Gulzar is one of the best known and acknowledged poet lyricist and director, honoured for his sensitivity, best reflected through his writings and treatment of films. Saba Basheer is a poet, author and a translator. Her first book was a collection of poems, Memory Past (2006) brought out by Writers’ Workshop. I Swallowed the Moon: The Poetry of Gulzar (2013), is the analysis of the poetry of Gulzar, which culminated from her PhD thesis, and is now being translated in Hindi and Urdu.
Shakespeare and the Political: Elizabethan Politics and Asian Exigencies is a collection of essays which show how selected Shakespearean plays and later adaptations engage with the political situations of the Elizabethan period as well as contemporary Asian societies. The various interpretations of the original plays focus on the institutions of family and honour, patriarchy, kingship and dynasty, and the emergent ideologies of the nation and cosmopolitanism, adopting a variety of approaches like historicism, presentism, psychoanalysis, feminism and close reading. The volume also looks at Shakespearean adaptations in Asia – Taiwanese, Japanese, Chinese and Indian. Using Douglas Lanier's concept of the 'rhizomatic' approach, it seeks to examine how Asian Shakespearean adaptations, films and stage performances, appropriate and reproduce originals often 'unfaithfully' in different social and temporal contexts to produce independent works of art.
Story of Hori, a poor peasant who yearns to own a cow and to make the pious Hindu's traditional gift to a Brahmin when he dies. Through Premchand's vivid character portrayals we witness the efforts of Hori's family to survive the conflicts of village politics and the webs spun by colonial landownership patterns. Counterposed to the culture of rural connectedness but also constriction is the isolation but also freedom of the city. Here the rigors of industrialization and empty materialism only can be offset by the promise of Gandhian idealism.
At one level, Gulzar's Aandhi (1975) is a story of estranged love between two headstrong and individualistic personalities; at another, it is a tongue-in-cheek comment on the political scenario of the country. Through a close textual analysis of the film, this book examines in detail its stellar cast, the language and dialogues, and the evergreen songs which had a major role in making the film a commercial success. Gulzar's own insights into the making of Aandhi (from an interview) further enhances the readers' understanding of the film. Saba Bashir's book will delight those wanting to savour the duality and drama that befit life, or shall we say, cinema.
This book examines the relationship between the newly independent Indian state and its New Cinema movement. It looks at state formative practices articulating themselves as cultural policy. It presents an institutional history of the Film Finance Corporation (FFC), later the National Film Development Corporation (NFDC), and their patronage of the New Cinema in India, from the 1960s to the 1990s, bringing into focus an extraordinary but neglected cultural moment in Indian film history and in the history of contemporary India. The chapters not only document the artistic pursuit of cinema, but also the emergence of a larger field where the market, political inclinations of the Indian state, and the more complex determinants of culture intersect — how the New Cinema movement faced external challenges from the industrial lobby and politicians, as well as experienced deep rifts from within. It also shows how the Emergency, the Janata Party regime, economic liberalization, and the opening of airwaves all left their impact on the New Cinema. The volume will be of great interest to scholars and researchers of film studies, politics and public policy, especially cultural policy, media and culture studies, and South Asian studies.
Gulzar is arguably the most well-known contemporary poet writing in Hindustani. He occupies a unique place by being a Progressive poet in a popular culture. His poetry appeals to all strata of society, without compromising either on literary merit or on its ability to convey the most exalted thought in an accessible idiom. In Chand Nigal Gayi, the Hindi translation of I Swallowed the Moon, Saba Bashir attempts to analyse what makes Gulzar the poet he is. She also draws a parallel between the poet's film and non-film poetry and points out how they are used interchangeably.This is a valuable addition to the corpus of work on a great poet.
A comprehensive analysis of the work of one of India's foremost poets Gulzar is arguably the most well-known contemporary poet writing in Hindustani. As a poet he occupies a unique place being a Progressive poet in a popular culture. His poetry appeals to all strata of society, without compromising either on literary merit or on its ability to convey the most exalted thought in an accessible idiom. In 'He Swallowed the Moon', Saba Bashir attempts to analyse what makes Gulzar the poet he is. What is his signature style? What are the issues that concern his poetry and what are the recurrent images in it? She also draws a parallel between the poet's film and non-film poetry and points out how they are used interchangeably. Including the most comprehensive list of all Gulzar's poems, film and non-film songs, this is a valuable addition to the corpus of work on a great poet.
About the Book : In September 1996 a fourteen-year-old Fatima Bhutto hid in a windowless dressing room shielding her baby brother while shots rang out in the streets outside the family home in Karachi. This was the evening that her father, Murtaza, was murdered along with six of his associates. In December 2007 Benazir Bhutto, Fatima's aunt, and the woman she had publicly accused of ordering her father's murder, was assassinated in Rawalpindi. It was the latest in a long line of tragedies for one of the world's best known political dynasties. Songs of Blood and Sword tells the story of the Bhuttos, a family of rich feudal landlords who became powerbrokers in the newly created state of Pakistan; the epic tale of four generations of a family and the political violence that would destroy them. It is the history of a family and nation riven by murder, corruption, conspiracy and division, written by one who has lived it, in the heart of the storm. The history of this extraordinary family mirrors the tumultuous events of Pakistan itself, and the quest to find the truth behind her father's murder has led Fatima to the heart of her country's volatile political establishment. Finally Songs of Blood and Sword is about a daughter's love for her father and her search to uncover, and to understand, the truth of his life and death. About the Author : - Fatima Bhutto was born in Afghanistan in 1982. She studied at Columbia University and the School of Oriental and African Studies at the University of London. She currently writes columns for The Daily Beast, New Statesman and other publications. She lives in Karachi, Pakistan.
