LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 18:1 January 2018
ISSN 1930-2940

Managing Editor: M. S. Thirumalai, Ph.D.
Editors: B. Mallikarjun, Ph.D.
         Sam Mohanlal, Ph.D.
         B. A. Sharada, Ph.D.
         A. R. Fatihi, Ph.D.
         Lakhan Gusain, Ph.D.
         Jennifer Marie Bayer, Ph.D.
         G. Baskaran, Ph.D.
         L. Ramamoorthy, Ph.D.
         C. Subburaman, Ph.D. (Economics)
         N. Nadaraja Pillai, Ph.D.
         Renuga Devi, Ph.D.
         Soibam Rebika Devi, M.Sc., Ph.D.
         Dr. S. Chelliah, Ph.D.
Assistant Managing Editor: Swarna Thirumalai, M.A.

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Literature into Film:
Questioning Sexual Myths in Rituparno Ghosh’s Adaptation of Tagore’s Chitrangada

Barnali Sikder
Janata College, Serfanguri


Rituporno Ghosh (1963-2013)
Courtesy: www. Currentbooks.com

Abstract

Rabindranath Tagore’s literary creations are always appealing to readers and thus these literary sources often provide interesting plot for filmmakers too. Rituparno Ghosh, a Bengali filmmaker from West Bengal , is often considered to be a fan of Tagore, as time and again he has chosen Tagore’s literary masterpieces for his films. Chitrangada is his last cinematic adaptation, which is again an adaptation of Tagore’s Dance drama with the same name. In the adaptation of Tagore’s Chitrangada, he has cinematized the possibility of human desires entrapped in the confinement of body. In this adaptation, Ghosh has thoroughly dealt with the necessity of rethinking the already identified and accepted norms of the society. Through his crafted cinematic venture in Chitrangada, Ghosh has questioned and explored sexual myths that are still prevailing in our society to relook into the cornered existence of those who live against heterosexuality. Homosexuality which is often considered to be a Taboo in our society is being negated by him in this film while redefining the meaning of body and then of Self. Thus “What is called into question here is the distinction between the naturally given, normative self of heterosexuality and the rejected other of homosexuality.” (Peter Barry, Beginning Theory, p-139).

Keywords: Aesthetics, Heterosexuality, Homosexuals, Taboo, Adaptation.

Adaptation

Ronald Perrier writes, “The study of literature casts light on the meanings in the film, and the study of the film can illuminate the full value of the literature.” From Fiction to Film

Adaptation can be understood as transformation or conversion. In the process of adaptation, this transformation may occur between two ends -one which is the source and the other where the ideas from the source is transmuted. Here it should be said that literary adaptations can be traced in many other genre – from videogames to films. In this context, adaptations appear to be mainly of two types – one where simply the story line is maintained and the other where we can see the replica of the original text. In both of these cases of adaptation the question of fidelity to the original source remains. Specifically in the adaptation of literary texts into films , the film in which the literary text is adapted is often considered to be inferior compared to the literary text. In another perspective, it is argued that film itself is a separate art form where an artist, an auteur takes up his liberty to paint his own canvass with his desired colour. In doing so the auteur takes help of two separate tools one is of mise-en Scene – where the filmmaker will work on the development in space and the other is Montage which guarantees modification in time while putting one scene after the other.

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.

Barnali Sikder
Assistant Professor
Janata College
Serfanguri 783346
Assam
India
barnaliunlesahed@gmail.com

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