000			02028nam a22002177a 4500
005			20220427104637.0
008			211013b ||||| |||| 00| 0 eng d
020			_a9780198075936
040			_cAL
041			_aeng
082			_223 _a791.4302330954 _bASAF
100			_aAsaduddin M _91370
245			_aFilming fiction _bTagore, Premchand, and Ray
260			_aNew Delhi _bOxford University Press _c2012
300			_axxxii,265p. _bHB _c22.4x14.5cm.
365			_2General _a2869 _b₹680.00 _c₹ _d₹850.00 _e20% _f08-10-2021
520			_aSimilar to other fine arts' genres, novels and films evolved the way they did due to certain conditions of production, and the way they developed in different cultures was shaped by the governing conventions surrounding them. When discussing films, one cannot overlook the aspect of entertainment. The experience of reading a novel definitely differs from the experience of watching a film. This process is what defies easy translation into film. The film and the novel are intimately connected, as seen in the sheer number of films based on novels. In the case of India, the history of the relationship between cinema and literature has been an integral one. This book explores the mutual relationship between film and fiction in India, focusing on legendary writers Rabindranath Tagore and Premchand and noted filmmaker Satyajit Ray. Drawing upon the insights of leading academics and emerging scholars in the field, it investigates the complex process of film adaptation of the novel. The book looks at three Ray adaptations of Tagore: Teen Kanya (1961), Charulata (1964), and Ghare Baire (1984), as well as two films based on short stories by Premchand—‘Shatranj Ke Khiladi’ (1977) and ‘Sadgati’ (1981). In addition, it examines Ray's adaptation of Tagore's ‘Noshto Neerh’, his rendering of history, and Premchand's ‘Sadgati’ in terms of Ray's handling of the Dalit question.
650			_2filming fiction
700			_aGhosh, Anuradha _91371
942			_2ddc _cBK
999			_c216618 _d216618