Abstract
In this article, I will conceptualise and elucidate the idea of rupture as an alternative method with which to read the ideological shifts in the politics of Indian Parallel Cinema. For the purposes of this article, I will use the 1968 Bengali film Apanjan (Near and dear), directed by Tapan Sinha, as the basis for textual analysis. The first section will map the framework for reading rupture, identifying what I call the signifiers of rupture, including the political, iconoclasm and trauma. This will be followed with a textual analysis of Apanjan, applying the framework of rupture, focusing predominately on the iconology of the mother, trauma theory and wound culture.
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