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Explaining Reality:Odia Parallel Films


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1 U.N. (Auto.) College of SC. & Tech., Adaspur, Cuttack, Odisha, 754011., India
 

Except 'Bollywoodisation' (imitating the making of Bombay Entertainment Films)1 , Odia films around 1970s were also influenced by the growth of 'new wave cinema' movement, which was also known as 'Parallel Cinema'. Some people believe that there has been no separate concept of 'mainstream' or 'parallel' cinema. Both are inseparable from each other and cannot be seen as two distinct and altogether separate entities. Some films are more artistic and some are less. Shyam Benegal says, “Meaningful films are ludicrously called 'parallel' cinema'."2 Before the coming of the so-called masala3 films, one cannot distinguish which were masala or which were parallel or art films. But, it is a fact that a new trend was originated in mid 70s of the last century, where some people realised that mainstream films were not adequate to project the real day-to- day life of the people. Their sufferings and feelings needed more scope to be projected. So, exclusively some meaningful down to earth cinemas were made to show audience their real life which was far away from those reflected in the mainstream masala films. These cinemas gave movie-goers something more than meaningless entertainment. It also affected Odia film industry.

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  • Ashish Rajadhyaksha , “The 'Bollywoodization' of the Indian Cinema: Cultural Nationalism in a Global Arena”, in Inter-Asia Cultural Studies, Volume 4, 2003 - Issue 1, 2010, pp.25-39.

  • Shyam Benegal, “'Communications and Culture: Tradition, Modernity and Postmodernism in Indian Cinema”, The 4th Subhas Ghosal Foundation Lecture Address, agencyfaqs!, 08 September, 2005.

  • Indian cinema, mostly Hindi mix genres in one work like freely mix action, comedy, romance, and drama or melodrama. They also tend to be musicals that include songs filmed in picturesque locations. The genre is named after the masala, a mixture of spices in Indian cuisine.

  • Letitia Allemand, “How popular is the Indian alternative movement and how is urban poverty represented?,” India's Parallel Cinema, Project work in Area and Cultural Studies, Academic year 20142015, Lousanne, pp.5-29.( Auteur theory of filmmaking views the director as the major creative force in a motion picture. It was born in France in the late 1940s)

  • See also Ira Bhaskar, The Indian New Wave, Routledge Handbook of Indian Cinemas, 2013.

  • Bhima Singh, Odia Chalachitrara Itihas (o), Sitaleswari Prakashani, Cuttack, 2010, pp. 320-322.

  • Directorate of Film Festival, 4 Nov., 2012; Ram Awatar Agnihotri, Modern Indian Films on Rural Background: Social and Political Perspective, 4 Nov., 2012; Bhima Singh, op. cit.,p.322.)

  • Surya Deo, Odia Cinema: Rupa Rupantara (o), Srujana, Bhubaneswar, 2016, p.133.

  • K. Moti Gokulsing, Wimal Dissanayake (Ed.), Routledge Handbook of Indian Cinemas, Routledge, New York, 2013, p. 69.

  • Surya Deo, Odia Cinema: Rupa Rupantara (o), Srujana, Bhubaneswar, 2016, p.134.

  • K. Moti Gokulsing, Wimal Dissanayake (Ed.), Routledge Handbook of Indian Cinemas, Routledge, New York, 2013, pp.134-135.

  • Ajit Duara, “Maya Miriga', in Debonair, June, 1994: Piyush Roy, “Maya Miriga: A Mirage called Life”, The South Asianist, Vol. 2, No. 3, pp. 173–178.

  • Nirad Mohapatra, “Absosh Kichhi Nahi”, Ravibar Sambad, Bhubaneswar, 22.02.2015;Pranab Das, “Niradanka Prathama Cinema” (o) ,The Sambad, 1 .03 .1915; The Sambad,20.02.2015.

  • K. Moti Gokulsing, Wimal Dissanayake (Ed.), Routledge Handbook of Indian Cinemas, Routledge, New York, 2013, p. 70.

  • Suryo Deo, Odia Cinema Ra Rupa O Rupantara (o), Pakhighara Publication, Bhubaneswar, p.141.

  • Surya Deo, Odia Cinema; Rupa Rupantara (o), Srujana, Bhubaneswar, 2016, p.142.

  • 39th National Film Awards, International Film Festival of India, 27 Feb 2012; Surya Deo, op. cit.,pp.142-143.


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  • Explaining Reality:Odia Parallel Films

Abstract Views: 186  |  PDF Views: 146

Authors

Ranjan Kumar Rath
U.N. (Auto.) College of SC. & Tech., Adaspur, Cuttack, Odisha, 754011., India

Abstract


Except 'Bollywoodisation' (imitating the making of Bombay Entertainment Films)1 , Odia films around 1970s were also influenced by the growth of 'new wave cinema' movement, which was also known as 'Parallel Cinema'. Some people believe that there has been no separate concept of 'mainstream' or 'parallel' cinema. Both are inseparable from each other and cannot be seen as two distinct and altogether separate entities. Some films are more artistic and some are less. Shyam Benegal says, “Meaningful films are ludicrously called 'parallel' cinema'."2 Before the coming of the so-called masala3 films, one cannot distinguish which were masala or which were parallel or art films. But, it is a fact that a new trend was originated in mid 70s of the last century, where some people realised that mainstream films were not adequate to project the real day-to- day life of the people. Their sufferings and feelings needed more scope to be projected. So, exclusively some meaningful down to earth cinemas were made to show audience their real life which was far away from those reflected in the mainstream masala films. These cinemas gave movie-goers something more than meaningless entertainment. It also affected Odia film industry.

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References