{"id":4441,"date":"2021-12-14T10:00:38","date_gmt":"2021-12-14T04:30:38","guid":{"rendered":"https:\/\/filmcriticscircle.com\/journal\/?p=4441"},"modified":"2023-04-27T21:35:16","modified_gmt":"2023-04-27T16:05:16","slug":"shyam-benegal-the-affable-auteur","status":"publish","type":"post","link":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/","title":{"rendered":"Shyam Benegal \u2014 the Affable Auteur"},"content":{"rendered":"<p style=\"text-align: left;\"><span style=\"color: #ffffff;\">Shyam Benegal: the Affable Auteur<\/span><\/p>\n<p style=\"text-align: center;\">\u201cWeave a circle around him thrice,<\/p>\n<p style=\"text-align: center;\">And close your eyes with holy dread,<\/p>\n<p style=\"text-align: center;\">For he on honey-dew hath fed,<\/p>\n<p style=\"text-align: center;\">And drunk the milk of Paradise.\u201d<\/p>\n<p style=\"text-align: center;\">-Samuel Taylor Coleridge, \u2018Kubla Khan\u2019<\/p>\n<p>&nbsp;<\/p>\n<p><span lang=\"EN-US\"><span class=\"dropcap color\">T<\/span>he\u00a0most endearing aspect of Shyam Benegal as an individual and a director is his unassuming demeanour. He is an \u2018author\u2019 without being authoritarian. His seemingly ordinary way of bearing himself simply belies his strength to give sustenance to the universe of stories that he carries within him. This facet of Benegal starkly contradicts the commonly perceived image of directors; that they are inseparable from their inherent authorship even while they are not all the time conscious of it.<\/p>\n<p>What makes Shyam Benegal stand out is his turning away from the author\u2019s persona as described by Roland Barthes; an \u201cauthor\u201d who is keener on \u2018seeing\u2019 things as they happen than on \u2018showing\u2019 them from the central perspective of a manipulating agent. This \u2018author\u2019 contradicts the auteur who emerged in the 1950s new wave cinema as the sole controlling figure. To be more precise, Benegal prefers to be among the anonymous audience rather than donning the role of a puppeteer who holds the strings and fastens the story to his fingers. For Benegal, the self-effacing author, the story unfolds itself, and speaks for itself.<\/p>\n<p>In the conventional notion, an artist \/author is synonymous with a creator, an inspired being\u2014one who drinks the milk of Paradise, is guided by the \u201cHeav\u2019nly muse\u201d (John Milton, <em>Paradise Lost<\/em>), sees things that others fail to, and is capable of creating life with masterstrokes. However, in the 1960s, this notion was radically replaced with the notion that the author is only a \u2018translator\u2019 and not a creator. This new incarnation or role of the \u201cauthor\u201d was ushered into the arena of critical theory by Roland Barthes in his path breaking essay \u2018The Death of the Author\u2019, in which he says that the author is merely the facilitator, the mediator or simply the \u2018space\u2019 where currents and cross currents of socio-cultural happenings cross their paths.<\/p>\n<p style=\"padding-left: 80px;\">No doubt it has always been that way. As soon as a fact is <em>narrated<\/em> no longer with a view to acting directly on reality, but intransitively, that is to say, finally outside of any function other than that of the very practice of the symbol itself, this disconnection occurs, the voice loses its origin, the author enters into his own death, writing begins. The sense of this phenomenon, however, has varied; in ethnographic societies the responsibility for a narrative is never assumed by a person but by a mediator, shaman or a relator whose \u2018performance\u2019\u2014the mastery of the narrative code\u2014may possibly be admired but never his \u2018genius\u2019. (Roland Barthes)<sup>1<\/sup><\/p>\n<p>In a similar manner, John Barth takes a survey of art forms and genres such as music, painting, pop art, intermedia art, and literature, and proposes that all art is repetitive by nature and that the \u2018authors\u2019, instead of creating, merely synthesize what went past and what they see around them in the present. Benegal, in spite of possessing a widely acclaimed oeuvre, appears not to believe in this proposed \u2018myth\u2019 of originality, in which the Aristotelian conscious agent is an \u201caristocratic notion\u201d of which \u201cthe democratic West seems eager to have done with, not only the \u201comniscient\u201d author of older fiction, but the very idea of the controlling artist has been condemned as politically reactionary, authoritarian, even fascist.