Cinema has long remained a peripheral subject in Assamese literary discourse. While Assamese literature has flourished across various genres, serious academic engagement with cinema has been conspicuously limited. Recognizing this gap, renowned film critic and international film festival juror Manoj Borpujari on March 11, released his latest book titled, "Chalachitra Tattva aru Dhara" (Film Theory and Movements) here at Vivekananda Kendra Auditorium, Guwahati, Assam. This book aims to provide a comprehensive understanding of film theory and history, delving into global cinematic movements and their impact on the art of filmmaking.
By addressing both fundamental and advanced concepts, Barpujari's book aspires to serve as an essential academic resource for filmmakers, students, critics, and general audiences eager to explore cinema beyond its commercial aspects.
Though a handful of books on cinema have been published, they have failed to significantly impact the film industry or spark meaningful intellectual debates. This absence of discourse has arguably hindered the theoretical understanding of cinema among filmmakers, critics, students, and researchers in the region.
The lack of academic exploration of cinema in Assamese literary circles stands in contrast to its universal significance as an art form. Globally, cinema has not only been a medium of entertainment but also a crucial cultural and artistic force shaping societies.
Film studies, as an academic discipline, has thrived internationally, contributing to the evolution of cinema through rigorous theoretical discourse. However, in Assam, this dimension has remained largely underdeveloped, leaving filmmakers and cinephiles without substantial scholarly resources in their native language.
The event witnessed the presence of distinguished literary and cinematic personalities, reinforcing the book’s importance in bridging the gap between Assamese literature and cinema. Eminent writers Apurba Sharma, Harekrishna Deka, Pradip Acharya, and Prabhat Bora graced the occasion alongside journalist and film critic Munin Bayan, writer Madhurima Barua Sen, and filmmaker Reema Bora. Their collective presence underscored a growing recognition of cinema as a subject worthy of scholarly engagement.
In his address at the event, Manoj Borpujari expressed his hope that the book would stimulate intellectual discussions around cinema and contribute meaningfully to Assamese film culture. By making film theory accessible in the Assamese language, Barpujari aspires to empower filmmakers, critics, and researchers with essential knowledge, ultimately enhancing the quality of Assamese cinema.
Beyond being a theoretical resource, "Chalachitra Tattva aru Dhara" arrives at a time when Assamese cinema is undergoing a transformation. With independent filmmakers gaining international recognition, the industry is experiencing a creative resurgence. However, without a strong academic foundation, the growth of Assamese cinema risks being guided purely by commercial trends rather than artistic and intellectual evolution.
Barpujari’s work introduces readers to critical cinematic movements—from Soviet montage theory to Italian neorealism, French New Wave, and contemporary avant-garde trends. By understanding these theories and their practical applications, Assamese filmmakers can draw inspiration from global cinema while forging their own unique storytelling identities. For students and researchers, the book offers a much-needed entry point into film studies, potentially encouraging further academic pursuits in this field.
Manoj Barpujari is an Indian film critic, poet and a journalist based in Guwahati, Assam. After thirty-plus years, Manoj Barpujari gave up a career in journalism, quitting as the Associate Editor of an influential daily in 2015 to pursue cinema-related research and writing. He has twenty books to his credit, including six titles on cinema, and has been involved in the film society movement. He won the Golden Lotus for best film critic at India’s national film awards of 2011. A founder trustee of Indian Film Critics Association, he has been a member of FIPRESCI since 2007.