#Upendrakishore

[bidyakolpo]

গুপীগাইন বাঘাবাইন – উপেন্দ্রকিশোর রায়চৌধুরী

[storizenmagazine]

#BookReview: Upendrakishore Ray Chowdhury's collected stories are a treasure trove of literary gems, enchanting and inspiring readers across generations. The timeless appeal and cultural significance of his work make this collection a must-read for anyone interested in the rich tradition of Bengali literature and storytelling.

[anandapublishers]

Online Book Store Bengali, Ananda Publishers Book

In Sahebgarh, a brand-new residential school has opened. On the request of the school's headmaster, Kabul Da, Buli, and others went there. With its river, jungle, and mangrove vegetation, Sahebgarh is naturally beautiful and peaceful. An abandoned bungalow that is more than 200 years old is visible from the rooftop of their Victorian-style school structure. Things take an odd turn when a school instructor passes away. Strange events then start to occur, and the surroundings become mysterious.

Rajesh Basu is one of the most versatile writers, having written works in a variety of genres. Nandikar and 91.5FM have adapted plays based on his tales. He is the proud recipient of the Upendrakishore Raichaudhuri Samman from the West Bengal administration. Rajesh Basu is a prolific writer who excels in virtually every category, including romance, novels, mysteries, horror, adventures, and science fiction.

Sahebgarher Bhut Banglow written by him is a piece of popular juvenile literature. Do collect the book from your very own online bengali book store and enjoy the read. Each and every ananda publishers books are available on the official website of Ananda,  www.anandapub.in .

[banglaboipdf]

Aro Bhooter Golpo pdf

Aro Bhooter Golpo pdf

Aro Bhooter Golpo, Bengali ghost story book pdf A compilation of the best ghost stories by various eminent writers. They are- Upendrakishor Roychowdhury, Hemendrakumar Roy, Promodnath Bishi, Nihar Ranjan Gupta, Samaresh Basu, Sumathnath Ghosh, Sunil Gangopadhyay, Monilal Gangopadhyay, Premankur Atarthi, Narayan Gangopadhyay, Harinarayan Chattopadhyay, Leela Majumdar, Premendra Mitra, Shibram…

[datespolh]

Deepfocus careers

At the Venice Film Festival, he won a Golden Lion for Aparajito(1956), and awarded the Golden Lion Honorary Award in 1982. At the Berlin Film Festival, he was one of only three to win the Silver Bear for Best Director more than once and holds the record for the most Golden Bear nominations, with seven. At the Moscow Film Festival in 1979, he was awarded for the contribution to cinema. Ray received many awards, including 32 National Film Awards by the Government of India. He also wrote essays on film, published as the collections: Our Films, Their Films (1976), Bishoy Chalachchitra (1976), and Ekei Bole Shooting (1979). Ray wrote an autobiography about his childhood years, Jakhan Choto Chilam (1982). Ray also wrote many short stories mostly centered on Macabre, Thriller and Paranormal which were published as collections of 12 stories. Ray created two of the most famous fictional characters ever in Bengali children's literature-Feluda, a sleuth in Holmesian tradition, and Professor Shonku, a genius scientist. In 1949, Ray married Bijoya Das and the couple had a son, Sandip ray, who is now a famous film director. In 1940, he went to study in Santiniketan where Ray came to appreciate Oriental Art. (Hons.) in Economics at Presidency College of the University of Calcutta, though his interest was always in Fine Arts. Ray was born to Sukumar and Suprabha Ray in Calcutta. Sukumar Ray, Upendrakishore's son and father of Satyajit, was a pioneering Bengali author and poet of nonsense rhyme and children's literature, an illustrator and a critic. Ray's grandfather, Upendrakishore Ray Chowdhury was a writer, illustrator, philosopher, publisher, amateur astronomer and a leader of the Brahmo Samaj, a religious and social movement in nineteenth century Bengal. The Government of India honoured him with the Bharat Ratna in 1992. Ray received many major awards in his career, including 32 Indian National Film Awards, a number of awards at international film festivals and award ceremonies, and an Academy Award in 1992. Ray did the scripting, casting, scoring, and editing, and designed his own credit titles and publicity material. This film, Aparajito (1956) and Apur Sansar (1959) form The Apu Trilogy. Ray's first film, Pather Panchali (1955), won eleven international prizes, including Best Human Documentary at the Cannes Film Festival. He authored several short stories and novels, primarily aimed at children and adolescents. He was also a fiction writer, publisher, illustrator, calligrapher, graphic designer and film critic. Ray directed 36 films, including feature films, documentaries and shorts. Starting his career as a commercial artist, Ray was drawn into independent filmmaking after meeting French filmmaker Jean Renoir and watching Vittorio De Sica's Italian neorealist 1948 film, Bicycle Thieves. Ray was born in the city of Calcutta into a Bengali family prominent in the world of arts and literature. Satyajit Ray (Bengali: সত্যজিৎ রায়) was an Indian filmmaker and author of Bengali fiction and regarded as one of the greatest auteurs of world cinema. Published in association with the Society for the Preservation of Satyajit Ray Films, and including fascinating photographs by and of the master, Deep Focus not only reveals Ray's engagement with cinema but also provides an invaluable insight into the mind of a genius. With the economy and precision that marked his films, Ray writes on the art and craft of cinema, pens an ode to silent cinema, discusses the problems in adapting literary works to film, pays tributes to contemporaries like Godard and Uttam Kumar, and even gives us a peek into his experiences at film festivals, both as a jury member and as a contestant. This book brings together, for the first time in one volume, some of his most cerebral writings on film. He was also a bestselling writer of novels and short stories, and possibly the only Indian film-maker who wrote prolifically on cinema. His films, from Pather Panchali in the mid-1950s to Agantuk in the 1990s, changed the way the world looked at Indian cinema. Satyajit Ray is acknowledged as one of the world's finest film-makers.