\u201d<sup>2<\/sup><\/p>\n<p>Benegal is said to have set out under the influence of Satyajit Ray, but his films are a class apart from Ray\u2019s, for, unlike Ray, Benegal in his depiction of social realism prefers to be less suggestive and more straightforward, less dreamy and more harsh, raw and lifelike. Whether in his early films such as <em>Ankur, Manthan, Bhumika<\/em>, <em>Mandi<\/em>, and <em>Junoon<\/em>, or in his later films such as<em> Mammo<\/em> and <em>Zubeidaa<\/em>, he captures the political undercurrent that flows through all social relationships. Survival and self-fulfillment of individuals caught between the expectations of the society and their own, are the core issues that Benegal addresses in his movies that move in the domains of class\/caste struggle, gender politics, psychic obsession, history and cultural anthropology.<\/p>\n<p>In real life too, as in his films, there is no attempt to mystify or romanticize reality. While reflecting on his own works, Shyam Benegal assumes the \u2018role\u2019 of anything but the director that radiates a towering, all eclipsing and an all-knowing halo. He is careful not to let the author\u2019s self take over his common man\u2019s way of sitting relaxedly while talking. Even while giving background details of threshold moments, Benegal appears like one recounting the most mundane, ordinary happenings in the chain of everyday incidents of which we barely take any notice. In his description there is neither any trace of anxiety of searching nor the thrill of finding. Shyam Benegal is placidity personified.<\/p>\n<p>&nbsp;<\/p>\n<hr \/>\n<p><strong>References<\/strong><\/p>\n<ol>\n<li>Barthes, Roland. \u201cThe Death of the Author.\u201d <em>Authorship: From Plato to the Postmodernism<\/em>: <em>A Reader<\/em>\u201d, by Sean Burke, Edinburgh University Press, Edinburgh, 1995, pp. 125-130. JSTOR, <a href=\"http:\/\/www.jstor.org\/stable\/10.3366\/j.ctvxctrs61.21%20Accessed%20Dec%2030,%202020\">www.jstor.org\/stable\/10.3366\/j.ctvxctrs61.21<\/a><\/li>\n<li>Barth, John. \u201cThe Literature of Exhaustion.\u201d <em>The Friday Book: Essays and Other Non-Fiction<\/em>. London. Johns Hopkins University Press. 1984<\/li>\n<\/ol>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Shyam Benegal: the Affable Auteur \u201cWeave a circle around him thrice, And close your eyes with holy dread, For he on honey-dew hath fed, And drunk the milk of Paradise.\u201d -Samuel Taylor Coleridge, \u2018Kubla Khan\u2019 &nbsp; The\u00a0most endearing aspect of Shyam Benegal as an individual and a director is his unassuming demeanour. He is an [&hellip;]<\/p>\n","protected":false},"author":75,"featured_media":4446,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[29],"tags":[],"class_list":["post-4441","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Shyam Benegal \u2014 the Affable Auteur | Journal of Indian Cinema<\/title>\n<meta name=\"description\" content=\"Shyam Benegal turns away from the \u201cauthor\u2019s being\u201d, like Roland Barthes\u2019 &quot;author&quot; who is keen on seeing things.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Shyam Benegal \u2014 the Affable Auteur | Journal of Indian Cinema\" \/>\n<meta property=\"og:description\" content=\"Shyam Benegal turns away from the \u201cauthor\u2019s being\u201d, like Roland Barthes\u2019 &quot;author&quot; who is keen on seeing things.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/\" \/>\n<meta property=\"og:site_name\" content=\"Journal of Indian Cinema\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/groups\/FilmCriticsCircleofIndia\/\" \/>\n<meta property=\"article:author\" content=\"https:\/\/www.facebook.com\/darshana.goswami.75\" \/>\n<meta property=\"article:published_time\" content=\"2021-12-14T04:30:38+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-04-27T16:05:16+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/12\/Shyam_Benegal.