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Topic: Mani Kaul

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Charles Mackay

Film and Television Institute of India

FTII

	VES Faculty Screening: Mani Kaul
		A visiting artist this year at Harvard, Mani Kaul was at the forefront of the emergence of a new cinema in India in the late 1960s and early 1970s.
		Key moments from her story are interwoven with evocations of the music’s mythic past and the compelling textures of life and death in Benares.
		As the lyrics of the songs begin to redirect Kaul’s camera eye, extraordinary images are evoked and the film begins to poetically render the ways in which music transfigured the singer’s life.
	www.harvardfilmarchive.org /calendars/00sepoct/ves.htm (333 words)

	Indian Cinema Database: Mani Kaul (Site not responding. Last check: 2007-10-14)
		Born in Jodhpur, Rajasthan, Mani Kaul graduated from the FTII where he was a student of Ritwik Ghatak and later became a teacher.
		Mani Kaul's debut film is an adaptation of a short story by Mohan Rakesh and is perhaps one of the earliest formal experiments in Indian cinema.
		Mani Kaul's second film too is based on Mohan Rakesh's work featuring the legendary Sanskrit poet Kalidasa, the court poet of Chandragupta II.
	www.chaosmag.net /manikaul.html (481 words)

	Cornell Cinema celebrates Ritwik Ghatak
		Kaul, who studied with Ghatak and who currently is teaching at Harvard University, will kick off the weekend with a lecture, "An Introduction to the Films of Ritwik Ghatak," Friday, April 27, at 5 p.m.
		Kaul's talk will focus on how Ghatak made use of the epic tradition in his films with his background in theater and his knowledge of Indian literature, philosophy and mythology, but the lecture also will delve into Ghatak's Marxist position and the final disillusionment he experienced with organized politics.
		Kaul's visit and the presentation of Ghatak's films are co-sponsored with the Cornell Council for the Arts, the Einaudi Center for International Studies, the South Asia Program, the Cornell India Association and ASHA.
	www.news.cornell.edu /http://www.n/Chronicle/01/4.26.01/cinema.html (529 words)

	Independent Weekly: Film: Feature/ Review: FilmBeat
		Perhaps the most unpleasant phase of Coe's career, and one that continues to trouble many of his fans, is when he recorded what are delicately referred to as "X-rated" songs.
		Kaul is a native of Bombay, India, who moved to Durham several years ago after marrying Gibson.
		There were some good movies in 2006—perhaps not as many as in other years—but the one that may linger longest is both modest to the point of ephemera and already a bit past its political moment.
	www.indyweek.com /gyrobase/Content?oid=oid%3A19576 (1423 words)

	Duvidha
		Kaul, Mani, "Seen from Nowhere," in Concepts of Space: Ancient and Modern, Indira Gandhi National Centre for Art/Abhinav Publications, New Delhi, 1991.
		Mani Kaul's third feature, his first in colour, continued his path-breaking experimentation with what he called the "cinematic object." The film is very much a part of the director's early work (which has changed remarkably over the decades, e.g.
		Her silent desolation, at the end, leads the film itself to conclude with a strongly stated feminist position, one usually ignored by critics in favour of its more obviously stated formalist experiments.
	www.filmreference.com /Films-Dr-Ex/Duvidha.html (747 words)

	filmjourney.org : Daily Bread, Mani Kaul
		Last night I had the opportunity to see Mani Kaul, one of the key figures of the New Hindi Cinema of the late-'60s and '70s, present his first feature, Daily Bread (Uski Roti, 1970), at the REDCAT theatre in Los Angeles.
		But Kaul is far from a simple imitator, and Daily Bread has a remarkable aesthetic all its own, particularly in its emphasis on time.
		Telling the story of a traditional housewife who waits at a bus stop for her working and often absent husband, the film artfully transitions between the present and past in a way that accentuates the woman's subjective experience of time more than a traditional narrative structure would.
	filmjourney.weblogger.com /2005/02/01 (437 words)

	BFI \| Features \| ImagineAsia \| A Guide to South Asian Cinema \| Contemporary South Asian Cinema: A survey \| India's Art ...
		Interestingly, not everyone was able to appreciate fresh departures made by innovative filmmakers like Mani Kaul as well as Kumar Shahni.
		With the passage of time, many a regional filmmaker was pulled into the vortex of Hindi cinema for drawing wider audiences and greater mass appeal.
		Although these films have raised new issues, many critics have spurned them as being carefully crafted attempts to steal the limelight by picking exotic and controversial themes.
	www.bfi.org.uk /features/imagineasia/guide/contemporary/india-arthouse.html (3129 words)

