This book analyses the role of women in the films one of the leading filmmakers of the 'Third World' in the 1950s, Satyajit Ray, a national icon in filmmaking in India.
This book analyses the role of women in the films one of the leading filmmakers of the 'Third World' in the 1950s, Satyajit Ray, a national icon in filmmaking in India.
Devapriya Sanyal is Postdoctoral Fellow at Centre for Women's Studies, Jawaharlal Nehru University, India, and the Indian Council of Social Science Research.
Inhaltsangabe
Introduction: Satyajit Ray: Nation Modernity and Gender. 1. Searching for Antecedents: Feminine Portrayals in Literature and Cinema. 2. The Receding Mother Figure: Pather Panchali (Sarbojaya) Devi (Doyamoyee) Kanchenjhunga (Anima and Labanya) Aranyer Din Ratri (Joya). 3. Transgressors - Charulata (Charulata) Ghare Baire (Bimala) Pikoo (Seema). 4. Moral Beacons: Nayak (Aditi) Aranyer Din Ratri (Aparna) Seemabaddha (Tutul). 5. The New Woman: Mahanagar (Arati) Samapti (Mrinmoyee) Kanchenjunga (Monisha) Kapurush (Karuna). 6. The Amoral Woman - Pratidwandi (Sutapa) Jana Aranya (Kauna and the prostitutes). 7. Women on the Periphery: Apur Sansar (Aparna) Abhijan (Gulabi and Neeli) Ashani Sanket (Ananga) Shatranj ke Khiladi (the wives) and the Last Trilogy. Conclusion: Satyajit Ray and Art Cinema: The Issue of Agency.
Introduction: Satyajit Ray: Nation Modernity and Gender. 1. Searching for Antecedents: Feminine Portrayals in Literature and Cinema. 2. The Receding Mother Figure: Pather Panchali (Sarbojaya) Devi (Doyamoyee) Kanchenjhunga (Anima and Labanya) Aranyer Din Ratri (Joya). 3. Transgressors - Charulata (Charulata) Ghare Baire (Bimala) Pikoo (Seema). 4. Moral Beacons: Nayak (Aditi) Aranyer Din Ratri (Aparna) Seemabaddha (Tutul). 5. The New Woman: Mahanagar (Arati) Samapti (Mrinmoyee) Kanchenjunga (Monisha) Kapurush (Karuna). 6. The Amoral Woman - Pratidwandi (Sutapa) Jana Aranya (Kauna and the prostitutes). 7. Women on the Periphery: Apur Sansar (Aparna) Abhijan (Gulabi and Neeli) Ashani Sanket (Ananga) Shatranj ke Khiladi (the wives) and the Last Trilogy. Conclusion: Satyajit Ray and Art Cinema: The Issue of Agency.
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