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dc.contributor.authorSen, Sanghita
dc.date.accessioned2019-03-22T11:30:08Z
dc.date.available2019-03-22T11:30:08Z
dc.date.issued2019-02-08
dc.identifier.citationSen , S 2019 , ' Interweaving dystopian and utopian spaces, constructing social realism on screen : Bakita Byaktigato/ The Rest is Personal ' , Open Library of Humanities , vol. 5 , no. 1 , 14 , pp. 1-27 . https://doi.org/10.16995/olh.410en
dc.identifier.issn2056-6700
dc.identifier.otherPURE: 258270205
dc.identifier.otherPURE UUID: 572022f4-6102-4b50-8692-a0b8a2a96a29
dc.identifier.othercrossref: 10.16995/olh.410
dc.identifier.otherScopus: 85065135789
dc.identifier.otherWOS: 000464652600014
dc.identifier.urihttp://hdl.handle.net/10023/17344
dc.description.abstractThis article investigates the role of utopian and dystopian spaces in the construction of social realism in Bakita Byaktigato/The Rest is Personal (Pradipta Bhattacharya, 2013). The inherent contradiction between the implausible fictional construct of utopian and dystopian spaces and the existing socio-political reality is finely foregrounded through multiple loci of narrative actions. The film, based in Kolkata, revolves around Pramit, an aspiring documentary film-maker, and his quest for love. There are two spaces in the depiction of Kolkata: the city that contains the contemporary socio-political reality which is neither utopic or dystopic, and its dystopic underbelly that embodies the absence of hope for redemption or respite for its inhabitants. Pramit meets a fraudulent astrologer who occupies the dystopian space of ‘darkened shadows’ but knows about the utopian space that remains beyond his reach. The dystopian space is riddled with poverty, deprivation, unfulfilled desire, and hopelessness, along with fear and volatility. The final locus is a village called Mohini, a utopian space representing absolute harmony and undiluted bliss. Only the chosen ones have the privilege to enter the village. Everyone is happy in this space and prone to falling in love that lasts a lifetime. This is commemorative of arshinagar (‘the mirror city’), a coveted space in bāul practices and a metaphor for a utopian space that stands in stark contrast with the reality. By interweaving these spaces in his cinematic experimentation, Bhattacharya addresses issues such as folk-cultural practices and community, economic crises and class, caste hierarchy, and social relationships, while attempting to create an alternative cinematic language to counter the filmmaking practices in Bengal that rendered itself vestigial.
dc.language.isoeng
dc.relation.ispartofOpen Library of Humanitiesen
dc.rightsCopyright: © 2019 The Author(s). This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/.en
dc.subjectPN1993 Motion Picturesen
dc.subjectT-NDASen
dc.subject.lccPN1993en
dc.titleInterweaving dystopian and utopian spaces, constructing social realism on screen : Bakita Byaktigato/The Rest is Personalen
dc.typeJournal articleen
dc.description.versionPublisher PDFen
dc.contributor.institutionUniversity of St Andrews.Film Studiesen
dc.identifier.doihttps://doi.org/10.16995/olh.410
dc.description.statusPeer revieweden


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