Federation of Film Societies of Bangladesh- FFSB

Federation of Film Societies of Bangladesh (FFSB)

Preamble

The cinema is undoubtedly the most western of all arts .It involves very intimately, modern science and technology with such traditional art forms as drama, music Literature, Sculpture poetry architecture and painting. But the universality of its appeal and relevance became quickly evident with its fast expansion and acceptance around the globe. This is probably the ¬¬only medium that has successfully broken down manmade national cultural and linguistic barrier with least opposition even from chauvinists. Many artists of the cinema have already succeeded in creating works that transcend space and time.

In recent years the use of digital technology in filmmaking has expanded new opportunities for practicing film makers and offers enormous prospect for the new generation cineastes. The rise of digital cinema has a pretty big impact not only in film making but also in film viewing which is therefore gradually changing the traditional logic of the filmmaking process and aesthetics. In the era of globalization Bangladesh can neither remain immune from this tide of change nor remain divorced from what we must recognize as the mainstream of world film culture.

The cinema found its root in this sub-continent more than half a century ago. Unfortunately right from the start, it fell in wrong hands. As a result the bulk of the sub continental films to date constitute no cinema at all. The enslaved medium appears to have only one purpose and that is to multiply profits for capitalists and middle-men. A crude form of this state of affairs now exists in Bangladesh. In neighboring India the protagonists of this art led by such towering figures as Satyajit Ray, Ritwick Ghatak and Mrinal Sen initiated a war of rescue in the late forties. Twenty years later the fruits of success were in view. The thriving cine club movement of India is still continuing a vital role in struggling against the tycoons’ cinema.

In Bangladesh since early sixties a beginning was made in the promotion of film appreciation. Today, four decades later the movement is showing signs of new vitality. However-a danger of corruption of aims and modus operandi of the movement looms even if not largely of the horizon. It is for the dedicated to act now to steer it out of the danger zone before it is too late. For only a Vigorous and dedicated cine club Movement can ensure the birth of a new wave of creative cinema in Bangladesh. Keeping this in view the cineastes of this country hereby agree to unite to promote the study and understanding of true cinema with a view to ushering in a new and dynamic cinematic expression in Bangladesh.