<italic>Filmfare</italic> and the question of Bengali cinema (1955-65).
This essay is a critical genealogy of Bengali cinema roughly between 1955 and 1965, as the story unfolded in the pages of <italic>Filmfare</italic>, the preeminent mainstream cinema periodical in India. It locates the question of Bengali cinema in a greater textualization of a burgeoning Indian film...
| Publicado en: | South Asian History & Culture Vol. 9; no. 2; pp. 141 - 159 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Apr2018
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=129102431&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 129102431 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 19472498 B7KP jtl: South Asian History & Culture issn: 19472498 maglogo: N pubinfo: dt: Apr2018 vid: 9 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 129102431 10.1080/19472498.2018.1446794 ppf: 141 ppct: 18 formats: fmt: – @attributes: type: T db: hlh ui: 129102431 – @attributes: type: P db: hlh ui: 129102431 tig: atl: <italic>Filmfare</italic> and the question of Bengali cinema (1955-65). aug: au: Basu, Anustup affil: Department of English, University of Illinois at Urbana-Champaign, Champaign, IL, USA su: India Genealogy Film criticism Motion picture theaters sug: subj: Genealogy India All Other Personal Services Commercial and Institutional Building Construction Motion picture and video exhibition Motion Picture Theaters (except Drive-Ins) Film criticism Motion picture theaters keyword: ‘Artistic revolution’ ‘national’ cinema Bengali Cinema; film criticism regional Indian Cinema ‘Artistic revolution’ ‘national’ cinema Bengali Cinema; film criticism regional Indian Cinema ab: This essay is a critical genealogy of Bengali cinema roughly between 1955 and 1965, as the story unfolded in the pages of <italic>Filmfare</italic>, the preeminent mainstream cinema periodical in India. It locates the question of Bengali cinema in a greater textualization of a burgeoning Indian film in the world. The account covers three lines of vision, in terms of how Bombay, as film capital, was looking to Calcutta to supply a literary-reformist guidance to an emerging national form, how Calcutta was conversing with Europe and America in a manner that almost totally bypassed the pan-Indian scenario, and how the west was also frequently looking at the cinematic universe of Satyajit Ray and his peers without any necessary refractive mediation by an all-India prism. Along the way, the essay also revisits crucial moments in the history of the Bengali film industry, both in terms of its commercial and artistic accomplishments as well as its failures to set up regular lines of exchange with other major industries like Bombay and Madras, as well as neighbours like Orissa, Assam, Burma, and what eventually became the independent country of Bangladesh. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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