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Sheyal Debota Rahasya by Satyajit Roy is a popular book which is written Feluda Series in pdf format and Read Sheyal Debota Rahasya by. Directed by Parambrata Chatterjee. With Parambrata Chatterjee, Riddhi Sen, Tariq Anam Khan, Rajat Ganguly. Feluda real name Pradosh C. Mitter is a Private. This is a list of Feluda films produced by Indian and West Bengal film studios by year to the. Golokdham Rahasya. ,. Feluda, A Bangladeshi TV series.
Existing in the trans-medial universe — Feluda beyond cinema and the printed word Moving into the twenty-first century, Feluda has entered a trans-medial universe. True to the nature of trans-media storytelling, each medium explores its potentials of storytelling — the original novella Sheyal Debota Rahasya, an adaptation to which we return in much detail later, was released as a three-part series in Sandesh in —67, then, adapted into a tele-film in , then later re-adapted as fractured, discrete units for online consumption in While digital viewership allows us to be a part of a community, asking its users to comment, share and discuss on forums, it also allows the object to be disentangled from its originary thread, allowing it to be re-contextualized within vastly muted viewing regimes.
As a young teenage boy throughout the Feluda stories, Topshe neither has moments of sexual revelation nor does he cockily mouth expletives as teenagers are wont to do. He is a boy existing within a teenager: silent and observing, but never quite threatening or tipping off from the edges.
But far from existing in a juvenile universe, Bhaumik argues that these boys exist in, and often closely skirt, a world of adult affairs. And it is this world of childhood gone corrupts that the addatimes web series Khyapa probes even further, a world where children interfacing adulthood produce an uncomfortable conjunction between the two.
They step into the world that Topshe, even as a young undergraduate student in the addatimes series does not venture into, comfortably ensconsed in his sanitized habits of video-gaming and trailing Feluda on his cases, video-blogging the world Feluda presents to him. GUHA Furthering this proclivity for re-contextualization are the various Feluda audiobook applications that one accesses on the Android and iOS platforms.
Released by a third-party developer, SG Creation, the Bengali Audio Book app features nine audiobooks of Feluda, all of which are complete audio extracts from the Sandip Ray-directed Feluda TV series that originally aired on Doordarshan Bangla through the mids.
Put differently, the audiobooks become independent aural performances of the texts: intimately heard and replayed, enveloped and envelop- ing one in the realm of the senses. Audiobooks help one to return to the orality of the word: the sensuousness of utterance, the temporality of spoken delivery and a bodily perception of words that existed prior to the arrival of writing and print.
As a multi-platform reading app, its interface is mutable, malleable to different screens and screen dimensions. However unlike other electronic texts, the app does not allow any transformative functions, like copy—paste, markups, etc.
That is, despite its claims to digitality and interactive reading, the app, thus, retains the core principles of print — of documentation particularly — an anchorage and fixity. The printed text, the oral or the cinematic live on, but as Benjamin may have argued, as fainter mediums subsumed in the present, and their accessibility, their ecologies having changed in the due course of time.
With every move into new media forms, one sees a lingering fixation with old technologies, one that brings about a delightful temporal disjuncture — a retrograde force that refuses to declare older forms obsolete, persisting with nostalgic intensity.
Countless interviews of Sandip Ray feature him discussing his set of hurdles leading unto production — financial difficulties, legal troubles, casting aporias, etc. And yet, what accounts for the paper-based, sepia-toned montage is not the veracity of its pastness, but the pathos of the index, the affect that this image eviscerates.
As reported, Sandip Ray had sold the rights of 35 Feluda stories for a television series to a company in Bangladesh, with the pre-condition that the series would not be broadcast in India. Rajiv Mehra, founder of addatimes. Feluda, like the many objects whose trafficking he had traced in and out of the decaying colonial mansions, was now himself being carelessly trafficked off his house by its current owner, then thrown into a perpetually volatile bazaar eager to exploit him for his guaranteed capacity for generating nostalgia.
