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Full Description
The first comprehensive study of men and masculinity in the cinema of Satyajit Ray
Links Ray's male characters with India's national trajectory in its early post-independence years
Interrogates the director's standing as a national filmmaker
Situates Ray within post-colonial filmmaking and realist cinema traditions
Satyajit Ray belonged to a category of filmmakers and artists from newly independent countries whose work was used to define 'national culture'.
Failed Masculinities: The Men in Satyajit Ray's Films argues that a study of his films will give us a purchase on the moral trajectory of India in its first few decades of independence, particularly through examination of his male characters and their narratives. Films discussed by Sanyal include the Apu Trilogy, Shakha Prasakha, Ghare Baire and Kapurush.
Contents
Introduction: Satyajit Ray's films, his men and the inscription of the nation
1. The colonial and the pre-modern: Shatranj Ke Khiladi, Jalsaghar, and Devi
2. An Uncertain India: Early Nationalism in Ghare Baire and Charulata
3. Breaking with the Past: The Apu trilogy
4. 'For all we have and are': The Post-independence bourgeoisie in Kanchenjungha and Kapurush
5. The Hollow Men: The complacent 'achiever' in Nayak, Aranyer Din Ratri, and Seemabaddha
6. Trying times: Aspiration and failure in Kanchenjunga, Mahanagar, Pratidwandi, and Jana Aranya.
7. At Odds with the Nation: Joy Baba Felunath, Hirak Rajar Deshe, and Sadgati.
8. 'An Essay on Man': The wise person in Ganashatru, Shakha Prasakha and Agantuk
Conclusion: Moving Away from the Nation
