Debjani Halder - Academia.edu (original) (raw)

Papers by Debjani Halder

The well-established preference for male progeny pooled with an emerging preference for... more The well-established preference for male progeny pooled with an emerging preference for small families will result in a loss of girls either before or after birth. In April-21st , 2001, inauguration address for the Radcliffe institute of Havard University, Nobel Prize winner Sir Amartya Sen addressed to the audiences that the estimates the number of women missing from worsen-short countries’ where gender bias is most prevalent to exceed 100 million. Emeritus economist Asok Mitra mentioned to the question of worsens female sex ratio after reading of census report of 1971. He wrote what perhaps is the most comprehensive review of the social malady covering all this is relevant. (Mitra Asok: 1979) He discussed at length the possibility of undercounting of females in the different census and went on to the nature and extent of higher female mortality under normal conditions and under famines. In the paper I want to explain that while the alternative film makers claimed themselves as socially concerned creators so do they pay attention to the economic and cultural environment that generates discrimination against female and enforced the strong feelings of son preference in India’s socio-cultural milieu.

The term polyandry came from the Greek word ‘Polyandria’ derived from ‘Poliyandros, made up of “P... more The term polyandry came from the Greek word ‘Polyandria’ derived from ‘Poliyandros, made up of “Poly+andr-, ane̅r+ia-y” referring to the condition of [a woman] having many men. With reference of a letter to Charles Darwin he explains “…it’s gives men wives. Till men have wives they may have tastes, but they have no obligations in matters of sex…they would all envy and grieve at the good of their polygynous neighbour. Polygyny then, did not at first give men wives. Wifedom beings with polyandry which is a contract.” Whenever the numbers of women are lesser than that of the males, then polyandrous marriages is practiced as hidden manner and it became more prevalent. It is significant that sex ratio constitute an important dimension of any population which also implicates the institution of marriage. In the paper I want to highlight are Indian film makers able to visualise the root of polyandry system through their creations or they able to highlight that why the system is being practised in present Indian context?

Key Words: Polyandry, Misogyny, Adverse Female Sex ratio, Indian Cinema

The term polyandry came from the Greek word 'Polyandria' derived from 'Poliyandros, made up of "P... more The term polyandry came from the Greek word 'Polyandria' derived from 'Poliyandros, made up of "Poly+andr-, ane ̅ r+ia-y" referring to the condition of [a woman] having many men. Director has taken interview of an anthropologist who elaborates that polyandry to signify the marriage of one woman to more than one man. With reference of a letter to Charles Darwin he explains "…it's gives men wives. Till men have wives they may have tastes, but they have no obligations in matters of sex…they would all envy and grieve at the good of their polygynous neighbour. Polygyny then, did not at first give men wives. Wifedom beings with polyandry which is a contract." Whenever the numbers of women are lesser than that of the males, then polyandrous marriages is practiced as hidden manner and it became more prevalent. It is significant that sex ratio constitute an important dimension of any population which also implicates the institution of marriage. In the paper I want to highlight are Indian film makers able to visualise the root of polyandry system through their creations or they able to highlight that why the system is being practised in present Indian context?

Form is conceived as dynamic in terms of both its internal organisation and its relation to histo... more Form is conceived as dynamic in terms of both its internal organisation and its relation to historical norms and backgrounds. For the film maker, the concept of norms and backgrounds are fundamental for placing a film in history. Backgrounds are women want to be mothers. Yet undeniably, the valuation placed on a woman's capacity to bring forth life defines her position in society.

Indian People’s Theatre Association (IPTA ) was established in 1943 to consolidate communist resi... more Indian People’s Theatre Association (IPTA ) was established in
1943 to consolidate communist resistance against colonial exploitation
and fascist aggression. Though its main objective was opposition
to fascism, IPTA endeavored as well to make people aware of the
complexities of contemporary socio-economic and political scenario
through cultural movements. IPTA also attempted to forge a link
among leftist ideologies in political and cultural spheres in order to
consolidate the communist movement and disseminate programmes
of the communist party among the marginalised. Ghatak joined
IPTA in 1948, though, soon, he found his true calling in the world of
cinema. He was, undoubtedly, a product of people’s theatre movement,
nurtured by IPTA and deeply influenced by it as well as by prevalent
communist ideals and Marxist world vision. But he thought he would
better devote himself to the creation of a new culture. This creative
urge endured throughout his life. In the paper I attempt to
explain the influence of IPTA on Ghatak’s ideas and his creative
outputs during the 1940s to the mid-1950s.

