- ホーム
- > 洋書
- > 英文書
- > Cinema / Film
Full Description
This book addresses the mutual relationship between literature and film in the Indian context involving three iconic figures of Indian cultural life: Rabindranath Tagore, Premchand, and Satyajit Ray. Drawing upon the insights of leading academics and emerging scholars in the field, this volume presents an exclusive and highly specialized study of this complex process of mediation from printed words to images on the screen involving two legendary writers and a legendary filmmaker. Divided into three sections, the first section, 'Fiction into Film: The Process and the Product' addresses theoretical issues surrounding film adaptation of novels in the West and South Asia. After providing a range of perspectives on this theme, the next cluster of essays ('Tagore, Ray, and Their Women') focuses on Satyajit Ray's adaptation of two Tagore novels in his films, Ghare Baire and Charulata ('Noshto Nirh'), and three short stories 'Postmaster', 'Monihara', and 'Samapti' in his film Teen Kanya. The third section, 'Premchand, Ray, and the Game of Chess', deals with Ray's adaptation of two Premchand stories in the feature film, Shatranj ke Khiladi and the TV film, Sadgati, respectively.
The volume includes a detailed Introduction which provides the context to the various issues addressed in the book.
Contents
INTRODUCTION ; PART I: FICTION INTO FILM: THE PROCESS AND THE PRODUCT: ; 1. Meenakshi Mukherjee, 'His Films, Their Stories' ; 2. Vijaya Singh, 'Fiction to Film: A Brief History and a Framework for Film Adaptations' ; 3. Somdatta Mandal, 'Two Masters One Text: Satyajit Ray's Transcreation of Ghare Baire' ; 4. Anuradha Ghosh, 'Some Aspects of Inter-semiotic Translation: A Study of Satyajit Ray's Interpretation of Tagore' ; 5. Jayita Sengupta, 'Ray's Narrative Vision and Synaesthetic Appreciation of Tagore in Ghare Bairey' ; PART II: TAGORE, RAY AND THEIR WOMEN: ; 6. Shohini Ghosh, 'Disobedient Women /Disobedient Detours' ; 7. Supriya Chaudhuri, 'Space, Interiority and Affect in Charulata and Ghare Baire' ; 8. Tutun Mukherjee, 'Tagore's Women Protagonists through Ray's Camera: Re-presenting the Shifting Concepts of History, Culture and Identity' ; 9. Asha Kuthari Chaudhuri, '"Thak" / Freeze-- Negotiating Narrative Positions in Adaptation: The Female in Tagore's "The Broken Nest" and Ray's Charulata' ; 10. Brinda Bose, 'From 'Noshto Nirh' to Charulata: Ray's Creation of an Audio-Visual 'Aura' for Tagore's Fiction' ; 11. Vishnupriya Sengupta, 'The Enigma of "Departure": A Re-interpretation of Rabindranath Tagore's "Noshto Neerh" and Satyajit Ray's Charulata' ; PART III: PREMCHAND, RAY, AND THE GAME OF CHESS: ; 12. Frances W. Pritchett, '"The Chess Players": From Premchand to Satyajit Ray' ; 13. Jasbir Jain, 'Critiquing Colonialism through Cinematic Frames: Shatranj Ke Khilari and Ghare-Baire' ; 14. Shreya Bhattacharya, 'De-coding the Moves of Colonial Chess: Premchand/Satyajit Ray's Shatranj Ke Khiladi' ; 15. Tarini Pandey, 'Shatranj Ke Khiladi: The "Games" and their Repercussions' ; 16. Deepti Zutshi, 'From "Sadgati" to Sadgati: The Ideological Aspect of Satyajit Ray's Adaptation of Premchand' ; LIST OF CONTRIBUTORS
