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BOOK PROPOSAL
Title: WOMEN AND THE POLITICS OF CELLULOID REPRESENTATION OF
THREE WORKING WOMEN IN INDIAN CINEMA MAHANAGAR, MEGHE
DHAKA TARA, AND EK DIN PRATIDIN
Nature of book Non-fiction
Language: English
Subject: Film Studies/ Feminist Studies/ Sociology
Statement of Aims
To prove that these three films from the genre of the family drama, directed by the pillars
of Indian cinema namely Satyajit Ray, Mrinal Sen and Ritwik Ghatak, underscore the
politics of representation through a breaking away from gender stereotyping and thereby
creating a timeless and universal character of the working woman on celluloid
Background
The background is based on research for the authors Ph.D. in progress. These three films
are part of the ten-film project that forms the subject matter of the thesis.
Rationale
(i) These films are still strongly relevant, still raise questions, and perhaps
also offer answers about the position of these women within the
families they belong to, within the socio-cultural framework of which
they are an integral part, and within the politics of representation of
women in Indian cinema, placed against the backdrop of patriarchy.
Films have been chosen on the basis of (a) representations that have
taken account of woman as a distinct identity such as Mrinal Sens Ek
Din Pratidin, Satyajit Rays Mahanagar and Ritwik Ghataks Meghe
Dhaka Tara and (b) representations that work with a degree of fluidity
and contradictions as they do in these very films.
(ii) The book aspires to explore the workingwoman within the context of
the family she belongs to, her relationship vis--vis the family, the
changes that her work status brings about in this relationship and in the
woman as an individual. For example, Arati of Mahanagar is a
housewife belonging to a middle-class family set against the mid-
Sixties in Calcutta, still carrying the ghost of British imperialism.
Through her job as a sales girl, she transcends the normal socio-cultural
boundaries of the Bengali family, which brings about a transformation
not only in her own character, but through her relationships, also in the
characters of the other members of her family.
(iii) Till date, there have been very few books based on a study of the
politics of representation of the workingwoman in Indian cinema. A
study of this kind will perhaps mark the way to further research on
more topical films;
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(iv) There are very few books, if any, on timelessness of representation of

women on celluloid; this study will try and stress how the women in the
films chosen for the project, personify through their characters and their
inter-relationships, this timelessness;

Approach
The approach is historical, analytical and critical. The chapters are separated in
terms of the films arranged chronologically in sequence of the year of their release
beginning with Meghe Dhaka Tara and ending with Ek Din Pratidin. Historical focus
will comprise of a brief history of the evolution of the filmmaker, an exploration of some
of his films, women characters in some of his films and finally, the main text the film
itself. The thrust of the analysis will be on the socio-political representation of the chief
female character in each film. The critique will examine the interaction between and
among the main characters occupying the cinematographic and narrative spaces in the
films and how this influences/affects/shapes the growth of the woman in question.