The object had passed multiple hands, and while none of this was illegal per se, it had certainly raked in questions of proprietorship a final recognition that Feluda could not be Ray family inheritance anymore and had to be passed onto a new generation of erstwhile content consumers-turned producers.
This media shift, as the series trailer promised, would help us imagine Feluda anew. GUHA sovereignties. Here is a Feluda as much at ease with the ways of the street as with the stately, equally confident with the rational and the thrilling, the calculated and the excessive. Perhaps then, if the modernist planned city has encountered the dense rhizomatic space of the bazaar, Feluda too has evolved, as the web-series imagines, from the archetypal modernist man with his cool rationale ways to an intense affect-driven quasi-action hero: transforming the series in the process.
Logos here exists at par with bodily affect, the visceral thrill of a chase woven into Morellian detection itself. The chase sequence sees Feluda and Topshe first navigate the Shahbag district of Dhaka — the neatly gridded sovereign loci, seat of power, of the city. The sequence itself is linearly constructed with proper eye-line matches and screen direction. In the absence of any congruent spatial imagination, the sequence visualizes Feluda weaving in and out through arborescent streets, often losing sight of his chase altogether.
As an action sequence, Ray creates a possible convergence between two trajectories: the camels moving in a line and approaching the rail tracks, the train that crosses the rail track across the frame. It is perhaps this unfinished but sublated desire to halt the train and jump aboard it that is revived and later satiated in the climax of Bombaiyyer Bombete The Bandits of Bombay, But more importantly, the action itself shifts onto the train, giving the shoot-out an intensified sense of urgency.
And yet, this movement in time is not necessarily a teleological narrative of intensifying speeds and increased technological prowess.
If Sheyal Debota Rahashya at all reveals something, it is an increasing fragmentation of space and time, an experience of discontinuity and incoherence, a gradual move away from linearity, if not from accelerationism. On one hand, Feluda engages in the thorough world of pirate networks, with rumour chains that take him in and out of musty lanes and seedy hotels; on the other, his face radiates in the warm glow of his iPad, following up on a fact or two on the internet.
Once superciliously deriding the world of technological consumption, Feluda himself now moves around with multiple gadgets, and references to contemporary consumer culture are plenty.
GUHA and intersecting in a dense networked mesh. Sanyal on the other hand displays the fragile, tenuous end of the bhadralok culture — his increasing moral bankruptcy founded on an even longer trajectory of financial miscalculations, corporate failure, and ponzi schemes gone awry. This bhadralok no longer invites Feluda to peer into his dark secrets, he is wary of confessing his guilt to someone who no longer resembles a better version of him.
Moreover, the hedonistic bhadralok has more baggage to carry now — he is no longer a simple inheritor of wealth, looking at art as an escape from his deadened life; he needs his art to cover up a failed entry into capitalism. And being connected to a global network of art smuggling, he is more invested towards this craft.
He is vicious, malevolent and predatory, ferocious in his ways to outdo Feluda. His investments in forgery outrun those in art, and he is as adept in employing street henchmen to beat up Feluda as he is in manipulating CCTV networks. Feluda has himself evolved. The sparse Baithak where Feluda met his clients has been replaced by a living room with heavy wooden furniture, with a minimalist poster of Jack the Ripper hanging from the walls.
Now a hero in a world opening up onto neo-liberal economies, Feluda no longer inhabits a milieu of middle-class austerity, no longer indulges in the disavowal of capitalism. For countless Bengali families reading Feluda in the latter half of the twentieth century, the detective series laid the blueprint for global travel — helping its readers not only imagine and experience cities and their iconic locales, but also savour a taste of the everyday therein.
One can argue that Feluda succeeds a long Bengali genealogy of action-adventure novels that eviscerate a fascination for exotic locales,51 but in the trans-medial universe that he inhabits, he also seeps into the travel genre from early cinema — which constantly reinvented space and travel as a kinetic, embodied experience, thus unearthing an intense desire for travel itself. Moreover as the producers repeatedly emphasize, Parambrata himself was chosen, because of his erstwhile appearances in Bangladeshi films, Bhubon Majhi and Bhoyongkor Sundor, the former produced by the Bangladesh Government.