	The Culture-specific use of sound in india cinema
		Mani Kaul's Indian representation of Erotic Tales entitled The Cloud Door used Dolby SR for the transfer from negative to Beta video format to Avid (digitised computer system in which pictures and sounds are stored on hard disc) which is a nonlinear editing system, allowing for simultaneous editing of sound and picture.
		Mani Kaul's films are the most significant for the use of nonlinear sound narratives in Indian cinema.
		In his latest film, Mani Kaut is reported to have experimented with new, micro sized, pickup microphones stuck to the body of the actors in his film.
	www.filmsound.org /india (9213 words)

	SouthAsianCinema
		The long pauses and silences in Mani Kaul's debut film Uski Roti (A Day's Bread, 1969), for example, skilfully heighten the loneliness of Balo (Garima) the wife of a Sikh bus driver Sucha Singh (Gurdeep Singh).
		Many classics of silent cinema had in fact been resonant with realism.
		In V. Shantaram's silent film Sawkari Pash (Indian Shylock, 1925), a poor peasant (played by Shantaram himself) loses his land to a greedy moneylender and is forced to migrate to the city to become a mill worker.
	www.southasiancinema.com /reviews.htm (3362 words)

	Goethe-Institut German Film Guide to Australia - Filmpool - C
		Each made a personal statement on what might be constituted as erotic – in a visual context of a specific culture – these days.
		Mani Kaul's “Cloud Door” is structured like a folk tale and full of hilarious, sensual imagery: In an Indian castle, a king hears his parrot whisper erotic tales to his daughter.
		He wants to kill the bird, but the princess can safe its life.
	www.goethe.de /ins/au/lp/prj/flm/arc/fpc/en1602407.htm (161 words)

	Bollywood Confidential by Suketu Mehta
		We played Antakshari, in which one person sang a few lines of a Bollywood song, and the next person had to begin another song with the last syllable of the preceding song.
		Many of the Hindu rituals have merged with scenes drawn from such wedding movies as "Hum Aapke Hain Koun" ("What Am I to You"), essentially an extended wedding video with 14 song sequences.
		I became, for many years after that, something of a cinephile.
	www.suketumehta.com /nytm.html (3023 words)

	Collective Chaos (Site not responding. Last check: 2007-10-14)
		Mani Kaul's second film, Ashad Ka Ek Din (A Monsoon Day) continued his exploration of cinematic form via this adaptation of Mohan Rakesh's play featuring the legendary Sanskrit playwright Kalidasa, a figure tentatively identified as a court poet in the reign of Chandragupta II (3rd Century AD).
		Born in Jodhpur, Rajasthan, Mani Kaul got his graduation from University of Jaipur and the FTII, Pune, where he was taught by Ritwik Ghatak.
		He is a prominent cultural activist and organiser, often making common cause with Kumar Shahani in efforts to extend the range of Indian film cultures, and significant teacher of a new generation of FTII graduates, some of whom became key members of his film unit.
	www.collectivechaos.org /ashad.html (418 words)

	roma art doc fest 2005 (Site not responding. Last check: 2007-10-14)
		Il regista Mani Kaul segue un gruppo di artisti alla Biennale di Venezia; ritornando ad Amsterdam possiamo vedere gli artisti a lavoro nei loro studi.
		For a few days, their work and research results are presented to the public during the annual Open Studios.
		Director Mani Kaul follows a group of artists to the Biennale in Venice.
	www.docfest.it /artdocfest2005/sinossi/artdocfest_sinossi01.html (212 words)

	The servant's shirt/Mani Kaul - de Filmkrant net-versie van oktober 1999, nr 204 (Site not responding. Last check: 2007-10-14)
		Een enkele 'independent', zoals regisseur Mani Kaul, gaat zijn eigen weg.
		Mani Kaul (1942) betoont zich in zijn vijftiende speelfilm een zuinige filmer.
		Zijn India is niet het sprookjesachtige of toeristische India, met paleisachtige tempels, overdadige interieurs of weelderige sari's.
	www.filmkrant.nl /av/org/filmkran/archief/fk204/servants.html (559 words)

	Manas: Culture, Indian Cinema- New Indian Cinema
		Mani Kaul and Kumar Shahani were much more overt in their revolt against established traditions.
		A great many of them graduated from the newly established Film and Television Institute of India (FTII) at Pune, and brought a more subdued and less histrionic style of acting to the new films.
		Their interest in film also did not stop with acting as many of them tried their hand at directing, theater and photography.
	www.sscnet.ucla.edu /southasia/Culture/Cinema/NewIndian.html (515 words)

