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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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Space, Interiority, and Affect in Charulata and Ghare Baire

Space, Interiority, and Affect in Charulata and Ghare Baire

Chapter:
(p.98) Space, Interiority, and Affect in Charulata and Ghare Baire
Source:
Filming Fiction
Author(s):

Supriya Chaudhuri

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780198075936.003.0007

This chapter draws interesting parallels between Western phenomenological discourse and the philosophy of Rabindranath Tagore, focusing on the poetics of space. It examines Satyajit Ray's cinematic transcreations of Tagore, primarily with reference to the bourgeois interiors in Charulata, Ghare Baire, and ‘Monihara’ in Teen Kanya. It argues that Ray never sought a simple translation of Tagore's metaphors into visual forms, and instead substituted them with a range of cinematic frames within which space, interiority, affect, and self-image received distinct treatments. It also alludes to postmodern experiences of viewing within the home where the gaze of the camera is replaced by the proliferation of looks subject to interruption. A film like Charulata, made to be viewed in the cinema theatre continues to engage the viewer by creating a space of intimate cinema by projecting an aura within which the audience shares in that interior space and interior time.

Keywords:   Rabindranath Tagore, Satyajit Ray, poetics of space, Charulata, Ghare Baire, Teen Kanya, interiority, affect, self-image, metaphors

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