The films of Adoor Gopalakrishnan : a cinema of emancipation / Suranjan Ganguly.
Ganguly, Suranjan, 1958-| Call Number | 791.4302/33092 |
| Author | Ganguly, Suranjan, 1958- author. |
| Title | The films of Adoor Gopalakrishnan : a cinema of emancipation / Suranjan Ganguly. |
| Physical Description | 1 online resource (xii, 166 pages) : digital, PDF file(s). |
| Notes | Title from publisher's bibliographic system (viewed on 10 Dec 2015). |
| Contents | Things fall apart: Mukhamukham and the failure of the collective -- The domain of inertia: Elippathayam and the crisis of masculinity -- Master and slave: Vidheyan and the debasement of power[1] -- The server and the served: Kodiyettam and the politics of consumption -- The search for home: Swayamvaram and the struggle with conscience -- Woman in the doorway: Naalu Pennungal and Oru Pennum Randaanum -- Making the imaginary real: Anantaram, Mathilukal and Nizhalkkuthu -- The dream of emancipation: Kathapurushan and the triumph of the individual filmography. |
| Summary | This first study of Adoor Gopalakrishnan's feature films offers a compelling analysis of the socio-historical contexts of his work. Suranjan Ganguly examines how Kerala's abrupt displacement from a princely feudal state into twentieth-century modernity has shaped Gopalakrishnan's complex narratives about identity, selfhood and otherness, in which innocence is often at stake, and characters struggle with their consciences. Ganguly places the films within their larger frameworks of guilt and redemption in which the hope of emancipation - moral, spiritual and creative - is real and tangible. |
| Subject | Gopalakrishnan, Adoor, 1941- Criticism and interpretation. |
| Multimedia |
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$a Things fall apart: Mukhamukham and the failure of the collective -- The domain of inertia: Elippathayam and the crisis of masculinity -- Master and slave: Vidheyan and the debasement of power[1] -- The server and the served: Kodiyettam and the politics of consumption -- The search for home: Swayamvaram and the struggle with conscience -- Woman in the doorway: Naalu Pennungal and Oru Pennum Randaanum -- Making the imaginary real: Anantaram, Mathilukal and Nizhalkkuthu -- The dream of emancipation: Kathapurushan and the triumph of the individual filmography.
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$a This first study of Adoor Gopalakrishnan's feature films offers a compelling analysis of the socio-historical contexts of his work. Suranjan Ganguly examines how Kerala's abrupt displacement from a princely feudal state into twentieth-century modernity has shaped Gopalakrishnan's complex narratives about identity, selfhood and otherness, in which innocence is often at stake, and characters struggle with their consciences. Ganguly places the films within their larger frameworks of guilt and redemption in which the hope of emancipation - moral, spiritual and creative - is real and tangible.
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| Summary | This first study of Adoor Gopalakrishnan's feature films offers a compelling analysis of the socio-historical contexts of his work. Suranjan Ganguly examines how Kerala's abrupt displacement from a princely feudal state into twentieth-century modernity has shaped Gopalakrishnan's complex narratives about identity, selfhood and otherness, in which innocence is often at stake, and characters struggle with their consciences. Ganguly places the films within their larger frameworks of guilt and redemption in which the hope of emancipation - moral, spiritual and creative - is real and tangible. |
| Notes | Title from publisher's bibliographic system (viewed on 10 Dec 2015). |
| Contents | Things fall apart: Mukhamukham and the failure of the collective -- The domain of inertia: Elippathayam and the crisis of masculinity -- Master and slave: Vidheyan and the debasement of power[1] -- The server and the served: Kodiyettam and the politics of consumption -- The search for home: Swayamvaram and the struggle with conscience -- Woman in the doorway: Naalu Pennungal and Oru Pennum Randaanum -- Making the imaginary real: Anantaram, Mathilukal and Nizhalkkuthu -- The dream of emancipation: Kathapurushan and the triumph of the individual filmography. |
| Subject | Gopalakrishnan, Adoor, 1941- Criticism and interpretation. |
| Multimedia |