At the stroke of midnight of 14th August 1947, Pandit Jawaharlal Nehru delivered his ‘Tryst with ... more At the stroke of midnight of 14th August 1947, Pandit Jawaharlal
Nehru delivered his ‘Tryst with Destiny’ speech: ‘A moment comes,
which comes but rarely in history, when we step out from the old
to the new, when an age ends, and when the soul of a nation, long
suppressed, finds utterance. It is fitting that at this solemn moment we
take the pledge of dedication to the service of India and her people
and to the still larger cause of humanity.’ But the Partition and
concomitant bloodbath was a reminder that the enchanting illusion of
freedom with its veneer of nationalism and humanism was but perhaps
ephemeral. For, this freedom was not merely a transfer of power
but bore the marks of blood and wounds of Partition. A narrative of
refugees going through miseries and suffering discrimination, deeply
influenced literature, cinema and other forms of art and culture of
post-Independence Bengal. Ritwik Ghatak was one of the filmmakers
who initiated a fresh chapter in the history of Bengal in the context of
the Partition. He was not a refugee in the true sense of the term, nor
did his family suffer much on account of Partition. But the crisis of
losing one’s homeland and the pangs of rootless life as a refugee was
all-pervasive in his creations. In almost all of his films, he delved deep
into the theme, underscoring his world vision before the spectators.
‘Ritwik has been marked as a commentator of refugee problem’
in post-Independence Bengal. The sufferings of rootless Bengali
refugees constituted the leitmotif of his creations. The Paper
explores Ritwik’s uniqueness in the treatment of the complex vortex
of the social, economic and political life of the rootless Bengali
refugees.

Hindu Marriage Act of 1955 and later amendments consider to 'monogamy' as only acceptable form of... more Hindu Marriage Act of 1955 and later amendments consider to 'monogamy' as only acceptable form of marriage. Nevertheless in some parts of our country like Himachal, Uttarakhand, Trivankore, Nilgiri, Haryana, Rajasthan, there polyandry marriage system is still being practiced as form of conventional process or due to shortage of brides in marriage markets. While I consider to the parallel films as prism of social reality, because none mainstream cinema and sociology are interrelated with each other and sometimes sociologists use films as prism of society to depict the social realism, so in context of post nineties none mainstream films I want to depict how does polyandry system violates the sexual rights of women.

s: Reproductive health and reproductive rights are life time concerns which are essential to wome... more s: Reproductive health and reproductive rights are life time concerns which are essential to women " s empowerment and gender equality, nevertheless within patriarchal society women don " t have control over their reproduction, or to use contraception, terminate pregnancy and prefer to girl child. Further patriarchy not only forces women to be mothers of sons, it also determines the condition of their motherhood. The scripting of reproductive rights into International Human rights law is a foremost achievement. The struggle over reproductive and sexual rights led to a progressive feminization of theory and practice of governance, development, human rights and global justice. * In the presentation first I want to explain that what is the role of feminist groups regarding sexual and reproductive rights of women? * Secondly it will be discussed that after implementation of PCPNDT how Indian mothers combat against patriarchy to save their girl child, which has been strengthening their reproductive choice

In the beginning of 1970s with the introduction of feminist theory in film we started too convers... more In the beginning of 1970s with the introduction of feminist theory in film we started too conversant with some terms like ‘male gaze’, visual pleasure, spectatorship etc. From the end of 1960s scholars are influenced by the works Simone De Beauvoir’s ‘The Second Sex’, Betty Friedan’s ‘The Feminine Mystique’, and Kate Millett’s ‘Sexual Politics’. Though Beauvoirs, Friedan and Kate were the pioneers to introduce feminist perception in films nevertheless the alternative ideas of Laura Mulvey, Sally Potter reopen the new arena of analysis of dual composition: the critique of gaze in mainstream cinema and the advocacy of gaze in alternate or counter-cinema. So in this chapter I want to analyse that in the aspect of Indian cinema is it hypothetically or rationally possible to segregate the gaze of mainstream and alternative film directors when they have visualized women on screen?

Haribhari’ (2000) to ‘Puriti Neppulu’ (2013): Patriarchy Vs. Right’s of Womb, Aug 26, 2014

The overthrow of mother rights was the world historic defeat of female sex. The man seized the re... more The overthrow of mother rights was the world historic defeat of female sex. The man seized the reins in the house also, the woman was degraded, enthralled and slave of the man’s lust a mere instrument for breeding children. In the class divided patriarchal society women are subservient to men. This idea of inferiority of woman has become embedded with the process of thinking of the bourgeois. With the emergence of capitalism women are pushed gradually into the annals of child bearing and carrying out of material household duties, but their efforts in between house hold, could not recognize by capitalist society. Since parallel films are visualized the real image of society so in this paper I want to explain in the aspect of post nineties Indian parallel films, how women’s reproductive rights have been violating by the force of patriarchy and how women are combating to patriarchal forces for achieving their reproductive rights.

Men act, women appear…men look at women…women themselves being looked at." ----(Berger John: Ways... more Men act, women appear…men look at women…women themselves being looked at." ----(Berger John: Ways of Seeing)

Drafts by Debjani Halder

The result of the 2011 census of India have underscored gradual decline of the female sex ratio ... more The result of the 2011 census of India have underscored gradual decline of the female sex ratio in India. The deficit of young girls –compared to the young boys-is extremely pronounced in the state of Pubjab, Haryana, and in Western areas of Uttar Pradesh. However it is severe as well in North Eastern Rajasthan, in western areas of Maharashtra, and throughout most of Gujarat. While in 2011, most districts in the country’s South and East showed a little sign of an abnormal deficit of young girls, this was not always the case. The outward spread of the phenomenon from Salem resembles nothing less than the growth of a malignancy, which seems likely that this trend too partly reflects a rise in the practice of sex-selective abortion. Sociologist Srinivasan and his colleague Rajan, have observed from the chronological adverse female sex ratio in India, that gender differences in death rates have been narrowing down and further make references to the work of other demographers, pointing in the same directions. Logically all these should have led them to the serious consideration of trends in the sex ratio at birth. In the research it has critically explained in the context of post nineties Indian cinema how the female foeticide and infanticide have been visualised on screen?

