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One of the most critically acclaimed directors after Satyajit Ray, Adoor Gopalakrishnan occupies a unique space in the world of cinema. His life intertwining with his art, and his art drawing upon real people and real lives, Gopalakrishnan’s cinema turns the mundane into the magical, the commonplace into the startling. In Adoor Gopalakrishnan: A Life in Cinema, the first authorized biography of the Dadasaheb Phalke Award winner, Gautaman Bhaskaran traces the ebbs and flows of the life of this enigmatic director. From his birth during the Quit India movement to his lonely childhood; from his belief in Gandhian values and life at Gandhigram to his days and nights at the Pune Film Institute; and from his first film, Swayamvaram, to his latest and long-awaited, Pinneyum, Bhaskaran’s lucid narrative tracks the twists and turns of Gopalakrishnan’s life, revealing an uncommon man and a rare auteur.
This first comprehensive study of Gopalakrishnan’s feature films offers a compelling analysis of the issues of guilt, redemption and hope within their socio-historical contexts. The abrupt displacement of Kerala in southern India from a princely feudal state into twentieth-century modernity forms the backdrop to most of his complex narratives about identity, selfhood and otherness, in which innocence is often at stake and characters grapple with their consciences.
This first study of Adoor Gopalakrishnan’s feature films offers a compelling analysis of the socio-historical contexts of his work. Suranjan Ganguly examines how Kerala’s abrupt displacement from a princely feudal state into twentieth-century modernity has shaped Gopalakrishnan’s complex narratives about identity, selfhood and otherness, in which innocence is often at stake, and characters struggle with their consciences. Ganguly places the films within their larger frameworks of guilt and redemption in which the hope of emancipation – moral, spiritual and creative – is real and tangible.
Over four decades and more, Adoor Gopalakrishnan has turned out eleven films of great artistic merit and integrity - all of which use the universal language of human emotions and human psychology to tell the tales of ordinary people tackling life's tribulations.Face-to-Face is a critical introduction to the aesthetics of Adoor's cinema, his development as a film-maker, and his engagement with the culture, customs and history of Kerala. It is also a primer to his films, interpreting each thematically and stylistically, throwing light upon his unique way of representing his thematic concerns. Parthajit Baruah's well-researched narrative is a welcome addition to the literature on one of India's greatest film-makers.
Co-Winner, 2023 Chidananda Dasgupta Award for the Best Writing on Cinema, Chidananda Dasgupta Memorial Trust Shortlisted, 2022 MSA Book Prize, Modernist Studies Association Longlisted, 2022 Moving Image Book Award, Kraszna-Krausz Foundation The project of Indian art cinema began in the years following independence in 1947, at once evoking the global reach of the term “art film” and speaking to the aspirations of the new nation-state. In this pioneering book, Rochona Majumdar examines key works of Indian art cinema to demonstrate how film emerged as a mode of doing history and that, in so doing, it anticipated some of the most influential insights of postcolonial thought. Majumdar details how filmmakers as well as a host of film societies and publications sought to foster a new cinematic culture for the new nation, fueled by enthusiasm for a future of progress and development. Good films would help make good citizens: art cinema would not only earn global prestige but also shape discerning individuals capable of exercising aesthetic and political judgment. During the 1960s, however, Satyajit Ray, Mrinal Sen, and Ritwik Ghatak—the leading figures of Indian art cinema—became disillusioned with the belief that film was integral to national development. Instead, Majumdar contends, their works captured the unresolvable contradictions of the postcolonial present, which pointed toward possible, yet unrealized futures. Analyzing the films of Ray, Sen, and Ghatak, and working through previously unexplored archives of film society publications, Majumdar offers a radical reinterpretation of Indian film history. Art Cinema and India’s Forgotten Futures offers sweeping new insights into film’s relationship with the postcolonial condition and its role in decolonial imaginations of the future.
On the life and works of Adoor Gopalakrishnan, b. 1941, Malayalam film director.
Indian film industry is the largest in the world. It releases 1000 plus movies annually. Most films are made in South Indian languages (viz., Telugu, Tamil and Malayalam). Nevertheless, Hindi films take the largest box office share. India has 12,000 plus cinema halls and this industry churns out 1000 plus films a year. This book gives a brief history of the world's most exciting industrial enterprise. It gives the details, facts and vital sets of data of Indian cinema with amazing finesse. Its simple style and low cost enable all reader genres to read it. Renu Saran has penned this book for the lovers of Indian cinema. She has given many good books to our valued readers. She has worked very hard to collect data and analyze information sets. That is why this book has become one of the best in its genre.