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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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Tagore's Women Protagonists Through Ray's Camera

Tagore's Women Protagonists Through Ray's Camera

Re-presenting the Shifting Concepts of History, Culture, and Identity

(p.116) Tagore's Women Protagonists Through Ray's Camera
Filming Fiction

Tutun Mukherjee

Oxford University Press

Satyajit Ray's cinema has consistently explored different aspects of womanhood to generate a constellation of ideas, images, debates, reflections, histories, and provocations. This is evident in films such as Postmaster, Charulata, and Ghare Baire. Situating the eye as the site of perception and reflection, Ray's films stress the important role of cinema in articulating and structuring identity, particularly that of a woman in India. The representation of women in several of Ray's films derives from Rabindranath Tagore's fiction. This chapter explores Ray's portrayal of women in Tagore's narratives, which allows him to re-assess modernity and interpret the past, explore the complex interaction between reality and representation, culture and identity, and tackle the relationship between literature and film. When the camera and the cinematic screen frame mediate our vision, what are recorded are moments of perception that suggest insights into cultural history.

Keywords:   Rabindranath Tagore, Satyajit Ray, women, identity, culture, history, perception, representation, modernity, film

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