SACF South Asian Cinema in UK

Leftist Thought in Indian Cinema

SAC Journal - Leftist Thought in Indian Cinema

SAC - Leftist Thought in Indian Cinema

This issue for the first time debates different aspects of the leftist ideology that have impacted on filmmaking all over India. A major chapter discusses setting up of the Indian Peoples’ Theatre Association (IPTA) in 1943 which opened new possibilities of creativity in post independent popular Indian Cinema.

“Directors, actors, scriptwriters, lyricists, music directors and dance directors – a large spectrum of the talent that went into filmmaking – came from the IPTA, moulding the vision of the world that the film presented. Among the well-known actors who had an allegiance to the IPTA were Balraj Sahni, A. K. Hangal, Utpal Dutt. Well-known music directors included Anil Biswas, Salil Choudhury, Hemant Kumar and Ravi Shankar; song writers Sahir Ludhianvi, Majrooh Sultanpuri, Prem Dhawan, Shailendra, Kaifi Azmi were associated with the PWA and IPTA; scriptwriters K. A. Abbas and V. P. Sathe were IPTA members; directors Bimal Roy, Shambhu Mitra, Mohan Sehgal were closely involved with the IPTA, as were the dance directors Uday Shankar and Prem Dhawan (who choreographed songs in Do Bigha Zameen and Naya Daur),”

writes Rashmi Doraiswamy.

Partition Issue

SAC Journal - Partition Films Issue

SAC - Partition Films - No. 5-6

SAC’s issue on Partition looks at the Partition of India from the filmmakers’ point of view. It raises questions why cinema shunned films on Partition for a long time after independence. It also analyses the sub-text of popular cinema which in a guarded way talks of Partition without its mention.

The first significant film on Partition, Nimai Ghosh’s Chhinnamool (1951) has been discussed in detail which became the first film that used the real footage of Partition as it was happening. India's seminal film on Partition, M. S. Sathyu’s Garm Hava (1973) has been analysed with rare interviews with filmmaker M.S. Sathyu and screen writer Shama Zaidi. The issue carries in depth interviews with Govind Nihalani, Bhisham Sahni on another Partition epic Tamas (Darkness, 1988) and Shyam Benegal on Partition films in general.

Shantaram Issue

SAC Journal - Shantaram Issue

SAC - V Shantaram Issue - No 3-4

SAC’s Shantaram issue explores the rise of Prabhat Studio in the 1930s and the career of V. Shantaram as a filmmaker. The documentary filmmaker B.D. Garga presents the historical, social and political milieu in which Shantaram developed his cinema and made his mark in Indian cinema during the first half of the 20th Century. Veteran film society activist Vijaya Mulay discusses the impact created by Shantaram’s seminal film Duniya Na Mane (1937) in India.

In a write up filmmaker Shyam Benegal observes, “Shantaram was at his best when he dealt with social issues, which he did with a great deal of sincerity and purpose, albeit with rather heavy doses of melodrama and sentimentality. He had his hand placed firmly on the pulse of the Indian audience.”

A.R. Rehman Issue

SAC Journal - A.R. Rahman Issue

SAC - A.R. Rahman issue - No 2

The second issue of South Asian Cinema presents a detailed analysis of the work of A.R. Rahman as a music composer. The rise of A. R. Rahman in the early 1990s was a phenomenon which created a new kind of music. In an exclusive interview A. R. Rahman speaks about his roots, change in his life and his early influences.

This issue also features Nepali Cinema while Gulzar and film archivist P.K.Nair tell the story of song’s journey in popular Indian Cinema through different decades.

Shyam Benegal Issue

SAC Journal - Shyam Benegal Issue

Shyam Benegal IssueSAC Journal Shyam Benegal Issue No 1

The maiden issue of South Asian Cinema journal focuses on the Cinema of Shyam Benegal, his role as a pioneer of the New Wave Cinema Movement of the 1970s. The issue analyses Benegal’s trilogy Ankur (the Seedling, 1973), Nishant (Night's End, 1974) and Manthan (The Churning, 1975). In an in-depth interview Shyam Benegal discusses his social concerns and cinema. The issue carries the notes on Shyam Benegal by well-known critic and filmmaker Chidananda Das Gupta.

The issue also looked into the text and sub-text of Gulzar’s films and lyrics. Film academic Professor Satish Bahadur looks into the Cinema of Satyajit Ray- The Railways Motif in the Apu Trilogy. The content includes observations on Indian Cinema by Derek Malcolm, review of Pakistani Cinema by Mushtaq Gazdar and on Sri Lankan Cinema by Priyath Liyanage.

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