Produktdetaljer
Biografisk notat
Samir Chopra is Professor of Philosophy at Brooklyn College and the Graduate Center of the City University of New York, USA. He is author of A Legal Theory for Autonomous Artificial Agents (2011) and Brave New Pitch: The Evolution of Modern Cricket (2012).Samir Chopra’s fine-grained analyses of Shyam Benegal’s prolific output does great justice to the filmmaker’s intellectual reach and ambitions, putting Benegal’s deeply committed visions of social and gender justice in conversation with what Chopra calls “philosophy in cinematic form”—“expressions,” that is, “of a moral and political philosophy” enacted via the medium of cinema. Those looking for a compelling reading of Benegal’s substantial oeuvre will also find much to enjoy and ruminate over in Shyam Benegal: Philosopher and Filmmaker.
Anuradha Needham, Donald R. Longman Professor of English and Cinema Studies, Oberlin College, USA
For over four decades, India’s celebrated filmmaker Shyam Benegal’s films have delighted audiences even as they chasten the social order—one that hurls indignities at those perceived as social outcasts. Unfiltered and unfettered by the weight of ideological prisms, Benegal’s films speak through the body of women at the margins, revealing her resistance in speech and action. Samir Chopra brings us closer to the legendary filmmaker and his films. Chopra curates a selection of Benegal’s films and persuades us to see films as “philosophy in action” and rumination in celluloid. This smart book has much to offer to the novice as well as film enthusiasts familiar with India’s cinema.
Ritu Gairola Khanduri, Associate Professor of Anthropology, University of Texas at Arlington, USA
For 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
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
Films can ask big questions about human existence: what it means to be alive, to be afraid, to be moral, to be loved. The Philosophical Filmmakers series examines the work of influential directors, through the writing of thinkers wanting to grapple with the rocky territory where film and philosophy touch borders.
Each book involves a philosopher engaging with an individual filmmaker’s work, revealing how it has inspired the author’s own philosophical perspectives and how critical engagement with those films can expand our intellectual horizons.