000 02247nam a22002177a 4500
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008 230131b ||||| |||| 00| 0 eng d
020 _a9781350063556
082 _a791.43092
_bCHO
100 _aChopra, Samir
_910710
245 _aShyam Benegal:
_bfilmmaker and philosopher
260 _bBloomsbury Publishing Pvt. Ltd.
_aLondon
_c2021
300 _aviii, 200 p.
365 _aGBP
_b21.99
504 _aTable of Contents Prelims Preface 1. Introduction 2. Ankur, Nishant, Manthan: The Uprising Trilogy 3. An Indian Feminist –I : Bhumika, Mandi 4. An Indian Feminist – II: The Muslim Women Trilogy – Mammo, Zubeidaa, Sardari Begum 5. The Fabulist – Junoon, Suraj ka Satwan Ghoda, Kondura, Kalyug Bibliography Index
520 _aFor over forty years, Shyam Benegal has been one the leading forces in Indian cinema. Informed by a rich political and philosophical sensibility and a mastery of the art and craft of filmmaking, Benegal is both of, and not of, Bollywood. As a philosophical filmmaker Benegal brings to life the existential crisis of the downtrodden Indian, the 'subaltern' if you will-the serf, the peasant, the woman-and imposes a distinctive philosophical vision on his cinematic reworkings of literary products. To understand Benegal's cinema is to understand, through his lens, modern India's continued process of political and social becoming. Focusing on the philosophical depth of Benegal's oueuvre, Samir Chopra identifies three key aspects of his work: - A trio of films which signalled to middle-class India that a revolt was brewing in India's hinterlands - Two sets of movies which make powerful feminist statements and bring viewers into the lives of Indian women by showcasing strong, interesting female characters - Benegal the master storyteller, who possessed of a unique fabulist style in a reboot of the Indian epic Mahabharata, a Ruskin Bond novel set during the Indian Mutiny of 1857, and a Rashomon-like retelling of an Indian experimental novel, where three perspectives converge to form a unified whole.
650 _aShyam Benegal - Biography
_911718
650 _aFilm making
_911719
650 _aIndian feminist
_911720
942 _2ddc
_cBK