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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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Critiquing Colonialism through Cinematic Frames

Critiquing Colonialism through Cinematic Frames

Shatranj Ke Khiladi and Ghare Baire

Chapter:
(p.199) Critiquing Colonialism through Cinematic Frames
Source:
Filming Fiction
Author(s):

Jasbir Jain

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198075936.003.0013

Satyajit Ray filmed Premchand's ‘Shatranj Ke Khiladi’ in 1977, the time of the Emergency in India, and Rabindranath Tagore's Ghare Baire in 1984, a period of nationwide insurgency. The two films problematize the issue of power and its effects on both the wielders and the victims. This chapter presents a critical reading of the frames of history used to cinematically portray the impact of a declining feudal order pitted against the triumphant march of colonial agency ushering in a Janus-faced modernity in Ghare Baire and ‘Shatranj Ke Khiladi’ on terms that were a complete departure from our traditional and cultural moorings. Both films deal with colonialism and envelop within it feudalism as well as gender inequality. Two concerns which also surface in Ghare Baire are ethicality and hospitality.

Keywords:   Satyajit Ray, films, Premchand, Shatranj Ke Khiladi, Rabindranath Tagore, Ghare Baire, India, colonialism, feudalism, gender inequality

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