[deepjuillet]

Tuntunir Golpo: Perception of Violence in Children's Classics

Tuntunir Golpo: Perception of Violence in Children’s Classics

Sometimes I take a look at my collection of ebooks and downloaded pdf books on my phone to find out what hidden gem I would come across. On one such occasion, I came across a must-read from our childhood, written by Upendrakishore Raychaudhuri (উপেন্দ্রকিশোর রায়চৌধুরী), father of another stalwart of Bengali Renaissance literature, Sukumar Ray. The book is called Tuntuni ar bagher golpo (টুনটুনি…

[storiobengalistory]

One Kazi Saheb had a stupid servant, Kazi Saheb had to be humiliated everywhere for that servant, Our today's story about Kazi Saheb's and that servant is Clever Servant written by Upendrakishore Roychowdhury through our channel storio bengali audio story.

[unmattata]

“Dance of the Ghosts.” An illustration by Upendrakishore Ray Chowdhury for the story Goopy Gyne Bagha Byne. 

[banglapdfebook]

Mahabharater Katha by Upendrakishore Roy Chowdhury

Mahabharater Katha by Upendrakishore Roy Chowdhury

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Mahabharater Katha by Upendrakishore Roy Chowdhury

Book Name: Mahabharater Kotha

Writer: Upendrakishore Roy Chowdhury

Book Language: Bengali

Book Format: PDF

Download Link Source: Mediafire

Download Click here:

You might be also like same related books:

Download Cheleder(ছেলেদের) Mahabharat Book by Upendra Kishore Ray Chowdhury Bengali PDF Download

Download Cheleder Ramayan PDF…

[apenitentialprayer]

Faerie Tale in Bengali Children’s Literature

Except for a sub-genre of stories set in the Sunderbans, where the native child turns big-game hunter and intrepid scientist, the Bengali countryside would seem to be the geography of Upendrakishore Raychaudhuri’s Tuntuni stories. This is an extra-colonial Bengal populated by mischievous birds and animals, a world of stupid tigers and scheming jackals, of urban nostalgia for something rarely experienced but frequently imagined, unabashedly sentimental, free from the demands of rationality and sheepish emasculation. To some extent, this is the landscape of ‘tradition’ that, Sudhir Chandra has noted, was constructed as already lost. Yet neither it, nor the child that might be recuperated within it, is unmarked by the colonial modern, not least because the part of the intertwined agendas of creating modern societies and modern childhoods. Bengali writers such as Abanindranath, Rabindranath and D.R. Mitra Majumdar generally accepted the Romantic equation of the folk with the child, and the folk tale as a naturally juvenile literature. The Romantic and the modern are not contradictory and certainly the idea of the primitive past can be a powerful ingredient in the imaginations of the modern present, in India as well as Europe. [...] At the same time, apparent parallels with European children’s literature must be treated with caution. The nature of ‘compilation’ is not the same in Bengal as it is in Germany or Denmark. The lack of an assertive authorial gesture in Indian collections like Thakumar Jhuli (which is less strongly associated with D.R. Mitra Majumdar than Grimms’ fairy tales are associated with the Grimms) undermines the historical writer-parent, and locates the Romantic child within a mythical collective that resists historicization. Also, in the Bengali case, the Romantic imagination generated a children’s literature that is considerably darker than its European counterparts. Compared with the increasingly sanitized European fairy tale, the Thakumar Jhuli stories are nakedly violent: the standard edition still features cannibal mothers feasting on their hapless children, complete with transliterated sound effects like the crunching of bones. The Bengali version of the Romantic child existed not only as a controlled and celebratory resuscitation of the primitive within the modern, but also the point around which colonial modernity might fragment, revealing other possibilities and inevitabilities. The Bengali Romantic is, in fact, marked by a pervasive unease. The countryside is not simply a happy escape from a castrating urbanity. It is also a geography in which one wanders lost, in which friends, family and identities are irrevocably lost, and in which there is no assurance of recovery. In Jogendra Nath Gupta’s story Pathey Bipathey (‘Roads and Wrong Turns’), Tepantar -the great wilderness of Thakumar Jhuli- emerges as a frightening emptiness on the edge of the idyllic village, which is itself located on the margins of the present, in a time called shekal (‘those days’, or the past). [...] Thus, while some of the problems of the other geographies of childhood can be addressed and even resolved in the countryside, this is not necessarily an imaginary space that can be triumphantly owned and thereby tamed. It generates a pessimism and a dissipation of identity that are fundamentally opposed to the demands of modernity, and that catapult the child into what is literally a no-man’s-land.

