Changes between Initial Version and Version 1 of Kallol Group

Jun 23, 2012, 12:32:35 PM (10 years ago)



  • Kallol Group

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     1'''Kallol Group''' 
     4The first literary collective to influence cinema 
     5in Bengal was the group around the journal 
     6Bharati (Est: 1877). Founded by Dwijendranath 
     7Tagore and others as the Tagore clan’s house 
     8journal, it published a history of the Bengali 
     9cinema in 1923. The journal’s writers 
     10Premankur Atorthy, Hemendra Kumar Roy, 
     11Narendra Dev and Sourindramohan Mukherjee 
     12were the first to write seriously for and about 
     13cinema, eventually becoming film-makers. The 
     14second group, launched in 1923 by the Bengali 
     15journal Kallol, came to be known as the Kallol 
     16Group. Its immediate predecessor was the Four 
     17Arts Club which published Jharer Dola (1922) 
     18with stories by Dinesh Ranjan Das, 
     19Gokulchandra Nag, Suniti Devi and 
     20Manindralal Basu. Kallol, edited by Dinesh 
     21Ranjan Das, was followed by other journals, 
     22notably Kalikalam (1926) and Pragati (1927). 
     23Collectively they defined a literary realism 
     24contextualised by 20s peasant agitations and 
     25urban unemployment, self-consciously 
     26transgressive of the middle-class norms, e.g. 
     27through their interest in popular industrialised 
     28fictional forms. In Tagore’s Shesher Kabita 
     29(1929) he summarised their critique of his work 
     30via the Westernised wastrel Amit Raye, who 
     31attacks Tagore for his inability to show the 
     32cruel aspects of sexuality, and his limitations in 
     33portraying the dispossessed in their true 
     34colours (allegations attributed to poet 
     35Buddhadev Bose). Malini Bhattacharya wrote 
     36(1988) that their ‘ sound and fury [d]id not 
     37produce anything like a formal breakthrough 
     38leading to a fictional discourse [other than] 
     39demanding a greater representation in fiction 
     40of problems pertaining to [p]easants, workers 
     41and women’. However the movement signified 
     42an era that also saw the first Bengali 
     43translations of Thomas Mann, Tolstoy, Proust, 
     44Romain Rolland, Gorky and Knut Hamsun, and 
     45the emergence of writers like Jibanananda Das, 
     46Bishnu Dey and Buddhadev Bose. The 
     47movement directly touched the cinema when 
     48Dinesh Ranjan Das became a film-maker at 
     49British Dominion (Kamaner Aagun, 1930) 
     50and later at New Theatres (Abasheshe, 1935), 
     51followed by writers Premendra Mitra and 
     52Sailajananda Mukherjee, first as scenarists 
     53and then as successful directors. The realist 
     54emphasis in some of their films has been seen 
     55as a precedent for IPTA-inspired films in 50s 
     56Bengal. The modernist tendency in Kallol’s 
     57work was later consolidated by the journals 
     58Parichay (1931) and Kavita (1935).