Since the appearance in the late 1950s and early 60s of the debut films of directors like Jean-Lu... more Since the appearance in the late 1950s and early 60s of the debut films of directors like Jean-Luc Godard, François Truffaut, Alain Resnais, Claude Chabrol, Agnes Varda and others, critics and scholars alike have devoted unprecedented attention to the path breaking phenomenon of the French Nouvelle Vague. While critics have been hard pressed to find commonality on the stratum of aesthetics, politics, theory, and approaches to production among the disparate directors that comprise the French New Wave, they all necessarily recognize its lasting importance and dramatic influence not only on subsequent French film but on cinemas across the world. This genealogy can certainly be debated, but it does have the strength of tradition behind it now. In this brief article, we will emphasize on several key elements in order to define a body of critical concepts that open an initial approach to the New Wave Cinema.
Ritwik Kumar Ghatak, the maverick Bengali filmmaker remains one of the most celebrated cinematic ... more Ritwik Kumar Ghatak, the maverick Bengali filmmaker remains one of the most celebrated cinematic auteurs of Indian cinema. Dismantling the conventional constructs of commercial cinema, Ghatak along with Satyajit Ray and Mrinal Sen laid the foundation of the alternative or parallel cinema in Bengal during the 60s and 70s. This paper attempts to semiologically study the multiple layers of meanings and functions in Ghatak's seminal film, Subarnarekha (1962) and explore the impact of Partition and the tragic predicament of the innumerable immigrants which has been portrayed through the skillful cinematic technique in which Ghatak has blended melodrama with social realism. In addition, it is also aimed at discussing the linkage between communication and semiotics and is expected to generate positive contributions in underlining the significance of semiotic theory and further researches in related fields or specific areas.
In this paper I have chosen to explore one of the most chromatic parts of the Bengal Renaissance,... more In this paper I have chosen to explore one of the most chromatic parts of the Bengal Renaissance, the Derozian period. Unlike their Brahmo contemporaries Derozians were so much defiant in their activities, and for their invasion against the social orthodoxies they were often described by many historians as the ‘Ultranationalists’ or ‘Ultra-radicals’. But, in today’s context we have to admit that they had left a lasting impression on the social, educational, cultural and economic course of our Indian society. For their reform movement Derozio and many of his pupils used newspapers and periodicals as their spokes organs or to express their views on certain issues. So, in this paper I have tried to critically observe the ultranationalist contributions of Derozians, with special focus on their journalistic activities.
Since the appearance in the late 1950s and early 60s of the debut films of directors like Jean-Lu... more Since the appearance in the late 1950s and early 60s of the debut films of directors like Jean-Luc Godard, François Truffaut, Alain Resnais, Claude Chabrol, Agnes Varda and others, critics and scholars alike have devoted unprecedented attention to the path breaking phenomenon of the French Nouvelle Vague. While critics have been hard pressed to find commonality on the stratum of aesthetics, politics, theory, and approaches to production among the disparate directors that comprise the French New Wave, they all necessarily recognize its lasting importance and dramatic influence not only on subsequent French film but on cinemas across the world. This genealogy can certainly be debated, but it does have the strength of tradition behind it now. In this brief article, we will emphasize on several key elements in order to define a body of critical concepts that open an initial approach to the New Wave Cinema.
Ritwik Kumar Ghatak, the maverick Bengali filmmaker remains one of the most celebrated cinematic ... more Ritwik Kumar Ghatak, the maverick Bengali filmmaker remains one of the most celebrated cinematic auteurs of Indian cinema. Dismantling the conventional constructs of commercial cinema, Ghatak along with Satyajit Ray and Mrinal Sen laid the foundation of the alternative or parallel cinema in Bengal during the 60s and 70s. This paper attempts to semiologically study the multiple layers of meanings and functions in Ghatak's seminal film, Subarnarekha (1962) and explore the impact of Partition and the tragic predicament of the innumerable immigrants which has been portrayed through the skillful cinematic technique in which Ghatak has blended melodrama with social realism. In addition, it is also aimed at discussing the linkage between communication and semiotics and is expected to generate positive contributions in underlining the significance of semiotic theory and further researches in related fields or specific areas.
In this paper I have chosen to explore one of the most chromatic parts of the Bengal Renaissance,... more In this paper I have chosen to explore one of the most chromatic parts of the Bengal Renaissance, the Derozian period. Unlike their Brahmo contemporaries Derozians were so much defiant in their activities, and for their invasion against the social orthodoxies they were often described by many historians as the ‘Ultranationalists’ or ‘Ultra-radicals’. But, in today’s context we have to admit that they had left a lasting impression on the social, educational, cultural and economic course of our Indian society. For their reform movement Derozio and many of his pupils used newspapers and periodicals as their spokes organs or to express their views on certain issues. So, in this paper I have tried to critically observe the ultranationalist contributions of Derozians, with special focus on their journalistic activities.
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critics have been hard pressed to find commonality on the stratum of aesthetics, politics, theory, and approaches to production among the disparate directors that comprise the French New Wave, they all necessarily recognize its lasting importance and dramatic influence not only on subsequent French film but on cinemas across the world. This genealogy can certainly be debated, but it does have the strength of tradition behind it now. In this brief article, we will emphasize on several key elements in order to define a body of critical concepts that open an initial approach to the New Wave Cinema.
‘Ultranationalists’ or ‘Ultra-radicals’. But, in today’s context we have to admit that they had left a lasting impression on the social, educational, cultural and economic course of our Indian society. For their reform movement Derozio and many of his pupils used newspapers and periodicals as their spokes organs or to express their views on certain issues. So, in this paper I have tried to critically observe the ultranationalist contributions of Derozians, with special focus on their journalistic activities.
critics have been hard pressed to find commonality on the stratum of aesthetics, politics, theory, and approaches to production among the disparate directors that comprise the French New Wave, they all necessarily recognize its lasting importance and dramatic influence not only on subsequent French film but on cinemas across the world. This genealogy can certainly be debated, but it does have the strength of tradition behind it now. In this brief article, we will emphasize on several key elements in order to define a body of critical concepts that open an initial approach to the New Wave Cinema.
‘Ultranationalists’ or ‘Ultra-radicals’. But, in today’s context we have to admit that they had left a lasting impression on the social, educational, cultural and economic course of our Indian society. For their reform movement Derozio and many of his pupils used newspapers and periodicals as their spokes organs or to express their views on certain issues. So, in this paper I have tried to critically observe the ultranationalist contributions of Derozians, with special focus on their journalistic activities.