Changes between Version 5 and Version 6 of Nitin Bose

Timestamp:

Jun 13, 2013, 7:04:21 AM (11 years ago)

Author:

UshaR

Comment:

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Nitin Bose

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-Bengali and Hindi director, cameraman and producer; cousin of Satyajit Ray. Born in Calcutta. Learned still photography from his father, Hemendra Mohan Bose, owner of the famous Kuntalin Press and of Talking Machine Hall (distributor of Pathéphone recording systems). Acquired movie camera in his teens and became proficient in shooting home movies which he developed himself. Made newsreels in 1921-2 (the chariot festival at Puri, the elephant hunt of the Maharaja of Tripura) which he sold to the International Newsreel Corp. and to Fox Kinogram. First feature as cinematographer: Jaigopal Pillai’s Punarjanma (1927). Cameraman on features for Aurora, Indian Kinema Arts, Sisir Bhaduri and International Filmcraft. 
+Bengali and Hindi director, cameraman and producer; cousin of [[Satyajit Ray]]. Born in Calcutta. Learned still photography from his father, Hemendra Mohan Bose, owner of the famous Kuntalin Press and of Talking Machine Hall (distributor of Pathéphone recording systems). Acquired movie camera in his teens and became proficient in shooting home movies which he developed himself. Made newsreels in 1921-2 (the chariot festival at Puri, the elephant hunt of the Maharaja of Tripura) which he sold to the International Newsreel Corp. and to Fox Kinogram. First feature as cinematographer: Jaigopal Pillai’s Punarjanma (1927). Cameraman on features for [[Aurora]], [[Indian Kinema Arts]], [[Sisir Bhaduri]] and International Filmcraft. 
 
-Chief technical adviser and head of the camera department at New Theatres (1930). Shot many films for Debaki Bose (e.g. Chandidas, 1932; Meerabai, 1933) and Atorthy (e.g. Dena Paona, 1931; Mohabbat Ke Aansoo, Subah Ka Sitara, Punarjanma, all 1932); also shot Shakuntala for Bhavnani (1931). Directorial début when Debaki Bose left the studio in 1933. A key figure in the New Theatres organisation and maker of some of its most successful films. His early work continued in the vein of Debaki Bose (first feature was remake of Bose’s Chandidas). Later introduced a ‘realist’ element (Didi/President; Desher Mati/ Dharti Mata) foreshadowing the films of his own student and cameraman Bimal Roy (Udayer Pathey, 1944), and probably Mrinal Sen’s early films. Also made successful films after he left New Theatres in 1941 (e.g. Ganga Jumna in Hindi and Bhojpuri was one of the biggest hits of post-Independence cinema). Worked with major producers in Bombay: Bombay Talkies (Nauka Dubi) and Minerva. Started his own production company with Dard-e-Dil in 1953. When A. Chakravarty died, Bose finished Kathputli. Set up Guwahati Studio in Assam.
+Chief technical adviser and head of the camera department at [[New Theatres]] (1930). Shot many films for [[Debaki Bose]] (e.g. [[Chandidas]], 1932; [[Meerabai]], 1933) and [[Atorthy]] (e.g. Dena Paona, 1931; Mohabbat Ke Aansoo, Subah Ka Sitara, Punarjanma, all 1932); also shot Shakuntala for [[Bhavnani]] (1931). Directorial début when Debaki Bose left the studio in 1933. A key figure in the [[New Theatres]] organisation and maker of some of its most successful films. His early work continued in the vein of Debaki Bose (first feature was remake of Bose’s [[Chandidas]]). Later introduced a ‘realist’ element ([[Didi]]/[[President]]; [[Desher Mati]]/ [[Dharti Mata]]) foreshadowing the films of his own student and cameraman [[Bimal Roy]] ([[Udayer Pathey]], 1944), and probably [[Mrinal Sen]]’s early films. Also made successful films after he left New Theatres in 1941 (e.g. [[Ganga Jumna]] in Hindi and Bhojpuri was one of the biggest hits of post-Independence cinema). Worked with major producers in Bombay: [[Bombay Talkies ]]([[Nauka Dubi]]) and [[Minerva]]. Started his own production company with Dard-e-Dil in 1953. When [[A. Chakravarty]] died, Bose finished [[Kathputli]]. Set up Guwahati Studio in Assam.