Changes between Initial Version and Version 1 of Kallol Group

Timestamp:

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

Author:

Trupti

Comment:

--

Kallol Group

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