| 1 | '''Nemai Ghosh,''' (1914-88) |
| 2 | Bengali and Tamil director/cameraman. Born |
| 3 | in Calcutta. Assistant to Bibhuti Das at the |
| 4 | Aurora Studio (1932); resigned following a |
| 5 | trade union dispute. For several years involved |
| 6 | with a cine-technicians’ union. Member of the |
| 7 | Calcutta Film Society from the outset (1943) |
| 8 | and was considered by Ray as his first-choice |
| 9 | cameraman for Pather Panchali (1955). |
| 10 | Member of the IPTA, acting in its seminal play |
| 11 | Nabanna. First film: Chinnamul, a classic of |
| 12 | IPTA-inspired socialist realism, admiringly |
| 13 | reviewed by Pudovkin in Pravda (1951). |
| 14 | Moved to Madras (1951) where he worked as |
| 15 | cameraman on Tamil and Kannada films, e.g. |
| 16 | G.V. Iyer’s Hamsa Geethe (1975). Key |
| 17 | member of a Marxist collective, the Kumari |
| 18 | Films Co-op, which produced Padhai |
| 19 | Theriyudu Paar. Also made documentaries, |
| 20 | e.g. Light and Candle and Mysore University. |
| 21 | Vice-President of the Federation of Film |
| 22 | Societies for several years and a Naxalite |
| 23 | sympathiser in the 70s. |
| 24 | |
| 25 | ''' |
| 26 | FILMOGRAPHY''': 1950: Chinnamul; 1960: |
| 27 | Padhai Theriyudu Paar; 1981: Sooravalli |
| 28 | |
| 29 | [[Director]] |
| 30 | [[Camera]] |