- Dept of Film Studies, Jadavpur University, Kolkata - 700032, India
- +91 9831681853
Manas Ghosh
Jadavpur University, Film Studies, Faculty Member
- Film Studies, East Asian Cinema, Iranian Cinema, Sports History, 'Third Cinema' Theory and Third World Radical Films, Feminist Theory, and 23 moreLatin American literature, Development Studies, Political Economy, Marxism, Media Studies, Television Studies, East Asian Studies, Indian English Literature, Indian Cinema, Auteur Studies, Asian Cinema, South Korean Cinema, Southeast Asian Cinema, Non-Western Modernity, Satyajit Ray, Ritwik Ghatak, Bengali Literature, Bengali Cinema, Chinese Cinema, Korean cinema, Slow Cinema, South Asian Studies, and Denzel Washingtonedit
ভারতীয় চলচ্চিত্রের ইতিহাসে কুমার সাহনিকে একজন অনন্য চলচ্চিত্রনির্মাতা হিসাবে স্মরণ করা হয় যিনি বিংশ শতাব্দীর ভারতীয় আধুনিকতাকে গভীরভাবে পর্যবেক্ষণ করার চেষ্টা করে গেছেন। তিনি ছিলেন একজন রাজনীতিসচেতন চলচ্চিত্রনির্মাতা যিনি ভারতীয়... more
ভারতীয় চলচ্চিত্রের ইতিহাসে কুমার সাহনিকে একজন অনন্য চলচ্চিত্রনির্মাতা হিসাবে স্মরণ করা হয় যিনি বিংশ শতাব্দীর ভারতীয় আধুনিকতাকে গভীরভাবে পর্যবেক্ষণ করার চেষ্টা করে গেছেন। তিনি ছিলেন একজন রাজনীতিসচেতন চলচ্চিত্রনির্মাতা যিনি ভারতীয় আধুনিকতার কিছু কম আলোকিত এলাকায় তাঁর চলচ্চিত্র ও লেখার মাধ্যমে আলো ফেলেছেন এই প্রবন্ধের লেখক
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In the history of Indian cinema, Kumar Shahani is remembered as an unique filmmaker who tries to observe, examine, and investigate Indian modernity of the 19th and 20th- centuries with the help of some aesthetic, political, and... more
In the history of Indian cinema, Kumar Shahani is remembered as an unique filmmaker who tries to observe, examine, and investigate Indian modernity of the 19th and 20th- centuries with the help of some aesthetic, political, and ideological imports from the Indian tradition. He is a politically conscious filmmaker who never entertained slogan-mongering but threw light on some under-illuminated areas of Indian modernity. Ashish Rajadhyaksha explained
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Teshome Gabriel in his writings from the 1980s onwards elaborated on Third Cinema's historiographic propositions by exploring some salient features of Third Cinema praxis. For him, Third Cinema is not a so-called film movement bound by a... more
Teshome Gabriel in his writings from the 1980s onwards elaborated on Third Cinema's historiographic propositions by exploring some salient features of Third Cinema praxis. For him, Third Cinema is not a so-called film movement bound by a bunch of formal agendas set by a singular manifesto. Rather, Third Cinema is a set of propositions for making ‘popular cinema’ as laid out earlier. The Latin American experience of Third Cinema praxis supplies viable templates for a young filmmaker making cinema of liberation in any part of the world. Filmmakers formulate ideas for making Third Cinema on the foundation of their own local and national experiences. That cinema focuses on “collective social space” and explores popular memory to yield a deeper historical understanding of the culture and daily existence of ordinary people. State-dominated, elitist and commercial culture generally ignores folkloric and oral traditions and forces them into oblivion.