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"896\" \/>\n\t<meta property=\"og:image:height\" content=\"504\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Darshana Goswami\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Shyam Benegal \u2014 the Affable Auteur | Journal of Indian Cinema\" \/>\n<meta name=\"twitter:description\" content=\"Shyam Benegal turns away from the \u201cauthor\u2019s being\u201d, like Roland Barthes\u2019 &quot;author&quot; who is keen on seeing things.\" \/>\n<meta name=\"twitter:image\" content=\"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/12\/Shyam_Benegal.jpg\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Darshana Goswami\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/\"},\"author\":{\"name\":\"Darshana Goswami\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#\\\/schema\\\/person\\\/a998489bfd693cbf748ee5dbca85af5a\"},\"headline\":\"Shyam Benegal \u2014 the Affable Auteur\",\"datePublished\":\"2021-12-14T04:30:38+00:00\",\"dateModified\":\"2023-04-27T16:05:16+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/\"},\"wordCount\":878,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2020\\\/12\\\/Shyam_Benegal.jpg\",\"articleSection\":[\"Features\"],\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/\",\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/\",\"name\":\"Shyam Benegal \u2014 the Affable Auteur | Journal of Indian Cinema\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2020\\\/12\\\/Shyam_Benegal.jpg\",\"datePublished\":\"2021-12-14T04:30:38+00:00\",\"dateModified\":\"2023-04-27T16:05:16+00:00\",\"description\":\"Shyam Benegal turns away from the \u201cauthor\u2019s being\u201d, like Roland Barthes\u2019 \\\"author\\\" who is keen on seeing things.\",\"breadcrumb\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/#breadcrumb\"},\"inLanguage\":\"en-GB\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/#primaryimage\",\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2020\\\/12\\\/Shyam_Benegal.jpg\",\"contentUrl\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2020\\\/12\\\/Shyam_Benegal.jpg\",\"width\":896,\"height\":504,\"caption\":\"Shyam Benegal\"},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/features\\\/shyam-benegal-the-affable-auteur\\\/#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Shyam Benegal \u2014 the Affable Auteur\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#website\",\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/\",\"name\":\"Journal of Indian Cinema\",\"description\":\"\",\"publisher\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#organization\"},\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"en-GB\"},{\"@type\":\"Organization\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#organization\",\"name\":\"Journal of Indian Cinema\",\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/\",\"logo\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#\\\/schema\\\/logo\\\/image\\\/\",\"url\":\"http:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2023\\\/10\\\/Logo-FCCI-for-slider.jpg\",\"contentUrl\":\"http:\\\/\\\/filmcriticscircle.com\\\/journal\\\/wp-content\\\/uploads\\\/sites\\\/3\\\/2023\\\/10\\\/Logo-FCCI-for-slider.jpg\",\"width\":900,\"height\":390,\"caption\":\"Journal of Indian Cinema\"},\"image\":{\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#\\\/schema\\\/logo\\\/image\\\/\"},\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/groups\\\/FilmCriticsCircleofIndia\\\/\"]},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/#\\\/schema\\\/person\\\/a998489bfd693cbf748ee5dbca85af5a\",\"name\":\"Darshana