Conventions in Indian Cinema: Mainstreams and Alternatives The following areas will be introduced through film analysis Realism and Modernism (will include Ray and Ghatak) The studio Social (analysis of representative film) The 1950s new melodrama The 1970s mass film Contemporary styles and others) (‘Bollywood’ Suggested Readings Sections from Satyajit Ray, 1993 and 2005. Our Films, Their Films, Speaking of Films, Sections from Ritwik Ghatak, Rows and Rows of Fences: Ritwik Ghatak on Cinema, 2000. Sections from Ritwik Ghatak, 2005. Chalacchitra manush ebong aaro kichu, Selected essays from Moinak Biswas (ed), Apu and After: Re-visting Cinema, Ray’s 2005. Richard in Lalitha Gopalan (ed), 2010. Panchali’, The Cinema of India, Allen, ‘Pather and Meghe Dhaka Tara’, Journal of Arts and Ideas, Ira Bhaskar, ‘Myth Ritual: Ghatak’s April-June 1983. Raymond Bellour, Film No 3. Rouge, ‘The We Accompany’, 2004, and in New Theatres Ltd., The Emblem of Madhuja Mukherjee, ‘Part II: Devdas Parvati’, 2009. Art, The Picture of Success, of the in R. Kaur Rosie Thomas, ‘Not Quite, Pearl White: Fearless Nadia, Queen Stunts’, and A. Sinha (eds), Bollyworld, Popular Indian Cinema through a Transnational Lens, 2005. in Lalitha Gopalan (ed),The 2010. Cinema of India, Neepa Majumdar ,‘Sant Tukaram’ Ravi Vasudevan, Cultural Space of a Film Narrative: Interpreting Bombay Kismet, ‘The 28/2, 1991. Indian Economic & Social History Review Talkies, 1943’,
Conventions in Indian Cinema: Mainstreams and Alternatives The following areas will be introduced through film analysis Realism and Modernism (will include Ray and Ghatak) The studio Social (analysis of representative film) The 1950s new melodrama The 1970s mass film Contemporary styles (‘Bollywood’ and others) Suggested Readings Sections from Satyajit Ray, Our Films, Their Films, 1993 and Speaking of Films, 2005. Sections from Ritwik Ghatak, Rows and Rows of Fences: Ritwik Ghatak on Cinema, 2000. Sections from Ritwik Ghatak, Chalacchitra manush ebong aaro kichu, 2005. Selected essays from Moinak Biswas (ed), Apu and After: Re-visting Ray’s Cinema, 2005. Richard Allen, ‘Pather Panchali’, in Lalitha Gopalan (ed), The Cinema of India, 2010. Ira Bhaskar, ‘Myth and Ritual: Ghatak’s Meghe Dhaka Tara’, Journal of Arts and Ideas, April-June 1983. Raymond Bellour, ‘The Film We Accompany’, 2004, Rouge, No 3. Madhuja Mukherjee, ‘Part II: Devdas and Parvati’, in New Theatres Ltd., The Emblem of Art, The Picture of Success, 2009. Rosie Thomas, ‘Not Quite, Pearl White: Fearless Nadia, Queen of the Stunts’, in R. Kaur and A. Sinha (eds), Bollyworld, Popular Indian Cinema through a Transnational Lens, 2005. Neepa Majumdar ,‘Sant Tukaram’ in Lalitha Gopalan (ed),The Cinema of India, 2010. Ravi Vasudevan, ‘The Cultural Space of a Film Narrative: Interpreting Kismet, Bombay Talkies, 1943’, Indian Economic & Social History Review 28/2, 1991.
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