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7– 8 Google Scholar.Ħ The political leanings of a majority of film society activists were towards the Left. 1, Calcutta: Mrs Santi Pradhan, 1979, pp. A great literature will be born among us as our struggle advances, as we master aesthetic forms, as we attain the sincerity through which alone it is possible to mould artistic talent and achieve works which approximate to the demands of the subject matter. . .it means the shifting of the standards of criticism which we naively adopted under the influence of the subjective, idealist, individualist, bourgeois point of view which arbitrarily judges literature from the criterion of what is or is not in “bad taste”. . .to what is called social realism’, Manifesto of the Progressive Writers Association cited in Pradhan, Sudhi (ed.), Marxist Cultural Movement in India: Chronicles and Documents, 1936–1947, vol. the ossification of our political and social forces, the task of our writers is an immensely difficult one. Such an understanding of cinema is reminiscent of the ways in which the Progressive Writers Association had once articulated their manifesto in the 1930s: ‘. . .under the limitations of India, through the disintegration of our values. . .
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18, published during the 13th Calcutta Film Festival, 2009, p. By looking at the film society movement as an early and sustained attempt at civil-social organization in postcolonial India, this paper highlights the two distinct definitions of ‘good cinema’-from an aesthetically sophisticated product to a radical political text-that were debated during the time of the movement.Ĥ Roy, Mrigankasekhar, ‘Birth of a Film Culture’, in Mukhopadhyay, Bibhas (ed.), Chalachitra Charcha, no. The movement, confined though it was to members who considered themselves film aficionados, was propelled by debates similar to those that animated left-oriented cultural movements which originated in late colonial India, namely, the Progressive Writers Association in 1936, and the Indian People's Theatre Association in 1942. Aravindan, Kumar Shahani, Adoor Gopalkrishnan, and Mrinal Sen, as well as film enthusiasts, numbering about 100,000 by 1980. Members of the film society movement consisted of important Indian film directors such as Satyajit Ray, Ritwik Ghatak, Shyam Benegal, Basu Chatterji, Mani Kaul, G. This paper offers a history of the creation and development of film societies in India from 1947 to 1980.