South Asia in Alternative Cinema(s)

South Asia in Alternative Cinema(s) explores the significance and relevance of parallel, the new wave, the new middle wave, avant-garde, and independent cinemas from and on India, Pakistan, Bhutan, Sri Lanka, Bangladesh and other parts of South Asia.

South Asia in Alternative Cinema(s) explores the significance and relevance of parallel, the new wave, the new middle cinema, avant-garde and independent cinemas from and on India, Pakistan, Bhutan, Sri Lanka, Bangladesh and other parts of South Asia. The scholarly and groundbreaking articles interrogate, in a global context, intersecting social, political and cultural issues and offer a rich discourse on the works of eminent filmmakers and their cinematic compositions. The original articles focus on the "New Wave" in Hindi, Kannada, Bengali, Malayalam, Assamese and other regional languages of India, as well as experimental/independent films from and on India, Pakistan, Bhutan, Bangladesh, Sri Lanka and other parts of South Asia, irrespective of the language in which they are made.The book also offers new insights and a fresh perspective on the contentious intellectual relation between human life and its reflection in cinemas.

Autorentext

Vivek Sachdeva teaches at the University School of Humanities and Social Sciences, Guru Gobind Singh Indraprastha University, New Delhi.

Hariprasad Athanickal teaches in the Department of Film Studies, English and Foreign Languages University (EFLU), Hyderabad.

Chandrakant A. Langare is Associate Professor of English at Shivaji University, Kolhapur, Maharashtra, India.

Inhalt

Introduction PART I: Alternative Cinema(s) 1. Minor Avant-gardists in the 1970s-1980s: History of Alternate Cinema Movement in Kerala 2. Remoulding the Alternative: Style and Aesthetics of Contemporary Alternative Indian Cinemas 3. M. S. Satyu's Ijjodu: A Visual Encounter between Tradition and Modernity 4. Foregrounding the Reading and the Writing Process: Sumitra Bhave and Sunil Sukhtankar's Marathi film Samhita PART II: Contestations: Nation, Culture and Identity 5. Of Homogenous Temporality and Dissonant Spaces: Demarcating a Space for Kannada in/vis-à-vis India in Kannada Parallel Films 6. Remapping Calcutta: Old media / New media, neighbourhoods, and alternative Cartographies of the City 7. Chetan Anand's Neecha Nagar: Reconfiguring the City through Struggle and Resilience 8. Alternative Modes of Perception: A Reading of Perceptual Divide between Blind and Sighted Worlds in Sparsh PART III: Gender and Sexuality 9. Discourses on Pakistan's Screen: An Alternate Space of Cultural Production And (Re)Evaluating Meaning Around Religious Text 10. Relocating the Gaze: Through the Lens of Deepa 11. The Namkeen Women: Locating Gender in Gulzar's Film Narratives 12. Son Preference! A Historical Legacy or Socio-Economic Compulsion: A Cinematic Approach 13. The Cultural Amnesia: A Dialogue between Livelihood and PART IV: Auteurs, Authors and Film Adaptations 14. Reading Satyajit Ray's Pather Panchali: Discovering the Existential Strain 15. Towards Self-reliant womanhood in Satyajit Ray's Charulata 16. Re-Contextualizing and Adapting The Canon: The Example Of Aparna Sen's Ghawre Bairey Aaj (2019) 17. Caste, Crying and Cinema: Engendering a Subaltern Cinematic Aesthetics through Adaptation 18. Troubled Love: Adaptations & Intertextuality 19. From Words ta Images: Satyajit Ray's Re-interpretation of Premchand's Sadgati 20. Unravelling the question of 'To be, or not to be': A Comparative Analysis of Hamlet and Haider PART V: Borders and Beyond 21. Partition Cinema and its Narrative Trajectories 22. Lives, Cameras and Actions: A Study of Select Works of Tibetan Exiled Filmmakers 23. Buddhism in Bhutanese Cinema; Divine Portrayal of Femininity in Bhutanese Films