Residents note 10 P. A fate that has befallen Nilmoni Sanyal as well. The obsession with speed, urbanity and circulation are missing in Nandi — an older medium bespeaking of a different temporal rhythm there are no action sequences here , a different spatial blueprint the actions restricted within a Zamindari house and even a concerted investment in the colonial moment.
Therefore, both Nepalganje-e Netaji and Sheyal Debota Rahashya while displacing Feluda off Kolkata giving the narrative a sense of travel and trans-national circulation also perform as home-coming narratives, anchoring Feluda within the post -Partition rubric of identity formation.
The spectre of identity that looms large in the Feluda universe, then, is exorcised, embodied in these narratives — and by its end, laid to rest. Feluda, as the two pieces reconfigure, is a Bangal71 who encounters the Ghoti world, only to triumphantly return, albeit briefly, to his Bangal roots. This purported tale of de-territorialization then becomes a trenchant attempt to re-territorialize him, identify with soil, land, maati72 quite literally.
His cosmopolitan- ism has to reconcile with claims of belonging, one that can truly be located in Bangladesh. In this, one has to remember that while avoiding the contours of a traditional clock-bound desk job, Feluda still maintains a decent living: an incongruity amongst his Bangal peers in Bengal who have teetering on the brink of financial and political bankruptcy.
But he also takes sizeable fees from the bhadralok whom he pokes through relentlessly, and therefore never has had to accept any salary or public dole.
His emphasis on wealth, taste, merit and individual strife in the wake of feudal collapse therefore not only points to a neo-liberal corporate imagination, but it is ushered in by the quasi-outsider with no claims to property or rights to the city.
Feluda, through the oeuvre and most so in the recent web series, stays with the bhadralok obsession with good taste, and yet, marks his difference with slick surface values and an aspiration towards a new-technologized, vibrant future.
Even as Feluda leaves an older well laid out modernist city in lieu of a newer bazaar city, it is he who stands triumphant — at ease with any spatial, sensorial configuration that may come his way.
Bangals have been in recent times been viewed as rightful citizens of the Indian state, pitted against the newer breed of migrant labour imagined to be mostly Dalit and Muslim, unbelonging and unwelcomed in the Hindu Rashtra.
GUHA Perhaps then, as Feluda begins to travel, assume and appear in his cosmopolitan garb, it becomes incumbent to place him within a locus that cannot be disavowed. The production of a global figure engenders its own quest for ontology: his rooted Bangal identity belying his cosmopolitanism so to speak.
Bose, who slips out that hyenas are from China in an innocuous conversation, is exposed as a fake cosmopolitan. It is as if Feluda in the contemporary is not merely fuelled by nostalgia, but architecturally sculpted like nostalgia itself — both cloaking thin on the affective surface and fracking deep in search of an essence. It is then a perpetual displacement in space, time and medium that seeks to root itself, produce its own set of dualisms: the cohabitation of circulation with fixity, travelling with torpidity, aspiration with austerity, Morellian detection with viscerality and intimacy with distance.
Notes 1. Michel, The Order of Things. Established in , Sandesh changed hands few times, before being solely in the hands of the Ray family. Satyajit Ray while being on its editorial board also doubled up as a writer for this magazine, introducing not only Feluda to the world in his monthly episodic releases, but also his other famous protagonist, the erratic but genius Professor Shonku. Sandesh in Bengali refers to both sweets and information. For an introduction to Sandesh read Robinson, Satyajit Ray, 22—23, 28— For more on the fiftieth anniversary of Feluda read Boria, Feluda at Bhaumik, op cit, — The audiobook is preceded by the history of the cassette and that not only circulated film songs but also often the audio-track of entire films.
