New Indian Cinema in Post-Independence India

The Cultural Work of Shyam Benegal’s Films

Nonfiction, History, Asian, India, Social & Cultural Studies, Social Science, Cultural Studies, Ethnic Studies
Cover of the book New Indian Cinema in Post-Independence India by Anuradha Dingwaney Needham, Taylor and Francis
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Author: Anuradha Dingwaney Needham ISBN: 9781135021337
Publisher: Taylor and Francis Publication: November 26, 2013
Imprint: Routledge Language: English
Author: Anuradha Dingwaney Needham
ISBN: 9781135021337
Publisher: Taylor and Francis
Publication: November 26, 2013
Imprint: Routledge
Language: English

Shyam Benegal is an Indian director and screenwriter whose work is considered central to New Indian cinema. By closely analysing several of Benegal’s films, this book provides an understanding of India’s post-independence history.

The book examines the filmmaker’s focus on women by highlighting his subtle and critical engagement with a truism of Indian nationalism: women’s centrality to the (nation-) state’s negotiation with modernity. It looks at the importance Benegal accords to history – its little known, contested, or iconic events and figures – in crafting national culture and identities, and goes on to discuss the filmmaker’s nuanced representation of the developmental agendas of the nation-state. The book presents an account of the relationship of historical film and fiction to official history, and provides a fuller understanding of Indian cinema, and how it is shaped by as well as itself shapes national imperatives.

Filling a gap in the literature, the book offers an analysis of cinematic treatment of post-independence narratives and gives important insights into the imagination of the time. It is a useful contribution for students and scholars of Film Studies, South Asian History and South Asian Culture.

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Shyam Benegal is an Indian director and screenwriter whose work is considered central to New Indian cinema. By closely analysing several of Benegal’s films, this book provides an understanding of India’s post-independence history.

The book examines the filmmaker’s focus on women by highlighting his subtle and critical engagement with a truism of Indian nationalism: women’s centrality to the (nation-) state’s negotiation with modernity. It looks at the importance Benegal accords to history – its little known, contested, or iconic events and figures – in crafting national culture and identities, and goes on to discuss the filmmaker’s nuanced representation of the developmental agendas of the nation-state. The book presents an account of the relationship of historical film and fiction to official history, and provides a fuller understanding of Indian cinema, and how it is shaped by as well as itself shapes national imperatives.

Filling a gap in the literature, the book offers an analysis of cinematic treatment of post-independence narratives and gives important insights into the imagination of the time. It is a useful contribution for students and scholars of Film Studies, South Asian History and South Asian Culture.

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