{"id":35244,"date":"2021-03-03T11:53:42","date_gmt":"2021-03-03T10:53:42","guid":{"rendered":"https:\/\/asianfilmfestival.barcelona\/2020\/?p=35244"},"modified":"2021-05-05T17:40:54","modified_gmt":"2021-05-05T15:40:54","slug":"online-course-cinema-and-literature-in-india-20th-and-21st-centuries","status":"publish","type":"post","link":"https:\/\/asianfilmfestival.barcelona\/2020\/online-course-cinema-and-literature-in-india-20th-and-21st-centuries\/","title":{"rendered":"Online course: \u00abCinema and Literature in India. 20th and 21st centuries\u00bb"},"content":{"rendered":"
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CASA ASIA arranges a course on Indian cinema and literature after Independence and Partition. The course will cover the relationship of symbiosis between the respective narratives, crossing experiences from both fields through the resonances and correspondences that unify them, from the perspective of Cultural Studies.<\/strong><\/p>\n

The professor of the University of Oviedo, Carmen Escobedo de Tapia<\/strong>, co-author of the book \u201cNarrativa y Cine de la India en Lengua Inglesa<\/strong>\u201d with Ver\u00f3nica Quevedo, will start by presenting an introduction class, making a general subject contextualization of the course. This session will be followed by the one presented by Guillermo Rodr\u00edguez<\/strong>, director of \u201cCasa de la India de Valladolid\u201d, since it was founded in 2003. The session will deal on Satyajit Ray <\/strong>and Rabindranath Tagore, before giving way to the topics that Priyanka Ragji <\/strong>will address in the following classes. Ragji\u2019s classes are focusing on the work of writers such as Anita Desai, Salman Rushdie, Arundhati Roy, Amitav Ghosh, and the filmmakers Mrinal Sen, Guru Dutt, Aparna Sen and Anurag Kashyap. The aim of this course is to value a relational system as a methodology to approach a field of knowledge that opens up countless interpretative options and to establish a clear division between cinema and literature, taking into account that they often share their respective narratives.<\/p>\n

Program<\/u>:<\/strong><\/p>\n

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  1. Literature and Cinema in Postcolonial India.<\/strong> In this session, Professor Carmen Escobedo de Tapia will contextualize the influence of literature on cinema and vice versa, based on her research on the different literary and cinematographic narratives in English that arise in India, in the historical, cultural and literary context to which they belong.<\/li>\n
  2. Satyajit Ray and Rabindranath Tagore by Guillermo Rodriguez<\/li>\n
  3. India after Independence and Partition. The Regional conflicts in a global world between Pakistan, India, Bangladesh and Kashmir. A look at the work of the writer Anita Desai and the infinite diaspora<\/li>\n
  4. Mrinal Sen and the politically and socially committed cinema<\/li>\n
  5. Where is Salman Rushdie?<\/li>\n
  6. Guru Dutt\u2018s Full House<\/em><\/li>\n
  7. The tragic melancholy of a classical landscape: Arundhati Roy<\/li>\n
  8. Aparna Sen: The resurgence of nationalisms and other conflicts<\/li>\n
  9. \u00a0Amitav Ghosh and \u201cEl entorno retorno\u201d<\/li>\n
  10. Viral pornography: Anurag Kashyap, followed by the conclusions of the course, and an annotated bibliography. By Priyanka Ragji.<\/li>\n<\/ol>\n

    Professors:<\/u><\/strong><\/p>\n

    Carmen Escobedo de Tapia<\/strong> is an associate professor at the University of Oviedo and a specialist in Postcolonial Literature and Culture. Her extensive teaching experience is associated with her research on Indian Literature in the English Language. She is the author of numerous articles and co-author of the essay \u201cNarrativa y Cine de la India en Lengua inglesa: una aproximaci\u00f3n para la Era Global\u201d (2012. Madrid: Bohod\u00f3n Ediciones). Among other texts published by Carmen Escobedo, it is worth mentioning Female Narratives of Loss; Memories of Partition <\/em>(2018); \u201cMujer\u00a0 y\u00a0 violencia\u00a0 en\u00a0 la\u00a0 literatura\u00a0 india\u00a0 contempor\u00e1nea\u201d (Women and Violence in Contemporary Indian Literature<\/em>, 1999): \u201cVoces\u00a0 femeninas\u00a0 frente\u00a0 a\u00a0 la\u00a0 violencia: recreaciones\u00a0 de\u00a0 lo\u00a0 epistolar\u00a0 en\u00a0 Witness\u00a0 the\u00a0 Night<\/em>\u201d (2010), by Kishwar Desai; Re-reading Nature<\/em>, Restoring Nature: The Inheritance of Loss<\/em> by Kiran Desai (2019); and Spiritual and Corporeal Selves in India: Approaches in a Global Era<\/em> (2020).<\/p>\n

    Guillermo Rodr\u00edguez Mart\u00edn<\/strong>\u00a0is a Doctor in English Philology from the University of Valladolid and with a Ph.D. from Kerala University (2006). From 2000 to 2003, he held the position of Coordinator of the Indian Area at the Centre of Asian Studies at the University of Valladolid. He is an expert in Indian poetics and aesthetics, literary criticism, and contemporary Indian culture. He has been director of \u201cCasa de la India de Valladolid\u201d since its creation. In 2010 he received the Gonz\u00e1lez Sinde Prize awarded by the Academy of Cinematographic Arts and Sciences of Spain for the organization of the Spanish Film Festival in India (6 editions). In 2012 he was awarded with the \u201cPremio de la Amistad\u201d, granted by the Government of India for his work. His publications include When Mirrors Are Windows. A View of A.K. Ramanujan`s Poetics<\/em> (Oxford University Press, 2016) and Journeys: A Poet`s Diary<\/em>, co-edited with Krishna Ramanujan (Penguin Random House, 2019).<\/p>\n

    Priyanka Ragji <\/strong>She was born in Mumbai, India, and she graduated from Media with a major in Advertising and Journalism from her hometown’s university. She is a translator and interpreter, and as a result of her interest in Indian literature and cinema, she instructs the Asian Film Festival regarding the cinema of her country. She has concluded the Master of Humanities and Cultural Management at the International University of Catalonia, and she is currently pursuing her Ph.D. based on the research and comparative analysis of the preservation and techniques of new media art in the European and Asian contexts.<\/p>\n<\/div><\/section>\n

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