- Satadru Sen (Disciplined Natives: Race, Freedom and Confinement in Colonial India, pages 54, 54-55, 55)

[banglaboipdf]

Ar Konokhane by Leela Majumdar pdf

Ar Konokhane by Leela Majumdar pdf

Ar Konokhane by Leela Majumdar Bengali book pdf About the author: Leela Majumdar(1908-2007) is a famous Bengali child novelist and literary. She has written many stories for kids and teenagers. Her writing style is simple yet that almost every age of reader can understand. “Maku”, “Golposolpo”, “Sob vuture”, “Din dupur”, etc are some of her popular writings. Her uncle Upendrakishore Roy…

[banglabooksme]

Shrestha Hasir Golpo- Ed. by Sujit Nath PDF

Shrestha Hasir Golpo- Ed. by Sujit Nath PDF

Shrestha Hasir Golpo- Ed. by Sujit Nath PDFebook name- ‘Shrestha Hasir Golpo’Written by- Various eminent authorsEdited by- Sujit NathBook genre- Laughter story collectionFile format- PDFSize- 21MbPages- 66Quality- good but mobile scan, without any watermark There are eleven Laughter stories in this collection. All these stories are written by various eminent Bengali authors like- Upendrakishor…

[unmattata]

Top: Storyboarding for Satyajit Ray’s fantasy adventure comedy film Goopy Gyne Bagha Byne (1968), based on his grandfather Upendrakishore Ray Chowdhury’s story of the same name.

Bottom: The illustration comes to life behind the scenes of Goopy Gyne Bagha Byne.

Source: “Third Eye,” a photo essay by Nemai Ghosh for The Big Indian Picture.

[liveindiatimes]

Celebrating 100 years of Satyajit Ray: The filmmaker who was an artist first - Part 2 - brunch feature

https://liveindiatimes.com/celebrating-100-years-of-satyajit-ray-the-filmmaker-who-was-an-artist-first-part-2-brunch-feature/

The filmmaker in Satyajit Ray was stronger indebted to the illustrator in him. Ray became a great filmmaker, and made films from 1955 onwards, because he was a great artist first.

The beginning

I will not call him a 100 per cent modernist, but you can see modernist influence in his works, seamlessly blended with the decorative Oriental style of painting. You can also see the influences of the Ajanta and Ellora style. Ray was well informed about the various Indian folk styles and in his drawings you see a lot of traditional day-to-day rangolis, known as the alpana or the patachtira style of painting.

His family background also helped. Both his father (Sukumar Ray) and grandfather (Upendrakishore Ray) were pioneers and authors and they even owned a printing press named U Ray and Sons. That must have given the young Satyajit the opportunity to get acquainted with the process of making printing blocks, block printing and block carving techniques. It is an important and integral part of art making, and you usually get to learn these techniques when you study in an art college.

Seeing the world

In 1940, he joined Rabindranath Tagore’s Vishva Bharati University at Shantiniketan, where he studied art under Nandalal Bose and Binode Behari Mukherjee. This stint also gave Ray the opportunity to experience the rural life of Bengal that would go on to play a major role in his movies. Ray’s life in Shantiniketan and its surroundings find a strong reflection in films like Pather Panchali (1955) and Apur Sansar (1959).

Some of the scenes of Spielberg’s ET are eerily similar to the sketches Ray had done for his unproduced sci-fi film, The Alien!