	Singapore International Film Festival Films from India: The Servant's Shirt and Split Wide Open (Site not responding. Last check: 2007-10-14)
		The Servant's Shirt by veteran director Mani Kaul is a substantial and humane film about a lower caste young married couple—Santu and his wife Bahu—in a small Indian town in the early 1960s.
		Kaul, who is also an abstract painter, has produced 23 films since his first Hindi-language film in 1966 and is best known for Uski Roti (1970), Duvidha (1973) and The Idiot (1992).
		Kaul's carefully constructed film provides a convincing picture of the claustrophobic and rigid hierarchical structure that dominates the town.
	www.wsws.org /articles/2000/may2000/sff8-m15.shtml (1642 words)

	The Hindu News Update Service
		Thiruvananthapuram, Dec. 13 (PTI): Cinema is no longer a visual medium and it should absorb new technologies in the field to improve movies, eminent director Mani Kaul said yesterday.
		Kaul, who delivered the G Aravindan memorial lecture, said, "It (cinema) has to take a different form with the advent of digital media, though I am not sure it will happen."
		Well-known filmmaker Adoor Gopalakrishnan, who inaugurated a seminar on new trends in sound recording on the sidelines of the International Film Festival of Kerala (IFFK) here, said recording of sounds was as important as visuals in cinema.
	www.hindu.com /thehindu/holnus/009200612130340.htm (221 words)

	Manas: Culture, Indian Cinema- New Indian Cinema
		Mani Kaul and Kumar Shahani were much more overt in their revolt against established traditions.
		A great many of them graduated from the newly established Film and Television Institute of India (FTII) at Pune, and brought a more subdued and less histrionic style of acting to the new films.
		Their interest in film also did not stop with acting as many of them tried their hand at directing, theater and photography.
	www.ssc.ucla.edu /southasia/Culture/Cinema/NewIndian.html (515 words)

	Indian Parallel Cinema (Site not responding. Last check: 2007-10-14)
		Mrinal Sen's Bhuvan Shome (1969) and Mani Kaul's Uski Roti (1969), both sponsored by State owned Film Finance Corporation (FFC), inspired by the French nouvelle vague, set new film sensibility and cinematic language in India.
		FTII graduates Kumar Shahani, Mani Kaul, Saeed Mirza, Shyam Benegal and Ketan Mehta were the important names of New Wave Indian Cinema in Hindi.
		Mani Kaul's Ashad Ka Ek Din (1971) and Duvidha (1973), Kumar Shahni's Maya Darpan (1972) and Shyam Benegal's Ankur (1973) played important role in this new movement in Hindi during the 1970s.
	www.cinemaofmalayalam.net /newwave.html (583 words)

	[No title]
		True, Amol Palekar's Paheli adds new sheen and patina to an old folklore, but it has already seen less flashy predecessors in Mani Kaul's Duvidha of the 70s and Girish Karnad's play and stage performances of Nagamandala, barely a dozen years ago.
		While Palekar's Paheli and Kaul's Duvidha are directly based on Vijaydan Detha's folk tale, Karnad's Kannada play Nagamandala is more amorphous and hence more plastic in a painterly sense, since it could have been from anywhere and capable of being placed anywhere.
		These are tales told at the fireside with songs and gestures by old men and women, mendicants and travellers and reduced into writing, for the first time in many cases, by the Rupayan archivists.
	www.hinduonnet.com /thehindu/thscrip/print.pl?file=2005062800580400.htm&date=2005/06/28/&prd=mp& (563 words)

	The Bollywood Blog: 'Paheli' is a whim of mine, says Shah Rukh...
		Mumbai, May 20 (IANS) Much as Amol Palekar would like to hide it, the fact is his much talked-about "Paheli" is based on the same Rajasthani folk tale by Vijaydan Detha that avant-garde director Mani Kaul made as "Duvidha" in 1973.
		I had seen Mani Kaul's 'Duvidha' and liked the thought behind it.
		Incidentally, SRK had worked with Mani Kaul way back in 1991 at the inception of his career in a screen adaptation of Dostoevsky's "Idiot".
	www.bollywood.com /archives/2005/05/paheli_is_a_whi.html (542 words)

	Mani Kaul - interview with Indian film director - Interview UNESCO Courier - Find Articles
		Mani Kaul - interview with Indian film director - Interview
		An Indian director whose film Siddeshwari won an Indian National Award for the best documentary in 1989, Mani Kaul adapted Dostoevski's The Idiot for the screen in 1991.
		Many films lost money, something which had been very unusual until then.
	www.findarticles.com /p/articles/mi_m1310/is_1995_July-August/ai_17382423 (865 words)

