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The visionary Satyajit Ray (1921-1992) is India’s most famous director. His visualstyle fused the aesthetics of European realism with evocative symbolic realism, which
was based on classic Indian iconography, the aesthetic and narrative principles of
rasa, the energies of shakti and shakta, the principles of dharma, and the practice of
darsha dena/ darsha lena, all of which he incorporated in a self-reflective way as the
means of observing and recording the human condition in a rapidly changing world.
This unique amalgam of self-expression expanded over four decades that cover three
periods of Bengali history, offering a fictional ethnography of a nation in transition
from agricultural, feudal societies to a capitalist economy. His films show the emotional
impact of the social, economic, and political changes, on the personal lives of his
characters. They expand from the Indian declaration of Independence (1947) and the
period of industrialization and secularization of the 1950s and 1960s, to the rise of
nationalism and Marxism in the 1970s, followed by the rapid transformation of India
in the 1980s. Ray’s films reflect upon the changes in the conscious collective of the
society and the time they were produced, while offering a historical record of this
transformation of his imagined India, the ‘India’ that I got to know while watching his
films; an ‘India’ that I can relate to. The paper highlights an affinity between Ray’s
method of film-making with ethnography and amateur anthropology. For this, it returns
to the notion of the charismatic auteur as a narrator of his time, working within the
liminal space in-between fiction and reality, subjectivity and objectivity, culture and
history respectively, in order to reflect upon the complementary relationship between
the charismatic auteur and the role of the amateur anthropologist in an ever-changing
world.
