MARC Record from marc_columbia

LEADER: 03464fam a2200397 a 4500
001 2475126
005 20220616052632.0
008 990304s2000 nyua bq 001 0 eng
010 $a 99024768
020 $a0521620260
020 $a0521629802 (pbk.)
035 $a(OCoLC)243518539
035 $a(OCoLC)ocn243518539
035 $9AQC5321CU
035 $a(NNC)2475126
035 $a2475126
040 $aDLC$cDLC$dNNC$dOrLoB-B
050 00 $aPN1998.3.R4$bC66 1999
082 00 $a791.43/0233/092$221
100 1 $aCooper, Darius,$d1949-$0http://id.loc.gov/authorities/names/n99019011
245 14 $aThe cinema of Satyajit Ray :$bbetween tradition and modernity /$cDarius Cooper.
260 $aNew York :$bCambridge University Press,$c2000.
300 $axii, 260 pages :$billustrations ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
490 1 $aCambridge studies in film
504 $aFilmography: p. 249-254.
504 $aIncludes bibliographical references and index.
505 00 $g1.$tBetween Wonder, Intuition, and Suggestion: Rasa in Satyajit Ray's The Apu Triology and Jalsaghar.$tRasa Theory: An Overview.$tThe Excellence Implicit in the Classical Aesthetic form of Rasa: Three Principles.$tRasa in Pather Panchali (1955).$tRasa in Aparajito (1956).$tRasa in Apur Sansar (1959).$tJalsaghar (1958): A Critical Evaluation Rendered through Rasa --$g2.$tFrom Gazes to Threat: the Odyssean Yatra (Journey) of the Ray Woman.$tThe "Roles" of the Indian Woman as Determined by Hindu Society: A Historical Background.$tWoman Redefined in the Tagore Triad: "The Postmaster," Charulata, and Ghare-Baire.$tThe Ray Woman - Under the Male Hindu Gaze.$tWomen as Possessors of the Gaze.$tTwo Ray Women - in Masquerade.$tThe Victimized Woman Who Dares to Humble the Father.$tThe Articulation of the Ray Woman - From a Space She Can Call Her Own.$tThe Ray Woman's Politics of Silence.$tThe Ray Woman as Hedonist.$tConcluding Remarks: In Praise of Satyajit Ray's Feminist Stance --
505 80 $g3.$tThe Responses, Trauma, and Subjectivity of the Ray Purush (Man).$tThe Philosophical Determinant of Suffering and the Responses of the Ray Purush: Siddhartha's Response in Pratidwandi (1970).$tSomnath's Response in Jana Aranya (1975).$tGangacharan's Response in Ashani Sanket (1973).$tShyamalendu's Response in Seemabaddba (1971).$tThe Responses of the Forest-Bound Male Quartet of Aranyer Din Ratri (1970).$tFearsome Fathers and Traumatized Sons --$g4.$tSatyajit Ray's Political Vision of the Doubly Colonized.$tThe Tradition of the Doubly Colonized in India: A Critical Introduction to the Hegemonic Structures of Hinduism and Colonialism.$tThe Hindu Hegemony.$tThe British Hegemony.$tThe Colonized Artist's Response: Ray's Sadgati (1981) and Shatranj-ke-Khilari (1977) --$g5.$tFrom Newly Discovered Margins: Ray's Responses to the Center.$tFrom "Zero" to "Captain Nemo": Ray's Problematic Alphabet of 1990s Indians.$tThe (T)issues of Language: Ray's Principal Instrument of Bhadralok Censure.
505 80 $tThe Burden(s) of Mise-en-Scene: Ray's 1990s Filmic Style.$tUnsatisfactory and Satisfactory Endings.$tOn Ray - The Final Epitaph.
600 10 $aRay, Satyajit,$d1921-1992$xCriticism and interpretation.
830 0 $aCambridge studies in film.$0http://id.loc.gov/authorities/names/n86744061
852 00 $bglx$hPN1998.3.R4$iC66 2000
852 00 $bbar$hPN1998.3.R4$iC66 2000
852 00 $boff,glx$hPN1998.3.R4$iC66 1999