Abstract

Bangladesh got liberated from Pakistan through a bloody war in 1971. But the country was also a victim of 1947 Partition of India. The Partition not only split India also divided Bengal and Punjab. The East Bengal with Muslim majority got a new name East Pakistan. However, the country Pakistan with two wings with 1200 miles of Indian territory in between, could not stick together for long. In the memory of Bangladeshi people 1971 is relatively fresh and in the contemporary Bangladeshi politics 1971 still matters. The winding political trajectory of Bangladesh has influenced the discourses of cinema – making less films on 1947 Partition and more films on 1971 Liberation War. Different art forms have portrayed both 1947 and 1971 – the two historical incidents that heavily shaped the political and cultural nature of Bangladesh. This article will investigate why there is scarcity of 1947 films and abundance of 1971 films in Bangladesh? The article will also scrutinize how dominant historiography engulf the body of the films and discard alternative historiography? In examining these quarries, the method would be a historical account of film production and its content and a few cases would be studied to get the picture in depth.

摘要

孟加拉国在 1971 年通过流血战争从巴基斯坦手中解放出来。但该国也是 1947 年印度分治的受害者。分区不仅分裂了印度，还分裂了孟加拉和旁遮普。穆斯林占多数的东孟加拉邦有了一个新名称东巴基斯坦。然而，拥有两个翅膀的国家巴基斯坦，中间有 1200 英里的印度领土，无法长久地团结在一起。在孟加拉国人民的记忆中，1971 年相对新鲜，而在当代孟加拉国政治中，1971 年仍然很重要。孟加拉国曲折的政治轨迹影响了电影的话语——减少了 1947 年的分裂电影，而更多的电影是 1971 年的解放战争。不同的艺术形式描绘了 1947 年和 1971 年——这两个历史事件极大地塑造了孟加拉国的政治和文化性质。本文将探讨为什么孟加拉国1947年电影稀缺而1971年电影丰富？这篇文章还将仔细研究占主导地位的史学是如何吞噬电影主体并抛弃另类史学的？在检查这些采石场时，该方法将是对电影制作及其内容的历史记录，并会研究一些案例以深入了解情况。