Woman at the window: the material universe of Rabindranath Tagore through the eyes of Satyajit Ray

By:

Chatterji, Shoma A

Material type: Text

TextPublication details: Noida HarperCollins 2017Description: 342ISBN:

9789351365020

Subject(s):

Cinema

DDC classification:

RT 791.43 CHA

Summary: Representations of women in Indian cinema are often warped and twisted. They are subjected to a series of gazes - voyeuristic, investigative and titillating. The controlling look is always with the male. One film-maker who consistently steered clear of this right through his career was Satyajit Ray. None of Ray's women on celluloid can be reduced to a cliche. They defy every imaginable stereotyping. This is particularly true of the women in his adaptations of Tagore's stories. Woman at the Window attempts a completely new way of looking at Ray's films in general, and his films adapted from Tagore in particular, through contextualizing the women by objects they are surrounded by or are fond of, or are habituated to using or learning to use over time.

List(s) this item appears in: Rabindranath Tagore's Collection

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Holdings
Item type	Current library	Call number	Status	Date due	Barcode	Item holds
Books	Gandhi Smriti Library	RT 791.43 CHA (Browse shelf(Opens below))	Available		176159

Total holds: 0

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Previous	RT 320.54 TAG Nationalism	RT 370 TAG Education for fulness : a study of the educational thought and experiment of Rabindranath Tagore	RT 759.954 RAY Rabindranath: portraits and self portraits	RT 791.43 CHA Woman at the window: the material universe of Rabindranath Tagore through the eyes of Satyajit Ray	RT 821 TAG Jewel that is best : collected brief poems	RT 821 TAG Ravindranath Tagore rachnavali/ Shantiniketan (Bhag-3)	RT 821 TAG V. 1 Ravindranath Tagore rachnavali/ Kavita ( Bhag-1)	Next

Representations of women in Indian cinema are often warped and twisted. They are subjected to a series of gazes - voyeuristic, investigative and titillating. The controlling look is always with the male. One film-maker who consistently steered clear of this right through his career was Satyajit Ray. None of Ray's women on celluloid can be reduced to a cliche. They defy every imaginable stereotyping. This is particularly true of the women in his adaptations of Tagore's stories. Woman at the Window attempts a completely new way of looking at Ray's films in general, and his films adapted from Tagore in particular, through contextualizing the women by objects they are surrounded by or are fond of, or are habituated to using or learning to use over time.

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