ABSTRACT
Historically, Indian cinema has positioned women at the intersection of tradition and a more evolving culture, portraying contradictory attitudes which affect women’s roles in public and private spheres.
Examining the work of three directors from West Bengal, this book addresses the juxtaposition of tradition and culture regarding women in Bengali cinema. It argues the antithesis of women’s roles, particularly in terms of ideas of resistance, revolution, change, and autonomy, by suggesting they convey resistance to hegemonic structures, encouraging a re-envisioning of women’s positions within the familial-social matrix. Along with presenting a perception of culture as dynamic and evolving, the book discusses how some directors show that with this rupturing of the traditionally prohibitive, and a notion of unmaking and making in women, a traditional inclination is exposed to align women with ideas of absence, substitution, and disposability. The author goes on to show how selected auteurs in contemporary Bengali cinema break with certain traditional representations of women, gesturing towards a culture that is more liberating for women.
Presenting the first full-length study of women’s changing roles over the last twenty years of Bengali cinema, this book will be a useful contribution for students and scholars of South Asian Culture, Film Studies and Gender Studies.
TABLE OF CONTENTS
chapter |34 pages
Introduction
part |54 pages
Representations of disjuncture
chapter |17 pages
The impossibility of incestuous love
chapter |17 pages
Impermanence in Dekha
part |41 pages
Narratives of waste and rupturing the prohibitive
chapter |19 pages
Woman as alienated commodity and surplus goods in Bariwali
part |20 pages
From transactional commodities to subjects in meaningful exchange