in Indian cinema; and explorations of films made in and about India by European directors including Jean Renoir, Peter Brook, and Powell and Pressburger. Taken together, these multifaceted contributions show how India’s varied local film industries throw into question the very concept of a national cinema. The resulting volume will provide a comprehensive introduction for newcomers to Indian cinema while offering a fresh perspective sure to interest seasonal students and scholars.
Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 259. Chapters: Bengali-language films, Bengali film actors, Kalakar Awards, Pather Panchali, Cinema of West Bengal, The Apu Trilogy, Riaz, Suchitra Mitra, Konkona Sen Sharma, Sachin Dev Burman, Devdas, Utpal Dutt, Uttam Kumar, Prasenjit Chatterjee, Vidya Balan, Chhabi Biswas, Ritwik Ghatak, Anup Kumar, Mithun Chakraborty, Iti Mrinalini, Aparajito, Jaya Bachchan, Aparna Sen, Cinema of Bengal, Rati Agnihotri, Chirodini Tumi Je Amar, Shakib Khan, Sharmila Tagore, Raakhee, Uttara, The World of Apu, Premer Kahini, Shadows of Time, Monpura, List of silent Bengali films, Suchitra Sen, Bhalobasa Bhalobasa, Soumitra Chatterjee, Bhanu Bandopadhyay, Kanan Devi, Sonar Kella, Meghe Dhaka Tara, Abhijan, Sombhu Mitra, Diptendu Pramanick, Jeet, Egaro, Nagarik, Hirak Rajar Deshe, Antaheen, Koyel Mullick, Moushumi Chatterjee, Faltu, New Theatres Calcutta, Chalo Let's Go, Angshumaner Chhobi, Madhabi Mukherjee, Jishu Sengupta, Shatabdi Roy, Sabyasachi Chakraborty, Chaturanga, Kantatar, Challenge, The Alien, Anu Chowdhury, Rupa Ganguly, Chinmoy Ray, Mondo Meyer Upakhyan, Ek Mutho Chabi, Matir Moina, Goopy Gyne Bagha Byne, Aranyer Din Ratri, Kaal, 10:10, Jai Jagannatha, Pramathesh Barua, MoonWalkers, Paoli Dam, Amanush, Dhirendra Nath Ganguly, Parash Pathar, Bobita, Harindranath Chattopadhyay, Ruma Guha Thakurta, Chowringhee, Chokher Bali, Ranjit Mullick, Premi, Sathi, Chiranjeet, Kaalbela, Trishna, Le Chakka, Bibar, Debaki Bose, Jukti Takko Aar Gappo, Pavan Malhotra, Padma Nadir Majhi, Tomar Jonyo, Victor Banerjee, Moner Majhe Tumi, Sabitri Chatterjee, Charulata, Abir Chatterjee, Kaalpurush, Santosh Dutta, Dosar, Ek Je Aachhe Kanya, Autograph, Gandu, Nil Nirjane, Stories of Change, Yuddho, Nayak, Poran Jaye Jolia Re, Manik, Supriya Devi, Bikash Roy, Kalishankar, Calcutta Film Society, Ananya Chatterjee, Amar Praner Priya, Bajimaat, Swapner...
Popular Cinema in Bengal marks a decisive turn in studies of Bengali language cinema by shifting the focus from auteur and text-based studies to exhaustive readings of the film industry. The book covers a wide range of themes and issues, including: generic tropes (like comedy and action); iconic figurations (of the detective and the city); (female) stars such as Kanan Bala, Sadhana Bose and Aparna Sen; intensities of public debates (subjects of high and low cultures, taste, viewership, gender and sexuality); print cultures (including posters, magazines and song-booklets); cinematic spaces; and trans-media and trans-cultural traffic. By locating cinema within the crosscurrents of geo-political transformations, the book highlights the new and persuasive research that has materialised over the last decade. The authors raise pertinent questions regarding 'regional' cinema as a category, in relation to 'national' cinema models, and trace the non-linear journey of the popular via multiple (media) trajectories. They address subjects of physicality, sexuality and its representations, industrial change, spaces of consumption, and cinema’s meandering directions through global circuits and low-end networks. Highlighting the ever-changing contours of cinema in Bengal in all its popular forms and proposing a new historiography, Popular Cinema in Bengal will be of great interest to scholars of film studies and South-Asian popular culture. The chapters were originally published in the journal South Asian History and Culture.
This book talks of the Bengali Offbeat genre specially after the demise of Satyajit Ray. This book argues with ample data that on the contrary, the genre swelled further in the last 28 years with over 400 offbeat movies, made by younger generations charted new paths.