Features
The timelessness of the representation of these three women in the three films will
be the focus and will be the most significant points of the book. Deliberate omissions are
mainly an absence of analysis of the musical scores, technical details such as editing
since it is the sociological and timeless aspects of the films that actually go to fulfill the
aims of the book. Any comparison between and among the three films and the three
directors who made them is deliberately left out because the films have a common ground
of presenting the working woman yet differ in terms of the time of their release, the
points of view of their makers. Besides, the films stand by themselves and trying to draw
comparisons would diffuse the focus of the book.
Definition of Market
The book is aimed at the following readership.
(i) Students of film studies at universities and film schools;
(ii) Students of film institutes where the technique of film making such as
direction, editing, cinematography, sound, scripting and production
design are taught;
(iii) All film schools and film studies departments in universities in every
English-speaking country in the world will certainly value this book as
a collection in their libraries;
(iv) Schools where feminist studies and womens studies are taught will
also find the book a necessary addition to their libraries;
(v) Film scholars, academics and experts, filmmakers with a scholarly bent
of mind will buy the book across the world;
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(vi) The book will ensure archival value because it features the three best
directors Indian cinema has produced and also because the films chosen
are of archival value;
Level
(i) Undergraduate students of film and/or gender studies;
(ii) Postgraduate students of any humanities and arts disciplines specially
those involved in feminist studies and film studies;
(iii) Reference book for students doing research in cinema both at the
postgraduate and at the Ph.D. levels in English-teaching colleges and
universities in India and abroad
(iv) The book takes the reader to the doctoral level and thus, can function as
frames of reference for teachers and academics who teach film studies
in general and Indian cinema in particular.
Existing Books:
Chakravarty, Sumita S.: National Identity in Indian Popular Cinema, 1947-1987, (Oxford
University Press, Delhi, 1996).
Chatterji, Shoma A.: Subject-Cinema, Object Woman, A Study of the Portrayal of
Women in Indian Cinema, Parumita Publications, Calcutta, 1998.
Chatterji, Shoma A.: Parama and Other Outsiders- The Cinema of Aparna Sen, Parumita
Publications, Calcutta, 2002.
Cooper, Darius: In Black and White Hollywood and the Melodrama of Guru Dutt,
Seagull Books, Calcutta, 2005
Dasgupta, Chidananda: The Cinema of Satyajit Ray, (Vikas Publishing House, Delhi,
1980,)
Datta, Sangeeta: Shyam Benegal, Roli Books, Delhi, 2003
Garga, B.D.: So Many Cinemas The Motion Picture in India, (Eminence Designs Pvt.
Ltd., Mumbai, 1996)
Hood, John W.: The Essential Mystery Major Filmmakers of Indian Art Cinema, Orient
Longman Limited, Hyderabad.
Hood, John, W.: Chasing the Truth The Films of Mrinal Sen, Seagull Books, Calcutta,
1993.
Hood, John, W.: Time and Dreams The Films of Buddhadeb Dasgupta, Seagull Books,
Calcutta, 1998.
Jain, Jasbir & Sudha Rani (Ed.) Films and Feminism Essays in Indian Cinema, Rawat
Publications, New Delhi, 2002
Kabir, Nasreen Munni: Guru Dutt A Life in Cinema, OUP, Delhi, 1997
Kapur, Ratna (ed.) Feminist Terrains in Legal Domains : Interdisciplinary Essays on
Women and Law in India, Kali for Women, Delhi, 1996.
Sen, Geeti, Feminine Fables Imaging the Indian Woman in Painting, Photography and
Cinema, (Mapin Publishing, Ahmedabad, 2002)
Thoraval, Yves: The Cinemas of India (1896-2000), MacMillan India Ltd, 2000
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Vaidyanathan, T.G.: (1981) in Hours in the Dark Essays on Cinema, Oxford University
Press, Delhi, 1993.
Valicha, Kishore: The Moving Image A Study of Indian Cinema, Orient Longman,
Mumbai, 1988.
Vasudev, Aruna: The New Indian Cinema, MacMillan, Delhi, 1986
Detailed synopsis
Outline
Working Title: WOMEN AND THE POLITICS OF CELLULOID
REPRESENTATION
THREE WORKING WOMEN IN INDIAN CINEMA MAHANAGAR, MEGHE
DHAKA TARA, AND EK DIN PRATIDIN

Chapter break-up
Introduction: The first chapter will introduce the title, the aims and objectives the author
aspires to fulfill, the rationale and the possible implications for the future. It will also
offer a brief exploration into the evolution of the working woman in Indian cinema.

Chapter One: Ritwik Ghatak and Meghe Dhaka Tara:

Childhood Days
Cinema and Ghatak
A Brief Review of some of his films
Ritwiks Women
Meghe Dhaka Tara
(a) The Historical Background
(b) Synopsis
(c) Aim:
(d) The title of the film
(e) Analysis
(f) Nita - the Family as a Cannibal
(g) Manifestations of violence
(h) The aesthetics of technique blending into form and content
Conclusion

Chapter Two; Satyajit Ray and Mahanagar

Satyajit Ray (1921-1992)
Some thoughts on his films and filmmaking
Italian Neo-realism and Satyajit Ray
Women in Some Ray films
(a) Sarbajaya in Pather Panchali and Aparajito
(b) Dayamoyee in Devi
(c) Charu in Charulata
Mahanagar
(a) Aim
(b) Synopsis
(c) Analysis
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(d) Vicky Redwood (Edith Simmons)

(e) That Stick of Lipstick
Conclusion

Chapter Three: Mrinal Sen and Ek Din Pratidin

Mrinal Sen
Childhood in Bangladesh
Calcutta Early Years
Calcutta through the eyes of Mrinal Sen
Entry into films
A Brief Glimpse into some of his films
Ek Din Pratidin
(a) Background
(b) Synopsis
(c) Aim
(d) Analysis
(e) Chinu as a victim of patriarchy
Conclusion

Chapter Four: Summary and Conclusions

Length
Introduction: 5000 words approximately
Ritwik Ghatak: 15,000 words approximately
Satyajit Ray: 15,000 words approximately
Mrinal Sen: 15,000 words
Summary and Conclusions: 5000 words approximately
References and Footnotes: 2000 words approximately
Timetable
Yes. One chapter can be made available in draft form within a month from the date when
such a request is made in writing.
The complete manuscript will be ready three months from the date of entering into the
contract.
Illustrations
I propose to give photographs from the films chosen but this would depend on their
availability. Right now, only photographs from MEGHE DHAKA TARA are available.
One must scout around for photographic support for the other films.
Additional Information
About you
Name: Shoma A. Chatterji
Freelance journalist and author
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Address: 109/33, Hazra Road, 2nd Floor, Kolkata 700026.

Cell: 9831389232/9231552598
E-mail: shoma.chatterji@gmail.com

Sunday, April 02, 2017