India In-Between: Culture and Nation Representation in Jean Renoir’s Film the River (1951)

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Acknowledgement

We would like to thank Mr Brian Belovorac from Janus Films/The Criterion Collection, New York, for granting us the permission to use images from Renoir’s The River (1951) for this paper.

Notes

1 Renoir and McEldowney, The River.

2 Braudy and Cohen, eds., Film Theory and Criticism, 142.

3 Faulkner, The Social Cinema of Jean Renoir.

4 See note 1 above.

5 Manṭo and Naqvi, “Toba Tek Singh.”

6 Walsh, “National Cinema, National Imagery.”

7 Stjernholm, “Visions of Post-Independence India in Arne Sucksdorff’s Documentaries,” 83.

8 Rosselini, India: Matri Bhumi.

9 Pasolini and Gianni, Appunti per un film sull’ India.

10 Malle, L’Inde fantôme.

11 Sesonske, “The River Runs”

12 Ibid., 110.

13 Ibid., 124–5.

14 Chowdhury, “The Indian Partition and the Making of a New Scopic Regime in Bengali Cinema,” 258.

15 Ibid.,

16 Agoramoorthy, “Sacred Rivers.”

17 Cross, “Jean Renoir’s Crimatic Adaptation of Rumer Godden’s the River,” 577.

18 Gallagher, “The Dancers and the Dance.”

19 See note 17 above.

20 See note 11 above, 108.

21 Rothman, The “I” of the Camera.

22 Parekh, “Defining India’s Identity.”

23 Kumar, “River Ganges – Historical, Cultural and Socioeconomic Attributes.”

24 See note 21 above, 220.

25 Walsh, “National Cinema, National Imagery,” 13.

26 Gallagher, “The Dancers and the Dance.”

27 See note 3 above.

28 Golsan, “Desperately Seeking Radha.”

29 Ibid.,

30 See note 23 above.

31 Malle, L’Inde fantôme: Reflections sur un voyage.

32 See note 28 above.

33 Ibid.,

34 Ibid.,

35 Harris, “Pen and Needle,” 165.

36 See note 1 above.

37 Bazin, Jean Renoir.

38 Lefebvre, The Production of Space [La production de l’ espace], 38.

39 See note 21 above, 208.

40 See note 11 above, 110.

41 See note 1 above.