In fact, Ray started his career as a junior visualiser at D J Keymer, a British-run advertising agency. Later, he moved to D K Gupta’s newly-opened publishing house, the Signet Press. His stint at Signet Press, which resulted in some of his best book covers, was the place where seeds of Pather Panchali were sown when he illustrated a children’s version of the classic Bengali novel by Bibhutibhushan Bandyopadhyay. In fact, when he made the film, he sketched all the sequences, instead of writing them!

Reading transforms into words which then transform into imageries which lead to the creation of a movie. As a block printer and sketching artist, he would often first draw those images on paper before turning them into a movie. That made him an illustrator in the truest sense. His daily practices as an artist made him the great filmmaker he was. You can see that also from the way he framed his shots.

From illustrating book covers and film posters to creating typography, Ray was an artist in the true sense of the word

The man, his art

Then there are his film posters, which have influences of Russian poster making, and are great examples of his mastery over typography and calligraphy. He was a real reader of typography; he created four of his own types which won him awards. And he was an excellent calligrapher. Calligraphy is a kind of real drawing and great painting starts from great drawing. For example, look at the poster of Devi or even the portrait of Karl Marx. Also, if you see his self-portraits you will realise that he was constantly experimenting and using his pen and pencil in different stylisations. Even his sketches of Feluda are kind of self-portraits. It is amazing how he created a persona of himself and became part of the stories he wrote.

Then there were his sci-fi books and their illustrations. I don’t want to get into the controversy surrounding the issue, but some of the scenes of Spielberg’s ET are eerily similar to the sketches Ray had done for his unproduced sci-fi film, The Alien!

Ray initiated the first film society in Kolkata in 1948. He was interested in introducing new cinema to the community. More than two decades of Ray’s carved and sculpted exceptionally attractive looks and life have been captured by Nemai Ghosh who visited my studio a decade ago and discussed his photography on Ray. 

Ray was a naturalist and poetic artist-film maker.

(As told to Ananya Ghosh)

Bose Krishnamachari is an artist and founder of the Kochi Biennale

This is Part Two of a series of essays celebrating the legendary filmmaker, Satyajit Ray. Next week’s tribute is by Gulzar.

From HT Brunch, June 21, 2020

Follow us on twitter.com/HTBrunch

Connect with us on facebook.com/hindustantimesbrunch

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[aryamediakolkata]

Everytime we watch the Famous Children's Movie "Goopy Gyne Bagha Byne" , we remember the much talented Satyajit Ray. However, what many of us don't know about, are his illustrious roots. The story of " Goopy Gyne Bagha Byne" was created & written by his multi-talented Grandfather Upendrakishore Ray Chowdhury. On his Birthday today, we still enjoy the sweet remembrance of his stories that played a pivotal role when we were kids & many of us still read them to our kids! Arya Media pays deep Homage to this Multi-Talented Personality for his much valued contribution to Bengali Literature. #aryamedia #upendrakishoreraychowdhury #bengali #bengal #comics #childhood #birthday #design #satyajitroy #talent #literature (at Kolkata - The City of Love) https://www.instagram.com/p/CAEzfrtgOyd/?igshid=758gq3u9ll57

[foxfireflamequeen]

Writing Meme

tagged by @icicle33 and @ashiiblack

1) How many works in progress do you currently have in progress?

0. It’s always either 0 or 1. I don’t work on multiple fics at the same time, and when I start work on a fic that’s all I do until I’ve completed it. Don’t have time to write now, but hoping to start and finish up something over Thanksgiving break.

2) Do you/would you write fanfiction?

p much all I’m interested in writing atm

3) Do you prefer paper books or ebooks?

Paper books are good to hold but ebooks are easy to carry and cheaper, so ebooks it is

4) When did you start writing?

I don’t even remember, it was so long ago. Started writing fanfic around 15/16.

5) Do you have someone you trust that you share your work with?

I have a regular beta, besides which @farashasilver has been lovely enough to look over things for me.

6) Where is your favorite place to write?

Sitting in bed

7) Favorite childhood book?

Upendrakishore Rachonaboli

8) Writing for fun or writing for publication?

lol I can’t honestly say writing is ever fun for me; I write because there’s a story that needs telling, and more often than not it’s stressful af. I’m not aiming to publish atm though.

9) Pen and paper or computer?

Computer. I have a stupidly specific process.

10) Have you ever taken any writing classes?

Aside from the mandatory high school English language classes, no

11) What inspires you to write?

It depends. Sometimes it’s a vague concept, sometimes it’s a single line, sometimes it’s a song, sometimes it’s spite. Spite is a damn good motivator.

tagging @farashasilver, @yuris-on-ice, @clotpolesonly, @issushaim