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2019, Aananda Bazar Patria
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In this article we are talking about a film on INA and Subhash Chandra Bose that was commissioned by Japan during the World War 2 and the project was being handled by none other than Yasizuro Ozu. Ozu was directing the film. But he had to stop midway as the War was nearing the end. According to him, he had destroyed the footage too. However the archival records of #Singapore present a different story. It shows that the unfinished film actually came back to India and so far as the Indian records go, the film was completed and released here in 1948. Both Jawaharlal Nehru and Vallabhbhai Patel had played key roles in the process.
This essay describes the workings of the Films Division of India (FD) in the first two decades since its establishment in 1948. It brings together a variety of writings—various Film Enquiry Committee reports and writings by Indian and international documentaryfilmmakers, technicians, scriptwriters, film critics, directors, and officers in the FD along with filmmakers from the Bombay and other film industries. It uses these materials to consider the role that postcolonial exigencies, colonial lineage, and international aspirations played in the genesis and practices of the FD between the 1940s and the 1960s. Locating the state’s mission of producing documentary film at the intersection of these discourses and currents, the essay not only points to the complex origins and workings of the FD and calls into question our only summarization of it as a statist tool but also interrogates what constitutes an appropriate historical method of engaging with an institution like the FD that did not evolve from decolonization in uncomplicated ways.
This essay is on the workings of the Films Division of India (FD) in the first two decades since its establishment in 1948. It brings together a variety of writings – various Film Enquiry Commission Reports, writings by Indian and international documentary filmmakers, technicians, script writers, film critics, directors and officers in the FD, along with filmmakers from the Bombay and other film industries. It uses these materials to consider the role that postcolonial exigencies, colonial lineage, and international aspirations played in the genesis and practices of the FD, 1940s-1960s.
Economic and Political Weekly, 2022
The lack of clarity and transparency in the impending restructuring of organisations like the Films Division of India and the National Film Archive of India, under the umbrella of the National Film Development Corporation of India, disenfranchises the real stakeholders of India’s film heritage—the Indian public. Vol. 57, Issue No. 15, 09 Apr, 2022 (Correction: where I refer to Indira Gandhi as PM and it should be union minister of I&B)
1994
ABSTRACT: "Le Giornate del cinema muto. National Film Archive of India.". "13th Porndenone Silent Film Festival. Published on the occasion of the retrospective of Indian Silent Cinema, Pordenone, 8-15 October 1994"--Half tp "Indian silent cinema, 1912-1934, a filmography" ...
This dissertation tracks three decades of the relationship between the Bombay film industry and the Indian state as it relates to the question of infrastructural reform. This period is bracketed off by 1939, the year of the All India Motion Picture Congress, and 1969, the year the Indian New Wave burst onto the scene. Briefly, what I show in the dissertation is that the project of reform of the Bombay film industry was always already delayed, missing the mark or slipping by. While the factors responsible for such a state of affairs are too many to enlist, the two main ones can be, at the risk of simplification, be declared outright. One is the failure of the political class which made up the post-Independence state to understand the very nature of cinema: the range of affects it generates, its play with desire. Secondly, and tied to the first reason, is the failure of the Congress-led state to recognize or match up to the dynamics of indigenous capital, which was effectively the determinant economic force within the film industry. In short, what the Congress-coalition missed in its attempt to size up the film industry to the austere ideals of Nehruvian socialism was that this indigenous capital was itself shifting alliances, tapping into newer reserves of popular energy, desire and affect as the 60s were ending. The fast-eroding nationalist consensus between state and capital which, I hope to show, ultimately led to the paradigmatic shifts in the film industry could not in retrospect be contained either by rigorous policymaking, mere censoring of film content or relentless taxing, yet this is what the state unsuccessfully tried to do.
BioScope: South Asian Screen Studies, 2013
Editorial introduction to issue on archives, official, informal and digital, for Indian cinema. Introduces articles on the Tamil `devotional-hagiological' film genre, the problem of writing women's film history, the relationship between Tamil and Malayalam film industries in the 1940s and 1950s, Tamil studios of the 1930s, and an ethnographic exploration of the film shoot.
Film at the End of Empire edited MacCabe and Grieveson, 2011
Exploration of official and amateur film in colonial India, looking at colonial policy, film institutions, films and filmmakers from 1920s to 1940s
South Asia, 2022
From 1948 to 1994, the newsreels and documentaries produced by the Films Division of India (FD) were a ubiquitous presence in Indian public life. Even as some audiences learnt to avoid sitting through yet another newsreel about the benefits of economic planning, the FD vision of harmonious, planned development continued to haunt the collective unconscious of post-colonial India well into the 1980s. Drawing on examples from documentary cinema, Indian New Wave films, and modern Hindi literature, this article explores three scenes of disillusionment with the FD’s version of the Nehruvian dream. I argue that the FD archive is a particularly productive site from which we can ask uncomfortable questions about the experience of Nehruvian socialism: the ‘illusions’ of the past continue to haunt FD films even in moments of disillusionment, prompting a form of self-reckoning whose full implications can only be grasped now, in retrospect.
Widescreen Vol 8, No 1, 2019
Most of the film historiography has originated from the cities like Bombay, Madras, Calcutta and Lahore. The more recent scholarship has looked at cities like Pune and Kolhapur. In all these histories details of film production happening in cities like Hyderabad is a curious absence. This absence could be attributed to a multiplicity of reasons like the prominence of film production in these cities and the availability of archival evidence. Focusing on the film practises in cities like Hyderabad presents the possibility of bringing alternative histories to the fore which enhances the understanding of cinema as a complex network. The city of Hyderabad was distinct in being a princely city under the rule of the Nizam unlike Madras, Calcutta, Bombay and Lahore which were the colonial cities and also in being at the crucial intersection of the transport and communication networks from the north to the south. The city of Hyderabad under the Nizam rule has also been argued to be a modern city embedded in the international networks by scholars like Eric Beverley(2015). The study of early film history in Hyderabad becomes a way to understand the social history of the place itself. This paper attempts to trace the history of early film production in Hyderabad state by examining the case of Dhirendranath Ganguly. Dhiren Ganguly ran the Lotus Film Company in Hyderabad from 1922 to 1924. The case of Dhiren Ganguly and the Lotus Film Company becomes a site to investigate the patronage networks of princely city of Hyderabad, the industrial networks within which cinema operated and also the politics of film historiography post the linguistic reorganization of states. It is also an avenue to examine Ganguly as an early film artist, his influences and his mobilization of various networks to make cinema. Through the examination of fragmented evidence it tries to understand the different negotiations that were involved film production in the Nizam state in the 1920s and hence on the nature of society under the Nizam.
Raul Cârstocea and Éva Kovács (eds.), Modern Antisemitisms in the Peripheries: Europe and its Colonies, 1880-1945, 2019
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