‘<i>Thak</i>’/Freeze—Negotiating Narrative Positions in Adaptation

Asha Kuthari Chaudhuri

in Filming Fiction

Published in print April 2012 | ISBN: 9780198075936
Published online September 2012 | e-ISBN: 9780199081851 | DOI:
‘Thak’/Freeze—Negotiating Narrative Positions in Adaptation

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This chapter discusses how narrative positions are negotiated in film adaptation, focusing on the representation of the female in Rabindranath Tagore's novel ‘The Broken Nest’ (‘Noshto Neerh’, 1901) and Satyajit Ray's film Charulata (1964). The very poignantly ambiguous note on which Charulata ends subverts the very notions that it had worked upon in the early parts of the film by assuming the ‘woman's gaze’. While Ray tries to substitute the traditional male gaze for a female one, this chapter argues that this is not really the case in its entirety. The representation of the female in both ‘The Broken Nest’ and Charulata are obviously entrenched in their own historicity and the historicity of their authors. Both necessarily deal with the ideas that have arisen from the debate on women, their education, and their place in the family, society, and in the world during the period.

Keywords: film adaptation; women; Rabindranath Tagore; novel; The Broken Nest; Satyajit Ray; film; Charulata; woman's gaze

Chapter.  7246 words. 

Subjects: Literary Theory and Cultural Studies

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