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Abstract
Through reference to Sadgati (Deliverance), I will delineate Ray's formal and enunciatory cinematic usages and their applications in Sadgati, along with the critique of Premchand's progressive realism and aesthetics. I address the aporia of the aesthetic to caste issues by exploring and reconfiguring caste in terms of the delineation of Dalit life-worlds in Ray's and Premchand's narratives through modalities of the aesthetic-ethical framework. Engaging recent research on trauma and media concerned primarily with visual evidence—testimony as well as commemoration, precarity and grievability of lives—I attempt to bridge the gap between postcolonial and cinema studies for cross- fertilization of ideas and productive interface between them. By studying one medium's translation, transmission, transformation and appropriation of the other, I wish to enhance not only our understanding of both media but also hope to contribute to studies of comparative poetics and cross-media cultural translation.