Ritwik Ghatak (1925-1976) is celebrated as one of the filmmakers of the fifties of the twentieth ... more Ritwik Ghatak (1925-1976) is celebrated as one of the filmmakers of the fifties of the twentieth century who helped to establish Bengali cinema as an art form. It was Ritwik who liberated the visual from its poetic grace, the camera being in his hands a tool of negotiation with reality in its naked manifestation, a clear rupture with the traditional aesthetics of filmmaking. Himself Ritwik believed that freedom was not merely a transfer of power but bore the marks of blood and wounds of Partition. A narrative of refugees going through miseries and suffering discrimination, deeply influenced literature, cinema and other forms of art and culture of post-Independence Bengal. In his films he went, repeatedly, into the depth of an uprooted existence, underscoring his fundamental vision of society. In an interview he expressed his sufferings because of Partition, 'The partition of Bengal convulsed our socioeconomic and political life. " I could not accept the partition of Bengal nor can accept it today. I have wanted to say as much in those three films. Despite my protestations, 'Meghe Dhaka Tara', 'Komal Gandhar', and 'Subarnarekha' have become a trilogy. Reflect well and you will find the origin of today's problems in the partition. They divided the country and played ducks and drakes with its people.' " After Partition of 1947 these hapless people were compelled to leave their native soil, the familiar world of the earth, trees, rivers, sky and family that formed inseparable parts of their beings, and set out towards an uncertain future. These people were like weeds floating around from place to place, from the platforms to refugee colonies, from Champaran to the Andamans, from Dandakaranya to Marichjhapi. In this paper I want to depict that how did Ritwik compared Partition to the suffering at the loss of a dear and near one and turned his gaze on the psychological trauma of uprooted people those who not only geographically uprooted also bifurcated from social own connectivity.

Key Words: Polyandry, Misogyny, Adverse Female Sex ratio, Indian Cinema

Haribhari’ (2000) to ‘Puriti Neppulu’ (2013): Patriarchy Vs. Right’s of Womb, Aug 26, 2014

Motherhood is treated as central fact of female existence. Patriarchy has controlled women’s sex... more Motherhood is treated as central fact of female existence. Patriarchy has controlled women’s sexual and reproductive capacities which has glorified motherhood as self scarifies- devoted-humble mother. Patriarchy has created the sharp division between private and public, which restricts women’s mobility and growth and reproduces male domination. The concept of motherhood and sexuality, their connections and interactions, undergo in different historical periods in society, and the differences between conceptions of motherhood and sexuality in different cultures depicted in analytical frame work.
In the colonial era with the emergence of Bourgeoisie nationalism, ‘motherhood’ represented as unique-political-religious-cultural phenomenon in the cultural life of Bengal. Film makers of Indian cinema tried to idealise the mother as ‘Deshomatrika’ or ‘Nation’, indeed the characters were represented as archetypal.

In the beginning of 1950’s a group of Indian film directors those who inspired by the neorealism-Socialism and tried to bring out camera on street they have disrupted the binaries of stereotypical and archetypal images of motherhood on screen. Ritwik Ghatak was one legendry among them, who liberated the visual from its poetic grace, the camera being in his hands a tool of negotiation with reality in its naked manifestation, a clear rupture with the traditional aesthetics of filmmaking. At this point it is relevant to raise the questions, that to what extent his creative endeavours condemned the patriarchal viewpoint in order to construct image and identity of mother in his path breaking film ‘Meghadhaka Tara’ or Cloud capped Star’? Was Nita’s mother portrayed as individuals, rather than as self -scarified benevolent image of ideal mother?

Early phase of 20th Century to mid-forties of last century in the aspect of Indian cinema there w... more Early phase of 20th Century to mid-forties of last century in the aspect of Indian cinema there was the common trend to represent the image of women as ideal-self scarified divine ideal mother. In the mid-forties with the influence of bourgeois nationalism film directors had used the image of mother to establish the nationalist aspiration and tried to depict the concept of ‘Nation’ or ‘Desh’ through their cinematic lens. Incorporating the concept of motherhood with nation was absolutely archetypal and symbolic. In the mid-fifties of twentieth century with the influence of alternative art forms-‘avarnt garde’ and neo realism Indian realist film directors tried to establish the ‘new’ concept of motherhood through their creation which were visualised as more ‘flesh-blooded’ rather than the symbolic ‘mother’. Here I like to deconstruct the image of motherhood through the lens of Indian cinema and would like to explore is motherhood establish as choice or practice or in a patriarchal society it would only establish women’s identity within self-less reproduction.