Goswami\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"en-GB\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/2c74ec56382d6e7531be4a817ef41883491794af90ac4dab384c9d6ff50a0636?s=96&d=mm&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/2c74ec56382d6e7531be4a817ef41883491794af90ac4dab384c9d6ff50a0636?s=96&d=mm&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/2c74ec56382d6e7531be4a817ef41883491794af90ac4dab384c9d6ff50a0636?s=96&d=mm&r=g\",\"caption\":\"Darshana Goswami\"},\"description\":\"Darshana Goswami is an assistant professor who did her PhD on Doris Lessing and authored the book 'Tiny Individuals in Doris Lessing\u2019s Fiction.' She has also done research projects on Nirupama Borgohain, Mamoni Raisom Goswami, and Amrita Pritam; and edited two books, 'Verve' and 'Cascade.' A regularly contributor to journals and newspapers, she has a deep inclination towards folklore, modern and post-modern fiction, cinema, and gender studies.\",\"sameAs\":[\"https:\\\/\\\/www.facebook.com\\\/darshana.goswami.75\"],\"url\":\"https:\\\/\\\/filmcriticscircle.com\\\/journal\\\/author\\\/darshanagoswami\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Shyam Benegal \u2014 the Affable Auteur | Journal of Indian Cinema","description":"Shyam Benegal turns away from the \u201cauthor\u2019s being\u201d, like Roland Barthes\u2019 \"author\" who is keen on seeing things.","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/","og_locale":"en_GB","og_type":"article","og_title":"Shyam Benegal \u2014 the Affable Auteur | Journal of Indian Cinema","og_description":"Shyam Benegal turns away from the \u201cauthor\u2019s being\u201d, like Roland Barthes\u2019 \"author\" who is keen on seeing things.","og_url":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/","og_site_name":"Journal of Indian Cinema","article_publisher":"https:\/\/www.facebook.com\/groups\/FilmCriticsCircleofIndia\/","article_author":"https:\/\/www.facebook.com\/darshana.goswami.75","article_published_time":"2021-12-14T04:30:38+00:00","article_modified_time":"2023-04-27T16:05:16+00:00","og_image":[{"width":896,"height":504,"url":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/12\/Shyam_Benegal.jpg","type":"image\/jpeg"}],"author":"Darshana Goswami","twitter_card":"summary_large_image","twitter_title":"Shyam Benegal \u2014 the Affable Auteur | Journal of Indian Cinema","twitter_description":"Shyam Benegal turns away from the \u201cauthor\u2019s being\u201d, like Roland Barthes\u2019 \"author\" who is keen on seeing things.","twitter_image":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/12\/Shyam_Benegal.jpg","twitter_misc":{"Written by":"Darshana Goswami","Estimated reading time":"4 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/#article","isPartOf":{"@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/"},"author":{"name":"Darshana Goswami","@id":"https:\/\/filmcriticscircle.com\/journal\/#\/schema\/person\/a998489bfd693cbf748ee5dbca85af5a"},"headline":"Shyam Benegal \u2014 the Affable Auteur","datePublished":"2021-12-14T04:30:38+00:00","dateModified":"2023-04-27T16:05:16+00:00","mainEntityOfPage":{"@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/"},"wordCount":878,"commentCount":0,"publisher":{"@id":"https:\/\/filmcriticscircle.com\/journal\/#organization"},"image":{"@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/#primaryimage"},"thumbnailUrl":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/12\/Shyam_Benegal.jpg","articleSection":["Features"],"inLanguage":"en-GB","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/#respond"]}]},{"@type":"WebPage","@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/","url":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/","name":"Shyam Benegal \u2014 the Affable Auteur | Journal of Indian Cinema","isPartOf":{"@id":"https:\/\/filmcriticscircle.com\/journal\/#website"},"primaryImageOfPage":{"@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/#primaryimage"},"image":{"@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/#primaryimage"},"thumbnailUrl":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/12\/Shyam_Benegal.jpg","datePublished":"2021-12-14T04:30:38+00:00","dateModified":"2023-04-27T16:05:16+00:00","description":"Shyam Benegal turns away from the \u201cauthor\u2019s