Introduction

1. Between Wonder, Intuition, and Suggestion: Rasa in Satyajit Ray's The Apu Trilogy and Jalsaghar

Rasa Theory: An Overview

The Excellence Implicit in the Classical Aesthetic Form of Rasa: Three Principles

Rasa in Pather Panchali (1955)

Rasa in Aparajito (1956)

Rasa in Apur Sansar (1959)

Jalsaghar (1958): A Critical Evaluation Rendered through Rasa

Concluding Remarks

2. From Gazes to Threat: The Odyssean Yatra (Journey) of the Ray Woman

The 'Roles' of the Indian Woman as Determined by Hindu Society: A Historical Background

Woman Redefined in the Tagore Triad: 'The Postmaster,' Charulata, and Ghare-Baire

The Ray Woman — Under the Male Gaze

Women as Possessors of the Gaze

Two Ray Women — in Masquerade

The Victimized Woman Who Dares to Humble the Father

The Articulation of the Ray Woman — From a Space She Can Call Her Own

The Ray Woman's Politics of Silence

The Ray Woman as Hedonist

Concluding Remarks: In Praise of Satyajit Ray's Feminist Stance

3. The Responses, Trauma, and Subjectivity of the Ray Purush (Man)

The Philosophical Determinant of Suffering and the Responses of the Ray Purush: Siddhartha's Response in Pratidwandi (1970)

Somnath's Response in Jana Aranya (1975)

Gangacharan's Response in Ashani Sanket (1973)

Shyamalendu's Response in Seemabaddha (1971)

The Responses of the Forest-Bound Male Quartet of Aranyer Din Ratri (1970)

Fearsome Fathers and Traumatized Sons

Concluding Remarks

4. Satyajit Ray's Political Vision of the Doubly Colonized

The Tradition of the Doubly Colonized in India: A Critical Introduction to the Hegemonic Structures of Hinduism and Colonialism

The Hindu Hegemony

The British Hegemony

The Colonized Artist's Response: Ray's Sadgati (1981) and Shatranj-ke-Khilari (1977)

Concluding Remarks

5. From Newly Discovered Margins: Ray's Responses to the Center

Introduction

From 'Zero' to 'Captain Nemo': Ray's Problematic Alphabet of 1990s Indians

The (T)issues of Language: Ray's Principal Instrument of Bhadralok Censure

The Burden(s) of Mise-en-Scène: Ray's 1990s Filmic Style

Unsatisfactory and Satisfactory Endings

On Ray — The Final Epitaph