Movie
Ruptures Beyond the Frame
Film screening of “Soleil Ô (Oh, Sun)” and “Dreaming Rivers” and lecture by Awa Konaté (Abu Dhabi / London)
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Hostility towards Muslims – a German balance sheet
Frankfurt Conference on the Report of the Independent Expert Group of the Federal Government Anti-Muslim racism is a problem in Germany and manifests itself in different ways in all parts […]
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Two city views: Ray and Ghatak – Ruchir Joshi (Kolkata)
Made three years apart, Ray’s Mahanagar (The Big City, 1963) and Ritwik Ghatak’s Meghe Dhaka Tara (The Cloud-Covered Star, 1960) both tell stories of women in professional life. The two […]
more information › CHARULATA: The look of a woman – Priyadarshini Shanker (Wilmington)
Satyajit Ray’s Charulata (1964) is about the loneliness of a young woman whose wealthy husband is absorbed in his political and publishing projects. Charu (Madhabi Mukherjee) becomes a figure of […]
more information › Iron to Gold: The Translocal Claim of PARASH PATHAR – Neepa Majumdar (Pittsburgh)
PARASH PATHAR (The Philosopher’s Stone) from 1958 is a light-footed thought-experiment that was initially dismissed by critics and educated audiences as a comedy that was only of local interest, but […]
more information › Between Enchantment and Criticism Goopy Gyne Bagha Byne and the Folklore of Modernity – Bhaskar Sarkar (Santa Barbara)
Ray’s 1969 musical, which became one of his biggest hits, was based on a short story written by his grandfather for the magazine Sandesh, which he had founded in 1913 […]
more information › Ray’s World Cinema: On the Genealogy of PATHER PANCHALI – Vinzenz Hediger (Frankfurt)
Satyajit Ray’s first film not only made its director famous, it was also the first film from India to be successful with audiences in India and which critics and cinephiles […]
more information › Sensual attractions on the highway: Satyajit Ray’s ABHIJAAN – Ravi Vasudevan (Delhi)
Dilapidated cars speeding along potholed country roads, cab drivers loitering in cheap bars, pimping and opium trafficking, sensual attractions and fistfights: Satyajit Ray and his lead actor Soumitra Chatterjee invite […]
more information › The Mouth of Calcutta: The Indian New Wave in Satyajit Ray’s PRATIDWANDI – Bishnupriya Ghosh (Santa Barbara)
PRATIDWANDI (The Rival) is a sharp-eyed portrait of Ray’s beloved home city of Calcutta in the midst of political and social upheaval. The film is also Ray’s examination of the […]
more information › Restoring Ray: JALSAGHAR and the geo-politics of preserving cinema – Amrita Biswas (Frankurt)
Who creates and preserves the canon of cinema? If you follow the material history of Satyajit Ray’s JALSAGHAR, which tells the story of the downfall of a music-obsessed landowner, you […]
more information › The outmoded director: Satyajit Ray’s urban films and the crisis of historicism – Rochona Majumdar (Chicago)
Reviled by contemporaries as apolitical, Satyajit Ray’s films nevertheless open up radically new ways of theoretically conceptualizing post-colonial presents and futures. JANA ARANYA (The Mediator) shows the extent to which […]
more information › Beyond the novel: Kanchenjungha at the crossroads – Parichay Patra (Jodhpur)
“This film could not have been a novel…”: this is how Satyajit Ray spoke about KANCHENJUNGHA from 1962, which tells a family story from a summer retreat in Darjeeling and […]
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