Paper short abstract:

This paper presents an overview of digital practices, its aesthetic meanings, and economic ramifications in larger historical contexts. In addition, it focuses on contemporary video and digital cultures popular in the linguistically, politically, and economically marginalized areas of Bengal.

Paper long abstract:

This paper presents an overview of digital practices, its aesthetic meanings, and economic ramifications in the larger historical contexts. However, the paper focuses on contemporary video and digital cultures popular in the linguistically, politically, and economically marginalized areas of Bengal, India. Curiously, digital technologies and aesthetics may be studied through a wide spectrum of effects ranging from what Lev Manovich describes as special effect-interactive cinemas, to the ways in which Samira Makhmalbaf argues for digital revolutions and the possibilities of 'other' nations producing a plethora of self-images. Therefore, while digital practices may signify Dogme 95's vows of chastity, Jean Luc Godard's "In Praise of Love" (2001) and "Film Socialisme" (2010), as well as Manovich's "Soft Cinema" projects (2005), or independent cinemas produced from India, as showcased in several contemporary film-festivals, much of the theoretical readings comprise studies on art-house endeavours. Contrary to this, scholars like Daisy Hasan and others, have written about the videos made from the Manipur region, moreover, documentaries (like "Malegaon Ke Sholay" by Nitin Sukhija) have also depicted the economy of the videos from minor communities and locations. It is within such contested domain that, this paper presents the research conducted on Rajbanshi films (produced from North Bengal as well as Assam) and films from Purulia. While questions of politics, language, and industry are crucial for this paper, I also examine the making of such films to consider the 'otherness' film and video cultures which are deeply connected to varied modes of reception.