Feminism In India’s Post

Jatugriha and Ijaazat: Love in Fragments By Shoma Chatterji Jatugriha by Tapan Sinha is one of the films that handled the theme of schisms in marriage with aesthetic sensitivity, technical finesse and, most importantly, strong social relevance. Gulzar’s Ijaazat is another such film. Shoma Chatterji explores both the inspiration and the inspired. https://lnkd.in/dGsR7Ena

I recently met Ashok Chakradhar , the esteemed Indian author and poet. Our conversation explored many facets of artistic expression and cultural influences, offering deep insights into his experiences and views within the film industry. #srishivam #ashokchakradhar #artisticexpression #culturalinfluences #filmindustry #literarygiant

The Neoliberal Self in Bollywood: Cinema, Popular Culture, and Identity is out now! This book, by Namrata Rele Sathe, explores the consequences of unbridled expansion of neoliberal values within India through the lens of popular #film and #culture. The analysis is explicitly political and draws upon theories of feminist media studies, popular culture analyses, and film studies to critique mainstream Hindi #cinema texts produced in the last two decades. Read more on our website: 👉 https://lnkd.in/eywp_xJx

🌟 I recently read Neelam Sidhar Wright's book, "Bollywood and Postmodernism: Popular Indian Cinema in the 21st Century," and found a plethora of amazing concepts that trigger critical thinking 🧠🤩 . 📚 Here are some of them, one must know: 1) Non-linear storytelling, 2) Pastiche (refer to Jameson's "Postmodernism, or, the Cultural Logic of Late Capitalism"), 3) Meta-narratives (Lyotard), 4) Cultural hybridity (Bhabha), 5) Self-referentiality (in the context of Postmodernism) 6) Spectacle (Jameson, Debord). 🎥📖 The concept of Spectacle is my personal favorite. 🌟 These concepts are crucial for understanding the postmodern dimensions of Bollywood cinema. 🎬 Happy Reading 📔 😇 #BookRecommendation #Bollywood #Postmodernism #CinemaStudies #CriticalThinking #CulturalHybridity #MetaNarratives #NonLinearStorytelling #Spectacle #FilmTheory #IndianCinema #LiteraryCriticism #NeelamSidharWright #Jameson #Lyotard #Bhabha #Debord

#Great #Read: “Cinema Is the Strongest Weapon” by @Lorenzo Fabbri provides a deep dive into Italian cinema under Mussolini’s regime and the filmmakers who used it as a means of antifascist resistance. #LibroRecomendado #WortToRead Examining #Italy’s national film industry during and after Mussolini’s rule, the book explores how cinema was harnessed as a political tool by both the fascist regime and those who sought to resist it. Covering a range of canonical works alongside many neglected contemporaries, the book delves into film’s mutable relationship to state power and racial capitalism. Exploiting realism’s aesthetic, experiential, and affective affordances, Mussolini’s biopolitical project employed cinema to advance an idealized vision of life under fascism and to cultivate a homogenous racial identity. Author Lorenzo Fabbri underscores realism’s susceptibility to manipulation from diametrically opposed political perspectives, highlighting the queer, Communist, Jewish, and feminist filmmakers who subverted Mussolini’s notion that “cinema is the regime’s strongest weapon” by developing film narratives and forms that challenged the prevailing ethno-nationalist ideology. Focusing on an understudied era of film history and Italian cultural production, Fabbri recontextualizes Italy’s celebrated neorealist movement and its structural ties to its predecessor. Drawing incisive parallels to contemporary debates around race, whiteness, authoritarianism, and politics, he presents an urgent examination of the broader impact of visual media on culture and society. Additionally, the book discusses how postwar Italian culture and film contributed to normalization by portraying Italians as Mussolini’s victims rather than accomplices, aligning with philosopher Benedetto Croce’s view that Fascism was a temporary aberration in Italy’s history. This narrative helped Italy move on without fully confronting its fascist past. *Cinema Is the Strongest Weapon* will be published in 2024 by the University of Minnesota. 316 pages. [Link](https://lnkd.in/ggk2HcBG)

Three Thoughts on "Corps Extremes" by Rachid Ouramdane at Sainokuni Saitama Arts Theatre 1.)Refreshing and mesmerising to watch these acrobats perform in a contemporary dance context. However, is it equally the same for someone from a circus/acrobat background? 2.)The narrations throughout the production were originally by a climber, a highliner, and an acrobat who did not perform in Tokyo. I would like to hope that these testimonies were by those involved in the process, but was that the case for the premiere? 3.)The critic next to me was writing down notes about how the use of translated text bothered him because it takes away from the linguistic essence of the original text. However, if the text were not translated, the majority of the audience would not be able to understand its content. How different would my perception of the piece be if I did not understand the language? If anyone has seen this piece, feel free to comment and begin a conversation!

Philosophical Surrealism - A Film Essay. A video film essay portraying philosophy through avant-garde & surrealism filmmaking through Auteur filmmakers which helped shape my visual and sound strategy for my short film, 'Something Awful.' Mentioning; #godard , #bresson , #davidlynch , #tarkovsky , #pasolini and more. #filmessay #auterfilmmaking #philosphy #philisophical #surrealism https://lnkd.in/eDGpTpig

BIOGRAPHICAL FILM..Oscar Wilde <<Everyone may not be good, but there's always something good in everyone. Never judge anyone shortly because every saint has a past and every sinner has a future.<< Oscar Wilde In the film, a renowned literary figure finds himself embroiled in a scandal that shakes the very foundations of society. As whispers of betrayal and intrigue swirl around him, he faces a relentless pursuit by those determined to silence his voice. The courtroom becomes a battleground for truth and morality, where love, loyalty, and identity are tested under the harsh scrutiny of public opinion. As the stakes rise and secrets unravel, the protagonist must navigate a treacherous landscape filled with deception and betrayal. Will he stand firm in his beliefs, or will the oppressive forces close in on him? Join in for a gripping exploration of courage, artistry, and the fight for justice that will leave you questioning the cost of authenticity. Starring: Peter Finch, Yvonne Mitchell, James Mason Directed By: Ken Hughes

Watched Gias Uddin Selim’s ‘Kajolrekha’ last week. Since the release of ‘Monpura’, never missed the chance to enjoy his excellent visualisation and cinematography in wider screen. His attempt to unleash ancient Bangla heritage is laudable(the duration would be a little shorter 😅).The movie revolves around two female leads- Kajolrekha and Kankandasi. Kajolrekha is a basic representation of all ‘good girls’ we find in any culture all over the world. She is obedient, maintains a submissive voice, always ready-to-sacrifice. Her opponent Kankandashi is opinionated, cunning,and opportunist. An eight-year-old me would jump into loving Kajolrekha and hating Kankan; but a mature me? Confused. Morality-driven Kajol’s step is predictable, kankan has dimensions in her character. Temporarily abandoned her lower-class-status to enjoy queenhood though later got dethroned. Why don’t she? Father sold her in exchange of a bangle. Is it a crime for an affection-deprived woman to build her own identity? Even though a stolen one? Kajol waited for a time to reveal her true identity while kankan directly proposed a man to be her husband. We talk about being the creator of our own destiny. #Emancipation. Exercising independent decision-making power. Then who is more empowered? Kajol single-handedly carried her family’s dignity but suffered a lot for staying silent. Ultimately, wealth is not the only indicator of power because a woman belonging to upper class possesses less freedom than a woman belonging to lower class. #Empowerment