Abstract
This paper will approximate the blend of formal innovation and political commitment in two Global South monumental auteurs: Bengali Ritwik Ghatak (1925-1976) and Brazilian Glauber Rocha (1939-1981). It will demonstrate that Ghatak’s sense of historical urgency translated into a ground-breaking film language in the contexts of the Post-Partition crisis and later Independence is comparable to that of Cinema Novo, Brazil’s parallel cultural signifier whose main exponent is Rocha. Further advancing a complementary of their theorization, it will revisit Rocha’s 1964 masterpiece Black God White Devil (1964) and respective teleology of history impelled by the spirit of rebellion through Ghatak’s striking metalanguage on the value of silence in film. Conversely, it will approach Ghatak’s momentous 1973 A River Called Titas via Rocha’s ground-breaking theorization, “An Aesthetics of Hunger” (1965).
Presenters
Else R. P. VieiraProfessor of Brazilian and Comparative Latin American Sudies, Modern Languages and Cultures, Queen Mary University of London, United Kingdom
Details
Presentation Type
Paper Presentation in a Themed Session
Theme
The Arts in Social, Political, and Community Life
KEYWORDS
Global South, Film, Theory, Politics, Complementarity, Ritwik Ghatak, Glauber Rocha
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