Page 25 - THE CHANGING WORLD OF RAY

vision consists of a series of ing and the pain of its ab-

juxtapositions of gazes (i.e. sence as a result of the

‘opti-clash’, Bhatti and Pin- process of an impersonal

ney 2011: 228) as an epipha- modernity (urbanization,

ny of perspectives: from the dislocation, separation, and

childhood curiosity of Apu’s alienation). The absence,

eyes, to the sense of impris- need to control, and desire
onment from the perspec- for, touching, become un-

tive of Charu, or the frus- derlying motives in Ray’s

tration and disillusionment entire work. Nowadays, the

felt from the perspective of Walls of professionalization

Siddhartha. In this context, and ‘progress’, based on au-

Ray’s films are similar to the tomatic forms of non-com-
child’s play as in Bhaktin’s munication and separation

definition of polyglossia : remain firmer than ever. In

they are multi-layered and the spirit of Jean-Jacques

multi-vocal open arenas, Rousseau, Sen (1992) shows

offering a number of sub- how inherited forms of in-

jective point of views, that equality support further cat-
articulate a paradoxical and egorizations, on the basis of

heterogeneous history(ies) which more separations (and

of change. In this way, Ray discriminations) are built:

allows us to see his ‘Cal- ‘[...] the importance of the

cutta’, and through it, his distinction between seeking

world. His journeys taking equality in different spac-

place through the gaze of his es relates ultimately to the
characters, allow us to learn nature of human diversity.

more about our political It is because we are so deep-

selves, and to relocate our ly diverse, that equality in

universal emotions within a one space frequently leads

global, but at the same time, to inequality in other spaces’

diverse cosmos of ‘village(s)’. (1992: 117). New cultural-

This essay high- ly naturalized categories of
lighted the feeling of touch- the mind, based on existing