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Satyajit Ray’s The Chess Players and Postcolonial TheoryChildhood: Work, Play, and Shame Friendship in the Discourse of Enterprise

Satyajit Ray’s The Chess Players and Postcolonial Theory: Childhood: Work, Play, and Shame... [This chapter examines the work/play thesis in the discourse of colonial enterprise in the Enlightenment narrative of Robinson Crusoe (1719), Italian neo-realism, postcolonial cinema, and Hollywood cinema. Through the inclusion of a Hollywood film, Penny Marshall’s Big (1988), this chapter demonstrates the productive alliances that can be made between the study of Hollywood cinema and postcolonial cinema. I juxtapose the critical responses to the colonial capitalist narratives and fantasies about enterprise as pleasurable play by a Hollywood woman filmmaker and a postcolonial male director, in order to demonstrate that postcolonial theory is a richly suggestive theoretical apparatus for studying mainstream cultural production in relation to the margins. I investigate Ray’s aesthetic and political projects in delineating childhood as the source of difference, creativity, humour, and curiosity in his critique of colonial enterprise in the prologue of The Chess Players (1977), and his ten-minute documentary for the US public television series Two (1964).] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Satyajit Ray’s The Chess Players and Postcolonial TheoryChildhood: Work, Play, and Shame Friendship in the Discourse of Enterprise

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Publisher
Palgrave Macmillan UK
Copyright
© Palgrave Macmillan, a division of Macmillan Publishers Limited 2005
ISBN
978-1-349-52353-5
Pages
41 –84
DOI
10.1057/9780230509665_2
Publisher site
See Chapter on Publisher Site

Abstract

[This chapter examines the work/play thesis in the discourse of colonial enterprise in the Enlightenment narrative of Robinson Crusoe (1719), Italian neo-realism, postcolonial cinema, and Hollywood cinema. Through the inclusion of a Hollywood film, Penny Marshall’s Big (1988), this chapter demonstrates the productive alliances that can be made between the study of Hollywood cinema and postcolonial cinema. I juxtapose the critical responses to the colonial capitalist narratives and fantasies about enterprise as pleasurable play by a Hollywood woman filmmaker and a postcolonial male director, in order to demonstrate that postcolonial theory is a richly suggestive theoretical apparatus for studying mainstream cultural production in relation to the margins. I investigate Ray’s aesthetic and political projects in delineating childhood as the source of difference, creativity, humour, and curiosity in his critique of colonial enterprise in the prologue of The Chess Players (1977), and his ten-minute documentary for the US public television series Two (1964).]

Published: Sep 25, 2015

Keywords: Chess Player; East India Company; Adult World; Capitalist Enterprise; Hollywood Film

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