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Introduction: Football as Public Culture in Iran Football Iranian Style (2001) is a documentary film made by Maziar Bahari which explores and documents the personal emotions and national feelings of football fans of contemporary Iran.... more
Introduction: Football as Public Culture in Iran Football Iranian Style (2001) is a documentary film made by Maziar Bahari which explores and documents the personal emotions and national feelings of football fans of contemporary Iran. Iranian soccer lovers, both boys and girls, eloquently articulate their passion for football and express their desire for being present in the arena on the occasion of the national soccer team's performance in international matches. Cultural critic Shiva Balaghi (2003, p. 54) explains: "The stadium […] has become a rare social space where Iranian youth can transcend boundaries of authority and express themselves with relative lack of inhibition". In the last two and half decades, the Iranian national soccer team played several important international matches. In the year 1997, they drew a match against Australia in Melbourne and consequently qualified for the France World Cup finals. In March 2005 they beat Japan by a 2-1 score-line in a World Cup qualifier held in Tehran's Azadi stadium. They defeated Bahrain by 1-0 in the same year and same venue and paved their way again for the world cup finals. Following their national team's success in international matches, massive euphoria and gala festivity among people from all strata of the society swayed Iran. In the streets, teahouses, buses and educational institutionsmen and women came out and joined celebrations by lighting candles, exploding firecrackers, dancing on the street, shouting and singing spontaneously. As the news of Iran's victory spread through radio and television, the jubilant crowd transformed the public spaces into sites of carnival. At least for a few hours, social inhibitions, religious prohibitions and legal restrictions were visibly subverted by huge public celebrations. Men and women danced on the street; women forgot to take care of their hijab and
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Korean popular culture in recent time incites a huge influence on the popular culture of northeastern India. Huge followings of Korean popular songs, Korean television series and Korean films emerged in the region in the last two decades... more
Korean popular culture in recent time incites a huge influence on the popular culture of northeastern India. Huge followings of Korean popular songs, Korean television series and Korean films emerged in the region in the last two decades and it has been swelling up rapidly. The young men and women of four northeastern states of India-Arunachal Pradesh, Manipur, Mizoram and Nagalandhave fallen in love with 'Korean Wave' or Hallyu. Even the cultural creations of their own, especially music and local films, have internalized huge impression of K-Wave. The formation of the K-Wave fan-groups and K-wave inspired cultural creations among the youth of the region perhaps help them finding a new glocal cultural identity. The fan-groups and their fan-activity of K-Wave are already spread in the cities and major towns in India. Beside K-Wave festivals many shops and restaurants are opened which sell Korean cosmetic products, CD/DVD, Korean artifacts and Korean food. The article discusses the dynamics of the cross-cultural interaction between Hallyu and the emergent popular culture in northeast India. The article also inquires in to the reasons of increasing popularity of Korean popular culture in West Bengal.
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In Amitav Ghosh's novel, The Shadow Lines, Tridib saw violence; he encountered it. Tridib sacrificed his life for it. Tridib in this novel is the portrait of our young modernity. He represented the world-view of the enlightenment of... more
In Amitav Ghosh's novel, The Shadow Lines, Tridib saw violence; he encountered it. Tridib sacrificed his life for it. Tridib in this novel is the portrait of our young modernity. He represented the world-view of the enlightenment of nineteenth century Bengal. He was a ...
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Ray's take on masculinity
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Imperfect Cinema, Decolonization,
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East-Asian auteur cinema since 1980s, acclaimed in the global art cinema circuit, has critically examined the idea of the nation-state and cultural identity. In order to put forward the critical discourses of postcoloniality, the... more
East-Asian auteur cinema since 1980s, acclaimed in the global art cinema circuit, has critically examined the idea of the nation-state and cultural identity. In order to put forward the critical discourses of postcoloniality, the East-Asian cinema from the PRC, Taiwan, and South Korea has framed a dialectical relationship between history (of the official version) and memory (of personal experiences). It is interesting to note that the auteur cinema of PRC, Taiwan, and South Korea, which has investigated the relationship between history and memory, often placed the biographical and mythical stories of artists' lived experiences, which have been marginalized in the official accounts of history, at the center of their narratives. This article aims to discuss how the postcolonial and post-Cold War re-imagination and re-figuration of the national culture in the auteur cinema of the PRC, Taiwan, and South Korea found embodiment in the portrait of artists.
