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Filming FictionTagore, Premchand, and Ray$
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Mohd Asaduddin and Anuradha Ghosh

Print publication date: 2012

Print ISBN-13: 9780198075936

Published to Oxford Scholarship Online: September 2012

DOI: 10.1093/acprof:oso/9780198075936.001.0001

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From ‘Noshto Neerh’ to Charulata

From ‘Noshto Neerh’ to Charulata

Ray's Creation of an Audio-visual ‘Aura’ for Tagore's Fiction

(p.154) From ‘Noshto Neerh’ to Charulata
Filming Fiction

Brinda Bose

Oxford University Press

Satyajit Ray's Charulata (1964) is known for its historical significance and its exquisite cinematic crafting. The film stands on its own merits, with Ray able to transform his abiding interest in the culture and ethos of nineteenth-century Bengal, as well as his veneration for Rabindranath Tagore's fiction that captures it so well, into an exemplary work. Charulata (1964), an adaptation of Tagore's short story/novella, ‘Noshto Neerh’ (‘The Broken Nest’, 1901), engenders a whole new politics of ideology and craft. Ray meticulously exploits his field to make discreet and intellectual use of two additional media that are available to him and denied to the printed text: the audio and the visual. The film is premised on the notion of the gaze, or, of looking.

Keywords:   Satyajit Ray, Charulata, Noshto Neerh, Rabindranath Tagore, fiction, ideology, audio, visual, gaze, nineteenth-century Bengal

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