From Literary Composition To Cinematic Adaptation A Study Of Cinema Through Literature From Indian Perspective

Adaptation of literary texts, be it Indian or foreign, into Indian cinema or Indian literary texts into foreign cinema, is not new for film makers, rather one can say that such adaptation is as long as film making itself. Last few decades have witnessed a spectacular rise of many such adaptations produced out of literary texts. From past to present, literary texts of many popular writers from national to global level have been adapted into Indian cinema and also Indian literary texts into foreign cinema. However, adapting a literary work into a two or three hours cinema, mostly in case of a novel is not always an easy task to a film maker as sometimes, accommodation does not come to fit in the stipulated time frame which eventually results in messing up the whole essence of the original art. Regardless of partial or whole, a cinema based on literary text has always been a great appeal to an erudite person. The present anthology is an endeavour of some select Indian cinema based on literary texts, irrespective of Indian and foreign and also some foreign cinema based on wholly Indian literary texts. Be it Indian cinema based on popular world literature or foreign cinema based on wholly Indian texts, the book is a deft study of the cinematic adaptation of literary texts from an Indian perspective.

This book invites readers to immerse themselves in the fantastic journey of written text to the screen. It is divided into two parts, the first of which broadly focuses on cinematic adaptations based on Indian literary texts. The second section explores the adaptations of literary works from other countries. In the world of Indian cinema, the first full-length Indian feature film, Raja Harishchandra, was based on a legend mentioned in Indian holy scriptures. Since then, several literary texts have been filmed, and this process has become a popular phenomenon. The recent film by Vishal Bhardwaj, Haider, an adaptation of William Shakespeare’s Hamlet, has raised the expectations of lovers of this symbiotic relationship between literature and film. This book engages with issues like ‘fidelity’ and ‘intertextuality’ in the works of Tagore, Satyajit Ray, Khushwant Singh, Vishal Bhardwaj, RK Narayan, as well as other authors and directors from India and other parts of the world.

This book is about the popular cinema of North India ("Bollywood") and how it recasts literary classics. It addresses questions about the interface of film and literature, such as how Bollywood movies rework literary themes, offer different (broader or narrower) interpretations, shift plots, stories, and characters to accommodate the medium and the economics of the genre, sometimes even changing the way literature is read. This book addresses the socio-political implications of popular reinterpretations of "elite culture", exploring gender issues and the perceived "sexism" of the North Indian popular film and how that plays out when literature is reworked into film. Written by an international group of experts on Indian literature and film, the chapters in this book focus on these central questions, but also cover a wide range of literary works that have been adapted in film. Each part of the book discusses how a particular genre of literature has been "recast" into film. The individual chapters focus on comparisons and close studies of individual films or film songs inspired by "classics" of literature. The book will be of interest to those studying Indian film and literature and South Asian popular culture more generally.

Industry 5.0 is the successor of the 'Industry 4.0' concept which employed high technology in the manufacturing industry. Industry 5.0 is a new idea that adds a human touch to the work of robots and smart machines. The basic idea of humans and machines working together is to increase efficiency and effectivity, like the 'Internet of things' (loT). It aims to merge the increasing cognitive computing abilities of the robots with the intelligence and resourcefulness of the humans. The progress of Industry 5.0 is inevitable. As the technology grows more each day, we find ways to make our work simpler. The development of such technologies to make the world more efficient requires its manufacturers, i.e., humans who collaborate with these machines and technologies. Humans are indispensable resources, as what a machine can do is limited. And with all these efficiencies we have come so far, there is no path leading us back. With adoption of new concepts comes a paradigm shift as development continues and we move from Industry 4.0 which speaks of the "future of production," its primary purpose continues to be achieving seamless connectivity between machines and IT systems for higher productivity and efficiencies across the value chain. Overall, it focuses mainly on traditional financial and operational KPIs. Whereas Industry 5.0 gives a human touch to the concept of 4.0 keeping in mind the well-being of the environment and society, making the machines and humans work together on a path of 'Green Future'. Industry 5.0 has the balance of both humans and technologies which benefits the ecosystem, with discovery of new energy sources and renewable resources, helping in a sustainable working environment. It can be used to reduce harmful residue caused due to manufacturing processes and recycle rare materials. Taking this theme, the multidisciplinary congress on "Industry 5.0 and Paradigm Shift: Emerging Challenges" will highlight research challenges and open issues that should be further developed to realize Industry 5.0.

This collection of essays by subject specialists examines the politics of violence, communalism, and terrorism as negotiated in cinema; the representations of identitarian politics; and the complex ideological underpinnings of literary adaptations.

This collection of forty new essays, written by the leading scholars in adaptation studies and distinguished contributors from outside the field, is the most comprehensive volume on adaptation ever published. Written to appeal alike to specialists in adaptation, scholars in allied fields, and general readers, it hearkens back to the foundations of adaptation studies a century and more ago, surveys its ferment of activity over the past twenty years, and looks forward to the future. It considers the very different problems in adapting the classics, from the Bible to Frankenstein to Philip Roth, and the commons, from online mashups and remixes to adult movies. It surveys a dizzying range of adaptations around the world, from Latin American telenovelas to Czech cinema, from Hong Kong comics to Classics Illustrated, from Bollywood to zombies, and explores the ways media as different as radio, opera, popular song, and videogames have handled adaptation. Going still further, it examines the relations between adaptation and such intertextual practices as translation, illustration, prequels, sequels, remakes, intermediality, and transmediality. The volume's contributors consider the similarities and differences between adaptation and history, adaptation and performance, adaptation and revision, and textual and biological adaptation, casting an appreciative but critical eye on the theory and practice of adaptation scholars--and, occasionally, each other. The Oxford Handbook of Adaptation Studies offers specific suggestions for how to read, teach, create, and write about adaptations in order to prepare for a world in which adaptation, already ubiquitous, is likely to become ever more important.

Weighs the value of Germanophone culture, and its study, in an age of globalization, transnationalism, and academic change.

This book presents an examination of fictional representations, in books and films, of the 1947 Partition that led to the creation of the sovereign nation-states of India and Pakistan. While the process of representing the Partition experience through words and images began in the late 1940s, it is only in the last few decades that literary critics and film scholars have begun to analyse the work. The emerging critical scholarship on the Partition and its aftermath has deepened our understanding of the relationship between historical trauma, collective memory, and cultural processes, and this book provides critical readings of literary and cinematic texts on the impact of the Partition both in the Punjab and in Bengal. The collection assembles studies on Anglophone writings with those on the largely unexplored vernacular works, and those which have rarely found a place in discussions on the Partition. It looks at representations of women’s experiences of gendered violence in the Partition riots, and how literary texts have filled in the lack of the ‘human dimension’ in Partition histories. The book goes on to highlight how the memory of the Partition is preserved, and how the creative arts’ relation to public memory and its place within the public sphere has changed through time. Collectively, the essays present a nuanced understanding of how the experience of violence, displacement, and trauma shaped postcolonial societies and subjectivities in the Indian subcontinent. Mapping the diverse topographies of Partition-related uncertainties and covering both well-known and lesser-known texts on the Partition, this book will be a useful contribution to studies of South Asian History, Asian Literature and Asian Film.