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East-Asian auteur cinema since 1980s, acclaimed in the global art cinema circuit, has critically examined the idea of the nation-state and cultural identity. In order to put forward the critical discourses of postcoloniality, the... more
East-Asian auteur cinema since 1980s, acclaimed in the global art cinema circuit, has critically examined the idea of the nation-state and cultural identity. In order to put forward the critical discourses of postcoloniality, the East-Asian cinema from the PRC, Taiwan, and South Korea has framed a dialectical relationship between history (of the official version) and memory (of personal experiences). It is interesting to note that the auteur cinema of PRC, Taiwan, and South Korea, which has investigated the relationship between history and memory, often placed the bio-graphical and mythical stories of artists’ lived experiences, which have been marginalized in the official accounts of history, at the center of their narratives.This article aims to discuss how the post colonial and post- Cold War re -imagination and re-figuration of the national culture in the auteur cinema of the PRC, Taiwan,and South Korea found embodiment in the portrait of artists.
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Research Interests: Asian Studies, Comparative Literature, Political Philosophy, Media and Cultural Studies, Globalization, and 11 moreFilm Studies, Political Theory, Cold War and Culture, History and Memory, Marxist theory, Collective Memory, Cold War International Relations, Cinema Studies, Decolonization, East Asian Languages and Cultures, and Modernity/coloniality/decoloniality
A book on Iranian Cinema in Bengali
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Biswarup Sen and Abhijit Roy (eds.), Oxford University Press, New Delhi, 2014. Hardcover, Pages 322. Television Studies is a new area in the academic disciplines in India. While Film Studies as a discipline flourished in the last two... more
Biswarup Sen and Abhijit Roy (eds.), Oxford University Press, New Delhi, 2014. Hardcover, Pages 322. Television Studies is a new area in the academic disciplines in India. While Film Studies as a discipline flourished in the last two decades, there has been also progress in the fields of Media Studies, Cultural Studies and very recently in New Media Studies. But television which emerged in the last three decades as the largest and most popular media in India has not been properly addressed in the critical disciplines. Empirical researches on television programmes are often conducted from the vantage point of "mass communication" but they usually address pragmatic and functional aspects of Indian TV. There exists very little amount of academic publications in India which is able to address television theoretically by exploring the political economy of television culture. This anthology, edited by Biswarup Sen and Abhijit Roy, aspires to fill up the void in the sphere of our existing knowledge related to television studies in India. Television nowadays in India has become one of the most important spheres of popular culture which claims a considerable span of time in our everyday mores. After the liberalization of Indian sky through global satellite broadcasting in the early 1990s, television in India exclusively redefined the older paradigms of communication and reception. The book edited by Sen and Roy includes most recent theoretical developments in television studies and aims at understanding the political economy of the shifting codes of televisual culture in India. The book contains twelve chapters preceded by an introduction. The chapters are focused on televisual forms, cultural experiences of television and the political histories of television in India. The first chapter, "TV after Television Studies: Recasting Questions of Audiovisual Form" by Abhijit Roy revisits the theoretical frameworks of Television Studies as a critical discipline. His essay maps the historical development of television studies starting from British screen theory to the most contemporary of media
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The Editors invite you to submit a paper for an edited book on Korean Wave (K-Wave) in India. The anthology will be published from a reputed publication house and will probably be the first book on K-Wave (Hallyu) in India. We welcome... more
The Editors invite you to submit a paper for an edited book on Korean Wave (K-Wave) in India. The anthology will be published from a reputed publication house and will probably be the first book on K-Wave (Hallyu) in India. We welcome articles from faculties, independent scholars, researchers, journalists and fans who are doing research or eloquently writing on this topic.