	Mani Kaul
		Mani Kaul (born 25 December 1944 in Jodhpur, Rajasthan, India) is an Indian film director.
		He graduated from the Film and Television Institute of India (FTII) where he was a student of Ritwik Ghatak and later became a teacher.
		However, the abstraction many experimental American filmmakers get involved with does not proceed beyond what one may call literal abstraction.
	www.danceage.com /biography/sdmc_Mani_Kaul (1891 words)

	The Telegraph - Calcutta : etc
		Much as Amol Palekar would like to hide it, the fact is his much talked-about Shah Rukh Khan production, Paheli, is based on the same Rajasthani folk tale by Vijaydan Detha which avant garde director Mani Kaul had made as Duvidha in 1973.
		Incidentally, SRK had worked with Mani Kaul way back in 1991 in the earlier part of his career, in a screen adaptation of Fyodor Dostoevsky’s The Idiot.
		Paheli is done in a totally different format and mood than Mani Kaul’s Duvidha.
	www.telegraphindia.com /1050527/asp/etc/story_4731707.asp (464 words)

	'Paheli' is a whim of mine, says Shah Rukh -Bollywood feature Webindia123.com
		Much as Amol Palekar would like to hide it, the fact is his much talked-about "Paheli" is based on the same Rajasthani folk tale by Vijaydan Detha that avant-garde director Mani Kaul made as "Duvidha" in 1973.
		I had seen Mani Kaul's 'Duvidha' and liked the thought behind it.
		Incidentally, SRK had worked with Mani Kaul way back in 1991 at the inception of his career in a screen adaptation of Dostoevsky's "Idiot".
	www.webindia123.com /movie/feature/f200505.htm (470 words)

	Tehelka - The People's Paper
		In 1973 Mani Kaul, too, made a film Duvidha, based on your short story and Amol Palekar has just directed Paheli.
		Mani had a tremendous grasp over the language of cinema.
		Moreover, each folk tale has many variations and that is its strength.
	www.tehelka.com /story_main12.asp?filename=hub061805_I_am_an.asp (974 words)

	ARS \| Publication request: Population Characterization of Introduced Balcha Indica (Mani & Kaul) (Hymenoptera: ...
		Publication request: Population Characterization of Introduced Balcha Indica (Mani & Kaul) (Hymenoptera: Eupelmidae) in North America, a Parasitoid of Emerald Ash Borer, Agrilus Planipennis Fairmaire (Coleoptera: Buprestidae).
		Title: Population Characterization of Introduced Balcha Indica (Mani & Kaul) (Hymenoptera: Eupelmidae) in North America, a Parasitoid of Emerald Ash Borer, Agrilus Planipennis Fairmaire (Coleoptera: Buprestidae).
		Citation: Gates, M.W., Gibson, G.A., Bauer, L., Liu, H. Population characterization of introduced Balcha indica (Mani & Kaul) (Hymenoptera: Eupelmidae) in North America, a parasitoid of Emerald Ash Borer, Agrilus planipennis Fairmaire (Coleoptera: Buprestidae).
	www.ars.usda.gov /research/publications/Publications.htm?seq_no_115=183699 (219 words)

	Ziegler Film - produktion:Die Himmelspforte
		Mani Kaul verknüpfte in seinem Film drei literarische Quellen: Bhasas Sanskrit-Stück „Avimaraka“ aus dem 5.
		Mani Kaul, 1944 in Rajasthan geboren, studierte von 1963 bis 1966 am Indischen Kino-Institut in Poona.
		Retrospektiven von Mani Kaul, der bislang rund 20 Filme vorgelegt hat, sind auf den Festivals in New York, Paris, Rotterdam und Berlin gelaufen.
	www.ziegler-film.com /de/pro/prod.html?lang=DE&ID=193&CATEGORY=kino (543 words)

	Manas: Culture, Indian Cinema- Satyajit Ray
		Ray was a prolific short story writer, with over a dozen volumes to his credit; and he contributed regularly to the children's journal "Sandesh", which he also edited.
		The exploits of his fictional character Feluda, first introduced in a series of detective stories, were avidly followed by the public, and the much-beloved Feluda was later featured in a couple of his movies.
		Prominent Indian directors such as Kumar Shahani, Mani Kaul, Adoor Gopalakrishnan, and Shyam Benegal clearly showed the influence of Ray in their work.
	www.sscnet.ucla.edu /southasia/Culture/Cinema/SRay.html (1597 words)

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