being\u201d, like Roland Barthes\u2019 \"author\" who is keen on seeing things.","breadcrumb":{"@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/#breadcrumb"},"inLanguage":"en-GB","potentialAction":[{"@type":"ReadAction","target":["https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/"]}]},{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/#primaryimage","url":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/12\/Shyam_Benegal.jpg","contentUrl":"https:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2020\/12\/Shyam_Benegal.jpg","width":896,"height":504,"caption":"Shyam Benegal"},{"@type":"BreadcrumbList","@id":"https:\/\/filmcriticscircle.com\/journal\/features\/shyam-benegal-the-affable-auteur\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/filmcriticscircle.com\/journal\/"},{"@type":"ListItem","position":2,"name":"Shyam Benegal \u2014 the Affable Auteur"}]},{"@type":"WebSite","@id":"https:\/\/filmcriticscircle.com\/journal\/#website","url":"https:\/\/filmcriticscircle.com\/journal\/","name":"Journal of Indian Cinema","description":"","publisher":{"@id":"https:\/\/filmcriticscircle.com\/journal\/#organization"},"potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/filmcriticscircle.com\/journal\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-GB"},{"@type":"Organization","@id":"https:\/\/filmcriticscircle.com\/journal\/#organization","name":"Journal of Indian Cinema","url":"https:\/\/filmcriticscircle.com\/journal\/","logo":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/filmcriticscircle.com\/journal\/#\/schema\/logo\/image\/","url":"http:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2023\/10\/Logo-FCCI-for-slider.jpg","contentUrl":"http:\/\/filmcriticscircle.com\/journal\/wp-content\/uploads\/sites\/3\/2023\/10\/Logo-FCCI-for-slider.jpg","width":900,"height":390,"caption":"Journal of Indian Cinema"},"image":{"@id":"https:\/\/filmcriticscircle.com\/journal\/#\/schema\/logo\/image\/"},"sameAs":["https:\/\/www.facebook.com\/groups\/FilmCriticsCircleofIndia\/"]},{"@type":"Person","@id":"https:\/\/filmcriticscircle.com\/journal\/#\/schema\/person\/a998489bfd693cbf748ee5dbca85af5a","name":"Darshana Goswami","image":{"@type":"ImageObject","inLanguage":"en-GB","@id":"https:\/\/secure.gravatar.com\/avatar\/2c74ec56382d6e7531be4a817ef41883491794af90ac4dab384c9d6ff50a0636?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/2c74ec56382d6e7531be4a817ef41883491794af90ac4dab384c9d6ff50a0636?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/2c74ec56382d6e7531be4a817ef41883491794af90ac4dab384c9d6ff50a0636?s=96&d=mm&r=g","caption":"Darshana Goswami"},"description":"Darshana Goswami is an assistant professor who did her PhD on Doris Lessing and authored the book 'Tiny Individuals in Doris Lessing\u2019s Fiction.' She has also done research projects on Nirupama Borgohain, Mamoni Raisom Goswami, and Amrita Pritam; and edited two books, 'Verve' and 'Cascade.' A regularly contributor to journals and newspapers, she has a deep inclination towards folklore, modern and post-modern fiction, cinema, and gender studies.","sameAs":["https:\/\/www.facebook.com\/darshana.goswami.75"],"url":"https:\/\/filmcriticscircle.com\/journal\/author\/darshanagoswami\/"}]}},"_links":{"self":[{"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/posts\/4441","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/users\/75"}],"replies":[{"embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/comments?post=4441"}],"version-history":[{"count":6,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/posts\/4441\/revisions"}],"predecessor-version":[{"id":5443,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/posts\/4441\/revisions\/5443"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/media\/4446"}],"wp:attachment":[{"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/media?parent=4441"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/categories?post=4441"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/filmcriticscircle.com\/journal\/wp-json\/wp\/v2\/tags?post=4441"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}