Introduction

Beumers, Birgit

doi:10.1002/9781118424773.ch0

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Een Uitstap Naar Het Privaatrecht1

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2020

2023

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Article2

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Cited by 2 publications

(2 citation statements)

References 24 publications

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“…63 De eigenschappen die de gemiddelde consument worden toegedicht, zijn onder meer: een bepaalde basiskennis, de capaciteit om informatie te lezen en begrijpen, 64 en een kritische houding. 65 De consument laat zich met andere woorden niet eenvoudig om de tuin leiden. 66 De genoemde opsomming maakt dat correcte en volledige informatie, ongeacht de presentatie daarvan, doorgaans voldoende is om de consument niet te misleiden.…”

Section: Een Uitstap Naar Het Privaatrechtunclassified

Naar een nieuwe maatmens in het financieel recht?

Kleef¹

2023

Maandblad Voor Vermogensrecht

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Section: Een Uitstap Naar Het Privaatrechtunclassified

Naar een nieuwe maatmens in het financieel recht?

Kleef¹

2023

Maandblad Voor Vermogensrecht

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“…(1919), White Rose (1919) and Yamata (1920); The Iron Heel (Vladimir Gardin, 1919); On the Red Front (Lev Kuleshov, 1920). For more reading, see Beumers (2008) and Beumers (2016).…”

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Author–Screenwriter– Director (1930s–1950s): Articulating Authorship Through Self-Adaptations and Film Novelisations in Bengali

Sen

2020

BioScope: South Asian Screen Studies

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During the 1930s, one of the significant factors that strengthened the connection between Bengali literature and film was the emergence of certain key figures who straddled overlapping roles as author–screenwriter–director, frequently adapting their own literary works and reframing the contentious ‘authorship issue’ that arises between writer and filmmaker. By focusing on three such figures—Premankur Atorthy (1890–1964), Sailajananda Mukhopadhyay (1901–1976) and Premendra Mitra (1904–1988)—this essay examines the manner in which self-adaptations served to transfer the power of the literary author to the nascent cinematic auteur, particularly through the intermediary process of screenwriting. The essay also draws attention to the practice of film novelisations that was mobilised since the mid-1940s by Mitra and others like Jyotirmoy Roy and Panchugopal Mukhopadhyay, where novels were written based on cinematic works, akin to French cinéromans and contrary to ‘authorless’ novelisations by ghostwriters. In subsequent years, film novels were written by director Hemen Gupta, writers Tarashankar Bandopadhyay, Shaktipada Rajguru and Kalkut, which brings to light a largely unexplored dimension of the relationship between Bengali film and literature.

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Introduction

Cited by 2 publications

References 24 publications

Naar een nieuwe maatmens in het financieel recht?

Naar een nieuwe maatmens in het financieel recht?

Author–Screenwriter– Director (1930s–1950s): Articulating Authorship Through Self-Adaptations and Film Novelisations in Bengali

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