Changes between Initial Version and Version 1 of Navya Movement


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Timestamp:
Jun 28, 2012, 3:35:13 PM (10 years ago)
Author:
Trupti
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  • Navya Movement

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     1'''Navya Movement''' 
     2 
     3 
     4Influential modernist literary movement in 
     5Kannada initiated by Gopalakrishna Adiga’s 
     6two poetry collections, Nadedu Banda Dari 
     7(1952) and Bhumigita (1959). The movement is 
     8described in G.B. Joshi and Kirtinath 
     9Kurthakoti’s major rewriting of Kannada 
     10literary history in a 3-volume book with the 
     11same title as Adiga’s anthology, Nadedu Banda 
     12Dari (1959). Navya represented a departure 
     13from Navodaya’s transcendental romanticism, 
     14emphasising instead a more limited protagonist 
     15placed within contemporary mass-culture and 
     16consumerism. It acknowledged the influence of 
     17Kafka, Camus, Sartre and Freud. The 
     18movement reached its creative pinnacle in the 
     19late 60s with U.R. Ananthamurthy’s fiction 
     20(Samskara, 1966) and developed an 
     21uncompromising political opposition to the 
     22hegemonic Brahmin élite. It extended directly 
     23into the cinema with Pattabhi Rama Reddy’s 
     24film of Samskara (1970), encouraging 
     25modernist writers, playwrights and stage 
     26directors to turn to the cinema (e.g. P. 
     27Lankesh, Girish Karnad, Chandrasekhar 
     28Kambhar, B.V. Karanth, Baraguru 
     29Ramchandrappa, actor C.R. Simha et al.). The 
     30shift into cinema perpetuated the belief that 
     31film is an extension of literature, spawning 
     32many adaptations of the writings of e.g. Masti 
     33Venkatesha Iyengar, Chaduranga, Triveni, T.R. 
     34Subba Rao and S.L. Bhairappa. In retrospect, 
     35only three films - Samskara, Lankesh’s Pallavi 
     36(1976) and Girish Kasaravalli’s 
     37Ghattashraddha (1977) - have direct political 
     38and formal links with Navya. Later, many 
     39‘kalatmaka’ (artistic) or ‘Prayogika’ 
     40(experimental) films claimed to derive e.g. 
     41from Chaduranga’s novels (the writer filmed his 
     42own novel Sarvamangala, 1968), while 
     43directors like N. Lakshminarayan, G.V. Iyer 
     44and Puttanna Kanagal went on to formulate 
     45an art-house aesthetic quickly enshrined in 
     46Karnataka film and TV policies. 
     47 
     48[[Glossary]]