Volume 1 - January 2002


This soft version has only English writeup available through this site. Please contact us for the paperback.

Cover design: Sanchayan
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About the Edition

Silhouette is about polyphony, their coexistence. In lieu of being a synthesis, it breathes in a symbiosis where every ‘thought’ is defined in ‘otherness’ while leaving the privilege for synthesis to individuals. Raised from a petrifying perplexity in our consciousness, Silhouette is, in one way—many ways, an understanding of and in our time. A platform that believes not in exclusion but in encompassment of every honest expression to carry the ceaseless dialogue with it. This magazine is essentially an accentuation of Silhouette’s mind. Nothing would have been a more suitable one than ‘Film and Society’ as cover topic of this first issue which lends a whole of canvas to patch with, from which may emerge avenues of immense possibilities to be explored in its due course. Introduced with ‘Chalachchitrer samajikata’—a statement about film’s bond to society—it claims for a meticulous exploration further, to understand, in various dimensions, the nature of the relationship. ‘Chalachchitrer samajik matra’ comes therefore operative on social, political and economical perspectives. ‘Masla chabi, samajchitra, ityadi’ whereas exemplifies the issues by tracing in their chronological simultaneity. The other two to follow venture in same way—being specific to speak of a general, however on different contexts. While ‘Celluloid e dwitiyo biswajuddha’ is a sampling in space & time, ‘Chalachchitra o manastatwa’ bridges society and film in psychological aspects. Continuing from ‘Chalachchitrer samajik matra’ as what it is, ‘Bangla anya cinema—nasta samay o nasta sambhabanar day?’—a rumination on failures and fallacies of alternative cinema—bears an inkling for a renewed thesis as what it ought to be. This juncture onwards, the discourse shapes into theorizations with ‘Why films? ‘‘Why not?’’’ and ‘Film and Beyond— in relation, significance’—both in different ways argue for film’s value in the society. In its transition from specificity to generalization, ‘Hing-ting-chot’ that addresses in abstraction most is put to end the list. All these articles are individual renditions that may be organised and correlated (if any) differently if a reader wants. A ‘criticism’ is not seperable from the ‘critic’, so not the ‘analysis’ needs to be severed from ‘personal articulation’. ‘Three films and Gandhi’, ‘“Illusion” is what remains ?’ and ‘The Circle : A Perspective’ make the ‘Critic’s Column’. This is to bring some specific films on focus, grasping criticism in its multiple facets, making the ‘voice’ heard. ‘Thoughts on Image’, the next section, is an effort to sense the vision of ‘image’ sublime in creator’s eyes. Artists across different spheres reflect through their space, walk around and connect ‘without’ to ‘within’ touching the line where focus meets the haze. 7th Kolkata Film Festival is just over. Air is still redolent of the impressions it left behind. The special section : ‘Kolkata Film Festival —reviewed’ casts some post-thoughts on the event that plays as ‘our’ signficant window to ‘their’ world. The last one is ‘News’ section. It shares information about some past happenings or those to follow in the near future—here or abroad. It takes this occassion as a pretext for letting you know that the magazine is bilingual and no conscious choice has been made throughout in selecting the language. Things are set. It needs your critical attention. It is not complete without you. To prove or reprove, to propose and continue with what is propounded. To participate, interact and create …. for the debate mustn’t be shed in oblivion.


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