Cassettes would often be circulated with small booklets that along with providing details about the film, its lyrics, would often also print sections of the script, particularly dialogue driven melodramatic scenes. In the era of celluloid, these vastly travelling objects gave its consumers, a sense of intimate ownership and consumption, one where the film could be consumed outside the architectural strictures of the film hall, and therefore consumed at will.
In the digital era, consuming video content has rapidly shifted out of the film hall, being consumed on every screen possible. Moreover, one has to keep in mind that mobile data consumption is vastly unevern and restricted to a few, determined by technological access and economic means. Chion, Phantom Audiovision, — Gitelman, Paper Knowledge, 12— This snippet is then carried over from the trailer to the tribute montage that follows the main film. In this, I argue that borne into the user-generated content universe of social media, the producers or directors of mega-franchisees like Star Wars or the Marvel Cinematic Universe, constantly emphasize that before they came into the domain of production they were avid consumers, thus highlighting the consumer as a future producer logic, eliminating the distinction of consumers and producers as separate entities.
Feluda too has entered a similar phase where recent creators constant promote their avowed investment in the franchisee, first as a consumer then as a producer. For more on the Consumer as Producer argument, read Henry Jenkins. Koolhaas, cited in Sundaram, op cit, p. Jean Baudrillard, cited in Sundaram, op cit, p. A central administrative district within the larger Dhaka metropolis, Shahbag though dating well before and into the Mughal era, the area gained prominence in when East Bengal became a separate province under British Rule.
Consequently, important buildings like the Supreme Court were constructed around the central axis of Fuller Road, and in the Post-Independence era, Shahbag grew to accommodate international hotels, universities and hospitals. The traffic jam sequence was shot in and around Bijoy Sarani, the nerve centre of the city. Though relatively new, the road is a prime example of the failure of the modernist imagination of gridded cities, and controlled fluxes — leading way to a chaotic, pirate everyday.
Early in Badshahi Angti, Feluda and Topshe find themselves in the inner city of Lucknow where they receive threats on their rickshaw.
Feluda however is unable to solve the whodunit question, the culprit lost in the bewildering maze of people and objects in the bazaar streets.
Here, one could notice the difference between the earlier sluggish, stuttering camel and its machinic brethren — the horse. Accelerationism as a new brand of left thought seeks to destroy capitalism from within, intensify capitalist processes until systemic collapses become imminent. Nicol, op cit. GUHA In the early months of , protests began in Shahbag, following demands for capital punishment for Abdul QuaderMollah, who had been sentenced to life imprisonment.
Given the scale of atrocities involved, protestors demanded death as justice. Over more a hundred thousand people had gathered and observed three minutes of silence — Feluda gloats, while eliding what or how the congregation came to being. DevNathPathak, SasankaPerera. New York and London: Routledge, Such a methodological reliance I argue is relevant for South Asia as a whole, where distributive and consumption practices are not often recorded, even though they move within socially acceptable paradigms.
Taussig, Public Secrecy and the Labor of the Negative. In conversation with Saurav Biswas, former creative head of Bioscope. In conversation with Biswas and Arfun Ahmed Shawon. Satyajit Ray was famous Indian filmmaker and author of the 20th century.
Satyajit Ray was born in Calcutta city and he was a Bengali Brahmo family member. Ray directed 36 films. These films were including feature films and documentaries. Satyajit Ray was also a fiction writer, illustrator, publisher, music composer, calligrapher, film critic and graphic designer. Satyajit Ray created Feluda, the sleuth and the scientist in his science fiction stories, Professor Shonku is popular fictional characters.
Satyajit Ray was born in Calcutta. Satyajit Ray grandfather was a celebrated writer.
His father was famous for writing nonsensical literature. Satyajit Ray graduated from Presidency College Kolkata. Satyajit Roy started his career as a commercial artist. Pather Panchali in was the first debut film of Satyajit Ray.
The Film Pather Panchali earned him worldwide recognition as a first-rate film director. Sandesh magazine started with Upendrakishore. Detective stories, fantasy and science fiction was chosen subjects of him Ray.
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