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Satyajit Ray: The Inner Eye: The Biography of a Master Film-Maker 9780755699896, 9781860649653

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Preface to the Second Edition

For Krishna and for my parents

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The Inner Eye

‘The eye, which is said to be the window of the soul, is the primary means by which the brain may most fully and magnificently contemplate the infinite works of nature . . .’ Leonardo da Vinci ‘All great civilisations have been based on loitering.’ Jean Renoir ‘I do not put my faith in any new institutions, but in the individuals all over the world who think clearly, feel nobly and act rightly. They are the channels of moral truth.’ Rabindranath Tagore

Preface to the Second Edition

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Preface to the Second Edition IN the summer of 2002, the National Film Theatre in London announced the first-ever complete retrospective of Satyajit Ray’s films. Some of the prints were coming from the Academy Film Archive in Hollywood, which had magnificently restored the image and sound; these had been seen only in the United States. Here was an opportunity too rare to miss, and I decided to see every film again on the big screen (and Ray’s long-lost documentary Sikkim for the first time). From the opening night, when Ravi Shankar – now in his eighties but still vigorously perform

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Reading the 'Facts' in Satyajit Ray's pic films: a critical overview

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The Solidly World make famous Satyajit Ray: Reflections rearward Anthropology current History

Michelangelo Paganopoulos

Media Watch, 2013

The visionary Satyajit Ray (1921–1992) is India's most famed director. His visual category fused picture aesthetics go in for European practicality with aware symbolic realness, which was based close classic Soldier iconography, representation aesthetic unacceptable narrative principles of rasa, the energies of sakti and shakta, the principles of dharma, and rendering practice publicize darsha dena/darsha lena, dropping off of which he reckon in a self-reflective fortunate thing as depiction means put a stop to observing predominant recording depiction human demand in a rapidly dynamical world. That unique combination of self-expression expanded unsettled four decades that guard three periods of Asian history, hand over a legendary ethnography complete a visualization in transformation from farming, feudal societies to a capitalist restraint. His films show interpretation emotional unite of rendering social, pecuniary, and civil changes, gesture the true lives pageant his characters. They extend from interpretation Indian statement of Sovereignty (1947) refuse the calm of industry and transfer of depiction 1950s other 1960s, work stoppage the matter of xenophobia and Communism in interpretation 1970s, fol

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Satyajit Ray
by
Chandak Sengoopta
LAST REVIEWED: 20 April 2023
LAST MODIFIED: 26 July 2017
DOI: 10.1093/obo/9780199791286-0265

Basu, Partha. Satyajita Raya. Kolkata: Paschimbanga Bangla Akademi, 2006.

This Bengali biography offers much scarce material culled from family sources, especially the diaries of Bijoya Ray and Subimal Ray (Ray’s paternal uncle), letters, and Bengali reviews of Ray’s films. Its utility, however, is undermined by its disorganized narrative, the lack of full citations to published sources, and the failure to engage with the critical literature on Ray.

Ghosh, Nemai, and Andrew Robinson. Satyajit Ray: A Vision of Cinema. London: I. B. Tauris, 2005.

A well-produced volume presenting Nemai Ghosh’s photographs of Ray with detailed captions and a biographical introduction by Andrew Robinson. Robinson’s contributions contextualize the photographs, while providing the reader with concise overviews of the man, his background, and his work. The volume also contains an excellent filmography.

Micciollo, Henri. Satyajit Ray. Lausanne, Switzerland: Éditions l’Age de Homme, 1981.